All About Test Shooting
Good morning. Thank you for having me again. Andi. I'm excited because only today or we're gonna be discussing how to work with the photographer had oppose the chemistry. How to build that chemistry, how to communicate expression, but really gonna break down. What it is to test is a photographer. Um, you know, the best way to go about getting the right models, maybe for your editorial submissions on a whole bunch of other things will be covered today. Absolutely. Absolutely. We're gonna break down about testing as well and go through that again just to give a little more clarity than we did yesterday about the process of testing. So right off the bed, Uh, a test is a phrase everyone in the industry uses When a photographer takes photographs of a model for her book, it's called a test. So Amado say, Oh, I'm testing. A photographer will say I'm testing or looking to test. This is just off the industry standard term for four photographer taking photographs of a model for the purpose of de...
veloping her book and his book or her book, for that matter, right? And what's great on. But there's no disk for you know, test photographers who are starting out. We're getting very expended. Meant experimental and learning about lighting on natural lighting and in studio lighting. Most test photographers will test in their homes. They will test, um, and the basement or the living room, or they'll make an in house studio and, well, the roof in new or the roof and the girls will come in knowing that, or you're gonna walk around. You know, if you're in New York, you're gonna take her for a walk on the streets or something like that, So I will definitely not dis um, you know, I should know that as a model coming in that that's gonna be the set up. The only thing I think it can kind of get a little misconstrued is when a girl doesn't know how she's going to be styled, has no expectation and goes and to a test photography not getting anything out of it for her book. Um, and A. And a photographer hasn't conveyed. Well, this is my artistic vision of you. This is what I wanted to dio. And the model could leave feeling gypped that she can't use the images for her book or she's okay with the set up of it wanting to be a submission or an experimental artistic expression for the photographer. And so then she doesn't have the right to direct or tell the tests photographer that Hey, this is what I want to dio. So, um, I kind of said that, you know, yesterday I had a lot of young girls come to me showing me their portfolios and really being disappointed because an agency wasn't gonna put the images in her book. And so she goes with that hope and expectation that she's going to get discovered, or that that full days worth of work and her anticipation of impressing an agent or a Booker not getting used to kind of be a bit disheartening. So when I when I said yesterday that sometimes young girls get solicited off model mayhem and they willingly go not knowing what the set up isnot asking the right questions, ending up in, ah, part of that person's house, not feeling comfortable, just not knowing it's not dissing that their photographer has a studio in their house. I mean, of course, we know you have to cut costs and it's convenient, it's there. But if she's going in and she's getting styled in a way that's not gonna benefit her in any way, then you know, if she didn't know coming in there, then she's gonna leave feeling disappointed. So I think it's great for a test photographer to really communicate. And, um, David been olio from, you know, in Miami. He started out for three years working with girls, knowing the girls knew that this was for his book for building his book, and a lot of models are wanting to do that. They're wanting to be seen and shot in a very artistic way, especially if they're already with an agency, because they wanna have current pictures. They want to know where the key players are in town. They want to be involved. They don't want to be for gotten. So it's important that the communication between what's going on in a test is understood by the model, um, and by the photographer. And like we said, before the agency sets you up as a model, you need to find out in my paying for this. Okay, um, how much is it gonna cost? And we're gonna get into that packaging and as a model. What? My expectations of a test star when I'm coming to pay for it. And the turnaround time? How maney looks, I feel like I should deserve if I'm investing 500 or $1500. Um, talk about that also. Yeah, because that's important. You know, I'm spending starting out 500 here, another 500 there and 1500 there. And this has happened where I kind of sought out a test photographer when I was getting into a new market that I didn't know and the agency didn't like the images. So already, as a model, you've spent 500 to $ you need to find out why it didn't work out and why the images weren't used and the photographer for could be super, super talented. But maybe the chemistry or the styling of that shoot just didn't really make the cut for your portfolio. So then you have great pictures that you might like, but you're agencies just not gonna use the looks, or they might only use two of the six looks that you shot, and then you feel gypped because you were really hoping that the whole story or the whole set up of the test was going to be put into your portfolio. So communication is key. Even if we go one about that. I know they're talk about quantity versus quality. I know a lot of new models come into a test with the idea. Owen do three looks and people always say, How many looks am I gonna do? Um, and it's very hard for a brand new model. Teoh