Working with model care

We always work to empower models with the big picture, so they understand what we are trying to achieve, and can feel secure engaging in the shoot and making suggestions. An inclusive atmosphere results in a better quality shoot that our customers will enjoy – and mean she’s more likely to refer her friends in the future. 

Shoot Producers lead the structured Pre Shoot Briefing conversation with models right before the shoot begins, on the morning of the shoot day. 

What if I have shot this model before?

The most value will come from the Pre Shoot Briefing with first-time AW models, but it is required with more-AW-experienced models also. For these models, the Pre Shoot Briefing should be even more interactive. This interactivity is key – the pre Shoot Briefing is not a “lecture”, it has been designed to be a conversation.

On subsequent shoots, models have already learned the basics of what we need, and parts of this discussion can be “gamified”, turning into a more-collaborative shoot planning process. This may make the Briefing last a little longer, but will mean the rest of the shoot day will run more smoothly, because the model deeply understands what’s required (and, it will also make a higher quality shoot). 

How do I get the Pre Shoot Briefing document (“cheat sheet”)?

The Pre Shoot Briefing document is provided to Shoot Producers by an emailed PDF as part of the Delivering Pre Shoot Briefing Conversatinos training.

When changes to the PSB doc are made, a new version of the PDF is emailed to Shoot Producers. Shoot Producers must destroy the old PSB version, and replace it with the new version.

 

People generally react positively when they feel cared for. When a model feels cared for, they are more likely to feel empowered and to put in effort into making a good shoot. They are also more likely to enjoy their time collaborating with the Shoot Producer in the future, and be more likely to refer their friends.

Some practical ways to help a model feel cared for include;

• Actively listen to the model when she shares stories
  • Don’t just “wait for your turn to talk”
• Have a robe for the model to cover up with, offer at each stop point
  • Even if the model has rejected it previously, still offer it – maybe the circumstances have changed
• Offer drinks regularly throughout the shoot
  • Staying hydrated makes everyone look and feel better
  • (and, if the model’s up for it, allows for more pee sequences to be shot!)
• Ask the model how she’s doing
  • Ask open-ended followup questions; get more specific if the model responds with “‘I’m ok”
  • Actively listen to their answers
• Invite the model set the meal break time
  • Allow them to exert some control over the day, helps them feel a little more empowered
• Look for when the model is in difficult poses, offer relief
  • For example, kneeling on a hard floor; holding a particularly unnatural pose; model hints at being sore or uncomfortable
• React to model’s flagging energy levels promptly
  • It will likely get worse from here
  • Suggest a break, music, open a window to let in some fresh air; consider a walk around the block
• Each new Posing Level the model progresses to, ask how she feels
  • Micro changes (eg, bra on to bra off) as well as official change (eg, OL to EXP)
• Be aware that seemingly-innocent behaviours can accidentally negatively impact model experience
  • We often hear from models that the Shoot Producer’s mood was poor – understandable, when there is so much to manage on a shoot day. But as always, the Six P’s apply.
  • Models are very sensitive to a SP’s mood
  • See also, What are some signals I might accidentally send to models?
• Try not to rush the model
  • It is sometimes necessary to hurry along models who are dawdling, but beware of this backfiring (for example, you hurry a model who’s already taken 10 minutes to remove her makeup, and when she comes on-set, you can see she has not removed all her makeup 😾)
  • Setting out a plan for the day, and when starting a new section a mini-plan for each part
• Treat models the same each time
  • Models may roll their eyes if they do a lot of porn but will actually grow to appreciate small things Shoot Producers do, and will miss them if they don’t occur
• It’s been raining outside, the model comes to the location quite wet…
  • The Shoot Producer offers a towel to dry their hair, a tissue for their glasses, suggests changing into dry clothes right away, so they feel more comfortable.
• Talking in the video about a personal experience, the model becomes upset.
  • The Shoot Producer stops recording – camera-down – and suggests a cup of tea and a chat.
• The model seems a little grumpy – she’s obviously hungry – but she wants to “push through” until the Stills are finished
  • The Shoot Producer gives the model some chocolate as a short-term energy boost, and moves the lunch break earlier than planned
• It’s a hot day, the model is sweating.
  • The sweat looks good on-camera, but the Shoot Producer knows this can lead to dehydration so prompts the model regularly to drink water
• Over lunch, the model shares that she’s thinking of leaving her job because of a poor manager, but she’s nervous about finding a new job. She’s not sure what to do, and it’s obviously making her stressed just to talk about it.
  • The Shoot Producer asks about her skills and abilities, along with her plans and dreams, helping the model verbalise her situation in a positive way.
  • The Shoot Producer actively listens, and – if the situation feels right – provides some constructive and supportive ideas on how to proceed.
• It’s the model’s first time in the Shoot City, and first time working with the Shoot Producer
  • The Shoot Producer is actively texting with the model as she travels to the shoot location, giving helpful tips (“at the train station, follow the signs to x”, “Get off at stop 36, and walk in the same direction as the tram was going, you should see a big clock tower on the left – I’ll meet you on the corner of Station St”)
• The Shoot Producer meets the model at the nearest convenient (for the model) intersection
• Be on time, or notify model if running late

