Modeling Terms you should be familiar with....
ADVERTISING AGENCY
creates advertising campaigns for clients, selects models.
ART DIRECTOR
artist who creates layout for ads, illustrates model's poses.
BLOCKING
the actual physical movements by actors in any scene.
BLOWUP
enlargement photo from a negative or slide.
BOOKER
person at agency who sets appointments for models.
BOOK OUT
when you tell your agency that you are unavailable to work for certain day(s).
BUYOUT
advance payment for future use of a print ad or a commercial for a specific period of time.
CASTING
choosing models/actors for a specific job
CATALOGUE MODELING
posing for mail order items for major retailers.
CATTLE CALL
several agencies send many models of the same general type to a casting session.
COMMENTARY
script used to describe clothes for a fashion show.
COMMERCIAL
promotional advertisement on TV, radio or other media.
COMMISSION
a percentage of model's fee required as payment to agency.
COMPOSITE CARD
card with 35 photos of model and their details to promote and distribute to prospective clients.
CREATIVE DIRECTOR
ad agency employee who determines the model type.
FADS
an overdone fashion; passing craze.
FASHION COORDINATOR
puts fashion shows outfits together in retail stores.
FIT MODELING
modelling the original sample garment to test for sizing clients chose a model whose measurements match the sample size exactly.
FORMAL FASHION SHOW, RUNWAY SHOW
invited audience, stage, music; models walk down runway to show designer clothing.
FREELANCE
modelling for many clients without agency representation.
FULLLENGTH SHOT
head to toe photograph.
HEAD SHEET
agency sheet, poster, or book of models they represent that goes to prospective clients.
HIGH FASHION
extreme, chic, sophisticated model type.
ILLUSTRATION MODEL
poses for artists.
INFORMAL FASHION SHOW
in stores or restaurants, walk around, no runway
LINEUP
Position of model and garment in a fashion show.
LOCATION
assignment site outside the studio.
MARKET WEEK
46 times per year when seasonal clothing lines are shown to buyers.
MODEL BAG
a large tote in which you carry all your makeup and working essentials.
MODEL RELEASE
contract in which the model gives permission to use the photo as the client specifies.
MODEL AGENCY
represents model for employment and receives a percentage of the bookings.
MONOLOGUE
a scene performed by one person for a client, that reflects a particular mood and demonstrates your acting talent.
OPEN CALL
casting when the client sees all models suitable for the type requested.
PORTFOLIO
casebook which show the model at his/her photogenic best and samples of their work (tear sheets).
PRINT WORK
photography taken for catalogue and mail order, books, brochures, ads for magazines or newspapers, magazine covers, commercial photography for
household products, business products and services, glamour products.
PROOF
intermediate stage of photo development from which you can chose best poses.
PUBLIC RELATIONS
creating an image of a product or service in the eyes of the public, mainly through newspaper articles.
RESIDUALS
additional money paid when a piece runs in repeat.
ROUNDS
calling on prospective clients for photography and television.
RUNWAY
a narrow raised platform on which the model shows the clothing.
SCOUT
to look for prospective models from other, smaller agencies, other locations.
SHOWROOM WORK
manufacturer's showcase of a clothing line to buyers using live models when the seasonal clothing designs are being shown.
SLATE
to state your name on camera before your commercial audition.
SPEC SHOT
photographer's idea of a comp, which he/she hopes to sell to the client.
SPOKESPERSON
model chosen to explain the features of a product/service.
STATS
Statistical information of a model, including measurements, size, height, etc
STOCK PHOTOGRAPHER
one whose work is not for a specific client or job, but whose photos get listed in a general catalogue by number for any client to select.
STORYBOARD
artwork that shows each scene of a commercial.
STROBE
light unit used by a photographer.
TESTIMONIAL
celebrity declaration to the value of a product/service; improvisational endorsement of a product or service that the actor has officially tested, used and
approved.
TEST SHOTS; TEST PHOTOGRAPHY
free or low cost photos used to build a beginning portfolio 3/4.
SHOTS
photo from head to mid thigh.
TRADE SHOWS
industry promotional display of products/services usually in a hotel or convention centre.
TRANSPARENCIES
the slide forms of a photograph.
TRUNK SHOW
informal modeling of one specific designer line, usually in a store or small boutique.
USAGE
additional fees for higher exposure, like a billboard or national use.
WEATHER PERMIT
a location job that is dependent on fair weather, may be cancelled the day before or that morning.
ADVERTISING AGENCY
creates advertising campaigns for clients, selects models.
ART DIRECTOR
artist who creates layout for ads, illustrates model's poses.
BLOCKING
the actual physical movements by actors in any scene.
BLOWUP
enlargement photo from a negative or slide.
BOOKER
person at agency who sets appointments for models.
BOOK OUT
when you tell your agency that you are unavailable to work for certain day(s).
BUYOUT
advance payment for future use of a print ad or a commercial for a specific period of time.
CASTING
choosing models/actors for a specific job
CATALOGUE MODELING
posing for mail order items for major retailers.
CATTLE CALL
several agencies send many models of the same general type to a casting session.
COMMENTARY
script used to describe clothes for a fashion show.
COMMERCIAL
promotional advertisement on TV, radio or other media.
COMMISSION
a percentage of model's fee required as payment to agency.
COMPOSITE CARD
card with 35 photos of model and their details to promote and distribute to prospective clients.
CREATIVE DIRECTOR
ad agency employee who determines the model type.
FADS
an overdone fashion; passing craze.
FASHION COORDINATOR
puts fashion shows outfits together in retail stores.
FIT MODELING
modelling the original sample garment to test for sizing clients chose a model whose measurements match the sample size exactly.
FORMAL FASHION SHOW, RUNWAY SHOW
invited audience, stage, music; models walk down runway to show designer clothing.
FREELANCE
modelling for many clients without agency representation.
FULLLENGTH SHOT
head to toe photograph.
HEAD SHEET
agency sheet, poster, or book of models they represent that goes to prospective clients.
HIGH FASHION
extreme, chic, sophisticated model type.
ILLUSTRATION MODEL
poses for artists.
INFORMAL FASHION SHOW
in stores or restaurants, walk around, no runway
LINEUP
Position of model and garment in a fashion show.
LOCATION
assignment site outside the studio.
MARKET WEEK
46 times per year when seasonal clothing lines are shown to buyers.
MODEL BAG
a large tote in which you carry all your makeup and working essentials.
MODEL RELEASE
contract in which the model gives permission to use the photo as the client specifies.
MODEL AGENCY
represents model for employment and receives a percentage of the bookings.
MONOLOGUE
a scene performed by one person for a client, that reflects a particular mood and demonstrates your acting talent.
OPEN CALL
casting when the client sees all models suitable for the type requested.
PORTFOLIO
casebook which show the model at his/her photogenic best and samples of their work (tear sheets).
PRINT WORK
photography taken for catalogue and mail order, books, brochures, ads for magazines or newspapers, magazine covers, commercial photography for
household products, business products and services, glamour products.
PROOF
intermediate stage of photo development from which you can chose best poses.
PUBLIC RELATIONS
creating an image of a product or service in the eyes of the public, mainly through newspaper articles.
RESIDUALS
additional money paid when a piece runs in repeat.
ROUNDS
calling on prospective clients for photography and television.
RUNWAY
a narrow raised platform on which the model shows the clothing.
SCOUT
to look for prospective models from other, smaller agencies, other locations.
SHOWROOM WORK
manufacturer's showcase of a clothing line to buyers using live models when the seasonal clothing designs are being shown.
SLATE
to state your name on camera before your commercial audition.
SPEC SHOT
photographer's idea of a comp, which he/she hopes to sell to the client.
SPOKESPERSON
model chosen to explain the features of a product/service.
