Amanda Ashley Harris wrote:
Also, are they delusional about their work or do they just not read my profile?

Well, you ended up working with them so apparently they are not delusional.  They got exactly what they wanted.

You shouldn't blame people for wanting to get a good deal.   The choice as to whether or not to give them that good deal is yours.  If you feel that TF is doing a free favor and you don't want to provide free favors, then don't accept such offers.

Farenell Photography wrote:
1. Sounds like you need to get over yourself. I'm talking about "offering them a Ford quality model" mentality because, to be quite frank, you're not w/ them anymore. Its like the identical twin I once worked w/ who tried convincing me that she was agency material because her twin-sister was currently (then) w/ an agency.

I'm sorry if this sounds harsh but nobody cares what you did in the past (especially in another lifetime), just what you can do for them now.

Think about it? Do you really care if a photographer once shot for Playboy or Vogue 5-6 years ago but doesn't anymore, especially if they've moved on & shoot something else?


2. I'd stop depending on the photographers to tell you what to do or relying on them for ideas. Many people, myself included, value the collaboration aspect.

Like I may have any idea but the model will often come up w/ a vastly different angle that I never would have thought of in a million years that causes me to throw mine temporarily out the window. I'm flexible like that but (unfortunately) many people aren't.


3. If you're modeling for art's sake, I'd seriously have you take a 2nd look at many of these "inexperienced" shooters learning their craft. Like those going to a school. The younger ones are less set in their ways in how they approach things & are more willing to fall flat on their faces trying to execute their vision than many of the people who have been at it awhile.


4. You also have to reremember that you can't expect TF* shoots to always pan out & make you happy w/ the results. Its a sacriface. If you're doing it for the art, you have to be willing to take chances. If you're doing it for the money, you sacriface editorial say (so to speak) for being paid for your time.

1. I am good at what I do and see no qualms about having confidence because of it. I know my strengths, my weaknesses, my angles, what to do and not to do but mainly for my body and genres. I am not delusional, I do not think I am going to take the fashion world by storm at 23 years old. I have hips for crying out loud. Funny you should say that though, because Ford just met with me last month about signing back on but I like being more in control of my career. I just need to make sure I have better communication about what I don't want to happen at a shoot. When I get outside my realm, which usually means glamour, it becomes tricky and I get uncomfortable. In my experience, people care very much about where you came from, who recommended you, what work you have done, etc. This is even more important in my acting career. 90% of acting resumes are completely made up.

2. I have never relied on a photographer to come up with concepts. Nowhere in my post does it say that, so I think you are ranting to the wrong person. I am always either very creative and come up with the concepts 100% or more often 50/50. I ask how they see me and throw out some ideas I have always wanted to try and see what sticks. These last times, I think I was just pushed more towards glamour, which I didn't remember seeing in their port, and we didn't discuss but I trust the photographer's vision so much that I just did what they said, regardless of being uncomfortable and it shows later in the pictures. I only realized that later after responding to these replies.

3. I agree with you completely and definitely am not afraid to get messy and try something that may not work. Like I said, I always trust the photographer's vision but lately I suppose I have been a little self conscious about what I consider bad photographs of myself. (another issue entirely)

Amanda Ashley Harris wrote:

That's a good idea. I do that with newer photographers because I love helping people grow and when they show me the screen I give them both positive and negative about how they are shooting me, so maybe I should post something about it in my profile. :-) I'm just not good with the technical aspects of photography so I couldn't help them change what didn't suit me, so I wouldn't feel comfortable making it a sort of class.

You might be interested in learning more about photography. You won't be young and beautiful forever (sorry!) and a lot of models transition into photography as they get older.  It helps because they've got feet in the door with the art community already and know about posing, makeup, basic lighting, etc. already.  Whether one can make a living off photography is debatable (we debate it all the time here), BUT it's a great hobby and who knows, maybe a source of side income too.

Dan Dozer wrote:
When I schedule a shoot with a model, I spend a lot of time looking at images that they have done.  From a fine art side of things, it's not hard to figure out how good or experienced a model is if they have a fairly comprehensive portfolio.  Whether I'm looking at paying a model or working TFP is determined by what obvious experience level she has with fine art.  A model who has done nothing but glamour, no matter how beautiful she may be, may not really fit into my work plan, may not have the type of experience that will benefit me, and is not likely to get an offer for pay from me. 