Our policy is that “no means no” – that means, we never wheedle, insist, push, or even encourage a model to do something when they have indicated they don’t want to do it (see how we present this to models).

We don’t play “head games”, pretend to misunderstand, or be passive aggressive about the model’s decision – we accept that everyone has boundaries, and that we all don’t feel comfortable when they are crossed. 

Consider this scenario;

The Shoot Producer ask the model, “Tell us about the last time you had sex?”. The model looks uncomfortable, and says “Actually… I’d prefer not to…”

There’s a range of responses the SP could make, for example;

❌ Oh – why is that?

The model has clearly indicated a “no”, so it’s inappropriate to “dig deeper” – why she has said “no” is none of the SPs business.

❌ Ok, maybe you could act it out instead?

The model has said “no” to talking about it, asking her to act it out is insensitive – she’s said she is uncomfortable with the subject, so it’s appropriate to change the subject to something else.

✔️ No worries, we’ll cut that out of the final edit. Let’s talk about something else. How have you changed how you give blow jobs over time?

The shoot is sexual in nature, so it’s appropriate to ask other sexual questions, but (in this example) not related to her most recent sexual experience. 

Depending on how “serious” the model’s reaction is, it may be necessary to take more drastic measures – reduce the Posing Level, ask some more-general questions to lighten the mood, or even reschedule the shoot. This is left to the SP’s discretion.

What if the model is vague when meaning “no”?

The complexity of human nature and cultural differences means that sometimes models will not give a clear “no” because it’s presumed to be impolite, or for fear of retribution (many young women are programmed to be extremely sensitive to this, as they have all had bad experiences when it comes to saying no to people in power over them, as a Shoot Producer is). 

Models may mean “no”, but instead;

• Suggest alternatives
• Change the subject of conversation
• Call for a break
• Use softer phrasing, like “Maybe later?” or “Not right now”, or “Maybe on the next shoot”

This makes it difficult to know what to do, especially in the complexity of a fast-moving shoot day! Shoot Producers are sensitive to this, as a model who feels her boundaries are crossed will not be engaged in the shoot. If a Shoot Producer senses a model means “no” but the model is not explicitly saying “no”, it’s best to clarify it directly with the model. For example;

✅ I have suggested doing some nude shots outside several times now, and I just realised that each time you’ve changed the subject! Is that just bad timing (haha), or would you really prefer not to do that?

If the model’s response is anything other than an enthusiastic “yes”, shooting outside (or whatever the topic is) should not be done. Following on;

✅ Got it, no worries – we won’t shoot outside when you’re nude!

The Shoot Producer makes it clear the model is not going to be “forced” to shoot outside, so she does not need to worry the SP will “spring” it on her again. The model can relax 😌.

What if the model says “no” too much?

If the model indicates “no” many times (for example, refuses to answer any sexual questions; refuses to show her buttocks), we cannot make a complete shoot. A complete shoot is required for the model to be paid, and for the shoot to be released. 

If the model refuses a large part of the shoot, the shoot needs to be cancelled. The media captured so far will be destroyed, the paperwork will not be completed, and the model will not be paid.

While the model may perceive this as “forcing” her to do what she does not want to do, our position on this (what a complete shoot comprises) is made clear to models on many occasions, so will not be a surprise. It may be best to frame this as a “reschedule” (rather than a cancellation), giving the model and the company time to sort out the differences. 

Lowering the Posing Level of a shoot is always possible. For example;

The model started doing an Explicit pose, but felt uncomfortable. The SP directed the model into a different EXP pose, and the model was uncomfortable with that as well.

