ok kids
hows about these
a black stocking the sheerer (?) the better
or fishnet on the lens
burn a couple of holes and see the results
back light with a gel to set a mood
diffuse al lite on subjects as a softer light is a sexier light
Practice placing shadows in places the look is harder than you think
A light meter to DOUBLE TRIPLE CHECK your exposure
clean your mirror and lenses dust will screw with your creativity
have talent FULLY PREPED
ALL ITEMS NAILS HAIR ETC
  many a good shot could have been great with a couple of minutes prep

Those little guys can be quite stylish...

1. Don't get emotional about no-shows.

2. Don't get emotional about truthful and/or harsh critiques.

3. Quality not quantity. In your shooting, in your selection of images for your portfolio, in your selection of people you work with (MUA/model etc)

4. Don't get stressed out that someone has more equipment, produces "better" images, etc than you. Focus on your on style and work on that. Give it your all.

5. Always have a Plan B.

1.  TO GET A MODEL TO LOOK SEXY WITHOUT TALKING ABOUT SEX...TALK ABOUT FOOD...THEY NEVER EAT ENOUGH.  AND IF A MODEL DOES NOT MOVE IN A MANNER YOU NEED, THEN TURN UP THE VOLUME ON THE STEREO REALLY LOUD.  THIS WAY YOU CAN YELL, GET OUT YOUR FRUSTRATIONS AND SHE'LL HAVE NOT CHOICE BUT TO MOVE TO THE MUSIC.  THEN TAKE YOUR SHOTS.  LEARNED THIS ONE FROM AN OLD NYC PHOTOGRAPHER WHEN I WAS ASSISTANTING IN THE EARLY '80s. 
2.  ALWAYS USE A FLASH FILL EVEN WITH DIRECT SUNLIGHT...IT'LL SAVE  YOU TIME IN PHOTOSHOP.
3. ON LOCATION...ALWAYS HAVE A TRIPOD, AN UMBRELLA TO PROTECT YOU FROM THE WIND AND A WEIGHT OR SANDBAG TO WEIGH DOWN THE TRIPOD.
4.  IF YOUR MODEL IS UNDER 18 IT IS CALIFORNIA LAW THAT YOU AS A PROFESSIONAL HAVE A SOCIAL WORKER ON THE SET, IF IT'S A TFP...A GUARDIAN...IT'S THE LAW.
5.  UNDERSTAND THAT CERTAIN LOCATIONS REQUIRE PERMITS AND INSURANCE AND IF YOUR BUSTED AND THE POLICE TAKE YOUR CAMERAS AND THEY CAN... IT WILL TAKE ABOUT TWO WEEKS AND FINES TO GET YOUR STUFF BACK.
6.  WHEN TRAVELLING TO A FOREIGN COUNTRY AND MEXICO IS CONSIDERED ONE, MAKE SURE YOU HAVE A DECLARATION OF THE EQUIPMENT YOU ARE BRINGING INTO THAT COUNTRY AND THE SERIAL NUMBERS TO MATCH...OTHERWISE THEY WILL THINK YOU WILL BE SELLING THE STUFF...FOR EUROPE TRY TO GET A "CARNET" FROM THE US CUSTOMS DEPT.
7.  WHEN USING A LIGHT METER...PAY ATTENTION TO THE WAY THE LIGHT AND SHADOWS SHOW UPON YOU SUBJECT MATTER AND ALLOW THE SMALL WHITE DOME ON THE METER TO MIMIC THE SAME SHADOW HIGHLIGHT RATIO...MAKES FOR A GREAT EVEN READING.
8.  OR IF SHOOTING BEAUTY, READ DIRECTLY INTO THE LIGHT...THE WHOLE DOME IS IN THE LIGHT AND JUST ADD A STOP...PUSH YOUR FILM ABOUT A HALF STOP FOR THE CLIP TEST AND YOU SHOULD HAVE A CLEAN TONE.  OF COURSE SET THE ASA CORRECTLY.
9.  IF DIGITAL...ALWAYS READ TO THE HISTOGRAM AND DO NOT ALLOW THE GRAPH TO FALL OUT OF THE BOX...THIS IS KNOWN AS CLIPPING AND WILL GIVE YOU NO DIGITAL DETAIL LATER ON IN PHOTOSHOP.
10.  ALWAYS USE FILL CARDS FOR ADDING LIGHT TO SHADOWS IN A BEAUTY IMAGE.
11.  AND IF USING A WHITE BACKGROUND MAKE SURE YOU USE GOBOS...BLACK AND WHITE CARDS...BLACK SIDE TO SHADOW OUT THE EXCESS LIGHT ONTO THE MODEL FROM THE BACK LIGHTS...YOU KNOW WHAT I MEAN IF YOU HAVE EVER LIT A SUBJECT THIS WAY.