STATS
Statistical information of a model, including measurements, size, height, etc
STOCK PHOTOGRAPHER
one whose work is not for a specific client or job, but whose photos get listed in a general catalogue by number for any client to select.
STORYBOARD
artwork that shows each scene of a commercial.
STROBE
light unit used by a photographer.
TESTIMONIAL
celebrity declaration to the value of a product/service; improvisational endorsement of a product or service that the actor has officially tested, used and
approved.
TEST SHOTS; TEST PHOTOGRAPHY
free or low cost photos used to build a beginning portfolio 3/4.
SHOTS
photo from head to mid thigh.
TRADE SHOWS
industry promotional display of products/services usually in a hotel or convention centre.
TRANSPARENCIES
the slide forms of a photograph.
TRUNK SHOW
informal modeling of one specific designer line, usually in a store or small boutique.
USAGE
additional fees for higher exposure, like a billboard or national use.
WEATHER PERMIT
a location job that is dependent on fair weather, may be cancelled the day before or that morning.
The market determines what models are needed. These needs tend to cluster into market segments and allow us to look at types of models. It is
important to understand the type of model you want to be. By understanding the type of modeling you are interested in you can learn what the
requirements are and if you can meet them. This also helps in avoiding getting ripped off.
So what are some of the major markets and types of modeling?
Fashion Modeling
The Garment and Beauty product industries are large users of models. People want to see what clothes or beauty products
look like on somebody. Your high-fashion, designer-label garments, are designed for what fashion designers view as the
"ideal woman." This is someone tall and slender, somewhat leggy, with a swan like neck and very young. In major markets like
New York, this is someone who is 5'9" to 6' tall and from a size 8 to a size 0 depending on what is in. For men it is at
least 6 foot tall and a 40 regular - of course, you have to have that "look" to go with the clothes. In secondary markets we
would like to have this but often work with fashion models that don't meet these measurements. It is more important you just
have a look of being tall and slender and that the sample clothes will fit you. The "look" can run from classic beauty to some
extreme looks for fashion magazine editorial. If you are going to work in front of the camera you need to be photogenic, and
this you won't know until you do a test shoot.
On the money - Top New York High Fashion models (there are just a handful of these) make more money then any other models. By contrast a model
doing a fashion show at a local mall may get paid nothing. This shows the wide range of income one might expect in fashion modeling.
Types of Fashion modeling
FASHION EDITORIAL MODELING - Vogue, Elle, Glamour, Cosmo, etc. - these and many other magazines today that focus on fashion have lots of
editorial pages they must fill each month. Many of these editorial pages feature models wearing what the magazine thinks will be the next trend in
fashion. Editorial work does not pay as well as other types of high fashion modeling but it is great for building a model's reputation and getting tear
sheets for one's portfolio. Also, because fashion magazines are not as constrained as advertising work, they can use more 'extreme' and 'special
beauty' models in their pages.
FASHION RUNWAY MODELING - Clothing designers traditionally show their new collections twice a year (Fall and Spring) to perspective (store)
buyers. (buyers is a key word here, if some one is putting on a fashion show without buyer then it is entertainment). Designers present these collections
to a gathering of buyers by sending models down a walkway or runway. How well a model brings the clothes to life and shows important features of the
garments can determine how well they sell. So it is worth it to a designer to have the most ideal models show these collections. This leads to why
models have to meet very strict requirements and why they get such high fees for this type of work (modeling agencies have also forced up fees).
These young models tend to be very tall, slender and move very well in clothes.
FASHION CATALOG MODELING - There are a lot of clothing catalogs produced. These catalogs, whether business, store, or direct marketing, require
models to pose in the clothes they are trying to sell. Generally, catalog models are picked for a project because they represent the ideal of the market
segment for which that catalog is targeted. Often times this is the classic beauty - tall, slender, healthy, and beautiful. The marketing idea is for
transference, i.e. if you buy these clothes you will look as nice as the person pictured in the catalog. Catalog modeling usually pays well because of the
volume of photos that must be taken.
FASHION PRINT MODELING - This is fashion and beauty for print advertising. It can be display ads or collateral print materials. This is the most
demanding work to get but pays the best because of usage and exclusive. These are the ads that can make or break a designer's reputation. With
these ads it is very important that the concept, photo, and model work perfectly to convey the 'image' that is wanted.
FASHION SHOW ROOM MODELING - Modeling for buyers in the designer's show room.
FASHION LINGERIE MODELING - Because this type of modeling may be more revealing it requires very good body tone and proportions.
FASHION BATHING SUIT MODELING - Again, more revealing requires excellent body tone and a healthy look.
FASHION FITNESS MODELING - As health and fitness has moved more into the public consciousness a greater demand has grown in this type of
modeling. Where once everyone exercised in baggy gray sweats, fitness attire continues to evolve and become more everyday wear. Add to this all of
the fitness, health, and outdoor lifestyle magazines that are on the newsstands and you have a fast growing category for modeling.
FASHION FIT MODELING - Fit models have the perfect proportions for a given clothing size. Garment manufactures and designers hire fit models to
use to piece together new creations, see how they move, and develop their patterns. The key for a fit model is to never gain or loose an inch. A
clothing manufacturer may hire a fit model as a permanent salary position. It is one type of legitimate modeling that you can see advertised in the
classified section of the newspaper.
FASHION TEAROOM MODELING - This once was very popular (the '80s) in smaller markets. Usually it would be at ladies' luncheons where models
would wander between tables wearing designer clothes from local fashion boutiques. The models would describe the outfit they wore and where to buy
it. Not big bucks, but a place to start and gain confidence in a small market.
FURTHER DIVISIONS - These categories can have further sub-categories for size - petite and plus, and for age - children, preteen, and mature. Petite
size models usually are 5'2" to 5'6". Plus size is the same height as standard size models but size 14 -16. Main stream models usually start in around 14
years of age and go to their early twenties. Obviously pre-teen is before this age and mature is everything after it.
A category of modeling will only be found where there are clients to support it. Since almost all of the fashion magazines are based in New York, that is
where you will find work in the fashion editorial modeling category.
Body Part Modeling
Body part modeling is a special category that belongs in both fashion and commercial modeling. This is the use of just part of the
body in a photograph. Often standard models that look great in full-length shots or head shots don't look so good close up. Their
hands or feet may look horrible. This is where the body parts model comes in. We will set up a shoot using the standard model's face
but the body part model's hands and it looks like it is just one person. Usually body part models will specialize in just one part of the
body like hands, feet, legs, ears, or neck.
Hand models
With hand models they look for long slender graceful hands and fingers, also for smooth (no wrinkles, hair or large pours), clear (no blemishes or
irregular color) skin, and very good nails. The ability to pose the hand in a relaxed graceful fashion is very important. This is like a hula dancer that can
tell a story with their hands and avoid what I call "the claw" that most people produce when put in front of the camera. Body parts model follow a similar
path as regular models with finding modeling agencies, building portfolios and having comp cards.
Commercial Modeling
Commercial modeling is sort of the catch all for everything that isn't fashion and isn't glamour. It is vast and diverse. The physical requirements can
vary greatly. The 'look' can be mom, business executive, scientist, glamorous beauty, etc. The pay can be good but not to the level of the top fashion
model and commercial models tend to find work less often. But it can be an area on can work part time at their whole life. Again, the purpose is to sell
something - a product, service, or idea.
Some Categories of Commercial Modeling
COMMERCIAL PRODUCT MODELING - Generally we are generating a photo to sell a product and the model is used to show how the product is used.
Also, model may be used to convey an image about a product. An example would be a model dressed like a doctor holding a blood pressure device.