The SP chatted with the model and found she’s not comfortable being “that revealing” in this shoot, so the SP suggests we make this a Open Leg shoot instead. The model has already done some Open Leg poses and is comfortable with that.

The Shoot moves ahead successfully.

This is a great outcome for the company (we get a shoot), and the model (she’s comfortable).

It is essential the SP makes notes in the PPCMS about this, and flags the notes as “important”, so the media of the Posing Level the model was uncomfortable with is not released on the abbywinters.com website.

Generally, err on the side of caution: Models are very sensitive to (and familiar with) people who are polite by day but “on the make” (looking for sex from the model) by night.

Our advice is to not meet up with models outside of shoots – it’s too risky. However, we also acknowledge that bonding over a beer after a hard day’s work is a reasonable thing for workmates to do.

Consider what can be done to make the meet up seem professional, not personal.

• Select a place that you’d meet a work colleague in
  • Not one designed for “intimate lovers”
  • A meal and a drink, perhaps a pub or local informal restaurant
• Don’t do it on Feb 14th (Valentine’s Day)
• Don’t bring flowers, or do / say “first date” things
• Don’t schedule an activity like bowling or an art gallery
• Make it clear beforehand you’re “going Dutch” (each paying your own way)
  • Not that you’re “taking her out for dinner”
• Never have more than two alcoholic drinks, and leave if the model is drinking more
• Only do it once per model shoot block

If you encounter a model you have worked with in the “real world” consider that she may prefer not to be recognised – perhaps her family is with her, or a friend she’d prefer to keep the sex work she has done secret from. Leave it to the model to make the first move – if she does, it’s fine to engage with her as you see fit.

It’s ok to become friends on Social Media, if the model initiates it. It is not appropriate to ask her to “friend” you, or to ask for her handle to follow her

Wait for her to take the lead. Many models just like to collect photographer contacts for when they want to fish for work – it is not always a sign they want an actual friendship!

Being more-responsive to models’ messages is better, especially if the model is from a different country and travelling to your Shoot City for the first time. Models are likely to be anxious, and unanswered messages from someone about to make a sexualised shoot of them adds to that anxiety.

However, Shoot Producers have busy lives, and are not expected to be responsive 24/7!

In general, a Shoot Producer should respond to a message from a model within a few hours, or a few minutes, even if it’s just to acknowledge the message and commit to getting back to the model by a certain time. For example,

Hey Jane, I am on a shoot right now, but I’ll get back to you by 8pm tonight.

Of course, the Shoot Producer must actually respond to the model by the committed time.

However, if the model has an urgent issue that the Shoot Producer is responsible for (for example, the model is at the accommodation, but they cannot get inside), then the Shoot Producer is expected to respond to the model helpfully and promptly.

All things being equal, people tend to recall the start and end of meeting new people the best, so ending a day of hard work on a high is nice for both the SP and the model.

Even if the SP is in a rush to leave, and even if the model has been difficult to work with – don’t dampen the memories by being brusque or disengaged.

Consider some of these approaches in the last few minutes of your together time to end on a high note;

• Appreciation for their commitment and hard work
  • Express interest in seeing the edited version “come together”
• Appropriate compliments
  • On their skills and execution of tasks – never their body!
• An expression of interest in working together again in the future
  • Only if it’s true
• A high five / some kinda dap greeting
• A handshake with eye contact
• A hug, but only if the model offers first

When talking with models, we position Shoot Producers as being experienced creative professionals. That means, models see Shoot Producers as leaders.

We all want to follow strong leaders that make us feel good about ourselves and our place in the team. Humans are sensitive to weak leaders (for example, those who are indecisive; equivocate; “sell out”; go the easy way, not the best way; or disempower others for their own benefit).

When Shoot Producers share uncomplimentary things about the Company (directly, or indirectly) they undermine the Company in the model’s eyes, but they also undermine themselves and their leadership (the model thinks, “If that’s what they say about their employer, I wonder what they’ll be saying about me!”).

We want models to “let go” in the moment of a shoot, to enjoy themselves – this is what customers want to see. If the SP is unenthusiastic about abbywinters.com, the model is less likely to be engaged in making a high quality shoot. The model wants to feel proud and excited by what they have done, the Shoot Producer being buzzkill is a major downer. Shoot Producers represent abbywinters.com.

