1ST ASSISTANT A photographer’s main assistant on a shoot. If there are other assistants on set, the 1st assistant helps to manage the assistant team in achieving the photographer’s desires. 

ACCOUNT EXECUTIVE A person at an advertising agency or public relations rm who heads up the management of a speci c brand. On photo shoots this person often helps make sure the model, photographer and other creatives are achieving the client’s goals. 

AGENCY FEE When working with model agencies, it is the percentage that the agency charges on top of the rate that the model is being paid. A typical fee is 20%. For example, if you o er a rate for a shoot of $500 plus agency fee (20%), the shoot will actually cost you $600. If your entire budget is only $500, you would indicate that this is inclusive of the agency fee. 

ART DIRECTOR is person helps manage the overall aesthetic of a particular company, brand, ad or magazine. ey control the visual message and consistency for the project they manage (often a magazine). 

BID When a photographer puts together their concept, estimate and proposal for shooting a speci c job. ey may be in competition with other photographers “bidding” to win a particular project. 

BOOK OUT When a model tells his/her agency that they are unavailable over a certain time-frame (for personal reasons, other jobs, etc). 

BOOKER/BOOKING AGENT e person at a model agency who manages model bookings. Typically this person is the liaison between the model and the potential client, helping the model to manage their schedule and also negotiate rates for jobs. 

BTS Behind the scenes photos and videos. 

BUYOUT When a client pays for all future use of the photograph. e client can use the images in anyway they want over a set period of time or inde nitely (if negotiated). A buyout is usually organized with both the photographer and the model for a particular job. 

CALL SHEET A call sheet contains all details of the shoot including location, call times, creative team, essential contact information, schedule of the day, and any other important details. is is sent out the day before or several days before a shoot. 

CALL TIME e time an individual should arrive for a shoot. Call time may be di erent for di erent me members of the creative team. 

CAMPAIGN Usually short of “advertising campaign.” is is a single shot or series of shots used to promote a brand or speci c product. 

CASTING Before a shoot a photographer or client may hold a casting where models show up to apply for a speci c job. It is a chance to meet the potential model, see how they move, their demeanor, or other needs for that job. 

CASTING DIRECTOR A person hired by a client/photographer to nd the ideal model for a photo shoot. 

CATALOG e resulting photographs are used to sell an item of clothing, whether online or in physical catalog form. ese images are usually more “commercial” or “lifestyle” in feel, and intended showcase the clothing. 

CLEAN-CLEAN On many shoots where hair and makeup is provided, this indicates that you want the model to arrive without makeup and without product in their hair. 

COLLECTION A designer creates a cohesive selection of clothing, often done annually or seasonally (fall/winter and spring/summer). 

COMMISSION LETTER A letter from a magazine indicating that you have been hired/commission to shoot for that publication. is helps you secure your creative team, models and clothing for a shoot. is is similar to a pull letter, except this letter indicates that the magazine has in fact hired you. A pull letter, on the other hand, is simply to help you get clothing and does not guarantee the work will actually appear in the publication. 

COMP CARD (aka COMPOSITE CARD) A model’s card including all of her information given to potential clients at a job, go-see, or casting. ey are larger than a business card, usually around 5.5” x 8.5.” is card contains necessary contact information, name, and at least 1 photo. Sometimes referred to as a zed card. 

CONTACT SHEET/PROOF A collection of images from a shoot given to the model, model agency or client. is has smaller versions of the images to analyze and choose nal selects for retouching or delivery 

COUTURE (ALSO KNOWN AS HAUTE COUTURE) Usually this refers to very high end clothing that is custom or tailor made for the models or customers. Exclusive runway shows often feature this type of fashion. 

CRAFT SERVICES Food on a set. e person in charge of “craft services” must manage getting food or catering for the shoot. 

CREATIVE DIRECTOR is person’s goal is to facilitate the overall creative vision of a particular job or campaign. ey are often hired by an ad agency to act as liaison between the client and photographer, and helps direct the overall goals and aesthetics of a shoot. 

CREATIVE TEAM e people on a photo shoot in charge of executing the creative vision of the shoot. is usually includes the photographer, hair, makeup and wardrobe. It may also include the set designer, manicurist, or other artists that contribute to the execution/ development of the concept. 

CREDITS How the credit line should read for each person on the creative team and crew (hair, makeup, wardrobe, photographer, etc). Credits usually accompany an editorial, and often the credits combined with tear sheets serve as compensation with smaller magazines. Be sure that credits read how each individual artist prefers (as they may want to list agency, speci c brand, or business name). 

CREW Anyone who is involved in the production of the nal images/ video on a set. is includes everyone from the assistants, to hair stylists, to set designer. 

CYC (aka INFINITY WALL, aka CYCLORAMA) In a photography studio this is a curved wall used as a background. ese are used to create cornerless joints at the oor and edges, and are typically white or painted for green screen. 

