What are photographers looking for when they collaborate?
This is a question I get asked a lot, and I get it; many photographers do shoot for free. I want to encourage creative collaboration, it can be really mutually beneficial for all parties.
I am probably not the right person to ask to do a test shoot. I've done my fair share, and I think for the most part, it's only for magazine submissions but when I am doing that, I always look for a few things from the people I shoot. When I am looking, generally, I've researched and will reach out directly; I do look for models who engage with me when I do. I look for people who have offered to help me cover costs (film is expensive), and for models who are easy to organise dates with. They get back to me quickly (within a day), they make time and can make a commitment within the fortnight; as a fair-weather photographer, we can only predict the weather for the next 10 days.
If it's stuff I already have shot, ask yourself, why would they do it for free? Put yourself in the photographer's shoes. If we know the result, and it doesn't increase proficiency in our work, where is the value?
So what are photographers looking for?
Firstly a fan, generally someone who messages me, whose never followed or engaged with me or my work, I see as disingenuous, they’re just looking for a free meal.
It’s like door knocking for a charity, sure you might find people who will help out, but they’re strangers, there’s no rapport, you’re not really making friends. For me connecting with the people I shoot with is paramount to the success of the shoot, they have to not only want to be there but be invested.
The second part, unfortunately is out of your control, I’ll look for people who have something eye-catching, whether it's a physical trait or interesting look, or their photos seem to be quite dynamic, or often it's as simple as a solid following. Working with someone who has 50,000-100,000 I get a better return on investment, I get access to a new audience (as long as they tag me in both the photo and the caption) and it lends to my own credibility.
Thirdly, styling, if you have a great style, if you have a good eye for putting things together, and a great wardrobe, props, towels, and all the rest of it, it makes it so much easier as well! I can’t stress this enough, coming with a make up stained wardrobe of white linen, can be really hard to get inspired by.
For new models, that doesn't really leave them much of a place with photographers like me.
I'll say 99% of the time I'm not really going to say yes to an unpaid collaboration, by the time I pay for fuel, props, film, and organise everything I've spent usually around $250. That's a lot of money and time I've invested into something that could just end up as Instagram content.
But that means when I do:
Magazine submissions
Concept driven
Stuff that's NOT in regular rotation in my book
That means when it comes to collaborating. you need to be:
A fan
Willing to give stuff a go
Flexible with the ideas
Wanting to contribute your own personal touch
Easy to approach and organise
I mention all this before the next part because there was a particularly jarring example last year of a photographer asking for a model's nudes before he shot with her. Kim Kardashian's photographer Marcus Hyde was trying to solicit sexual images off girls he was collaborating with.
If someone compromises or asks for anything like this, DON'T shoot with them. If the concept involves nudity, you have every right to ask questions, I'd suggest:
What are these being used for?
Is this a submission for publication?
Will I be able to see them and choose which ones are posted?
Is it ok if I bring a friend along?
IF this is one of your first shoots, I would suggest declining unless they include a duty of care form, a code of conduct and you don't sign a release form.
Ok, so that's the ugly stuff out of the way.
Back to things that make photographers say yes, finding concepts and magazine submissions that you love driving the idea from there. Basically make it about the art.
Make it about adding something of value to someone. You turning up honestly isn’t enough, there are plenty of people on model message boards on Facebook, and plenty of models who are hungry to develop their book. You can’t just rest on your pretty privilege to cruise into a very competitive field.
You might get lucky, but every success story is written on the back of hundreds of failed attempts.
Anyway, get cracking on those concepts! I’ve got an old guide on organising shoots here for photographers!