Anti-leadership examples

Consider some of these examples models have told us things their Shoot Producer said;

• Shoot Producer to a model: “I know it’s childish, but they make me get you to write these bio things…”
  • HWB’s add a valuable dimension for customers getting to know the model. They are part of our product that customers read, engage with and comment on.
  • Showing a lack of respect for the content models are creating disempowers models, making them feel “small”
  • Historically, we have asked models to make these be colourful, which some models interpreted as “childish”, but since 2015, our policy on HWB’s has been much more open (see how we present the concept to models now; and this is how SP’s are expected to present it to models on-set); more info 0n HWBs
• Shoot Producer to a model: “I have tattoos myself, and I would never appear in an AW shoot if I had to cover them up!”
  • The model thinks, “She would not shoot for abbywinters.com under these circumstances, but she expects me to!? Doesn’t seem right…”
  • Our customers pay us for shoots of wholesome models. Many of our customers see tattoos as a sign of “impurity” – that’s not a “politically correct” view, but it’s the reality we live in.
  • Customers are buying a fantasy from us, it’s our job to provide what they pay for.
  • Covering small tattoos on some models means models and Shoot Producers get more work, and we can satisfy more customers.
• Shoot Producer to a model: “It’s dumb to do so many poses like this, but they said we have to, so we better do it…”
  • Our competitors make shoots with 60% to 90% of the shoot at the model’s highest Posing Level. There’s room for abbywinters.com shoots to be different, but only to a degree (there’s a big risk of going too far – that is, not enough revealing material – and dis-satisfying customers)
  • The requirement to do eight poses at the model’s highest Posing Level is a technique to support Shoot Producers in capturing a suitable amount of content at the highest Posing Level.

That’s not to say Shoot Producers should be mindless cheerleaders for the company, and nor is anyone expected to lie! Although we try to minimise it, the Company, the owner and the people in the company frequently get things wrong. Everyone is pretty open about accepting their mistakes and learning from them.

If you have feedback on how the company can improve, share it with the Owner. If you feel like your feedback has been ignored, bring it up again.

Shoot Producers are not expected to be personal fans of the content we produce, but they are expected to professionally lead models to make the best performance possible by empowering models.

Typically, video is shot after stills and lunch, and thus, after the Pre Shoot Briefing. If shooting video first on the shoot day, the Pre Shoot Briefing must be delivered, then directly after the Pre-Video-Shoot Briefing delivered.

Most models are concerned about the video component of the shoot (especially first-time-abbywinters.com models). Part of that is them “assuming the worst” and not having a clear understanding of what to expect. We do what we can to introduce video to models in a positive context.

A Pre-Video-Shoot Briefing is required to set expectations around video as it’s a different context: the expectations for the new medium, but also a chance to reflect on the Stills and the shoot more broadly. Several open-ended questions are included, to invite a conversation with the the model (instead of a “lecture”) from the Shoot Producer. Note the framing technique used when asking the model for input.

Introduce to model, for first Solo video shoot	Considerations	For subsequent and other shoots (Solo, GG, GB)
Now the Pre-Video-Shoot Briefing. I’m going to refer to my notes again, so I am sure not to miss anything!	[NA]	[same]
In stills, you did the Posing Level. How did you feel about that? What poses did you feel uncomfortable in?	[Be open to model’s response; consider adjustments necessary; consider if downgrading the Posing Level is necessary]	[same]
As a model, video is different to stills in a few ways. What are they? We’ll be doing a lot of movement-based stuff, and a lot of talking. Our style of relaxed, casual, fun, sexual still applies.	[Key diffs, guide model to: addition of movement and talking]	[Can be omitted on subsequent shoots, if the model(s) seem to be aware]
There’s no real story to the video; like for stills, you’ll start clothed, get naked, then work up to the Posing Level. We’ll be shooting a series of around 100 short video clips that will be edited together, each clip will be 10s to 1m in length.	[Be open to model’s response]	[Can be omitted on subsequent shoots, if the model(s) seem to be aware]
I’ll be directing you before each sequence, we’ll discuss and plan what to do, maybe practise, then record it. It’s no problem to stop if you need help.	[Be open to model’s response]	[Can be omitted on subsequent shoots, if the model(s) seem to be aware]
I’ll be asking lots of questions about you and your life. Starting out more general, then getting more sexual. It’s always fine to say if you’d prefer not to answer a question, we can change it up no worries. When answering a question, phrase the question in the answer, for example, I ask how old you are, and you say “I’m 22 years old” (not just “22”). That way, we can edit my voice out of the video to keep the focus on you Let’s practise, what’s your name? [I’m Mary]; What country are you from? [I’m from Italy].	Use a few more examples if the model seems confused by what’s required.	[Can be omitted on subsequent shoots, if the model(s) seem to be aware]
We’ll be doing quite a few activities sequences, so our customers can see how you move. I’ll set some tasks or challenges that will get you moving. Let me know if you’re uncomfortable, and we can change it up, no problem.	[Be open to model’s response]	[Can be omitted on subsequent shoots, if the model(s) seem to be aware]
What are some movement activities we can do in this space, for video?	[Engage model in their ideas]	[same]
How are you feeling about the video now?	[Be open to model’s response]	[same]
I estimate we’ll finish at around .	[Be open to model’s response]	[same]
That’s the pre-Video-Shoot Briefing done - shall we begin?	[Be open to model’s response]	[same]