It's always great to work with models who are real good at fine art posing and also really understand and appreciate concepts of composition, balance, light/shadow, etc. Yay - you seem to fit into that very small group of models and you are few and far between.  I have worked with a couple of models who really surprised me with that level of appreciation of art that wasn't necessarily apparent in their portfolio. 

As you mentioned, a good photographer can many times work with a very inexperienced model and turn out great work.  I think it's much more likely for that to happen than a very inexperienced photographer producing great photographs just because they are working with a great model - but it can happen.  I also think it might be more likely to happen with fine art work than fashion work.  With fine art, the process is normally very slow and calculated for each image and directing a model I would think be much easier.  While I'm not a fashion photographer, I would think that it might be more difficult to produce real high end images with an inexprienced model.

I started out my work by paying very expereinced models and it really paid off.  My thought at that time was that I needed all the help I could get.  I think the biggest benefit in a beginning photographer working with a very experienced model is not that it increases their chances of getting good images, it is what they can learn from the model.  Experienced models like yourself have a lot more to offer lesser experiened photographers than they realize. 

Most models on MM are only in it for the money and thrive on the "you are so beautiful" acknowlegements that comes with photo sessions.  I think it's great that there are some of you out there who really enjoy/understand/appreciate the artistic process that much and consider TFP sessions occasionally just for the fun of it. 

Now - regarding those "less talented" photographers who throw in props just to make things interesting.  I have to admit that I fit that catagory some times.  As others have said, the creative process is some what hit and miss, and many times the idea I have in my head even may look good to my eyes when I pose a model, but fails miserably in print.  I can't tell you how many times I have looked at a final image and said to myself "What was I thinking"?  You also have to acknowledge that there are lot of so called photographers on MM who really don't have much artistic talent. 

BTW - do you ever make it out to the Coachella Valley?  It might be fun to work together sometime.

Thank you so much for taking the time to respond so thoughtfully. I will add you and we can discuss some things!
Furthermore, I really appreciate you speaking on the art aspect of it because that is really what I am going for moreso and to me, it feels unproductive when we shoot all day and not one decent shot comes from it. I really have become increasingly interested in art direction and that must be why there has been a gridlock at times when photographers are going glamour and I am going fine art or they are going fine art and I am going fashion. I just never know what to do with props...haha

Amanda Ashley Harris wrote:
Thank you so much for taking the time to respond so thoughtfully. I will add you and we can discuss some things!
Furthermore, I really appreciate you speaking on the art aspect of it because that is really what I am going for moreso and to me, it feels unproductive when we shoot all day and not one decent shot comes from it. I really have become increasingly interested in art direction and that must be why there has been a gridlock at times when photographers are going glamour and I am going fine art or they are going fine art and I am going fashion. I just never know what to do with props...haha

Yeah, there's this dynamic, and a working model you knows the drill, that there's times when it just totally jives. Like musicians just getting together and jamming and it comes out awesome. I always find that a first session, while hopefully productive, is kept short and the real magic happens on the second session(s) when I know we're on the same page and have had a chance to process in my head the model's character and style and how to best capture it. It's not an exact science, for sure!  hahahah

Looknsee Photography wrote:
1)  There is absolutely nothing wrong with you being selective about the photographers with whom you work TF*.  Be more selective.

2)  There are great photographers.  There are great models.  But there is no guarantee that there will be great chemistry when a great model & a great photographer gets together.  Any session between people working together for the first time is a crap shoot -- sometimes magic happens, and sometimes people walk away disappointed.  You never know until you try.

3)  I'm a big, big believer in karma.  Every blessed one of us were helped by more experienced people when we were starting out.  We owe those old mentors a karmic debt which can only be repaid by paying it forward -- i.e. loaning your talents to less experienced newbies.  In other words, yes, you are doing someone a favor by posing for them on a TF* basis, and there is nothing wrong with doing a worthy someone a favor.

4)  Assume that everyone you work with will in turn talk with everyone else in the world.  If you are gracious, supportive, and enthusiastic, other people will hear about it.  If you are distant, difficult, and demanding, other people will hear about it, too.

5)  All of us started somewhere.  It is possible that the person you are "doing a favor" to today will grow to become a great photographer and a key influence in the industry.  Wouldn't it be handy to have that kind of a person owe you a favor.


