Often people will offer time for a CD of the work or printed photos (AKA: TFCD/TFP) as a way to compensate the MUA. This is great for artists who are new to the scene with little on-set experience or talent (or even a camera), but most artists have their own ways of producing quality photos of their work...for less effort than it takes to meet up with people after negotiating a photo shoot.

Photos of our work are nice, but that doesn't replace the make-up, pay the bills, or put food in our bellies. So just how does a model and/or photographer sweeten the deal for a MUA when there is no hard cash to be offered up? Persuade us with other forms of compensation for out time, product, and talent.

Here are five ways that can help persuade an eager artist.

1) GAS MONEY. We drive to your location to use our kit on your model for your shoot that YOU direct. We're serving YOU. Throw us some gas money. Enough to give at least half a tank full or a decent ratio in accordance of distance from where the MUA is traveling from. It's only fair that we get home with about as much gas as we left with if the assignment is non-paying.

2) FOOD. While we're on set, we're likely to get hungry. Sometimes we can't leave the set because we're expected to hang around just out of camera view. If we leave, there is no one to properly touch-up the make-up or start any make-up changes. If there is food on-site, we don't have to take a chance on stopping the production while we're making a food run (and that uses more gas!). I remember a time when I was taken to dinner after a gig. The cast and crew ate together and we had a really good time networking through dinner. A shared meal is the perfect networking scenario. I would work with those people again any day.

3) REIMBURSEMENTS. If there is one thing that slows down a MUA, it's the lack of funds to supply a proper working kit for your project. This is especially a problem if the project is complex or involves a large cast to work on. If our kit needs a few items, off to buy it ahead of time or have reimbursement money ready upon arrival. Something to keep in mind is if you're making money off the project, why aren't we? That's considered a "dirty" tactic and even if you keep it a secret, the truth will more than likely come out soon after the end of the production. It only takes a simple Google search to check up on a published project. It's not worth a tarnished reputation and possible blacklisting. The saying is true: You do not want to anger the make-up artist.

4) COMFORT. Let's be honest, there's nothing more annoying than a diva on set. A true professional MUA will not be a diva and that is not what I am suggesting here when I say there should be a comfortable environment for the MUA to work in. We don't need roses and champagne in a massive AC cooled trailer upon arrival. If you have one, offer a high chair like a bar stool for our model while we work on them. I have my own make-up chair, but many do not. Low chairs hurt our backs and present future health problems if constantly bent over while working. If we're working outside, offer a fan for us so there's cool air flowing while we're working. A sweaty artist is gross. A sweaty model is even grosser and make-up doesn't work when the subject is sweating, nor is it sanitary for the make-up kit. So grab a fan or assemble a make shift shaded area protected from the sun's direct rays. This is also great for protecting the make-up kits from melting and becoming unusable. Another issue in certain set ups is not enough light. Please help us out by having light fixtures we can turn on if the setting is dim-to-dark. Again, only speaking for myself, I usually bring my own extra lighting. Even dim light can present a problem. More time gets killed if we apply the make-up, you see it in front of the camera, and then we all see how wrong it looks in the light and it has to be redone. Overall, be aware of the elements you are putting us in. A hindered artist is a downgraded artist.

5) PROOF OF THE WORK. You ask, "What do you mean, proof? You're getting your photos." Sometimes an artist will do the work, but only end up with a couple photos from the shoot, only photos from a film set, or nothing at all which is just shameful. A resume doesn't thrive without the portfolio photos that correspond to the work on paper. Please give us some reign over what photos we can have for our portfolios, too. I've worked with two fantastic photographers and two directors who have let me down when it came time to exchange portfolio content. On a photo shoot, allow us to look through the pictures. We can do it with you if that makes you feel better about what we're choosing to present to the world. We understand that you may not think you took the best shot to represent your work, but when WE present it, its use is only to showcase the make-up. That's the focus when we put it in a portfolio. If you choose the shot with the entire gown showing because the pose and lighting is perfect, we don't have a close up on the make-up. When it comes to video, offer the rough cuts if you don't want to show off the movie (or you haven't ever finished it). In today's world, technology plays a factor in how we present our work. Prospective employers may want to see a video compilation of our film and TV work as well as the traditional photo portfolio. It's much more of a wow factor to see that gore in action than just a still photo of what happened after the action. Remember: Don't be embarrassed! Employers only want to see the make-up we applied, not the whole movie or photo shoot.

With these tips, the task of seeking out talent for your projects can be an easier process when your budget is very low. You're also more likely to get someone with a higher level of talent and knowledge in their craft. We're here for you, so proper accomodations for the work expected only helps us do our job better.