This gives an image of medical authority being behind the product. There is also the old Madison Avenue technique of selling a product by putting
someone attractive by it. Although it may not be politically correct to do this, it still is done and it works. People stop to look at a pretty face. The
physical requirements and look for commercial product modeling can vary a great deal. It all depends on the image or story you are trying to tell. This is
where character models are used.
COMMERCIAL LIFESTYLE MODELING - Models are used in photos showing a period of life or doing something in life. The photo might be an older
couple walking on the beach and the photo is used in the advertising materials for a new retirement resort. Or a photo of a young couple playing in a
park with their children and the photo is used in an ad for a life insurance company. The models are used to act out some concept or idea of life. The
physical requirements, age, size, etc. can vary greatly. But most often they use the "beautiful people" in these photos rather then real people off the
street.
COMMERCIAL CORPORATE MODELING - Corporate modeling is like Lifestyle but it always has a business theme. Again physical requirements can
vary greatly, but usually attractive people are used - although sometimes character models are used.
PRODUCT DEMO - In smaller markets this seems to be a favorite area to start models. Models stand in front of, or in a store or mall, and hand out free
samples of something. The idea is they want someone attractive that people will be drawn to and will work for just a few hours or a few days. When you
are young and starting out this pays better then any regular job and it can really build your confidence around people.
TRADE SHOW MODELING - Once again attractive people are attention getters. When a trade show comes to town some exhibitors may hire models to
hand out literature at their booths. One of the classics examples of this is the auto show. Again, it gives some income when you are starting out and
gets you in front of the public.
SPORTS/ATHETICALLY PROFICIENT/FITNESS - This is kind of lumping a lot together but this has been a growing area in modeling. With sport attire
companies like Nike and the increase number of personal sports, fitness and outdoor magazines the need for models that look like they actually know
what they are doing has grown. The idea is to look good and actual be proficient at the activity being photographed.
HOBBY MODELING - This is modeling for the fun of it, to help out a cause or a place to get started. Some folks may never make a living at modeling
but enjoy being in front of the camera or being on the runway. It also ties in with organization that might put on a fashion show as a fund raiser. There
have also been cases where some one may start modeling just for fun and this may some day lead to a career.
WARM BODY MODELING - This is where you just need someone to put in a photo. When doing an outdoor tourist bureau type photos you often find
you need someone hiking a trail or standing at an overlook, this is where you need a warm body to help animate the photo. This type of modeling does
not pay much and may even be done on spec, but if you like doing outdoors or tourist activities it is a chance to make a dollar while having fun. This
type of modeling can be open to all ages and sizes.
Glamour Modeling
These could be simple cheesecake or beefcake photos. They can include bikini, sexy outfits and lingerie modeling. Photos can
be used for calendars, posters, and other pin-up girl products. You can't pick up a car magazine without seeing a model by the
car or truck. As one moves to greater states of un-dress you move to the adult entertainment industry with high-end men's
magazines like Playboy and then on down to the low-end back-ally magazines. And let's not forget the Internet that is now loaded with
all levels of sexual photos. Consider all of the parts of this side of modeling it is a very big industry and top glamour models can make very good money
($150,000 a year). There are no height or size requirements as in fashion modeling. Where fashion modeling wants you to look like a beanstalk,
glamour modeling wants you to have curves. Where fashion may want a 'special beauty look', glamour modeling wants traditional drop dead gorgeous;
where fashion really only happens in New York, glamour can happen anywhere and does.
With the way the laws are today a photographer runs a real risk doing any kind of sexy photo with someone under 18. If mothers are being thrown in jail
for photographing their own children taking a bath and putting the photo in a family album, I think the risk is too great and the return too small to do any
glamour work with someone under 18. But this certainly opens up the field for women in their 20's, 30's, 40's and we are even seeing more good
looking grandmothers in their 50's showing up.
This field is easy to get started in, as there are a lot of photographers who would love to do test shoots and photo assignments with glamour models.
Getting into the high paying work can take as much effort as becoming a high fashion model.
A model personality
Besides needing the physical requirement to be a model you also need a personality for it. Professional modeling is a tough business. Only certain
people can stand up to the hard work schedule and stress that modeling demands. So what are some good traits for a model?
1) Love the Show - When you hear, 'It's show time' or 'Time for magic' do you come alive? If you love performing and being in front of an audience,
whether it's a room full of people or the eye of the camera, you will enjoy modeling. If it is something you enjoy you are more apt to work hard at it, take
greater risk, and work through the hardships that come along. If you love the work, you will love your life. If you hate the work, you'll be miserable.
2) Hard Working - Modeling takes a lot of hard work and stamina. A photo shoot can run as long as 16 hours and at all times of the day & night. Just
getting a job can have you running all over town. And at the end of the day you still have to do all the stuff needed to keep you in shape and looking
beautiful.
3) Projection - You need to be able to project your personality, your charisma, your charm, and your sex appeal. You need to be able to sell yourself
to be able to sell the product.
4) Intelligent - There is a lot to learn about modeling, being an independent business person, about yourself and about surviving in a big world of
sharks. If you can't learn it fast you could get eaten alive.
5) Extrovert - You will be constantly meeting new people and walking into new situations. You will be performing before strangers every day. You need
to like new experiences, challenges, and meeting new people. If you are shy and reserved you will forever be uncomfortable modeling.
6) Good Self Esteem - This industry is a real ego bruiser. Good self-esteem can help pick you up and get you through those tough times.
7) Ambition - For most, careers in modeling won't come easy. You will have to go through trials and tribulations before you achieve success. The
ambition and desire to succeed and achieve your goals in modeling will help you over the temporary set backs that come along.
8) Self-Starter - As a model you are an independent business person in charge of your own career. You must be able to take charge of you. This
includes your training, your physical upkeep, your professional practices, your finances, and your life.
9) In Control - You need to be able to control your health (size and fitness), your body for posing, your emotions for acting them out, and your life so
you show up on time.
10) Organized - You have to keep track of your schedule, your finances, your modeling materials, and your body's up keep.
Stage Mom
One thing that can be a great help for one's modeling career is a good stage mom. This can actually be a mom, dad or grandparent. I lump them all
together as 'stage mom' and as far as I am concerned if you have a good one they are worth their weight in gold. One of the best things a young
model can have is a parent who can help you develop your career. A good stage mom learns the business, helps keep things organized, watches out
for scams, helps avoid dangerous situations, provides transportation, helps with training, encourages practice, provides emotional support, and at the
start of a career provides the financing. And for all of this, stage moms get to melt into the background and let their son or daughter move into center
stage and become a star.
Of course you always hear about the bad stage moms - the bossy, interfering, and overbearing stage moms - the ones trying to live the life they never
had through their children. You never hear about the good stage moms - the ones the photographer turns to when the model has forgotten something
and mom is right there with it: the stage mom who works tirelessly in the background so her daughter or son, the model, is on time and ready for the
task at hand. Well, let me say I appreciate a good stage mom as the professional she is.
important to understand the type of model you want to be. By understanding the type of modeling you are interested in you can learn what the
requirements are and if you can meet them. This also helps in avoiding getting ripped off.
So what are some of the major markets and types of modeling?
Fashion Modeling
The Garment and Beauty product industries are large users of models. People want to see what clothes or beauty products
look like on somebody. Your high-fashion, designer-label garments, are designed for what fashion designers view as the
"ideal woman." This is someone tall and slender, somewhat leggy, with a swan like neck and very young. In major markets like
New York, this is someone who is 5'9" to 6' tall and from a size 8 to a size 0 depending on what is in. For men it is at
least 6 foot tall and a 40 regular - of course, you have to have that "look" to go with the clothes. In secondary markets we
would like to have this but often work with fashion models that don't meet these measurements. It is more important you just
have a look of being tall and slender and that the sample clothes will fit you. The "look" can run from classic beauty to some
extreme looks for fashion magazine editorial. If you are going to work in front of the camera you need to be photogenic, and
this you won't know until you do a test shoot.