give three looks and have a great shot from three looks. So because they're thinking about oh, input on this outfit, this outfit in that outfit, and get three different shots when they minute only have the man had the ability to give that because their brand new. Sometimes it's better just to do that one look and shoot mawr and to get great shots so you get a more quality versus quantity, so don't get caught up in doing. I get three looks. If if I'm shooting Tyra, I could get 10 looks in an hour. Shoot easily because she's on. She knows her looks same here. We get a shot, get 10 shots in an hour because We're both experience we were doing, but a brand new model who still nervous and trying to learn how to work versus working on thinking about getting three different looks and different outfits and looks work on getting that one great shot because one great shot will start your career. Absolutely. And that's what I was saying. Like when I came from America's next Top model. None of my images were used for my portfolio. Maybe one if that, um, and it's not that they weren't good or they weren't amazing. The thing is, people didn't really know who I waas. It was so over styled everything and starting out. I needed to be a clean slate and order for clients for casting directors for other photographers who'd be interested in shooting or doing a project with me to understand. And that's basically what I'm kind of say. I'm trying to get these young girls to be a clean slate to not come in to a photographer If they're wanting to work with each other and say, I want to look like this or, you know, it's really let the photographer, if he's he's hired you or sought you out he has free gain to do whatever he wants with you. Now you commissioned him and you've paid him and the agency is setting it up. Then that's a different story. So again, communication, because most models don't know that. So we're going to get into taking the first pictures. These air reached recent pictures, and either I was about to do a story or an editorial, and the photographer had offered Hey, do you just want an updated, really clean shot at any time a photographer offers that it's a major plus for any model because you're always gonna be able to use that. Um and I did one with Matthew right here. You can see that was just really clean After we had done a beauty story together. Matthew said, You know what? Let's give you wanna something she can use for the L A market. I wasn't very familiar with the l A market. I thought maybe I could bring over my Florida pictures and used that, and that wasn't the case. So my new his work is much better. I'm not sure if this has a little filter over it from my phone, but his his workers better than what instrument does. But that was just Yeah, I didn't, but I don't know, I looked a little bit, but it's I think it was just to make it pop a little more. But, um, you know that that's such a great opportunity to have that. My hair's up. It's not over the top. My eyelashes there curled. Okay, I've got full brows. My lip was wiped off, and Matthew was like, Of course, let me give this to you. Um, and that's great because, you know, coming in, I can always use that when we get into more of, um, a styled shoot. Not always. Is the agency gonna put those images in your book, Especially as a woman, you know? Now I'm not 18. They're not gonna wanna have me with tons of makeup on my face with tons of, um, you know, styling and accessories, because it's gonna age me. It's gonna make people think that I'm just a glamour model. So it's important that they could still see me as a clean, soft, approachable, pretty commercial or capable of doing more than just glamour. Editorial. Here's another shot in Miami with, um Leo corridor. He's an amazing young photographer, former male model. He's still models. He's amazing looking. When I opened the door and I saw him, I was like, I can't believe he's the photographer. But he hey understands how to shoot models and what the agency wants because he's a model himself. And he knows from feedback on working with the girls. And, you know, he's like, You know, you wanna too many times people want to dress you up and make you, um, over the top. I'm going to scale it down and make you look fresher and younger. So before we start shooting together, why don't I just do something really clean? And that really helped? It's very common agency. Loved this, you know, they love that was clean. It was young. And here's something else, you know, Just clean, simple, fresh. I got this picture from him as well before we started a project, and I l a loved it and that market and I could use it in Miami, And so then we'll get into as a model, you know, understanding the markets and what looks and what pictures will carry over to your portfolios for that market. But, you know, nine out of 10 times if you're shooting like this for a girl, she's gonna thank you over and over again because this is what the agency gets thrilled with. This is what the agency's gonna put in her book. This is what's going to go in her file, more so than some edgy or artistic picture that maybe Neutrogena dove Clairol is not really interested in looking at. So I think, also a lot of reasons for that. A lot of brand new models will tear out pictures from a vogue or magazine like that V or whatever and want to look like, you know, Giselle. So come to a test, wanting to do these shots that are over the top for them at that point. Yeah, and I think it's important. And what I was saying When a photographer's looking at a girl, they need to be very conscious off the girl. How old is this girl? What market is this girl going to be getting