Do not sign a model release:

A)  If the photographer and a witness do not sign also.

B)  If you are not provided with a copy of the signed release.

C)  If you are not convinced that the photographer’s work will
represent you in a way that you approve.  This matter
includes the photographer’s choice of potential publishers.

D)  If a model release provided by the photographer seems to
provide protection only for the photographer, not for you.
In this situation, offer your own version of a release as
an alternative.  The sample offered in Appendix D may help.

After you begin to work with an artist, you can usually tell vei
quickly – often within the first session – whether you wish to work
there again.  Refuse to take part again:

A)  If your rights are not respected.

B)  If the individual or group does not take the session

seriously (sometimes people are “too busy” with conversatior
to concentrate on art work).

C)  If you feel that, for some reason, your professional or
personal reputation may suffer through continued
association.

D)  If you’d rather not do it, for any reason.

E)  When you are subjected to sexual or other harassment.  In a
situation of this sort, leave immediately, without waiting
for the end of the session, or even for the end of the pose.
Send a sharp note with your bill (the bill should be for
the full session), and be prepared to report the event to
the police, if it is serious.  This reporting is your
obligation to yourself, and to other models.

Situations like this are very rare, but they can arise.  Every
model should be aware of them, and be prepared for appropriate
action.

A)  Don’t model at a place so far from home that travel is
extremely time-consuming.

B)  Don’t model in your immediate neighborhood, unless you are
comfortable with being recognized as a model.

C)  Don’t model in a neighborhood where you feel unsafe by

yourself, unless you are assured of good companionship to
a more comfortable neighborhood after evening sessions.

D)  Don’t model at a studio that isn’t properly comfortable for
you (see Section 2E).

E)  Don’t model at studios that are delinquent in paying you
for your work.

Models often leave the profession after very few months or
years.  As ordinarily practiced, the profession is thankless and
lonely.  It is usually better to stop before you get bored and angry
– and then to start again later – than it is to go on until you
simply can’t stand it any longer.  Burned-out models, like any other
professionals suffering from burnout, can be harmful, rather than
helpful, to others as well as to themselves.  Burnout can often be
remedied, and even prevented; but while it is there it is a real
problem, and needs to be dealt with.

One way to avoid burnout is to develop friendships with artists
or group moderators you work with regularly.  Doing this helps
prevent a feeling of drudgery in your work.

If you feel burnout coming on, take a break for a week or two –
even if this offers financial difficulty.  You are likely to have a
fresh perspective when you get back to modeling – if you haven’t
waited too long before you took your break.

Find a new setting for modeling, and new artists to work with.
Other suggestions against burnout will come up in sections 30, 31 and
32.

A)  People who can’t find a way to enjoy modeling should not
model.

B)  People who can’t get comfortable with nudity should not
model nude.

C)  People under sixteen should not model except with the
company of a trusted older relative or friend.