Our models are mostly young women and can be apprehensive when making shoots – many will tend to assume the worst, meaning they will be very sensitive to feedback – both intentional and unintentional. Perhaps this is because it’s a new situation for them and they are nervous, or maybe they have lower self-esteem (a common reason for nude modelling is to increase one’s self esteem).

When a Shoot Producer is focused on other things, it can impact the atmosphere for a sensitive model. It’s typical for a Shoot Producer to need work on “other things” while a model is present, for example, technical aspects of the shoot, or another model travelling that same day and messaging as she is lost.

Some models may see this as getting the “cold shoulder” (especially if the Shoot producer’s lack of attention was due to an interrupting text message when the model and SP were engaged in a conversation!), or even that the Shoot Producer is displeased with the model!

The model will have mis-read the situation, but the damage can affect the quality of the shoot from the model’s level of engagement – and as always, make her less likely to refer her friends to work with us and return for more shoots.

Of course it’s necessary for Shoot Producers to address things other than the model on a shoot day. When something comes up;

• Excuse yourself
• Explain what’s happening
• Indicate if you’re still available to the model

Some example phrases;

Excuse me, I need to go set up the lighting now – I’ll just be in the other room. Go ahead and get dressed in the clothes we selected, and come in when you’re ready!

or;

Sorry, I need to trade text messages with a model I am working with tomorrow, to finalise some details. I should be done in five minutes. In the meantime, can you please lay out all the clothes you brought on this bed? I’ll be back with you shortly.

Other tips for focussing on the model include;

• Before a model arrives on set do a “personal reset” – a few deep breaths, a short calming meditation in an effort to leave “other things” at the door
• Message AW team members that were involved in a conversation, to inform them you are now shooting (simply a message “Shooting!” is fine). They have all made shoots, they know how it works, and will never consider it rude to say this!
• If other models are demanding your attention during a shoot, it is appropriate to ask the Model Liaison to support those models, so you can focus on the model in the room with you (but, the Model Liaison may not be able to assist)
• Playing music during Stills can help keep the model’s energy up when the SP is distracted elsewhere
• We strongly recommend ensuring all phones are off / in flight mode when shooting, “allowing” phone use in breaks, then back to flight mode when the break ends. This helps everyone remain focussed on the shoot at hand.

Introductions are simple to do and effective at breaking the ice and setting up for a successful shoot day… but if an introduction is missed or delayed, it can cause a lasting sense of confusion and or belittlement for the model.

Before anything else, models are humans, and we respect all humans! The start of the first meeting should be more than a perfunctory handshake; both people need to feel seen and heard.

Of course, the Shoot Producer has “virtually” met the model in SMS messages, voice calls, emails – or possibly a video call in the weeks before the shoot, but the first in-person meeting is a significant step in the relationship (and is the first time a model has met a real person representing the company – a huge milestone!).

The first in-person meeting of a model should run like this;

• Meet the model at a place convenient to her
  • For example, at the corner of two streets as arranged / at a certain place at the airport / at the east exit of subway stop
  • This should be a face-to-face / in-person meeting “as soon as possible”. For example, if meeting the model in your car, get out of the car to meet her – don’t just wait for the model to get in; if meeting the model at a building, try to meet her at the front door to the building (not the apartment door – or waving from a window!).
• Deliver a warm hello, nice-to-meet-you-at-last sentiment
  • A handshake is appropriate
  • “I’m First name, said really  s l o w l y, call me nickname”
  • “What name do you prefer to be called by?”
• Make “small talk” (polite conversation about unimportant things)
  • Small talk helps signal each others’ mood, accent, and pace. It reduces tension, makes the situation more normal-seeming
  • Talk about the weather, travel so far, the current environment
• Move to more practical subjects
  • What’s happening in the next 15 minutes
  • A rough plan for the day
  • Address what the models needs (eg, toilet, water, food, coffee, a seat, a nap)
• Move to more conceptual subjects
  • Conversation about the SP themselves (their approach, their experience (within AW and outside of it)), and the model (her hopes for how the day will work, what she’s concerned about)

Shoot Producers and abbywinters.com BV are business partners: your business provides services to our company. You invoice us for that service, and we pay your invoice (that means we both have a common interest: making shoots our customers will buy).