into? How are they pushing this girl? Because if you're shooting a 15 year old girl without a top and holding like this, she's gonna get backlash. She's gonna be told, You know, if you do it in artistic weight, Great. Let the agency know they'll understand. They've commissioned you as a photographer. They already know your style. But if you're not really well known and you're starting to shoot girls in that way as a photographer, it might build you a bad rap. And it's not fair for you because maybe your intention was not to be that. And you want to be artistic. You're looking at your, um, idled photographers and the way they're shooting or you're looking at Pirelli calendars and you want to copy that and, you know, for you that's amazingly sexy. But if you haven't built up the clients held the reputation to shoot girls in that way, it's gonna hurt you and the models won't know who you are. You know, I would not strip down with a new test photographer if I didn't know who he waas. I wouldn't take off, you know, and do something like that. They wanted me to do Miami with some new guy. He would have to have a reputation. I would have to be comfortable with him, so there's a lot of things in the sense that you need to make your models comfortable, and you know they might not ever see you again. So this is a It's like a blind date, kind of. It's a set up. It's a blind date. You're coming into someone's house into their element. And it's important to let the girls know what's going on that day and to make them feel comfortable, the more comfortable a model is. I was so comfortable with Matthew right away. He asked us, What you guys drinking do you want? You know, I'm I'm juicing. Would you like a green juice? Right now? It's morning, you know. Come in. What kind of music are you? Do you want to listen? Teoh? It's about making the girl comfortable so that she can start getting into her element what you created for her and making it the best opportunity for the two of you to start creating a chemistry. But girl feels uncomfortable of a girl. Feel scared. It's gonna show in her pictures. Absolutely so especially for the new girls. I say new faces. They don't have the experience of, say, someone who's been doing it now for you know, 10 years to come in. You know, I can go on a blind date now with a photographer and figure it out. But a new girl? It's intimidating for her, you know, and a lot of times they if they're acting shire quiet, it's not because they're a snob or it's not because they think they're better than everyone. It's because they're scared and they don't understand. You know what this photographer is wanting from them, what the agencies expectations are of them. So the more comfortable you could make the environment the better for the girls agreed any questions? So basically, the photographer is in a position of power, and they sometimes abuse that power. But they is that what kind of, well, it's not that they abuse the power. There's just needs to be communication. If you're expecting the model to understand, especially if she's new in a new face, they don't know. These are things that the grow with time that you learn in the right questions to ask. But it's important to just make the girls feel comfortable. And if a girl does want to be artistic with you, that's her choice. But just communicate. Hey, this is an artistic direction. I can't promise you this is going to make your book. I can't promise you the agency's gonna love this. But if you want to come along and try it out with me and my team today, that's up to the model, right? But you need to let them know so. So just to clarify this is from Jasmine. Simone. Can you explain again why a model may need to set up test shoots to get specific shots for a market or a book, rather than using the photos that came organically from working? Well, you know, it's important to have everything because what's gonna happen is all of my New York images are not gonna make it for Florida. And I brought all of my pictures or I do a project, and then I want to bring it to L. A. They don't want, you know, the Miami shots. They don't want the Miami editorials sometimes because there's too much makeup involved, right? There's too much sexuality or sensuality or whatever they want to. Maybe for my age, promote me more. And for like, let's say, Banana Republic are more for catalogues like J. Crew or whatever. So if I'm bringing some of my swimsuit shots in all of that, they might not want to set me up that way. It's important to communicate because each agency is gonna want to push you in a different way. My Mexican agency, which which David was saying it's a little more glamour, is a little more womanly, so my images will reflect that. So the agency will help direct you. They're going to choose the pictures they want. They're going to tell you we're not gonna use that shot because it's too much makeup. We're not gonna use that. And if you don't have enough for that market, they will ask you. You know what? You got a lot of magazines stuff. You've got a lot of this. But you know, this doesn't work for here. Gold and meet with Matthew Jordan Smith. Go do something clean, fresh and pretty so that we can use that in your book for this market. And you know that happens. It can happen. And there are a lot of working autos that shoot every single day, do a assignment work every day, but they still call photographers and test to get other work. You and throughout tires entire career. She's doing all this amazing work. We would still get together in test. It's fun to think it's fun. I mean, if I'm in a new market and I'm visiting and I don't know much about it, I definitely want to shoot