Q. Okay, so whaddya need?

A. First, a couple of general statements of context. . .

1) The ultimate decision makers will probably never meet you before approving (or disapproving) hiring you; they leave that to us, and/or to people specifically assigned such responsibilities at their advertising agencies or marketing departments. So the images they see are all they've got to evaluate.

2) Talent that have been around for awhile tend to accummulate many images from a lot of different photographers and occasions, and have the benefit of being able to "cherry-pick" (or edit) so that the few images we actually show are likely to be the "cream of the crop," i.e., the very best!

We need a strong commercial headshot: (open, friendly, "toothy" smile. . . clearly showing the eyes looking right at the vewer. . . focused and with attention, never murky, glazed, unfocused or "lidded.")

And because we specialize in athletic men for health, fitness, physique & figure markets, we need body shots: (upper AND lower body must be seen lean & defined, in clear "in-focus" images that are attractively posed to show off the musculature; cuts are good, wrinkles are not; abs and quads almost always required; back, glutes and hamstrings are important if you've got good development there; calves are a must if you're ever to be hired to run, demo athletic shoes, rock climb or sell bikes.)

Q. Why all the emphasis on that "toothy," smiling headshot? (Everybody seems to like my serious look. I've seen lots of actors' and models' headshots that are more contemplative, even kinduv sexy. Besides, I don't like my smile.)

A. About every three years, somebody publishes a new study that says that TV viewers are least likely to change the channel, head for the refrigerator or the john. . .(or basically "tune out"), when a big. friendly, smiling "talking head" manages to get eye contact from the tube. The only thing that even comes close to that kind of power is "T & A" - both female AND male. When we're missing the "required" commercial headshot, a lot of clients notice and get nervous. No gettin' around it, for the TV commercial stuff, at least, itsa MUST!
 

Q. Nobody stays as lean and ripped as some of the guys in your Portfolio. How can your clients expect people to look like that all the time?

A. Clients don't care what you look like all the time. They just want you to look like the terrific images we've shown them when you show up to work for them. Being ripped all the time is surely a good thing in terms of being ready for an assignment tomorrow morning at seven, but you'll have a week or three's notice to get ready for most assignments.

A. What about color?

A. There are two general rules about color. 1) Color ain't necessary to get across that you're attractive or in good shape; and, 2) Somewhere in the mix, we gotta have some color to get across the "good skin" concept, especially in the bodyshots; but if it's not good color, it's better to show the image in some kind of monochrome.

Q. I already went out and paid a great photographer to shoot my portfolio and he's a big name with all sorts of big clients and a top rep. Why do I need more pictures?

A. You could put the greatest photographer on the planet together in some spectacular location with the greatest model. . . and still lack the chemistry that produces great images. And great talent (on both sides of the camera) have bad days. And great skill sometimes turns out perfectly competent, but perfectly boring images. And no matter how great that photographer is (or was), some other human being in the same or some other place with an entirely different eye (and creative approach) may find "a whole new you." In accummulating professional images for talent marketing, variety is good. . . very good!

Q. Isn't it gonna turn some people off to see nudes - even artsy stuff - of me?

A. Based on the needs that bring clients specifically to Ten Casting, and current trends both in advertising and photography as an art form. . . "NO. "

Tasteful, artistic nudes or even the sort of glossy harder stuff seen in PLAYGIRL and the fitness magazines is very positive to art directors and commercial producers seeking to get across concepts like health, energy, vigor, strength, sensuality, sexual potency, freshness, fitness. . . or just trying to play the "T & A" card to get a few seconds more to sell a product.

Q. But what about nudal frontity? Do I have to show everything?

A. Certainly not. If frontal nudes exist (from publications like PLAYGIRL or from fine art figure photography work) that show off the body positively and the elevate your marketability, such images can be useful with segments of our clientelle, but would not be shown in the online Portfolio available to most commercial clients.