It’s not appropriate to say you’re an employee of abbywinters.com (you’re explicitly not!), and we’ll never present you as such.

When talking casually to models, a phrase like, “I work with abbywinters.com to make shoots” is fine. If they ask more questions, it’s fine with us to share more details – that you’re a contractor, that you’re paid for each shoot you make, that the company reimburses you for some expenses.

Concerns models raise tends to fall into three main categories;

1. Concerns about doing the work at all;
2. Concerns about how the shoot day works;
3. Concerns how the content will be distributed

Concerns about doing the work at all

For example, “I am not sure if this shoot is right for me…”, or “Can I wear a mask in the shoot?”.

These should be referred back to the Model Liaison, as the Shoot Producer is not expected to spend time with models discussing these fundamental issues (and, they may not know the best way to deal with those sorts of questions).

These sorts of issues are usually identified earlier in the onboarding and shoot booking process, so should rarely come up with a Shoot Producer. Always update the MDB when the model asks questions like this, with the model’s question, a summary of what the model was told, and how the model reacted.

Concerns about how the shoot day works

For example, “I have bad knees, will I need to kneel much during the shoot?”, “Can I bring some food of my own?”, “I’d now prefer to do the softer level on the shoot day…”.

These are issues the Shoot Producer is expected to handle, and is well-prepared to (however, asking The Collective for support is always fine). The Shoot Producer considers when the answer should be addressed in a public environment (that is, with other models present), or discussed privately.

When a model has raised these concerns, the Shoot Producer alters their approach for the shoot to ensure the model is comfortable. Most requests are reasonable and should be accommodated if the shoot quality will not be affected, and the shoot day length will remain acceptable.

The model should be consulted a few times during the shoot, to ensure her concern is being addressed to her satisfaction. For example;

Hey, at the start of the day, you mentioned you had some knee problems, how are these poses for your knees? Let me know if we need to adjust, it’s no problem.

This reinforces to the model that the SP heard her concerns, and is concerned about her comfort. Models who feel cared for and listened to are more likely to be engaged in the process and make a good shoot (and refer their friends in the future!).

However, some model requests can mean the shoot result will be compromised, for example;

The model asks that her buttocks never be shown because they are “looking fat today”.

Our customers are paying to see buttocks (in part), so delivering a Solo shoot with no images of the model from behind is a problem.

The Shoot Producer reaches out to The Collective for advice, and we decide together that the shoot must be rescheduled to a time when the model feels better about herself.

Concerns how the content will be distributed

Similar to models concerns about doing the work at all, concerns models raise about this distribution of shoot media, the privacy of their data and related matters should be moved to the Booking Model Liaison.

However, these things usually come up well before the shoot day, and are dealt with at that time.

Generally, it’s better to over-communicate with models because it’s less risky. Models tend to be information-poor about the details of a shoot booking (despite our best efforts, models are often passive in the process).

For example, consider this snarky feedback from a model:

I got a message at 9pm [the day before the shoot] that our shoot was cancelled because the Shoot Producer couldn’t find a place to shoot… So, I guess you don’t try to call and book a location at 8pm to ask for a rental! If you want to work, you have to take care of that before 8pm the night before! 🙄

On the surface, this looks like poor performance by the SP – and reasonable feedback from a model… But now consider what actually happened in this situation:

The SP had lined up a shooting location week in advance of the shoot date. A day before the shoot, the Location owner contacted the SP to cancel. 🤬

The SP called around all their location contacts trying to find a new location for this shoot. By 8pm it became clear that no alternative location would be possible, at which point the SP informed the model.

With this context, it becomes clear that the model’s feedback is not based on facts – but the model’s opinion of the Shoot Producer was unnecessarily lowered.