So, best of luck.

What a very interesting, positive response. Thank you so much! It's exactly what I needed to hear. I was trying to be positive about everything this year but getting frustrated and to be honest, I think I just push myself really hard and have projected that onto other people without actually shooting myself. I should try my hand at it. Also, I am never difficult, demanding, or any of that. I give 110%, I work 8 and 12 hour days, I do my own wardrobe styling, hair, makeup if necessary, I am professional, friendly, energetic, I get really excited when I like the work we are doing, and I sort of jump around and smile and it pumps them up too. I talk a lot to get some chemistry going as much as possible and meet on that intimate level that you have to try to instantly get to that you would never do in the real world, especially with nude shoots. I am honest when necessary, usually about myself in relation to my body but lately I am so nervous stepping over their concepts/ideas etc things they throw out there that I don't know what to do with.

twoharts wrote:
i've had a good time on all my trade shoots. we were just playing around. i really didn't have any great expectations or anything. often i was trying something new to me so i could fail completely.

i'm not a video guy but on yesterday's shoot we did some video footage of the model that could be used as an incentive on zivity and for her facebook. for me that's the thing about trade shoots. i always want to be stretching, trying something new/different. today let's try some terry. but i never know how it will turn out.

regarding props they can make a big difference with some models. but with an amazing pro model all you really need is some gray paper.

to the extent that trade is supposed to half of what the model wants and half of what the photographer wants you shouldn't stress about their part but then you should also get some of what you want during your part.

a trade shoot isn't the same as a free paid shoot.

Yeah, totally! I need to loosen up. I must have been so wrapped up in creating something that I forgot it was supposed to be fun and I can say no if it doesn't work. haha!

Amanda Ashley Harris wrote:
1. I am good at what I do and see no qualms about having confidence because of it. I know my strengths, my weaknesses, my angles, what to do and not to do but mainly for my body and genres. I am not delusional, I do not think I am going to take the fashion world by storm at 23 years old.

There's a big difference between having an asset or a skill set & wanting your time respected versus giving people the vibe they should be grateful that they're working w/ you because of them.

Am I saying you are or were doing the latter? No, at least not on the conscience level. Am I saying that w/ that attitude a person COULD give a complete stranger that notion? You bet. First impressions & how you communicate w/ someone matter. You just might be giving off a vibe that's inhibiting the creativity you're looking for & might have nothing to do w/ that photographer's skill set or experience.

Take it for what its worth.

John Jebbia wrote:
2.1 thoughts..

1. If you charge photographers who you think are on a lesser level than you, don't you think fair play is for you to pay a photographer who is on a higher level than you?

2a. There may be a reason you're getting sub-par images from a photographer who is on a higher level than you. They may be using TFP as an opportunity to experiment with ideas that may or may not work. It really might be as simple as that.

2b. Or, they're really not that good. They just got lucky with 1 out of 2000 images per shoot.

Oh no no, on paid shoots, I do my absolute best to just shake up their port and give them exactly what they need, and I don't mind being out of my comfort zone for glamour etc, and furthermore I don't expect to be compensated with even one image, they choose to do with them what they will unless they ask me to retouch, which I am happy to do. Next, HELL YES photographers should be paid! Ford took $ out of my paycheck for tests. Whether they actually paid the photographers or not, is between them but from the second I started modeling I always knew that you get what you pay for.

I am not getting sub par shoots with photographers who are at a higher level than me, at all, ever. When I do tests, they are tests and that is just it. I bust out the poses, the emotion, and whatever else they need and they just experiment all they want. It makes me unbelievably happy to see a photographer discover something new and interesting while I am in front of their camera. Fall flat on your face, if necessary. But these tests are necessary because of networking. No offence to my gwc's, I have had so much fun on shoots with them and enjoyed being a part of their creative outlet, it's just that someone who is active in the industry is better for my career than a dentist who likes to shoot on weekends. It's just business. I think I'll take everyone's advice and learn some technical aspects of photography, explore my interest in art direction, and relax when I'm on a trade shoot because I will be more selective and communicative! :-)

