Hired Hands Models Limited

Feels like summer has come early with these sunny shots for Nyome Nicholas-Williams, hand modelling for The Flat Lay Company. 😎 Bags, brushes, swimwear and gelato by the sea. What's not to like? 🍦🏖️ The Flat Lay Co.'s summer drop is the kind of campaign that lives or dies on the hands holding it - with Nyome masterfully delivering to brief with her trademark assurance. Shot at The Flat Lay Co. studio in Bloomsbury, directed by Bronwyn Wade. 🌺 Brand: @theflatlayco 🎬 Director: Bronwyn Wade 🔗 Full portfolioat hiredhandsmodels.com 👋 Talent: @curvynyome , represented by HHM

Polaroid update — Tara Sumner . We represent Tara for hands, feet, body, sports, and ecommerce modelling. Full portfolio at hiredhandsmodels.com. 👋 Tara Sumner | represented by Hired Hands Models

Hand model and POV camera in one. Jonathan Kogan on Michelob Ultra's 'Step Into Superior Access' for Copa90. The brief was unique: a hand model who could also be the camera, with Jonathan wearing a Cyclops POV helmet rig — a first-person camera mounted at eye level to allow for hands free shots from his POV. Two roles, one performer and a great campaign! Every product moment in the spot is his hands, captured from his own viewpoint. He closes the film holding the Superior Player of the Match trophy handed over (in this edit) by the 'OG Ronaldo' - R9 - Ronaldo Luís Nazário. The hands, the POV, and the trophy moment are Jonathan's. 🏆 Back of the net! ⚽🥅 🏆 @michelobultramx | 'Step Into Superior Access' 🎬 @copa90 | Directed by Dominic O'Riordan 📷 POV rig: Cyclops POV 👋 Hands & POV: Jonathan Kogan

Chris Khanu lifting the roof on the Lego Porsche 911 for 'Build What Drives You' @black_island_studios The brief: Lift the roof off the build in a single motion, timed to the car's run through the wind tunnel as the scene transitions into an 80s neon LA. The lift has to clear in a specific window — too early and the transition's empty, too late and the reveal lands flat. What it takes on set: The build pre-assembled to the exact configuration the shot needs. The lift rehearsed against the camera move. Hands that can land the timing precisely while the moco rig runs the same pass. Credits: 🏎️ @lego Porsche 911 🎬 @outsider_tv 🎨 Direction: Edward Andrews 📷 DoP: Will Bex 👋 Hand model: Chris Khanu

Toye for @asos modelling @drmartensofficial boots. Ecommerce footwear is a discipline that does not get talked about much in modelling — but it is one of the steadiest categories of work the industry produces. Every pair of shoes a brand sells online needs to be photographed clean, on a body that fits the sample size, with the leg styled to sit right against the silhouette of the boot.Toye is 5'11" and a UK 8 — a perfect fit for the ASOS Dr Martens spec, which is why he booked it. Specialist footwear bookings turn on small things: the way a sock breaks at the ankle, the angle the shin holds against the upper, the cleanness of the line from knee to toe. Toye delivers the brief. See more of his work via the link in bio.

Fifty options that might be right, or five that are. Every art buyer knows which they would rather open. Volume without relevance is simply wastage. When an agency sends fifty options without curating, they are not providing a service — they are asking the art buyer to do the curating for them. The work has shifted from the agency's desk to the client's. The maths is straightforward. Fifty thumbnails to compare. Fifty names to remember. Forty-five that the art buyer will discount in the first ten minutes anyway. The selection time on a fifty-option submission is roughly four times the selection time on a five-option submission — for the same final result. A curated submission does the work for the client. Each option vetted against the specific brief. A sentence on each. The decision happens in twenty minutes instead of ninety. The brief stays on schedule. The art buyer goes home on time. Almost all HHM submissions arrive curated against the specific brief. Sometimes that means five options. Sometimes fifteen. The models we send will be to brief — the number depends on the brief, the discipline does not. Send this to anyone who has opened a fifty-option submission this week. Or to a colleague who is about to do the same to someone else.