On the money - Top New York High Fashion models (there are just a handful of these) make more money then any other models. By contrast a model
doing a fashion show at a local mall may get paid nothing. This shows the wide range of income one might expect in fashion modeling.
Types of Fashion modeling
FASHION EDITORIAL MODELING - Vogue, Elle, Glamour, Cosmo, etc. - these and many other magazines today that focus on fashion have lots of
editorial pages they must fill each month. Many of these editorial pages feature models wearing what the magazine thinks will be the next trend in
fashion. Editorial work does not pay as well as other types of high fashion modeling but it is great for building a model's reputation and getting tear
sheets for one's portfolio. Also, because fashion magazines are not as constrained as advertising work, they can use more 'extreme' and 'special
beauty' models in their pages.
FASHION RUNWAY MODELING - Clothing designers traditionally show their new collections twice a year (Fall and Spring) to perspective (store)
buyers. (buyers is a key word here, if some one is putting on a fashion show without buyer then it is entertainment). Designers present these collections
to a gathering of buyers by sending models down a walkway or runway. How well a model brings the clothes to life and shows important features of the
garments can determine how well they sell. So it is worth it to a designer to have the most ideal models show these collections. This leads to why
models have to meet very strict requirements and why they get such high fees for this type of work (modeling agencies have also forced up fees).
These young models tend to be very tall, slender and move very well in clothes.
FASHION CATALOG MODELING - There are a lot of clothing catalogs produced. These catalogs, whether business, store, or direct marketing, require
models to pose in the clothes they are trying to sell. Generally, catalog models are picked for a project because they represent the ideal of the market
segment for which that catalog is targeted. Often times this is the classic beauty - tall, slender, healthy, and beautiful. The marketing idea is for
transference, i.e. if you buy these clothes you will look as nice as the person pictured in the catalog. Catalog modeling usually pays well because of the
volume of photos that must be taken.
FASHION PRINT MODELING - This is fashion and beauty for print advertising. It can be display ads or collateral print materials. This is the most
demanding work to get but pays the best because of usage and exclusive. These are the ads that can make or break a designer's reputation. With
these ads it is very important that the concept, photo, and model work perfectly to convey the 'image' that is wanted.
FASHION SHOW ROOM MODELING - Modeling for buyers in the designer's show room.
FASHION LINGERIE MODELING - Because this type of modeling may be more revealing it requires very good body tone and proportions.
FASHION BATHING SUIT MODELING - Again, more revealing requires excellent body tone and a healthy look.
FASHION FITNESS MODELING - As health and fitness has moved more into the public consciousness a greater demand has grown in this type of
modeling. Where once everyone exercised in baggy gray sweats, fitness attire continues to evolve and become more everyday wear. Add to this all of
the fitness, health, and outdoor lifestyle magazines that are on the newsstands and you have a fast growing category for modeling.
FASHION FIT MODELING - Fit models have the perfect proportions for a given clothing size. Garment manufactures and designers hire fit models to
use to piece together new creations, see how they move, and develop their patterns. The key for a fit model is to never gain or loose an inch. A
clothing manufacturer may hire a fit model as a permanent salary position. It is one type of legitimate modeling that you can see advertised in the
classified section of the newspaper.
FASHION TEAROOM MODELING - This once was very popular (the '80s) in smaller markets. Usually it would be at ladies' luncheons where models
would wander between tables wearing designer clothes from local fashion boutiques. The models would describe the outfit they wore and where to buy
it. Not big bucks, but a place to start and gain confidence in a small market.
FURTHER DIVISIONS - These categories can have further sub-categories for size - petite and plus, and for age - children, preteen, and mature. Petite
size models usually are 5'2" to 5'6". Plus size is the same height as standard size models but size 14 -16. Main stream models usually start in around 14
years of age and go to their early twenties. Obviously pre-teen is before this age and mature is everything after it.
A category of modeling will only be found where there are clients to support it. Since almost all of the fashion magazines are based in New York, that is
where you will find work in the fashion editorial modeling category.
Body Part Modeling
Body part modeling is a special category that belongs in both fashion and commercial modeling. This is the use of just part of the
body in a photograph. Often standard models that look great in full-length shots or head shots don't look so good close up. Their
hands or feet may look horrible. This is where the body parts model comes in. We will set up a shoot using the standard model's face
but the body part model's hands and it looks like it is just one person. Usually body part models will specialize in just one part of the
body like hands, feet, legs, ears, or neck.
Hand models
With hand models they look for long slender graceful hands and fingers, also for smooth (no wrinkles, hair or large pours), clear (no blemishes or
irregular color) skin, and very good nails. The ability to pose the hand in a relaxed graceful fashion is very important. This is like a hula dancer that can
tell a story with their hands and avoid what I call "the claw" that most people produce when put in front of the camera. Body parts model follow a similar
path as regular models with finding modeling agencies, building portfolios and having comp cards.
Commercial Modeling
Commercial modeling is sort of the catch all for everything that isn't fashion and isn't glamour. It is vast and diverse. The physical requirements can
vary greatly. The 'look' can be mom, business executive, scientist, glamorous beauty, etc. The pay can be good but not to the level of the top fashion
model and commercial models tend to find work less often. But it can be an area on can work part time at their whole life. Again, the purpose is to sell
something - a product, service, or idea.
Some Categories of Commercial Modeling
COMMERCIAL PRODUCT MODELING - Generally we are generating a photo to sell a product and the model is used to show how the product is used.
Also, model may be used to convey an image about a product. An example would be a model dressed like a doctor holding a blood pressure device.
This gives an image of medical authority being behind the product. There is also the old Madison Avenue technique of selling a product by putting
someone attractive by it. Although it may not be politically correct to do this, it still is done and it works. People stop to look at a pretty face. The
physical requirements and look for commercial product modeling can vary a great deal. It all depends on the image or story you are trying to tell. This is
where character models are used.
COMMERCIAL LIFESTYLE MODELING - Models are used in photos showing a period of life or doing something in life. The photo might be an older
couple walking on the beach and the photo is used in the advertising materials for a new retirement resort. Or a photo of a young couple playing in a
park with their children and the photo is used in an ad for a life insurance company. The models are used to act out some concept or idea of life. The
physical requirements, age, size, etc. can vary greatly. But most often they use the "beautiful people" in these photos rather then real people off the
street.
COMMERCIAL CORPORATE MODELING - Corporate modeling is like Lifestyle but it always has a business theme. Again physical requirements can
vary greatly, but usually attractive people are used - although sometimes character models are used.
PRODUCT DEMO - In smaller markets this seems to be a favorite area to start models. Models stand in front of, or in a store or mall, and hand out free
samples of something. The idea is they want someone attractive that people will be drawn to and will work for just a few hours or a few days. When you
are young and starting out this pays better then any regular job and it can really build your confidence around people.
TRADE SHOW MODELING - Once again attractive people are attention getters. When a trade show comes to town some exhibitors may hire models to
hand out literature at their booths. One of the classics examples of this is the auto show. Again, it gives some income when you are starting out and
gets you in front of the public.
SPORTS/ATHETICALLY PROFICIENT/FITNESS - This is kind of lumping a lot together but this has been a growing area in modeling. With sport attire
companies like Nike and the increase number of personal sports, fitness and outdoor magazines the need for models that look like they actually know
what they are doing has grown. The idea is to look good and actual be proficient at the activity being photographed.
HOBBY MODELING - This is modeling for the fun of it, to help out a cause or a place to get started. Some folks may never make a living at modeling
but enjoy being in front of the camera or being on the runway. It also ties in with organization that might put on a fashion show as a fund raiser. There
have also been cases where some one may start modeling just for fun and this may some day lead to a career.