Amanda Ashley Harris wrote:
I am a former Ford model. I have been in the industry for 15 years, with a college break. I am only accepting trade portfolio work if the photographer has stronger work than me or a badass concept because at this point, my heart is in it for art's sake. I can usually tell when a photographer had a good model vs just an awesome photographer who could make a plank of wood look like Linda Evangelista! (funny visual) However, I may be off my mark lately because sometimes during a shoot, their idea of creativity is in really poor taste. They think throwing a prop out makes it more interesting but I have been doing this for years, I know that every single object in a photograph must have a purpose. A lot of photographers I've done trade with lately have been upsetting the moral code I pose by.It just feels like I'm doing someone a favor and saving them $1000 on a Ford quality model, who can "pose like a motherf*cker" according to the fashion photographer who shot me today... anybody else misjudge who they were working with and end up regretting a trade shoot on account of quality?
Also, are they delusional about their work or do they just not read my profile?

You summed it up perfectly!
Regrets? so many that now I just except it as its going to happen a big % of time and it is the way it is. I just am very careful on who I waste my time on now. so very limited on TF work. When they are paying I don't care how bad they are just what they post, I wan't control of. Kinda like they are paying to learn.

Amanda Ashley Harris wrote:
I can usually tell when a photographer had a good model vs just an awesome photographer who could make a plank of wood look like Linda Evangelista!

It can work both ways. A skilled person behind the lens is only one aspect, just the same as a good model doesn't always equal a good image. Sometimes the photographer and model are just not on the same wavelength.

Farenell Photography wrote:
1. Sounds like you need to get over yourself. I'm talking about "offering them a Ford quality model" mentality because, to be quite frank, you're not w/ them anymore. Its like the identical twin I once worked w/ who tried convincing me that she was agency material because her twin-sister was currently (then) w/ an agency.

I'm sorry if this sounds harsh but nobody cares what you did in the past (especially in another lifetime), just what you can do for them now.

Farenell Photography wrote:
There's a big difference between having an asset or a skill set & wanting your time respected versus giving people the vibe they should be grateful that they're working w/ you because of them.

Am I saying you are or were doing the latter? No, at least not on the conscience level. Am I saying that w/ that attitude a person COULD give a complete stranger that notion? You bet. First impressions & how you communicate w/ someone matter. You just might be giving off a vibe that's inhibiting the creativity you're looking for & might have nothing to do w/ that photographer's skill set or experience.

Take it for what its worth.

Interesting initial post and follow up. That is exactly the first impression I got when reading the OP. I think this is very constructive advice.

Amanda Ashley Harris wrote:
I am a former Ford model. I have been in the industry for 15 years, with a college break. I am only accepting trade portfolio work if the photographer has stronger work than me or a badass concept because at this point, my heart is in it for art's sake. I can usually tell when a photographer had a good model vs just an awesome photographer who could make a plank of wood look like Linda Evangelista! (funny visual) However, I may be off my mark lately because sometimes during a shoot, their idea of creativity is in really poor taste. They think throwing a prop out makes it more interesting but I have been doing this for years, I know that every single object in a photograph must have a purpose. A lot of photographers I've done trade with lately have been upsetting the moral code I pose by.It just feels like I'm doing someone a favor and saving them $1000 on a Ford quality model, who can "pose like a motherf*cker" according to the fashion photographer who shot me today... anybody else misjudge who they were working with and end up regretting a trade shoot on account of quality?
Also, are they delusional about their work or do they just not read my profile?

Not only have I felt that I was doing the model a favor, I've gone into shoots intending to do the model a favor.  And I've had models knowingly do me a favor by posing with me.  It's just part of the give and take of TF.  Some folks treat it as a way of beefing up their portfolios only and some consider that one possible goal among many.

I often look at portfolios and wonder why anyone in his right mind would put this or that picture up, and I can guarantee that others have had the same view of some of mine (I sometimes open myself up in the critique forums, so believe me, I know! ) Taste is individual, largely a matter of one's experience, and not really teachable, although fortunes have been lost in the attempt to "learn" good taste.  Grandma Moses, Pierre-Auguste Renoir, Jackson Pollock, Alberto Vargas and Walt Disney are all artists of stature, but they could all be dismissed as talentless hacks by anyone applying too restrictive a set of criteria.

Judging by your post, you've been around the berry patch often enough to know how to avoid the thorns.   And you've been around the berry patch lpng enough to know that there are always thorns.  Everybody has a bad pose, a bad shot, a bad day whether they're hobbyist photographers or $1,000.00 a shoot Ford models.  And they are all equally likely to be delusional in their evaluation of their work. 