with the hottest photographer of the moment. And I want to see what his take is on me and, you know, shooting with people in Miami coming from New York totally different and what they have. They wanted to push, you know, they kind of the direction that they were pushing for. And you should be open to it, you know. And a lot of times, if you are experienced, they won't charge you for a test. They'll kind of communicate with you. I'm sure Tyra came to Matthew. What was never, never never charging her because she's experienced. It builds his portfolio. The more experience you are as a model. If you're coming into a new market, the agency will let the photographer No. Hey, we've got you wanna in town, You know? I know that you're looking to do something. Do you want to work with her? and they will say, Yeah, great. Would she be okay if you know, I wanted to do this for an editorial submission. Great. That would be great. But can you at least get one clean shot of her for her book? We have way too much of her New York stop, and it's just not working. So Okay, we have a question. Another great question from fashion TV in Singapore, Fashion TV and such great questions you want on Matthew. What determines a paid test or free test? Who pays who? How do we know what we're in for? And does the agency pay the photographer and the models? Pay the photographer, the models, pay the agency. All right, we're gonna answer that question today. It's gonna come up, and we're gonna really, really break it down. It's important for the photographer, the model and the agency to communicate that. So it'll definitely happen before we start shooting. So inflated it already? Yeah, definitely in Singapore. Hang on, Singapore. It's gonna happen. So, you know, we're talking about the benefits of testing because one needs to test to gain experience. Okay, If you're breaking into this world of modeling, you need to have experience in front of the camera. Also, learn the best way to work your body, the angles of your body, the angles of your face and testing can emphasize your natural beauty, especially the natural beauty of a model. And that's why a lot of new face divisions inside the agencies because they do have new face divisions. And then they have women's boards. Women's board, meaning that they're they're kind of graduated to like the working model or that they are women. You know, we're not, you know, pre pre teenagers or Tweens or whatever and that, you know, clients are really looking to book that sort of look. So, you know, testing emphasizes that natural beauty and as a brilliant photographer can make an average looking girl uber special if they know how to test her, right? Okay, um, they can make her look from just ordinary to extraordinary, and it doesn't take a lot of makeup. It doesn't take a lot of styling. Um, it's you know, what would you think when you when you see an awkward looking girl come in and sometimes those are the most photogenic? Absolutely. It always surprises me. When you find that I love finding that a girl walks in, you see it like Oh, no, she's okay. And then she gets it from the camera and she's just alive and it's so wonderful feeling. Um, so the test images, I guess, as a model should help you get booked quickly for work. That's the hopes of why you're investing. The stronger your book, the more chances you have of being seen and desired by clients and, um, cheesy portfolio or a portfolio that's kind of all over the place and stop making sense or telling a story about the model is gonna hurt her chances of getting rehired or even looked at on. Guy had a recent Booker explained to me, Um, your book for this market isn't strong enough just yet. We're still trying to sort out all the pictures. I sent them like 100 and 50 pictures of what I had done in the last couple months. We need more time to really tell a story about you. Have your book be the strength. We have the right images, but we just have toe put them in the right order and the right presentation for the online portfolio that we're showing to our clients and also how we're going to send it out because they said, If we don't, what will happen is if you send a girl's portfolio out and it's not up to par with the client, the clients probably not gonna want to see it again. And you as a Booker might be super excited about working with this model and thinks she is fantastic and give her a shot. If you send out a book, that's kind of so so the clients going to like, You know what? We already saw her book. It's okay. We're not going to really look at it again. Who else do you have? And, you know, and that that could be, you know, disheartening because she didn't have her book organized at the time, or she needed just a little more time to get that. You know it up to par, and already she's having clients turn away the chance of being seen because they saw her book when she first came in, and it was kind of weak. So it's important that the agency has the right portfolio for the right clients. Absolutely you said the agency. Is it just the person, The one person at the agency that you interact with that residence? You? And that's really important because I'm gonna tell you something As a model coming in tow, I m g I walked into a board room of people, OK, and everyone's got their vision. And not all the bookers We're gonna like you. And that's gonna be real because sometimes you might get wannabe with an agency and there'll be one person that's not sure about you or there's one person that doesn't really dig your look. You're not as hip or is young is or you're not as hipster or is India's. They might like she's to whatever or vice versa. You're probably is