PROFESSIONAL BEHAVIOR ON THE SET

Recent conversations with colleagues have often centered around the topic of behavior, specifically how some models act and the sometimes shameful manner in which those with cameras behave. Such dialog is often referenced verbally with terms such as, "that is not professional behavior" but is rarely quantified in any meaningful manner that is widely available to everyone. "Professional behavior" is a term thrown around haphazardly with total subjectivity in its definition. Most professional photography associations have their list of rules of conduct, but even those are generally vague on most matters.

Complicating the task of defining "professional behavior" is that fact that personal style and familiarity both factor strongly into what might or might not be considered appropriate on any given shoot. A photographer and model who have worked together frequently and developed a strong relationship between them are going to have very different standards for their conversation and actions compared to the model who has never met the photographer and between whom there is no expectation or reason for communication outside the immediate shoot. A photographer accustomed to being surrounded by a large staff conducts a shoot considerably different than the one who generally works alone. To expect that every situation is going to elicit identical behavior is ludicrous.

However, there are some standards that deserve to be stated and applied across the board, regardless of whether the photo shoot is a major commercial production or an impromptu meeting taking advantage of a unique opportunity. Such standards apply not only to models and photographers, but to make-up artists, stylists, assistants, and anyone else who may participate in a photo shoot. Please, pay careful attention to the following list.

• Respect everyone on the set at all times. While there is an unquestionable hierarchy of management on a shoot, everyone present is there for a specific purpose and deserves the respect of all others with whom they are working. Showing disrespect for anyone on a shoot is extremely distasteful and should not be tolerated. Foundational to this concept is arriving on time and with attitude in check. There is no room for tardiness and no space for divas among professionals. If one feels they are unequipped or otherwise unable to perform as expected, they have a professional obligation to find a suitable replacement as quickly as possible. Cancellations less than 48 hours before a shoot, or worse, not showing up at all, are in extremely bad taste and should be avoided at all costs.
• Safety is everyone's responsibility. The principal maxim is "Don't damage the model," but safety issues go well beyond. No one on the set should be expected to perform in an unsafe environment. All electrical outlets should be grounded. Extreme care should be taken when using potentially hazardous materials. Spills should be mopped up immediately. Perhaps most importantly, the person in charge of the shoot should be aware of any medical conditions and/or allergies that might effect anyone on the set. Acts as simple as setting out a bowl of peanuts can be fatal if someone on the set has an allergy to peanut oil. Commonly used materials such as latex and baby oil are also frequent allergens which may require hospitalization for the person who is allergic to such materials. Further more, to have knowledge of a potential health issue and not be equipped to deal with it properly is medical neglect for which the person in charge of the shoot is liable. Hiding medical conditions such as asthma, diabetes, epilepsy, and heart disease are unprofessional. Ignoring such conditions on set is just plain stupid.
  
• Know your place in the shoot hierarchy and adjust behavior accordingly. Shoots don't go well when too many people try to play boss. Projects go much smoother and are completed with higher quality when ONE person is in charge. People with good management skills know how to involve a team in the whole creative process without dissolving the necessary hierarchical structure. Ultimately, only one person can make the artistic decisions that result in a quality image. A typical hierarchy on a major photo shoot might look something like the example below, but may vary greatly depending on circumstances.
• Art director
• Set director
  
• Photographer
• Wardrobe stylist
• Make-up stylist
• Hair stylist
• Model management
• Model
• Production assistants
• Technical assistants
• Arrive well prepared and ready to do your job. Shoot time is valuable and should not be wasted. Everyone involved should understand the concept before they arrive and come sufficiently prepared to bring the concept into reality. Granted, any unknown element has the potential to throw the best laid plans right out the window, but such challenges are most efficiently countered when everyone is unified and committed to the concept. The only time pure "winging it" is acceptable is on impromptu shoots, which should be minimal.
  
• Do not bring additional people, including assistants, without permission. Many photo shoots are conducted in spaces considerable smaller than the large, commercial studios designed to handle a full staff. As a result, available space is frequently an issue on a significant number of photo shoots. Even with commercial studios, there is a limit to the number of people who can be on set without sacrificing efficiency and quality. Always check with the person in charge before bringing anyone other than yourself to the shoot.
  