When things that affect the model are hidden from the model, it can look like Shoot Producers are lying or making up excuses. Open communication as events unfold is always a better approach. In this scenario, the Shoot Producer should have sent a series of messages to the model, for example;

1400; Hey Jane, it’s Bill your Shoot Producer for the abbywinters.com shoot tomorrow. I just got news that the location I organised is now no longer available! I am working on finding another location, but I may not be able to in time for our shoot. That may mean we have to reschedule 😟. I will let you know in a few hours how it’s looking. Sorry about this.

1800; Hey again, I have heard back from three of the location owners I work with, and none of them can help tomorrow. There’s one more I am waiting for a call back from. I’ll let you know as soon as I know.

1930: Hey, unfortunately, my last option also cannot help tomorrow, which means we need to reschedule the shoot. I am working with Leena the Model Liaison to see if we can make something later in this week work – she’ll be in touch with you in a few minutes. Really sorry this happened! 🙏🏻

Of course, if Bill had been able to organise a new location in time for tomorrow’s shoot (say, by 1830), the earlier messaging helps position Bill as someone who’s a great communicator, and can deal with problems professionally. That’s someone models want to work with!

1830 [alternate timeline]: Hey, good news, I found a new location for our shoot! Based on the weather tomorrow, it might actually been even BETTER than the original location! 🙃 So, I’ll still meet you in the foyer of the Metrico hotel on James St at 9am Thursday morning as planned – looking forward to working with you! 🦘

More communication than the example described above is not necessary, but less can cause problems with models feeling uncomfortable, and unfavourably assessing the Shoot Producer (and the Company). When they do meet to make a shoot, that lack of respect will reduce the quality of the shoot to some degree (and make it less likely the model will refer friends, or come back for more shoots).

By “other people”, we mean, people who are not models in this shoot, the Shoot Producer themselves, or a person operating a video camera as part of a multi-camera shoot.

The general rule is that it’s not ok to have other people on-set, primarily because it’s not necessary. But there are some considerations…

Other female models

Sometimes, models share accommodation, or a shoot of Mary is made at model Angela’s home. Other models may appear in Backstage images (or even in the shoot itself if they are appearing in another shoot on the same day at the same location), but only ever for small moments and only if both models agree.

Male models

Male models may never be on set with other female models, unless it is explicitly part of a Shoot Plan that HQ has approved.

A model’s boyfriend

We strongly recommend against this (here’s how we present this issue to models), but ultimately it’s up to the Shoot Producer to decide.

AW HQ staff

Sometimes, the Shoot Producer Trainer or Creative Director may visit a shoot as part of a training program. This will always be planned weeks in advance, and only when the model and Shoot Producer’s explicit permission has been granted.

Other Shoot Producers

Occasionally, by agreement and arrangement with HQ, we may organise for less-experienced SP’s to visit with more-experienced SP’s as part of a skill-sharing programme. Both Shoot Producers and affected models will be informed and the specific conditions discussed.

A location owner / someone who lives at the shoot location

Never appropriate. We make a strong commitment to models that location owners will never be present – even for checking in to accommodation.

A friend of the Shoot Producer

Never appropriate.

Onlookers / “Looky lou’s”

Almost always not appropriate.

Stop shooting, assist the model to cover up. For people up close, let them know, “Sorry, this is a closed set for a private photoshoot – please move on so we can work?”. For more-distant people, take photos of them and they will usually go away (especially those that are “hiding in the bushes”!).

Occasionally, we make “guerrilla” shoots, where the model is very much nude in public, and people’s reactions are part of the shoot (or more specifically, the model getting off on people’s reactions). These are only ever carefully designed and planned with HQ – never spur-of-the-moment shoots.

The Shoot Producer’s assistant

Our Solo shoots are designed to be produced by one person, and that’s been the norm since 2010 (before then, we used to have separate photographers and videographers!). While it’s certainly helpful to have someone else on-set, it’s not necessary to.

The economics of having a paid shoot assistant do not really work out. But, if the Shoot Producer decides it’s necessary for them, we have a few requirements;

• The Assistant must have submitted a Background Check / Police Check that meets our requirements
• The Assistant passes the training requirements around Working With Models and Model Care, including any refreshers
• The Shoot Producer Bio Page includes information about the person (to a similar level of detail as the SP themselves)
• Models understand from the start of the booking process that they will be working with two people, not one as is our standard
• The Assistant has a real and necessary job to do when on-set, and when their presence is not required, they are not on-set.