WARM BODY MODELING - This is where you just need someone to put in a photo. When doing an outdoor tourist bureau type photos you often find
you need someone hiking a trail or standing at an overlook, this is where you need a warm body to help animate the photo. This type of modeling does
not pay much and may even be done on spec, but if you like doing outdoors or tourist activities it is a chance to make a dollar while having fun. This
type of modeling can be open to all ages and sizes.
Glamour Modeling
These could be simple cheesecake or beefcake photos. They can include bikini, sexy outfits and lingerie modeling. Photos can
be used for calendars, posters, and other pin-up girl products. You can't pick up a car magazine without seeing a model by the
car or truck. As one moves to greater states of un-dress you move to the adult entertainment industry with high-end men's
magazines like Playboy and then on down to the low-end back-ally magazines. And let's not forget the Internet that is now loaded with
all levels of sexual photos. Consider all of the parts of this side of modeling it is a very big industry and top glamour models can make very good money
($150,000 a year). There are no height or size requirements as in fashion modeling. Where fashion modeling wants you to look like a beanstalk,
glamour modeling wants you to have curves. Where fashion may want a 'special beauty look', glamour modeling wants traditional drop dead gorgeous;
where fashion really only happens in New York, glamour can happen anywhere and does.
With the way the laws are today a photographer runs a real risk doing any kind of sexy photo with someone under 18. If mothers are being thrown in jail
for photographing their own children taking a bath and putting the photo in a family album, I think the risk is too great and the return too small to do any
glamour work with someone under 18. But this certainly opens up the field for women in their 20's, 30's, 40's and we are even seeing more good
looking grandmothers in their 50's showing up.
This field is easy to get started in, as there are a lot of photographers who would love to do test shoots and photo assignments with glamour models.
Getting into the high paying work can take as much effort as becoming a high fashion model.
A model personality
Besides needing the physical requirement to be a model you also need a personality for it. Professional modeling is a tough business. Only certain
people can stand up to the hard work schedule and stress that modeling demands. So what are some good traits for a model?
1) Love the Show - When you hear, 'It's show time' or 'Time for magic' do you come alive? If you love performing and being in front of an audience,
whether it's a room full of people or the eye of the camera, you will enjoy modeling. If it is something you enjoy you are more apt to work hard at it, take
greater risk, and work through the hardships that come along. If you love the work, you will love your life. If you hate the work, you'll be miserable.
2) Hard Working - Modeling takes a lot of hard work and stamina. A photo shoot can run as long as 16 hours and at all times of the day & night. Just
getting a job can have you running all over town. And at the end of the day you still have to do all the stuff needed to keep you in shape and looking
beautiful.
3) Projection - You need to be able to project your personality, your charisma, your charm, and your sex appeal. You need to be able to sell yourself
to be able to sell the product.
4) Intelligent - There is a lot to learn about modeling, being an independent business person, about yourself and about surviving in a big world of
sharks. If you can't learn it fast you could get eaten alive.
5) Extrovert - You will be constantly meeting new people and walking into new situations. You will be performing before strangers every day. You need
to like new experiences, challenges, and meeting new people. If you are shy and reserved you will forever be uncomfortable modeling.
6) Good Self Esteem - This industry is a real ego bruiser. Good self-esteem can help pick you up and get you through those tough times.
7) Ambition - For most, careers in modeling won't come easy. You will have to go through trials and tribulations before you achieve success. The
ambition and desire to succeed and achieve your goals in modeling will help you over the temporary set backs that come along.
8) Self-Starter - As a model you are an independent business person in charge of your own career. You must be able to take charge of you. This
includes your training, your physical upkeep, your professional practices, your finances, and your life.
9) In Control - You need to be able to control your health (size and fitness), your body for posing, your emotions for acting them out, and your life so
you show up on time.
10) Organized - You have to keep track of your schedule, your finances, your modeling materials, and your body's up keep.
Stage Mom
One thing that can be a great help for one's modeling career is a good stage mom. This can actually be a mom, dad or grandparent. I lump them all
together as 'stage mom' and as far as I am concerned if you have a good one they are worth their weight in gold. One of the best things a young
model can have is a parent who can help you develop your career. A good stage mom learns the business, helps keep things organized, watches out
for scams, helps avoid dangerous situations, provides transportation, helps with training, encourages practice, provides emotional support, and at the
start of a career provides the financing. And for all of this, stage moms get to melt into the background and let their son or daughter move into center
stage and become a star.
Of course you always hear about the bad stage moms - the bossy, interfering, and overbearing stage moms - the ones trying to live the life they never
had through their children. You never hear about the good stage moms - the ones the photographer turns to when the model has forgotten something
and mom is right there with it: the stage mom who works tirelessly in the background so her daughter or son, the model, is on time and ready for the
task at hand. Well, let me say I appreciate a good stage mom as the professional she is.
Modeling is not like becoming a doctor where you have a set path of schooling that costs a large amount of
money but you are assured if you complete the program of study you will become a doctor and you will have an
income. For a lot of modeling you either have the talent and look that a client is looking for or you don't.
A model is generally an independent contractor and with any business there are some start up cost involved.
The challenge is coming to understand what are reasonable cost of getting into the modeling game and at what
point is someone taking advantage of your dreams and ignorance of the modeling profession. Only through
education can you hope to know the difference. I do not offer all of the answers but I hope the following material
will start you on the right road to learning about modeling.
Do you have what it takes to be come a
highly paid high fashion model?
Most people who read this are looking for the dream of becoming a high fashion model, for themselves or
someone they know. The world of "modeling" includes many types of modeling but the high fashion model
on the Paris runway or the cover of Vogue is the one that most know about. This high fashion world is distant,
unknown, glamorous and for most unattainable. This world of high fashion modeling is the most financially
rewarding form of modeling but it is only one of many different types of modeling. When you say, "I want to
become a model," you need to be sure what category of model you are talking about. Your first step
(and before you spend any money) is to learn as much as possible about the modeling industry. This education
not only can answer your questions and help to build a possible career but more importantly help you avoid the
scams, the rip offs, the bad businesses and all that surrounds modeling.
What is legitimate and what is not legitimate in modeling. With modeling it can be hard to tell the
difference at times.
Legitimate- makes money when you make money or actually provides a service that in most cases leads to actual paid work.
Non-legit- thrives on your money that you pay to them and it never leads to any significant work.
Models are used by different industries to promote products and services or entertain. Without industries using models to promote their products or
service or for entertainment then there are no legitimate (paid) modeling opportunities. So it is important to know what industries use models, what types
of models they use and where they are located.
Fashion modeling does not take place in small town America. The designers are not there, the fashion magazines are not there, and the show rooms
are not there. The really BIG FASHION happens in New York and they play by their own rules. If they find you and you have the look they want for that
season, then they have the photographers, make-up artists, hair stylists, clothing stylists, art directors, and budgets to make it work. What I am about to
say means very little to the fashion elite. But if you are trying to get into modeling or you're in a minor fashion market doing catalog work, character
work, product support work, or other secondary work, then this information holds true.
The modeling industry is quite diverse. However, the part that most people have seen glamorized is the life of the fashion Super model. Fortunately, for
many, just trying to make it is personally rewarding. You will never know if you might have what it takes if you never try.
The following information may give you some ideas of what it takes to be a model and how to get started. This information not only looks at fashion
modeling but, also, other types of modeling. The material covers some of the basics. Only through proper training and hard work, however, can you
become a professional model. I hope you will use this as a starting point to decide if modeling is right for you and may it give you some direction towards
starting a career.