I would assume that they've reviewed your profile and portfolio before contacting you, but if you're having that much of a problem, I have to wonder if you are reviewing theirs before accepting their invitations to shoot.

All IMHO, as always.

EDIT:  After seeing some of OP's subsequent comments--Some folks, models, performers, photographers, painters, etc. are essentially technicians in that they tend to work and think within certain prescribed parameters.  Others are essentially fine artists in that their thinking and way of working are more exploratory and more open to trying things just to see what the results will be.  Not that either approach is intrinsically better or worse than the other, it's a matter of application.  You certainly wouldn't an aircraft designer, for example, to say, "Lets put the engines here and see what happens."

My suggestion to the OP would be to spend some time over a cup of coffee with potential TF collaborators to find out how the other person thinks and works.  If they are too different in their approaches, the shoot is almost always going to be disappointing to one or the other and probably to both.  I know some people think pre-shoot meets are a waste of time, but I've found them to be very valuable.

And still very much IMHO.

Amanda Ashley Harris wrote:
I've heard of models showing up older, bigger measurements, bad skin, different hair, shorter, etc and if I was a photographer at that point I would regret doing a trade if I had a specific certain look I needed and they didn't match their port.

That has happened to me plenty of times, including one model who was 30 lbs over her listed weight and her photos here.

It can certainly go both ways.

Faces2Die4 Photography wrote:

Agree.

Imagine: "That guy - Van Gogh - is really weird and has a strange concept of what art is. I would never work with him."

Make your TF decision based on (1) the quality of the photograher's portfolio and (2) whether you think you there will be good creative chemistry between the two of you. But even then there are no guarantees. I think I'm a pretty good photographer, but I still come up with great ideas in my mind that I can't quite make happen in practice.

Arguably not a bad decision to pass on posing for Van Gogh as it wouldn't have been likely to have much beneficial effect during your lifetime and as his sitter you would have usually remained largely anonymous after both of your deaths as well.

On the other hand, if you collected ears...

karenjerzykphotography wrote:
People are EXTREMELY delusional about their work- both models and photographers.

+1

MMayhem, we have to remember, is not the mainstream industry even though there are a few folks here, both models & photographers, who've worked there [or who could]. seems a good bit of confusion results from unrealistic expectations from all sides.

JOEL McDONALD wrote:
The problem may be that you're a Ferrari among Fords.

My suggestion is to be far more selective about the photogs you do trades with and go with photogs that have truly interesting and/or well thought out and planned concept shoots.

Check their MM portfolios at the very least to see if they're up to the task of utilizing you to your utmost potential.

+10  -JULIAN

-B-R-U-N-E-S-C-I- wrote:

If you don't like their work, why are you shooting with them?

TF/test/trade with a good photographer will improve your portfolio and lead to more offers of paid work - that's why most working models do it.

If you're just in it "for the art" then try not to be too judgemental about the people you're working with, as 'artists' typically haven't spent 15 years shooting top level fashion models, so their ways of working might seem a little rough and ready to you.... but if you're creating art, who really cares?

ETA: If you're worried about people contravening your 'moral code' (whatever that is) then maybe you should remove the statement "I like pushing boundaries" from your profile? That could certainly be interpreted in ways you might not like.



Just my $0.02

Ciao
Stefano

www.stefanobrunesci.com

+1 Here i have to agree

If you go into a shoot knowing what their portfolio looks like you willingly shot with this person knowing their limitations. Also a key factor is the that not every picture that comes out of the camera is perfect sometimes you just get some bad pics. In order to "push boundaries" mistakes have to be made on both sides thats how we learn. If you don't like the props, tell the photographer what you want. All of my TFP work i will ask the model the kind of shots they want, when they are satisfied i shoot what i want. Have not had an unhappy model yet (or that is never heard of one )

Farenell Photography wrote:
1. Sounds like you need to get over yourself. I'm talking about "offering them a Ford quality model" mentality because, to be quite frank, you're not w/ them anymore. Its like the identical twin I once worked w/ who tried convincing me that she was agency material because her twin-sister was currently (then) w/ an agency.

