The Tweezer Times

By Lisa Golden Schroeder

I’ve been in the business of working as a consultant for corporate food giants, small entrepreneurial food companies, publishers, and any number of other non-food related businesses for 21 years. For much of that time I’ve been available as a freelance food stylist, working in a metropolitan area that knows food photography. Over the years, the studios that shoot any amount of food hired stylists and assistants with a simple phone call. The level of trust was high—it was assumed that the freelancer would show up prepared to do the job, the studio would pay in a timely fashion, and that the client would be happy. Rarely was any formal agreement signed beforehand, unless a corporate giant required a work-for-hire or confidentiality release. But lately, with business less certain and tightened budgets, I’m finding it’s getting more important to spell out what I will provide for any given job. I recently was hired for two different jobs—and both changed midstream with unspoken expectations that I would absorb and respond to the changes with no complaint (or additional charge). But maybe it’s because I’ve been around long enough that I’ve begun to feel less flexible (and a little crabby). I’m beginning to think that it is good policy to have a standard letter of agreement ready to fax or e-mail to a studio or agency that spells out my day or hourly rate, overtime, and cancellation policies for EVERY job. Once a client has confirmed a booking with me, the letter goes out. It may not be necessary to have it signed (unless you’re nervous about getting paid), but at least the studio or hiring agent has been notified of my most current rates and what services they cover—and what I expect if anything above and beyond is necessary.

I’m hearing from many stylists that job “holds” are increasing, with lots of last minute cancellations. I think that because jobs have become more uncertain and clients are waiting for budget approvals or multiple bids to come in, many studios want to be ready when jobs are inked (confirmed). So to ensure they have a stylist they’ll put more than one on hold for sometimes as long as a week or more. And they figure as long as the job is penciled (not confirmed), they won’t be held responsible for cancellation fees if the job falls through. But I think it’s important for both studios and stylists to be firm about the length of time they will remain on hold—and state that up front when the first call comes in.

I guess what I’m thinking is that clients need to know and understand that those of us that execute their projects are just as professional as they are. And deserve the same respect they expect. We won’t turn on a dime for them if we aren’t given good, timely information to get a job done well—or work under unrealistic time frames. Because every time we do, we set the bar higher for the next time, doing a disservice to ourselves and to the rest of our colleagues.

Image © 2008, Mette Nielsen/Lisa Golden Schroeder