Q. What particular portfolio or promotional shots are likely to make me the most money?

A. Teeth, eyes, abs & quads "lookin' good!" are a helluva good start; but active sports participation shots that show off the musculature well or face with enthusiastic, happy, positive expressions are also very effective. These need to be fairly close-up though; longshots of you on the soccer field (taken from the stands?) crowding the ball with four other players just don't cut it. Nor do those spectacular surfing shots that show off the wave so well, but could be just about anybody under the wetsuit. And those snapshots of you in a football helmet, ski mask, swimming goggles or gorilla suit are just about worthless!

Q. What is the most frequent mistake made by talent with regard to pictures (images)?

A. There are actually two common mistakes. Traditionally, most people prefer serious expressions in pictures of themselves. And, while such images may have a place in their Portfolios (or their moms' dressers), they are like a dessert with no main course. The centerpiece or entree in a talent portfolio is that toothy, smiling headshot. Without it, you ain't just drivin' without a license, you ain't got any gas!

The other common problem we deal with regularly is "missing body parts." At least sixty percent of talent image submissions don't show any of the lower body; and when we ask, an awful lot of the time, such images just don't exist. Show us those quads, hamstrings, backs and calves!

Q. How can I finance a really professional set of these kinds of images?

A. You "trade/test" with any photographer - amateur or professional - who's willing to shoot (and process) the film. If you're accepted for Ten Casting's Portfolio, we'll go begging for you with a variety of our individual photographer clients around the U. S. and elsewhere throughout the world. We want you to trade/test a lot and to keep doing it, from time to time, as long as you're hoping to work as talent.

Q. So what's a "trade/test"?

A. Both talent and photographers accummulate their best work in a portfolio to show prospective employers or to reproduce in printed material (or on the web) in hopes of getting work. Photographers also need to try out new ideas, new equipment, new film, new techniques, new subject matter, new models - in order to expand their skills, knowledge (and portfolios). That's the "test" part. The key element in the trade/test is that both parties are trading their services, not selling them. The classic trade - often abused, unfortunately - is for the talent to get three, high-quality, profesional, "portfolio-size" prints (8X10, 8X12 of 11X14) of his/her choice from contacts or proofs of the shoot. Many photographers ask for a general release in exchange for their work and still expect the talent to pay for prints. Both expectations are unfair, in our opinion.

The release negotiated between a photographer and talent agreeing to trade/test should allow both parties to utilize resultant images for their own self-promotion. The photographer should also be permited to sell his work as original art, to print or publish promotional flyers, cards, even a book (if he should be so fortunate), and to allow his images to appear "editorially" in periodicals as examples of his work and as advertising for himself as a photographer only. His rights should not include paper products offered for sale (postcards, greeting cards, calendars, posters, etc.) without additional compensation to the talent. Neither should the trade/test release allow any third party use benefitting the commercial interests of anyone but the talent or the photographer. And rights to trade/test images should never be granted for use as "open use stock" photography. Ethical or licensed stock, on the other hand, might well be allowed, but only with additional reasonable compensation to the talent.

Q. So how can I get the most out of a "trade/test??

A. Look over the photographer's past work and show him yours - whatever you've got. Tell him what you need, what agents and casting directors are asking for. Expect the photographer to apply his own creative skills and style; let him work from his own strengths; encourage him to take risks and be willing to fail! Be co-operative in giving him what he wants; and treat every shoot with the same attention and seriousness you would if you were making top hourly rate. Be collaborative in making both verbal and physical suggestions; and be sure to trya few commercial headshots in every shoot.

There are two advantages to trade/testing that have not been previously mentioned. 1) Every time you shoot (and review the results later), you have rich opportunities to get better. 2) A successful trade/test puts great pictures in the photographer's portfolio (and ads?), too; maybe you'll work again for pay, either for him or for someone to whom he's shown his images of you.

Okay, here's a question for you. How do YOUR images stack up?

Care to evaluate them? Take our "Talent Images Self-Test." It's free, confidential. . . and VERY REVEALING! CLICK HERE

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