a model gonna walk into when you when they're deciding how they're gonna brand you, you're gonna walk into the room. There's going to be a couple bookers that they get along with. There's a friendship that they have. The bookers will say, Hey, I want to get your opinion. What do you think about you wanna support fully right now? What should we be? You know? How should we help it grow or What should we change about it? And then the other Booker's gonna be like, Oh, it's great. The other is gonna know. I don't like that shot. Take that out. I think it's too dated. I think it's to this. I don't, you know, think it works because their client base is different. So then they're like, Oh, I love this. Let me think of who I could send this to. This works great. So it's gonna be a lot of opinions, and then they're probably gonna send it to the director of the agency. A lot of times, director of the agency will also give their input on what? How they feel that models working on. That's why I feel a lot of times agencies don't want to commit to models long term. You'll see contracts for a year or two years. They might, you know, keep you forever. They might keep it for a year, because if they for their tests, they're testing you out constantly. So it's important to pay attention as a model and as a test photographer, how to keep these girls with the agencies working for a long time and hopefully making a living Yes, The question. Um, I'm curious about how, when you signed with an agency, Does that now mean that you you 10 99 with agency or with the actual client air you employed with, um, your mother buoyed by the agency? Oh, they're the one getting you the work. Okay. You cannot be booking clients on your own. That is a big no, no, I didn't know if, um, if that meant that you were just an independent contractor under them or if they actually Well, this is this is how it works. And you need to be clear because certain jobs are paid differently. You will always have to pay the agency a percentage of what you earn they will handle and the check to you. Okay. You're not gonna receive a check from the client. It will go straight through the agency. And it's important for girls to understand. How long am I gonna take to receive this check? I can't tell you how many models complain about being with an agency, and this has happened to me time and time again. In the beginning, you do a job, Okay? You're booked for a job. 34 days quoted X amount of money you need to find out when am I going to receive this paycheck? Sometimes clients take 30 days. Sometimes they take 90 days. Sometimes they take 100 20 days. So let's say if there, if you didn't know that and you're expecting a check and 100 20 days doesn't mean on that day, you're going to receive that money. The agency receives the money. They deduct everything that they need to from that, whether it be the commission or what. Maybe some fees that you may owe them. And then another couple weeks you'll receive your check. So it's important to understand the payment process. Um, and a lot of times you'll get quoted, I've gotten quoted for jobs and then not deducted the taxes. Okay? And then you've got to pay that right away and deducted the commission. So you need to ask those questions to your Booker. Um, how much? Um, exactly earning? What am I gonna owe you guys? Because you can keep working on and on and on and on. And I had a situation. I was doing that for a year. I was not controlling what I what was coming in. And then two years later, I owe back taxes. And I'm like, Oh, my God, what are they talking about? You know, also the model there have deductions like really good. We're gonna get your hair products. Yes, function as a model when that is a great thing deductions. And let's talk about that. I didn't know, and you're going to get from the agency all of the deductions that you're allowed to deduct. Um, of course. You know, getting to a client, you can that taxicab there. Okay, make sure you save receipts. Don't be making up deductions or all of that, because it can come back to bite you. You have to prove everything if you're on a job with the client and they're not paying for you to eat, if they're not setting you up, save those receipts. That's deductible. You had to take care of yourself during that shoot There. They're only offering. Let's say, a lunch buffet and you have to pay for your breakfast in your dinner and your coffee's on your trip. Then that's deductible. Beauty treatments can be deductible within reason, meaning facials. You know, getting your eyebrows done your hair color. If it agency is telling you, we want you to lighten your hair or we want you to put a gloss on your hair. You need to save the receipt, make a mention off what exactly that was for and why they had to do it so that you can start doing a spread sheet by the end of the year and making your deductions, and it really works to your benefit. So major league. Yeah, you do have some more questions. Absolutely cool. So a lot of people are asking about model releases in these tests, shoots or in general. And so one question specifically is from and from a model's perspective, when do you When is it okay to sign a release? What kinds of releases are you signing or are you not signing? Specifically, some agencies expect photographers to Stein a model release to agree that the nature of the shoot is only for personal portfolio and no commercial usage. Do some agencies. I have this, really it's not have the release for their test and or there are there implied terms expected of both agencies and photographers in the industry. Okay, well, I'm gonna let Matthew break that down. But first, I'll say is a