DESIGNER e person who conceptualizes/designs clothing, jewelry, accessories, shoes or other fashions. 

DIGITAL TECH On a photoshoot, a digital tech manages the communication and the computer, the tethering, image display and image backup. ey often help the photographer check critical focus and exposure for a shoot, and are solely responsible for backing up images. 

DOUBLETRUCK In a magazine, a pair of facing pages where the content/image extends over both of these pages Often used for the start of an editorial or the lead of a big story. Sometimes referred to as a doublepage spread. 

EDITORIAL/STORY A series of images based upon a speci c theme or concept that run together as a story in a magazine. An editorial may be based upon hair, makeup, “beauty”, wardrobe or any combination of them all. Credits become an important element of an editorial and compensation. 

EMBARGO Images produced for a shoot can only be used for that client/publication exclusively for a speci c period of time. After that, the images may be used elsewhere. 

ESTIMATE An overview of the likely costs for an entire shoot. e estimate should not only include production costs (hair, makeup, wardrobe, location, models) but also any other fees like licensing/ usage fees. 

FASHION EDITORIAL A series of images based upon a theme that is then published in a magazine or online publication. A fashion editorial usually consists of a minimum of 5 images, and usually is unpaid. When shooting an editorial people usually work in exchange for the exposure or “tear sheets”. 

FIT MODEL Designers use “ t models” to size and measure clothing. ese models must have very consistent measurements that conform to “sample sizes.” Designers measure clothes to this one model size, and then use math/programs to adjust the measurements to other sizes. 

FITTING Before a photo shoot a model may attend a “ tting” to have the clothing adjusted to t correctly or to test which clothing falls best upon the subject. Adjustments and alterations may be made to the clothing. 

GAFFER On a larger production set (typically lm), a ga er is the head electrician who manages the execution of the lighting design. 

GAFFER’S TAPE A special type of tape used in theater, photography and lm production because of several useful qualities. It is heat resistant (better for working with lights) and removes easily without damaging surfaces or leaving residue behind. is tape is preferred to using duct tape on set. 

GATEFOLD A magazine cover that folds out. 

GO-SEE When a model goes to meet with a creative team, agency, photographer or other potential client in person. is may be an opportunity for a client to evaluate the model’s demeanor, physical attributes, or other elements that may become important when considering the model for a shoot. 

GRIP Lighting and rigging specialists on a larger production still or video shoot. ey help make sure the camera and lighting systems are setups and working properly. 

GROOMING Managing hair and makeup for model models or subjects. is include styling facial hair and skin care on a shoot. 

GUTTER: e seam or crease that runs down the center of a double- truck or doublepage spread. When shooting landscape/horizontal images for a magazine, you often want to avoid a key part of the image being divided by this seam. 

HAIR AND MAKEUP READY If you ask a model to come “hair and makeup ready,” he/she should have already done his or her makeup for the shoot. ey come ready to shoot as-is. 

HAIR STYLIST Works on the concepts and execution of hair on shoot. A hair stylist is responsible for bringing necessary hair products, extensions (when necessary) or anything required to achieve the desired looks for the hair on a shoot. 

HOLD A hold is placed when someone is being considered for a job. It is a request to reserve that date and remain available. If another job is o ered during that same time period, you will check with the potential client to see if they want to con rm (o cially lock in) that date. A hold is often placed for models, hair, makeup, photographers and others on the creative team. 

KIT FEE Sometimes a hair stylist or makeup artist will ask for a “kit fee” to help cover their costs for a test shoot. Kit fees are usually relatively small and meant only to help cover costs of supplies. 

LEAVE BEHIND Self-promotional material given to a client after a meeting or networking event. ey can also be mailed or handed out physically, the name comes from leaving the items behind after a meeting. is marketing material can be anything used to catch the potential client’s attention whether postcard, t-shirt, book or other memorable piece. ese are used to help showcase a photographer’s skill and ability in something more than a business card. 

LOOK BOOK A collection of photos created to show the designer’s collection for the current season. Typically the photography is less “creative” and more about showcasing the clothing, although that is not always the case. 

LOR Letter of Responsibility. When borrowing clothing for a shoot, a publication insures the clothes for you in case of loss or damage. Designers and showrooms are more willing to lend clothing if you have a LOR. 

MODEL PACKAGE When a model agent sends a selection of models to choose from for a shoot. is “package” is a sampling or gallery of models available for consideration in a particular shoot or job. 

MOOD BOARD A collection of images that express the overall direction and inspiration for a shoot. Mood boards often contain images for the desired type of hair, makeup, wardrobe and even lighting on a shoot. A mood board helps express a photographer’s vision of the shoot to the entire team. 

MUA Short for Makeup Artist: e Person who hands the skin care and needs for makeup on the shoot. 