In becoming informed about modeling you should question the information you read. I have found many sources of information on modeling that present
themselves as legitimate and caring often have a hidden agenda. To this end let me tell you up front my view of the modeling industry is that of an
outsider. This information comes from my personal research and study of the industry. I don't have all of the answers.
money but you are assured if you complete the program of study you will become a doctor and you will have an
income. For a lot of modeling you either have the talent and look that a client is looking for or you don't.
A model is generally an independent contractor and with any business there are some start up cost involved.
The challenge is coming to understand what are reasonable cost of getting into the modeling game and at what
point is someone taking advantage of your dreams and ignorance of the modeling profession. Only through
education can you hope to know the difference. I do not offer all of the answers but I hope the following material
will start you on the right road to learning about modeling.
Do you have what it takes to be come a
highly paid high fashion model?
Most people who read this are looking for the dream of becoming a high fashion model, for themselves or
someone they know. The world of "modeling" includes many types of modeling but the high fashion model
on the Paris runway or the cover of Vogue is the one that most know about. This high fashion world is distant,
unknown, glamorous and for most unattainable. This world of high fashion modeling is the most financially
rewarding form of modeling but it is only one of many different types of modeling. When you say, "I want to
become a model," you need to be sure what category of model you are talking about. Your first step
(and before you spend any money) is to learn as much as possible about the modeling industry. This education
not only can answer your questions and help to build a possible career but more importantly help you avoid the
scams, the rip offs, the bad businesses and all that surrounds modeling.
What is legitimate and what is not legitimate in modeling. With modeling it can be hard to tell the
difference at times.
Legitimate- makes money when you make money or actually provides a service that in most cases leads to actual paid work.
Non-legit- thrives on your money that you pay to them and it never leads to any significant work.
Models are used by different industries to promote products and services or entertain. Without industries using models to promote their products or
service or for entertainment then there are no legitimate (paid) modeling opportunities. So it is important to know what industries use models, what types
of models they use and where they are located.
Fashion modeling does not take place in small town America. The designers are not there, the fashion magazines are not there, and the show rooms
are not there. The really BIG FASHION happens in New York and they play by their own rules. If they find you and you have the look they want for that
season, then they have the photographers, make-up artists, hair stylists, clothing stylists, art directors, and budgets to make it work. What I am about to
say means very little to the fashion elite. But if you are trying to get into modeling or you're in a minor fashion market doing catalog work, character
work, product support work, or other secondary work, then this information holds true.
The modeling industry is quite diverse. However, the part that most people have seen glamorized is the life of the fashion Super model. Fortunately, for
many, just trying to make it is personally rewarding. You will never know if you might have what it takes if you never try.
The following information may give you some ideas of what it takes to be a model and how to get started. This information not only looks at fashion
modeling but, also, other types of modeling. The material covers some of the basics. Only through proper training and hard work, however, can you
become a professional model. I hope you will use this as a starting point to decide if modeling is right for you and may it give you some direction towards
starting a career.
In becoming informed about modeling you should question the information you read. I have found many sources of information on modeling that present
themselves as legitimate and caring often have a hidden agenda. To this end let me tell you up front my view of the modeling industry is that of an
outsider. This information comes from my personal research and study of the industry. I don't have all of the answers.
What does it take to be a Professional Model
In the '50s, '60s, and '70s a female model had to be about 5' 9" and a certain dress size. Men were something like 6 foot and a 40 regular.
Of course you had to be beautiful. The reason for this was that fashion manufacturers made dress and suit samples in
one size and it was easier to find a model in that size than to make a sample in
a different size. As the plus sizes and petite sizes arrived and super models
of varying sizes came on the scene,these old rules had to change some (but not
much). At the same time the "fashion look" for a season changed as to what is
considered beautiful. One season the look is anorectic drug addict, the next innocent
and medieval. I don't think the classic beauty look has been in since the middle
eighties. In the secondary fashion markets, the look that might be needed can vary
even more. When it comes to commercial modeling, size, look, and age can vary
wildly. In a secondary market the more you can vary your look rather than having "a"
look, the better your chances of finding work. So, ultimately, it all
comes down to three things:
1) Having the look that someone needs (generally the client)
for the project they are working on at that time
2) Making life easier for the art director and the photographer
so they will want to work with you, and
3) Making sure the client, photographer, and art director know
you exist and want to work.
The first has a lot to do with what you inherited genetically (your looks and talent) and what you have done with them. The second and third
are where being a professional model comes in - knowing what to do and how to market yourself. When a project calls for someone
attractive to stand next to a new product, the person who can constantly look good in front of the camera, show the emotional expression
that is needed on cue, show up on time and leave on time and in so many other ways make the shoot go quickly, efficiently, and
successfully, is the person who will get the job. That is also the person who gets asked back the next time.
Well, all the above is fine but does not give much to go on, so do you have what it takes to be a model? The first thing you have to consider
is what type of model do you want be? If you are trying for high fashion modeling, the runways of Paris, the cover of Vogue, etc., the
requirements are stricter. If you are hoping to do commercial modeling (such as product or lifestyle) there are much broader requirements.
If you want to be a glamour, or pin-up model, it has its own set of requirements.
All modeling, except for some glamour, is client driven. There is no need for a model (or for that matter, a photographer) until a client has
something to sell (a product, service, or idea). At this point, the client becomes willing to part with the dollars to accomplish his/her sales
goal and a model is hired. It is also the size of the potential sales' goals and the model's importance in those goals that determines how
much a model is paid (hourly fees and usage). Some types of glamour and stock lifestyle modeling can work differently as the photo itself
has a value and the buyer can be found later. So, when we look at different types of modeling we are looking at different classes of clients.
As an example, the Fashion Industry has become very dependent on using models in its advertising, promotion, and sales material.
Of course you had to be beautiful. The reason for this was that fashion manufacturers made dress and suit samples in
one size and it was easier to find a model in that size than to make a sample in
a different size. As the plus sizes and petite sizes arrived and super models
of varying sizes came on the scene,these old rules had to change some (but not
much). At the same time the "fashion look" for a season changed as to what is
considered beautiful. One season the look is anorectic drug addict, the next innocent
and medieval. I don't think the classic beauty look has been in since the middle
eighties. In the secondary fashion markets, the look that might be needed can vary
even more. When it comes to commercial modeling, size, look, and age can vary
wildly. In a secondary market the more you can vary your look rather than having "a"
look, the better your chances of finding work. So, ultimately, it all
comes down to three things:
1) Having the look that someone needs (generally the client)
for the project they are working on at that time
2) Making life easier for the art director and the photographer
so they will want to work with you, and
3) Making sure the client, photographer, and art director know
you exist and want to work.
The first has a lot to do with what you inherited genetically (your looks and talent) and what you have done with them. The second and third
are where being a professional model comes in - knowing what to do and how to market yourself. When a project calls for someone
attractive to stand next to a new product, the person who can constantly look good in front of the camera, show the emotional expression
that is needed on cue, show up on time and leave on time and in so many other ways make the shoot go quickly, efficiently, and
successfully, is the person who will get the job. That is also the person who gets asked back the next time.
Well, all the above is fine but does not give much to go on, so do you have what it takes to be a model? The first thing you have to consider
is what type of model do you want be? If you are trying for high fashion modeling, the runways of Paris, the cover of Vogue, etc., the
requirements are stricter. If you are hoping to do commercial modeling (such as product or lifestyle) there are much broader requirements.
If you want to be a glamour, or pin-up model, it has its own set of requirements.