model. If I'm doing a test with someone, that's what it iss okay, I'm not gonna, you know, if they're starting to use that image, and that's kind of why I don't really test with unknown or new photographers. They might be super amazing, but their profession ality might be a little, you know, not there yet. They might be, um, promoting too much of their business with a picture that we did together, blasting all over the place. And I'm thinking like, Oh, really? Well, um, I am not getting anything from it. Um, and as a model, that can be frustrating because we have to make a living too. You know, where artists were hoping that we can make a living off of doing what we're doing. Andi, when you sign a model release for a test, that's exactly what it is. It's a test. Those images cannot be sold. If it iss sold, they should be communicating with you or the agency and setting up an agreement so that they can understand how that image is going to be used. Whether it be a billboard or commercial or even a flyer. I've had a lot of makeup artists, friends say you wanna I did your makeup. Can I use it? Of course. I'm not going to charge them there. My friend or a new photographer who I really had amazing chemistry with. And I thought they were really awesome and hard, hard working on dare saying you want? I want to use what we did. Can I use that for my block or for a part of my website? Of course. Not a problem, but it needs to just be communicated. So will you literally sign something sometimes of sign and sometimes you don't. But just, you know, Matthew. What? What do you think on the test is Hispanic of some agencies will have you sign a release saying that it is just for tests. Ah, lot don't. A lot of it is communication if you're doing a speck shoot, which is a little bit beyond a test suspect Is your shooting with the idea of Semitic toe a magazine? Then you tell the agency that and who is going to I always make a sheet on even for my test, we'll make a sheet with the call Time, the name of the makeup artist location, the stylist, all the permissions on that call sheet. And if a suspect, what inspectors for how many pages will want to try to do and whoever submitting it to we put it all out there. That is very important. And if I get commission, let's say for an editorial submission we'd love to work with you wanna? We've got this stylist, these air, the magazines that I normally work with him trying to push a fall fall special. And I'm hoping that it will make it will make a story, and the magazine will pick it up then that needs to be communicated with the model and the agency that that's exactly what it's for and that if it folds and it doesn't happen, then you guys need to be in communication. Is, too. How are these images gonna be used after that? Do we get access to them? You know, I worked a full day. You're still going to give me the magazine? Didn't like them? Do I still get the images? You know they should, and they should, Period. But you know, you can't have a photographer. I had a photographer commission, a girlfriend, editorial submission. The magazine didn't like his work. And then you decided up. I'm not even going to give you the images. You know. You need to tell the model. Why? Why are you not going to give her the images? Is it because you weren't satisfied with you? Thought maybe you could have done better. The styling wasn't that great then, okay, Being communication. But that model was really hoping for that day that you guys had set up to benefit and the agency. So it's important to always be in communication. Great. This question, I think, was asked yesterday. But if we could get a recap, this is from Joe's photography from Michigan. How many photos should a new model having a book when going to see an agency or photographer or client? Well, I mean, let's be realistic of a girl is starting. Now, if you've got 5 to 10 amazing pictures, so much better than having 20 that are often will be five. Yeah, and they know that and they know that. And they don't mind because some clients just want young, fresh girls. They're looking to kind of not pay as much for an experience girl. They might not mind working with the new face as much, but they have to be super strong images. Okay, I from entering these girls and from listening to bookers and listening to what agency directors say. It's 1000 million times better to have five super strong images and your portfolio versus quantity, then have 20 pictures that are kind of so so or don't tell a story or you don't know who the heck this girl is. And it's about finding your brand is a model and also photographers. I'm sure there's photographers that want to be known for certain branding. Um or, you know, I have some photographers who also do weddings or don't do weddings, and they want a certain image out there so they have a separate, you know, website for their wedding work and a separate website for their fashion work, or they divide it off. So these girls have got to, um, become something with strength, and I think their portfolio will have to read that. Is there too many? If you have 50 good shots, should we just I mean, I I have. This is so many pictures from a magazine publications I've done, Let's say in the last four or five months they're not gonna make my book. There's just too many, Um, sometimes the way that they've styled me is too similar to what I already have. Um, and they don't want to just keep repeating itself and what David was saying, which is super super important. Agencies and clients want to see that the girls aren't always looking the same posing the same. Um, And even if you get commissioned to do that type of work because as a model