12.  NEVER SHOOT FOR A CLIENT WITHOUT AN ASSISTANT...IT MAKES YOU LOOK BETTER AND GIVES YOU THE FREEDOM TO LEAVE THE SHOOT AFTERWARD TO HAVE A DRINK WITH YOUR CLIENT AND LETS THE ASSISTANT PACK IT ALL UP...SPENT YEARS AS THE ASSISTANT AND JUST AS MANY AS THE PHOTOGRAPHER.
13.  SO IMPORTANT...WHEN A SHOOT IS FINISHED...ALWAYS PACK AWAY THE MOST EXPENSIVE EQUIPMENT FIRST-CAMERAS, LIGHTS, STANDS...HOW MANY TIMES DO YOU SEE AN ASSISTANT REMOVE FILL CARDS, KNOCK OVER THE STAND AND WATCH THE CAMERA FALL.
14.  NEVER AS AN ASSISTANT TRY TO SECOND GUESS A PHOTOGRAPHER, UNLESS YOU HAVE THAT KIND OF RELATIONSHIP.  IT CAN ONLY LEAD TO MISCOMMUNICATION AND IF SOMETHING GOES WRONG ALWAYS AND I MEAN ALWAYS TELL THE PHOTOGRAPHER IMMEDIATELY...IT'S HIS JOB ON THE LINE...HE IS MAKING MORE MONEY AND PAYING YOU.
15.  DO NOT TRY TO BECOME FRIENDS WITH THE MODELS...WE ARE THERE FOR A PURPOSE TO CREATE AND NOT BE SOCIAL...SAME GOES FOR MAKE-UP ARTISTS AND MODELS.
16.  UNDERSTAND THAT EVERYONE IS BEAUTIFUL REGARDLESS OF WHAT YOU MAY THINK BEAUTY IS...MODELS COME TO YOU FOR THE REASON OF FEELING GREAT AND BEING ABLE TO TRUST THEIR CONCEPT OF WHO THEY ARE WITH YOU.
17.  DO NOT UNDERSELL YOURSELF.  IF YOU START WITH A CLIENT THAT PROMISES MORE MONEY AFTERWARD, IT WILL NEVER HAPPEN.  CLIENTS WILL ALWAYS TRY TO GET THE MOST FOR THEIR MONEY AND IF YOU'RE TALENTED YOUR FEES SHOULD REFLECT THAT KIND OF PRODUCTION.
18.  ALWASYS BRING MORE EQUIPMENT FOR A SHOOT THAN YOU NEED.  YOU'LL JUST NEVER KNOW.
19.  ALWAYS BE READY TO CREATE MORE VARIATIONS THEN YOUR CLIENT REQUIRES OF YOU AND BE PREPARED WITH CONCEPTS AND DRAWINGS...THIS WILL INSPIRE A TRUST IN YOUR JUDGEMENT AND CREATIVITY AND PROBLABLY GET YOU ANOTHER JOB.
20.  IF YOU FEEL LIKE YOU HAVE DONE THE IMAGE...TAKE SOME TIME AND RETHINK THE SHOOT AND SEE HOW YOU CAN IMPROVE THE DAY.  40 POLAROIDS ON A SHOOT IS NOTHING.
21.  NEVER GIVE UP ON MOTHER NATURE...KNOW HOW TO CONTACT YOUR LOCAL WEATHER SERVICE AND MAKE THE BEST OF A BAD DAY...BUT THE SUN ALWAYS SHINES SOMEHOW. I WOULD NOT REALLY CONSIDER THIS ONE A TIP SO...
21 1/2.  IF YOU WORK IN PHOTOSHOP TRY TO WORK THE IMAGE FROM THE HAIR IN AND PAY ATTENTION TO THE LAYER ORDERS.  IT WILL SAVE YOU TONS OF TIME IN THE END.
22.  NEVER THINK YOU HAVE LEARNED IT ALL...THERE ARE DAYS WHEN THE LIGHT WILL JUST KNOCK YOU OFF YOU FEET.  ALWAYS KEEP EDUCATING YOURSELF AND STUDY ART AND MUSIC, CLASSICAL IF POSSIBLE, AND STAY AWAY FROM TOO MANY OTHER IMAGES THAT LOOK LIKE YOURS.  IT WILL JUST MESS WITH YOUR OWN CONCEPTS.
23.  NEVER LET YOURSELF DOWN AND GIVE UP ON YOUR VISIONS.  IT IS WHAT KEEPS YOU MOTIVATED.
24.  NEVER DISCUSS ANYTHING WITH A CREW MEMBER IN FRONT OF A CLIENT OR MODEL AND NEVER TELL ANYONE YOU ARE JUST STARTING OUT.  PUT YOUR ASS ON THE LINE AND WATCH HOW GOOD YOU'LL DO.
25.  PRE-VISUALIZE YOUR IMAGE AND USE COMMON SENSE WHEN LIGHTING.  PAY ATTENTIONS TO THE EVERYDAY LIFE OF PEOPLE AND WATCH HOW LIGHT PLAYS UPON OTHERS.  AND PLEASE DO NOT SHOOT A POLAROID BEFORE YOUR ASSISTANT HAS TAKEN A METER READING FOR YOU, IF SO, WE CALL IT PRE-MATURE EJACULATION!