The call time is 7am. The first frame that makes the final cut is usually shot at 10. The three-hour gap is not slack. It is the set being built, the lights being walked through, the test frames being shot to colour. The gaffer dialling in the key, fill, and rim until the readings match the brief. The DP shooting tests into the colourist's monitor. The set dresser making the prop arrangement photograph cleanly. Hair and makeup. Wardrobe. Continuity reference. Standby positions while the lighting is finalised around the model. The frame at 10am works because the work between 7 and 10 happened. A 7am call is the only way to be in shootable position by 10. Push the call to 8am and the first shootable frame slips to 11. Push it to 9am and the day loses an hour of usable light. The call time is the maths of how long the foundation takes. For the model, the first hour is professional readiness without performing yet. The vast majority of HHM models are selected for this — the discipline of being ready to perform from the first real frame, not the first frame. So, to everyone on set starting at 7am — thank you. The work that does not show in the credits is the work that makes the credits possible.

Micah Barnes for @opinailsuk — September 2025 cover of @scratchmagazine . Editorial body parts work at the macro end of the Y2K aesthetic — multi-colour ombre nails, position-holding under close crop, the precision the cover was built around. Same shoot day, recognisable commercial work also in the can. Both are Micah. Both are HHM. Full work on the HHM site — link in bio.

Micah Barnes for @opinailsuk — September 2025 cover of @scratchmagazine , shot at @wellaworld Studios. One model. Two distinct registers across one shoot day. The editorial cover — Y2K-aesthetic, multi-colour ombre nails on coffin-shaped tips, vampy lip work, the kind of close-crop macro that lives or dies in the precision of the nail look on the page. Lucy Price on nails. The commercial work — recognisable lifestyle frames featuring OPI's Nature Strong Cuticle Serum, the new Repair Mode, and the fresh, glowy ecomm look that pairs with OPI's Infinite Shine line. Charlotte Lowe on nails for the changeover. Editorial body parts modelling and recognisable commercial modelling are different disciplines. The first asks for stillness, position-holding, and the precision to hold a complicated nail look intact frame after frame. The second asks for warmth, expressiveness, and the natural ease that reads as authentic in lifestyle product work. Micah held both — the cover and the campaign — in a single morning. This is what specialist representation across multiple disciplines looks like in practice. Thank you to Mei Posso, Lucy Price, Charlotte Lowe, Madeline Dungar, Chloe Palmer, Leo Hoang, and the team at Wella World Studios. Scratch Magazine — September 2025 cover.

The day rate is the visible cost, but the total cost of the booking tells a different story. A producer comparing quotes line by line in a spreadsheet will see a higher rate for specialist models from one agency and may conclude that it is not value for money when they can source cheaper options from elsewhere. What the spreadsheet does not see — until the post-production invoice lands — is the second column. Retouching when nail beds, cuticle line, or skin texture do not hold up under a macro lens. Reshoot risks occur when the talent struggles to hit the position the brief actually needed. Set overruns when takes need to repeat. Admin time when bookings, releases, and invoices arrive in pieces. A £350 day rate saving against a £400–£800 retouching cost per usable image is not a close call. The maths sits openly on the page once both columns are written down. The vast majority of HHM hand models are selected for how they perform under a macro lens, delivering under scrutiny on the most demanding productions. The cost recovery, through paying the higher day rate to the specialist talent, is then recovered in post. Standardised rates confirmed in advance, no invoice surprises. Family-run since 1991, 250+ vetted models, across multiple specialist disciplines.

Erica Melargo for @countryandtownhouse Collectors Issue - editorial hand-modelling at its most demanding. Shot by @matthewshave with art direction by @ursula_lake , Erica held the brief across the day, frame after frame, with the kind of quiet precision the discipline rewards. Editorial hand modelling at this level is a craft of stillness, accuracy, and direction-readiness. The piece in frame is what the reader sees; the work is what makes the piece read. The vast majority of HHM models are selected for editorial-level performance, and Erica is one of the talents who makes that selection visible. Thank you to Matthew, Ursula, Mollie, Cristina, Emily, and @batterseaparkstudios .

2:17pm on a five-hour shoot. The food stylist rebuilds the dish for the fourteenth time. The part of the shoot nobody sees is continuity. The butter softens under the key light. The chocolate beads. The leaves wilt. Between every take, someone is quietly resetting the scene so the shot list can keep moving. The shot exists because somebody rebuilt it. To every food stylist resetting a dish out of frame while the camera is holding — we see you. Twenty rebuilds a day is not unusual. The framing stays. Everything else gets rebuilt.