you will fit that story and maybe you get getting re booked for that they're not gonna keep putting those images in your portfolio. You can use them for whatever else you want, but they won't because it's just saturated with the same things. So and everyone is industry is in a hurry, sad to say, but as you look through, a girl's book is going like this you said you want, and then you like OK, she's great for she's not, but you'll never go through 50 pictures. It's not gonna happen on That's with photographers and models Nobody will look at 50 images unless it's a huge I know it's like a huge money job. Let's say that, then that's what we were saying. They're gonna have to see everything that you want us done, And it might not even be what's in your portfolio right now. You might have a client saying, What has she done recently? We want to see everything battle include your Polaroids battle include your portfolio battle include your, um, different media, different media. Or if you've been on a television show or you were on the Fox News showing something, you know, maybe the client wants to see how you are on camera, so it's important happen all there. Cool. Do you want us to take more questions or do you wanna get? I don't do two more questions and looking okay. So a question from Melissa. How did test shoots work with teens who are underage models or Children? Do you have any advice for teens and does a parent always need to be present? What advice would you give yet? It's great if your mom wants to come along. However, this is what I found, and these air most of the complaints that photographers will say, You don't want to have a momager around. You don't want to have a mom that is peaking over the photographers shoulder. You know, looking at their daughter what they're doing helping them, you know, telling them what to do it. That's not, you know, it's different from being a pageant girl. Okay, so you also have to be comfortable with the agency to understand where they're standing out. Your teenager. Okay? You can pick them up, drop them off. Being communication. I'm great. I'm doing fine. Mom, I'm here. Whatever. Send a quick text, the agency will, you know, set you up with reputable people. So I think as a mom, if I were to leave my teenage daughter, you know, when that time comes, I'm gonna leave her, and I'm gonna let her in. The photographer workout that day. The team. I don't want it. I don't. I feel like I've been on a couple shoots with photographers testing who told me to pop by to help the girls pose because they were so new. And the mom was there and he was in the kitchen going get her out of here, get her out of here. And David had said something about that, that in Miami, when the girls were in town for the for that season or just in town with their mom, he said he just doesn't like when the moms air there. So I think of you. Yeah, I mean, you would know, Are you shot a Tina and Matter Fact Syndey in 96 on Twitter? Um, and she's an amazing, amazing subject in front of camera, and the parents were there, but they were in another room. I prefer that way cause then it's the teen is not nervous, cause the mothers there that teens is focus is on the parents and wondering, Do I look good looking this way and can never give you what you want? It makes it almost impossible to get a great shot, but if they're in another room off the side, I haven't sit in the living room off to the side of different room, so I can just like, let me focus on getting image and I'll tell apparent that as well. I said, if you're in the room with them, they cannot concentrate and give me a great shot and and what's important to to understand we were saying this on social media? Or when you have a family member, you don't know really what fashion is or what the's agencies air wanting, so maybe they might see their daughter. Oh, I think you would look so much prettier, honey, if they did your hair like this, you make up like this and it's kind of like too much opinion can really ruin ruin the chemistry between the photographer, the girl and the whole team that he's hired. So yeah, let's do one more and then we're gonna break down the testing packaging. Just finish up with the book. So L a photo hog had asked, What size should the book be like the print size? And how should a portfolio be organized by category or style? And Will Alexander asked our agencies fussy about how your book is presented, leather bound or even ipads? Absolutely. Um, I know that I've gone to some markets and I've had to have an IPad just because travelling purposes I was just meeting with them and they already knew who I waas and when I was coming in for it's super important that the agency organizes your book or that the director of the agency organizes your book. Let me tell you why, if I have 150 pictures from this year, guarantee the agency's gonna not like probably 99 of them or 100 of them, Or maybe they only like 10 of them and you think they're all great and everyone like them on my Facebook and matter thing. This guy you know, I thought I look too pale in this picture and the agency loves it. But, you know, Rocky down in California thinks I need some sun. You know, it's not up to them. You know, it's really up to the agency to put your book together to be the best representation for yourself and for their brand. Because a lot of agencies have brands and they want to show you off as their trophy, as they're like show horse. Here she is. This is what we're giving to you, Um, on. And if you start as a model, this is very common, seeing yourself in a certain way and liking to see yourself in a certain way. You're already making yourself one dimensional