NEW FACE/DEVELOPMENT MODEL Models at an agency that are still developing their portfolios and are available for unpaid/test shoots. Often these models have less experience or have recently changed their look (hair) and need updated portfolios. 

OPTION A option is presented to a model to give them the choice of a particular job or test shoot. Basically they are presented with the opportunity to do a shoot, which they can con rm or reject. As a photographer you may hear that a model of your choice has been given your shoot as “ rst option” meaning that the shoot has been presented to them and it the only one on that day. 

PA Production Assistant. On set this individual helps to ensure that the day runs smoothly and coordinates scheduling, locations, per- mits, food and other elements of the shoot. 

PORT (aka PORTFOLIO) For models and photographers this is a collection of images and tearsheets to show a potential client to help book work. You may have multiple portfolios with images to appeal to di erent type of clients. 

PULL LETTER A letter from a magazine, written on your behalf, to encourage designers and showrooms to lend clothing for a shoot. Usually has the date of shoot, the issue you will be published in, and lists your wardrobe stylist’s name. 

RATE Amount a person is being paid for a particular job. 

READY-TO-WEAR is is the opposite of couture. is clothing is “ready to wear” immediately upon purchase and is not custom-made or tailored to a client. 

RIGHT OF FIRST PUBLICATION When your work is accepted to be published by a magazine or online publication, they reserve the right to be the rst to share these images online or in print. In other words, do not share your images from these shoots on social media, your website or any other outlet until AFTER they have been published. 

RUNWAY A runway show is a way that a designer will present a collection of their work, with models showcasing the clothes. Traditionally runway models are sample size. 

SAMPLE A designer creates a one-o item of clothing for models to wear on the runway, presentations, or for use in fashion shoots. 

SAMPLE SIZE A single “standard” size that designers create their pieces around. By having a standard size (model sample size), then the clothes will t most runway or editorial models. is saves them money producing a wide range of sizes unless the pieces are actually produced for consumers. For a female model this size is around a US size 2 and usually taller than 5’9”. 

SEAMLESS (aka SEAMLESS PAPER, SEAMLESS BACKGROUND) Paper background often used on photo shoots to give a smooth background without a seam. May be a wide range of colors. 

SHOWROOM A showroom represents di erent designers, helps lend their clothes for publication, and often manages a designer’s public relations. Stylists have relationships with showrooms to help attain clothing for shoots. 

SPEC SHOOT Also known as “shooting on spec”, everyone shoots for free in hopes of later selling the images or catching the attention of a brand to hire you to create imagery for their company. 

STYLIST is term may be used in a few di erent ways. Often the stylist is in charge of managing the wardrobe on a shoot. A shoot stylist, however, may also be in charge of managing the overall direction of the hair and makeup, though not actually doing the hair and makeup. 

TEAR SHEET An image in a publication is called a tear sheet, referring to when you could literally “tear” a sheet out of a magazine. Tear sheets may be physical (print) or digital. Often people will work in exchange for credits and “tears” to include in their portfolio and list of clients. 

TEST SHOOT A test shoot is intended for portfolio building and to test working with new people (aka a photographer testing with a new hair stylist, makeup artist, model or vice versa). Typically a test is unpaid and everyone is working for experience and to build their books (aka portfolios). 

TETHER If shooting tethered, your images are automatically displayed on a monitor or screen during the shoot so that the client can view the images real-time. 

TFP Trade for Photos. Pay for the shoot is compensation in digital les. ere is no pay, but instead trade for services and portfolio building. Images are typically distributed by le transfer programs like Dropbox, Photoshelter, WeTransfer and others. 

TRADE When a shoot is done in exchange for services. Often a hair stylist or makeup artist will trade for digital images in exchange for their time. 

USAGE FEES e fees a photographer will charge based upon the end use of an image(s). e usage fee will include considerations of where the image is used (online, magazine, billboard), geographically where the image is used (locally, nationally, internationally), and how long the image will be used for (months, years, or buyout). 

WARDROBE STYLIST e wardrobe stylist acquires and styles the clothing and accessories for a photo shoot. e wardrobe stylist must keep track of clothing credits, make pulls and returns for a shoot (acquiring and returning clothing), and making sure the clothing t correctly for a shoot. 

WARDROBE/MAKEUP/HAIR CREDITS In an editorial you’ll want to list the credits for the brands, products, and tools used in the creation of the shoot. For a fashion editorial wardrobe credits will become extremely important including the brand of each item (dress, shoes, rings) used in a shot. For editorials credits are often the only compensation for a particular designer, so they become essentials (and must be done correctly). In a beauty shoot the hair stylist or makeup artist will want to list speci c products or tools used to achieve a speci c look. ese credits may also help show relevancy of an editorial to a particular publication or season. When submitting to magazines, be sure to check submission guidelines that list how these credits should be presented. 

WRAP TIME e projected time that you will complete the shoot. 


Source : Lindsay Adler Photography