All modeling, except for some glamour, is client driven. There is no need for a model (or for that matter, a photographer) until a client has
something to sell (a product, service, or idea). At this point, the client becomes willing to part with the dollars to accomplish his/her sales
goal and a model is hired. It is also the size of the potential sales' goals and the model's importance in those goals that determines how
much a model is paid (hourly fees and usage). Some types of glamour and stock lifestyle modeling can work differently as the photo itself
has a value and the buyer can be found later. So, when we look at different types of modeling we are looking at different classes of clients.
As an example, the Fashion Industry has become very dependent on using models in its advertising, promotion, and sales material.
You hear that all the top models have great agencies, and you think, "If I can only sign with a modeling agency I will be set." But what exactly is a
modeling agency and what does it do?
Modeling agencies operate as small independent business with no two agencies working the same. Alot depends on the market in which an agency
operates and the owner(s) and agency's personnel. The other problem with describing a modeling agency is that there are a lot of rip-off and scam
agencies out there. Because most looking to be models know little about how the modeling business works, they are easy prey. We can look at what an
agency might be at its best and worst and what they can do for your career as a model.
A modeling agency's number one purpose is to find the model work. They work as the model's representative or agent. As an agent they seek and
negotiate contracts of employment for the model or talent who is an independent business. For finding the model work, they take a percent of what the
model makes (10% to 33%). In some states they are considered private employment agencies and must be licensed by the state. That sounds fairly
simple and straightforward, but it is amazing how it can vary.
New York
New York City is the number one city for models. It is the heart of the fashion and advertising industries in the United States,
which leads to a high demand for all types of models. The modeling agencies in New York compete to fill that demand
with the finest talent in the nation. When an agency sees someone who has potential or someone who satisfies the
demand, they will invest in that individual to get him/her ready for the market. They don't do this to be nice people -
they do it because they feel they can make money from that person. They know the market and they will invest in you (a loan against future earnings) to
prepare you for that market. If they guess wrong and you do not become marketable and profitable, they will cut their losses and drop you. The top
agencies are working with big-budget ad agencies and fashion designers so there is money available to develop new talent. These top agencies will help
train you (more like on the job training), get you test shoots, layout your portfolio, and put together comp cards and other printed materials you need.
They take care of finding you work, booking the jobs, bill for the jobs and eventually cut a check for the work you do. Once you are in an agency like this
all you have to worry about is following instructions and modeling.
Elsewhere
Within a secondary market, the modeling agencies are not working with big budget clients like New York. In some cities there may be enough work that
an agency can be a full time operation - perhaps even supporting a few people on staff but there is not enough work to pay for the development of new
talent. For this type of agency you must provide the marketing tools and training. The agency may help you with where to go to get photos, composites
and training, but they can't afford to pay for it or loan you money. There just isn't enough budget for them to guess wrong even once. So it is up to you to
foot the bill. This is fine if the agency is really out there looking for work for its models and there is enough of a market to make a living. The problem I
have found with some of these agencies is that they have no idea what they are doing. They are having a great time playing at being a modeling agency,
but you could do better marketing yourself.
What if you do find a good agency, what will they do for you?
A good agency will help manage your career and find you work. In big cities this can be split into two parts, managers and bookers. The manager will
help you develop your "look", your modeling skills, and develop your natural talents. They will help in preparing your marketing materials for the market
in which they think you will be most successful. They should have knowledge of the market place and will honestly evaluate your potential for that market.
They should have contacts so they can send you to photographers, graphic designers and printers to prepare your marketing materials. They should
have the means to prepare you to be a model. The booking side is where the agency tracks down who uses models. The agency has a phone that is
manned and an office that a client can visit. They make the rounds to keep in touch with those who use models and provide them with composites and
head sheets of their talent. They advertise, do lunches, do cold calls and turn over stones to find who is hiring models. They book time for models to
work, give direction to get there and make sure models show up. They handle billing, collections, and complaints. A good agency finds you work and
earns every cent of their commission (usually 15% to 33%). But, in smaller markets, they are a rarity.
Further on down the ladder you find agencies in markets that are too small to support a full time modeling agency. In these markets the modeling school
is usually the full time moneymaker and the agency is just a hook. If you finish the school you get to be in the agency. This can be fine if you like to play
at modeling and have the money to do so. In most cases if your city has a population of less then a million it will not be able to support a full time agency.
Even in a city of a million you may be better off marketing yourself than working with a so-so agency. When you get to a city with a population of a couple
million or more there may be just too much ground to cover and an agency can be very helpful.
The following are some ideas on how to find and then check out a modeling
agency in your area:
1) To find the modeling agencies in your area you can check the yellow pages of the phone book under Modeling Agencies. Remember, a modeling
agency wants to be easy to find so a phone listing is a must. From the agencies' listings you may find they are often, also, modeling schools. If there are
no agencies listed for your area, you may have to check with the closest large city. If some one approaches you and says they are a scout for some
agency and you can't find them in the phone book, be very skeptical.
2) Check with the Better Business Bureau. They may have information on the modeling agencies you are interested in or complaints against them. The
BBB is not a perfect source for information, but it is a place to start. You will find many regional BBBs have web sites on which you can find information.
3) One thing I like to do to check out agencies is to call them after business hours. I can find out fast which agencies are trying to be legitimate
businesses. The idea behind this is that modeling is a very competitive, fast moving business and things don't just happen 9 to 5. If, I, as a photographer,
have an emergency come up after business hours (a cancellation, a client who has to shoot tomorrow and will pay anything to do it) I need to be able to
contact someone now or I am down the road to another agency. A good agency knows this and you will find, when you call them after hours, they will
have an answering machine or service that will give you an emergency number to call (a cell phone or pager). If you find the machine just tells you to call
back during business hours or they have no after hour answering service at all, look for another agency.
4) The best way, which takes the most work, to find a good agency in your area is by studying and researching your market.
If you follow the local news media (newspaper, TV), there is a good chance information on local agencies will show up.
Another method of researching the local market takes even more work - follow the local fashion print advertising. When you start to see which stores use
local models regularly, you can start making phone calls. Call the store and find out who handles the advertising. You can hope that the person at the
store who does this can direct you to their advertising agency, their photographer, or may even direct you to the modeling agency they use. Basically,
you are making phone calls to trace your way to a modeling agency suppling the models for the store ads. This will lead you to an agency with working
models. I hate making cold calls like this myself, but this can be an effective way to find a modeling agency. Then again, if you can make cold calls like
this, you may want to forget the modeling and become a photography rep!
What to Look For
If you are looking for a paid model listing site and you actual want to have some hope of getting work from it, consider these factors before signing up:
1) The site should be easy for someone who wants to find a model to use starting with the home page with clear directions for the model
seeker(photographer, art director, and such) to follow. Most sites clutter their opening page with model mania news, how a model should sign up, and
stories of not so famous models. If a potential client can't find how to search the site and feel welcome, they are not going to stay.
2) Does the site have a good search system? Many of the model listing sites let you search by size, gender, hair color, ethnic background, and planets in
the solar system, but most fail to let you search by city. Since 90% of the work for models outside of New York does not include travel money, only local
models will be used. If I, as a photographer, can't find what talent this site is listing for my area, the site is useless. Again, most of these sites want you to
think top casting directors from around the world are going to find you so they don't include city search and in reality these sites are useless.
3) Does the site use thumbnail (small pictures) of the models and do they load quickly? I am amazed at how many of these listing sites think an art
director or photographer is going to sit there while 5 or 6 high K files down load, and do this time and again trying to get an idea of the talent the site is
offering. Or worse yet, where their thumbnails are 80K files rather than a quick-load 3k. Believe me as a photographer you go through a couple of these
and you are out of there. You quickly don't care what talent is there - you have a life to live.
4) Does the model get to include other information? Many of these sites let you post just a couple of photos and vital statistics. After a photographer, or
other potential client, has narrowed the choices down, extra info, like resume or interview questions can help show a model's personality and experience.