Actually, I love Amanda.  She is a wonderful model and great to work with.  In my view, what she is running into is a bit of reality.  It is hard to know who will deliver something you need.  Portfolios are filled with people's best work (or at least that they want to show).  It is hard to say what they do day in and day out.  Likewise, there is no way to know what the chemistry is going to be.

I am remembered of an article I read some years back written by one of Arnie Frietag's apprentice assistants.  He dreamed of being a photographer and eventually went on to become a writer instead.   He explained how he would shoot things or come up with ideas and take them to Arnie for critique.  He rarely got the feedback he expected.  More often than not, the reply was "good try, go back and rethink it."

I think that Amanda has a genuine frustration that I have seen often throughout the years.  It is a real problem, but there is no real solution.  Most people here shoot for fun.  Amanda's gotten to work in the show.  Now she has to learn to deal with the world of MM.

She will do well.  She's a great model.

ImageCRAFTbyAleks wrote:
For the sake of being fair, sometimes it's as simple as "no connection" between the photographer and the model. Trade shoots I've involved myself with tend to have   more open-ended concepts that may be subject to a broad (hazier?) approach in trying to find the right groove/look/vibe. When dealing with third party commission... ("Here... shoot the summer line of resort wear for this designer....",) the scope is more or less defined by the gig that the photographer, model, MUAs, etc, are hired for. In "art shots" that have no financial investment, even if there is a guiding vision, the ultimate image is likely to be accomplished with more trial and error with a greater need of tolerance for the creative process. Because the focus is likely to zero in on expression, body form, and technique, it's more "personal," and if the parties aren't in sync, the end result can look forced or stilted, or worse, contrived. Not to be dismissive or curt, just practical, but if the prop is inappropriate to you, um... so what? Unless you have a mutually invested interest/intent for the end result, such as your own portfolio enhancement, it doesn't really matter. But, you did state that is part of your goal. Then the fair question becomes, have you included EVERY final shot from an assignment in your 15 year career in your book? If you haven't, then a "lesser-than-your-need-trade-photo" gets excluded as well as the ones that you were paid for. I'm not sure what the moral posing code is all about, but I'll assume very forward body shots or acts. Since I don't take any photos remotely like this, it's a non-starter topic for me. However, there are models that feature what some may consider provocative work in their books or online. I checked out your work and it's all very nicely done. However, you do feature some nude work. (Actually, more than some.) How is the photographer to know that there may be "other, possibly more provocative" work that you didn't showcase unless they ask? Unless the guidelines are set upfront... firmly... as to the extent of your personal parameters, then the photographer runs the risk of crossing boundaries if they weren't already established... clearly. Your question didn't address that. As for the levels of experience, I have found that doesn't guarantee "quality."  Within the past year I worked with a prolific actor who makes a living entirely off the craft. Not an easy thing to do. The person's been in film and television frequently. That individual was one of the most difficult models to engage in the shoot as their rote "good side" was consistently presented without trying to break out of what appeared to be cast in stone. Ultimately, I don't think they got entirely what they wanted, nor did I. It was merely more of the same from a long, established, tried-and-true career. And the point of the shoot was to break the mold and to uncover more versatility for greater opportunities. But despite many discussions and what I believe was affirmative direction, we hit the wall over and over again with "safe." And it could have been just "us." And that's just the way it goes some
times.

I was going to write a creative response, but I fell asleep while reading this.

Amanda Ashley Harris wrote:
I am a former Ford model. I have been in the industry for 15 years, with a college break. I am only accepting trade portfolio work if the photographer has stronger work than me or a badass concept because at this point, my heart is in it for art's sake. I can usually tell when a photographer had a good model vs just an awesome photographer who could make a plank of wood look like Linda Evangelista! (funny visual) However, I may be off my mark lately because sometimes during a shoot, their idea of creativity is in really poor taste. They think throwing a prop out makes it more interesting but I have been doing this for years, I know that every single object in a photograph must have a purpose. A lot of photographers I've done trade with lately have been upsetting the moral code I pose by.It just feels like I'm doing someone a favor and saving them $1000 on a Ford quality model, who can "pose like a motherf*cker" according to the fashion photographer who shot me today... anybody else misjudge who they were working with and end up regretting a trade shoot on account of quality?
Also, are they delusional about their work or do they just not read my profile?

I have hard time accepting the lack of quality in your portfolio..   You would do well to  publish  good proffesional prints and photographs..   Hire you a good professional photographer...