• Give everyone the space and opportunity to do their job without interference. Art directors should not need to look over a photographer's shoulder or double-check every shot. Stylists should be treated as artisans and not be subjected to anyone knit-picking over their work. Models should be given the freedom to explore posing options within the parameters given them. Assistants have a right to expect clear instructions so that they can do their work efficiently. Part of behaving like a professional is yielding to the professionalism of others. Let everyone do the job they were asked to do.
• Don't second guess the work of another professional. If an art director says they want the concept shot with a red filter, one has to assume there is a stylistic reason for them making that request. When a photographer insists a specific light array, she/he does so with a purpose in mind. As a courtesy, when working among professionals, explaining unusual methods helps keep the team together and focused, but because such an explanation is not forthcoming does not give one reason to challenge the work. This is especially true in the relationship between models and stylists. Models should NEVER re-do make-up, adjust wardrobe, or mess with their hair once the stylist declares the work done. One should always assume that professionals know what they are doing.
• Be efficient and precise in your work. Anyone who has been on a set with an account executive holding a stop watch, or had pay docked for using excessive rolls of film understands this concept quite clearly. In photography as in most any other business, time is money and, therefore, one must use it wisely. Probably the most common offense in this regard is photographers who over shoot, keeping their fingers on the shutter button in hopes of catching some random shot that will propel them to greatness. Know what images are wanted, get them, and move on. Know what poses are needed, provide them, and move on. Know what looks are desired and don't bother with a half-dozen variations unless requested. A model's time in front of the camera should rarely exceed fifteen to twenty minutes for a single look unless the concept is so complicated that each pose requires delicate and deliberate handling. Standard make-up looks generally do not require more than 90 minutes' application, and less for faces with good complexions. Basic hair styles should be completed in well under an hour, less with healthy hair. This does not mean that one should rush through their work carelessly, but every effort should be made to utilize time in the most efficient manner possible.
• There is never a good excuse for sexual harassment. Understanding that what constitutes harassment is open to some subjectivity, sexually based comments or actions that cause someone else to feel uncomfortable or embarrassed, or pressures someone to commit acts to which they are otherwise opposed, is harassment and is illegal. If any form of nudity or sexual connotation is planned for a shoot, such should be disclosed to all parties involved at the time they are contracted for the project. If physical contact between the model and anyone else on the set is required, that should be explained and discussed before the shoot ever begins. Once boundaries are established, there is no reason for crossing them and no excuse for pressuring one to do so.
• Be as accurate as possible when estimating and deliver as promised. Many aspects such as processing time and set construction may require estimating both costs and completion. Giving false estimates is tempting when one fears losing a job if the cost of work is too high. However, professional behavior requires being as accurate as possible in such situations and making every attempt to deliver what is promised. In such situations where estimates prove to be insufficient, one has the obligation to inform the affected parties as soon as possible and make adjustments to the work if necessary.
• Flexibility and courtesy count. Despite one's best efforts and the most carefully managed plans, things do go wrong on a set and changes have to be made. When such events occur, one is responsible for quickly assessing the severity of the issue, consider reasonable alternatives, and communicate to others within the parameters of their role within the team. Alternatives can usually be found for most on-set challenges as long as everyone involved is willing to change and is courteous in doing so. Models may need to swap wardrobe. Stylists may have to apply a different technique. Photographers may have to adjust the lighting scheme or shoot from a more challenging angle. Every reasonable effort should be made to complete the project without complaining or griping about the circumstances. Shoots should only be canceled when either safety or reason leave no other choice.
• Seek quality above all. Everyone involved in a photo shoot should arrive on set determined to make this set better than the ones before it. For photographers, stylists, and models who display portfolios publicly, there is a professional obligation to meet, if not exceed, the same level of quality as displayed in their portfolio. "I'm not feeling well," or "I was tired that day" and other excuses are unacceptable from a professional. Every effort should be made to give each shoot the same attention to quality as any other. Never should a professional accept work that is less than their best.

Professionalism is a standard to which everyone involved in photography desires to achieve. Even with these standards, there is still plenty of space of individual styles and there will always be special circumstances that warrant some moderate exceptions. However, in a day where sleazy photographers, fake make-up artists, and pseudo-models seem to be in proliferation, those who are truly professional cannot help but stand out from the murk and mire of those whose desires and intentions are less than honorable. Those who are professional understand these concepts and find no issue with them. Those who are not professional will instantly begin making excuses.