I could go on, but I'm exhausted...thanks for the challenge.
Pixel Fisher.

I think the best photographers are able to see and  capture a persons true soul.  I like photos that feel like you're glimpsing into the person, as though seeing is believing who they are.

I just posted this comment on a photographers page, under a photo of a model I know...this girl is a gorgeous, well known model and total shy dork.  His photo of her on break showed all of that.  I like the comment about the eyes, I think it is more than that though.  I think it takes a little bit of intuition to know exactly when to click that button.  If you click away you'll never see it, if you wait untill you see it you'll miss it.

My tip:
A lot of models develope a breathing pattern for their poses, particularly arched poses.  If you pay attention and match their breathing, holding your breath just when they do you can catch them when they're ready, and you get less movement in the pic.  If your model notices that you are paying attention they will relax, trusting more in you and your desire bring out their best.

I am just beginning to truly learn the technical side of photography and greatly appreciate this thread.

This has been an awesome thread... thanks to the many who contributed!

Great tips so far! Wow. Here's my additions...


Tip #12,454 (or whatever)

Learn from your negatives! Digital or film doesn't matter. Be able to read them and improve. Look for exposure, sharpness, color temperature (white balance), depth of field, skintones, etc. All that boring EXIF data can teach you a lot. Look at your favorite personal shot-how did you achieve it? How could it be improved?


Tip #12,455

Know your equipment. If your DSLR has image noise at 600-1600 ISO and you can't stand grain, then you need to know that. Read the manual and read camera review websites (dpreview.com is a great start) about your gear. If you know your equipment's limitations-you can find ways to work around those limitations to create a better image (technically). If you know a lens is soft at f/1.8 then don't freakin shoot at f/1.8, lol. 


-TMH

When shooting film and wanting b&w, use ilford, lol

Accually with film, learn the nature of all the films you use.  Each type of film reacts with light diffrently