What type of project or photograph is it?  Answer that question first then start looking for the photographers that do THAT type of photography and do it well. I have been asked to photograph certain types of things that frankly I don’t have that much experience with. I will politely decline and offer to recommend someone who does that type of work as their specialty. Be cautious of the photographer that claims to do “everything”.

Photography is a niche profession and most photographers have strengths and weakness of what they do very well everyday vs. a few times a year.  You probably wouldn’t ask a motorcyle mechanic to repair your car engine and you shouldn’t assume that a portrait photographer is qualified to shoot a wedding. These are considerations, not rules. There are photographers out there that are great at anything. There is probably a skilled wedding photographer out there that can photograph architectural interiors better than most of the photographers that specialize in interiors.

Nothing else matters if you don’t like the photographer’s work. Study the photographer’s work and be excited about the possibilities for your project. Ask to see examples if you do not see something similar to what you are after. Give the photographer detailed information if you are wanting a specific concept and even send examples or web links if you have something to help explain the shot. Be comfortable with the photographer’s sample work or keep looking for someone else.

Some photographers will be limited by their creativity, experience or equipment.  At the professional level, this is not an inexpensive business to start or run.  Admittedly the most expensive gear can’t take a beautiful image without an experienced and qualified photographer but some images simply require specific equipment.  Likewise, a skilled photographer can do some amazing things with an inexpensive pocket-camera.

Gear: Anyone can buy a camera and build a photography website for the cost of a week’s pay. That same person can buy some inexpensive software to give his images a special look or feel. There is a good reason why the professionals invest in quality gear. It is not uncommon for a working photographer to have $20,000 invested in camera bodies and lenses.  Double that dollar amount for photographers shooting with medium-format cameras.  These dollar amounts do not include all of the studio and location lighting and other equipment necessary to get it done.

Quality gear = control and predictability. Quality images = experience + quality gear. If inexpensive equipment could produce commercial quality images on a predictable basis – everyone would do it. If expensive gear guaranteed commercial quality images, then everyone would do that.

None of this is intended to imply a photographer has to own expensive gear – Lance Armstrong could ride a Huffy and beat us all in a bicycle race.  Likewise, an experienced “natural-light” photographer may be capable of producing beautiful images with a $100 camera, but there are limits imposed on that photographer without specialized gear and experience. Equipment = control and without it, sometimes a photographer is better off passing on some assignments (including yours). One of the best reasons to have and shoot in a studio or indoors is “control” and predictability.

So does the gear or camera matter? Yes and no.  The camera make and model matter the least compared to the lens attached to the camera.  The camera is just a box to grab the light and record it.  A professional lens however can separate the professional from the amateurs in a hurry under difficult conditions.  And without lights and other gear there not be any light for the lens to give the camera.  It just depends on what your project requires.

What about make-up, hair and styling? If you are paying for a professional portrait, ask about these services – it can have a huge impact on the final product for a nominal fee.

Are you purchasing prints, framed art, digital files? Print quality can vary wildly from person to person, lab to lab. Are you getting a print from an inkjet printer in the bedroom or a professional lab with commercial equipment using museum grade light sensitive photograph paper. The side-by-side comparison of these products are eye-opening. Know what you are getting.

If you are choosing a photographer based solely on price you may or may not get what you pay for. A photographer’s rate should be commensurate with the photographer’s experience and ability to produce a quality product. Study the photographer’s work beforehand and make sure you see something you like. Don’t expect the photographer to deliver something unique and different for you that you have not seen an example of. You should question the business model and experience of a professional photographer that charges extremely low rates – how does he afford to invest so much money in his profession and expect to make a profit by charging $100 a person? The answer is that photographer is probably not a professional – it’s a hobby and you might be getting what you paid for.

Are you a new or working model or actor and need some fresh images for your portfolio or comp card? My advice is to get the absolute best photographer you can afford, period. You are investing in your business and shortcuts, like lame or average photographs, are a waste of your time and money.

Just getting started and your budget is limited; find a photographer that will work with you on a TFP agreement. This should be win-win arrangement for both the photographer and model. Your work will benefit the photographer’s portfolio and vice-versa. Not many skilled photographers need the practice for the sake of practicing so provide some examples of your best work to get interest. If you are just getting started and have no professional images then provide some recent photographs that you like.  The first thing you need is a comp-card and this is no small task for anyone involved.  A comp-card includes five DIFFERENT images that highlight your best work and showcase your range.  Don’t try to shoot a comp-card in one day and use more than one photographer if possible.

Scope of Work. Get a proposal before you commit to a photographer. Make sure you know everything you are getting (and everything you are NOT getting). Sometimes the best question to ask when you are not sure about what you are getting or you are confused by a contract: “What is excluded?”. Good intentions mean little if the photographer and client are not on the same page. Pre-packaged offers work for some clients but don’t hesitate to ask questions if you are not sure about what you signing up for.

Do your homework.  Know what your photographer’s plan is and be prepared.  Ask questions and communicate before the shoot.  What are you wearing, how many different changes of clothes are expected to have, what is the backup plan in case of weather or other issues? Should you bring a friend?