Not only do you like a model to have that "look", but you also want to know she or he is someone you can work with. This extra information can help with
that.
5) How easy does the site make it to contact and book the model? This part does not seem to be a problem with most sites. Many sites just let potential
clients email you. Other sites try to be more like an agency and screen clients and set up bookings. The key point is that if someone does respond to the
web listing, you must have a plan on how to proceed. Remember most of these sites are open to the whole world, so you do not know for sure who or
what might contact you. You need to work out a system to qualify clients and make sure they are legitimate.
6) What does the site do to attract potential clients? The bulk of these sites just try to get listed on search engines and hope someone finds them. A few
actually have a plan for attracting clients and a very few of those actually have budgets with which to do so. If potential clients can't find the site or are
not driven to it, it does not matter what else the site does right, it will eventual fail, and along with the site's failure goes any hope of the models finding
work.
Modeling Agency Contracts
There are three styles of contracts that you typically will run across. Some modeling agencies will work with exclusive contracts. This means that they are
your exclusive representatives and they get a commission on any work you do. They get this commission whether they find the work or you find it on your
own. If you sign this kind of contract, be sure the agency is really going to be working for you. If they are providing a lot of guidance getting your career
started and are out there beating the bushes to find work for you, this type of contract is fine. If the agency signs you just to fill space in their roster and
then leaves you hanging in limbo for the length of your contract it can be a bad way to try and start a career. Another type of contract is a non-exclusive
modeling contract. In this case if the modeling agency finds you work, they get paid their commission. If you find work on your own you pay them nothing.
You are free to sign non-exclusive contracts with other modeling agencies. This way you might have several agencies representing you at once. Now
don't expect the same service and help from a non-exclusive agency as with an exclusive agency. In smaller markets, where you are expected to provide
all of your training, portfolios, composites and other marketing materials before an agency will work with you.
The final contract is a Mother Agency Agreement. In this case the modeling agency knows there is not enough work locally to support any one over the
long term. Their position then is to move you on to a major market and get you signed with a major modeling agency. They may get you work locally but it
is more with the idea of getting you ready for the major market. For helping prepare you and helping to place you with a top modeling agency, they get a
percent of your earnings for a long time to come. You, in essence, never leave the mother agency - you are just loaned out to the top agencies. This can
be an attractive arrangement if the mother agency invests time and money in your career and gets you on with top money making agencies.
modeling agency and what does it do?
Modeling agencies operate as small independent business with no two agencies working the same. Alot depends on the market in which an agency
operates and the owner(s) and agency's personnel. The other problem with describing a modeling agency is that there are a lot of rip-off and scam
agencies out there. Because most looking to be models know little about how the modeling business works, they are easy prey. We can look at what an
agency might be at its best and worst and what they can do for your career as a model.
A modeling agency's number one purpose is to find the model work. They work as the model's representative or agent. As an agent they seek and
negotiate contracts of employment for the model or talent who is an independent business. For finding the model work, they take a percent of what the
model makes (10% to 33%). In some states they are considered private employment agencies and must be licensed by the state. That sounds fairly
simple and straightforward, but it is amazing how it can vary.
New York
New York City is the number one city for models. It is the heart of the fashion and advertising industries in the United States,
which leads to a high demand for all types of models. The modeling agencies in New York compete to fill that demand
with the finest talent in the nation. When an agency sees someone who has potential or someone who satisfies the
demand, they will invest in that individual to get him/her ready for the market. They don't do this to be nice people -
they do it because they feel they can make money from that person. They know the market and they will invest in you (a loan against future earnings) to
prepare you for that market. If they guess wrong and you do not become marketable and profitable, they will cut their losses and drop you. The top
agencies are working with big-budget ad agencies and fashion designers so there is money available to develop new talent. These top agencies will help
train you (more like on the job training), get you test shoots, layout your portfolio, and put together comp cards and other printed materials you need.
They take care of finding you work, booking the jobs, bill for the jobs and eventually cut a check for the work you do. Once you are in an agency like this
all you have to worry about is following instructions and modeling.
Elsewhere
Within a secondary market, the modeling agencies are not working with big budget clients like New York. In some cities there may be enough work that
an agency can be a full time operation - perhaps even supporting a few people on staff but there is not enough work to pay for the development of new
talent. For this type of agency you must provide the marketing tools and training. The agency may help you with where to go to get photos, composites
and training, but they can't afford to pay for it or loan you money. There just isn't enough budget for them to guess wrong even once. So it is up to you to
foot the bill. This is fine if the agency is really out there looking for work for its models and there is enough of a market to make a living. The problem I
have found with some of these agencies is that they have no idea what they are doing. They are having a great time playing at being a modeling agency,
but you could do better marketing yourself.
What if you do find a good agency, what will they do for you?
A good agency will help manage your career and find you work. In big cities this can be split into two parts, managers and bookers. The manager will
help you develop your "look", your modeling skills, and develop your natural talents. They will help in preparing your marketing materials for the market
in which they think you will be most successful. They should have knowledge of the market place and will honestly evaluate your potential for that market.
They should have contacts so they can send you to photographers, graphic designers and printers to prepare your marketing materials. They should
have the means to prepare you to be a model. The booking side is where the agency tracks down who uses models. The agency has a phone that is
manned and an office that a client can visit. They make the rounds to keep in touch with those who use models and provide them with composites and
head sheets of their talent. They advertise, do lunches, do cold calls and turn over stones to find who is hiring models. They book time for models to
work, give direction to get there and make sure models show up. They handle billing, collections, and complaints. A good agency finds you work and
earns every cent of their commission (usually 15% to 33%). But, in smaller markets, they are a rarity.
Further on down the ladder you find agencies in markets that are too small to support a full time modeling agency. In these markets the modeling school
is usually the full time moneymaker and the agency is just a hook. If you finish the school you get to be in the agency. This can be fine if you like to play
at modeling and have the money to do so. In most cases if your city has a population of less then a million it will not be able to support a full time agency.
Even in a city of a million you may be better off marketing yourself than working with a so-so agency. When you get to a city with a population of a couple
million or more there may be just too much ground to cover and an agency can be very helpful.
The following are some ideas on how to find and then check out a modeling
agency in your area:
1) To find the modeling agencies in your area you can check the yellow pages of the phone book under Modeling Agencies. Remember, a modeling
agency wants to be easy to find so a phone listing is a must. From the agencies' listings you may find they are often, also, modeling schools. If there are
no agencies listed for your area, you may have to check with the closest large city. If some one approaches you and says they are a scout for some
agency and you can't find them in the phone book, be very skeptical.
2) Check with the Better Business Bureau. They may have information on the modeling agencies you are interested in or complaints against them. The
BBB is not a perfect source for information, but it is a place to start. You will find many regional BBBs have web sites on which you can find information.
3) One thing I like to do to check out agencies is to call them after business hours. I can find out fast which agencies are trying to be legitimate
businesses. The idea behind this is that modeling is a very competitive, fast moving business and things don't just happen 9 to 5. If, I, as a photographer,
have an emergency come up after business hours (a cancellation, a client who has to shoot tomorrow and will pay anything to do it) I need to be able to
contact someone now or I am down the road to another agency. A good agency knows this and you will find, when you call them after hours, they will
have an answering machine or service that will give you an emergency number to call (a cell phone or pager). If you find the machine just tells you to call
back during business hours or they have no after hour answering service at all, look for another agency.
4) The best way, which takes the most work, to find a good agency in your area is by studying and researching your market.
If you follow the local news media (newspaper, TV), there is a good chance information on local agencies will show up.
Another method of researching the local market takes even more work - follow the local fashion print advertising. When you start to see which stores use
local models regularly, you can start making phone calls. Call the store and find out who handles the advertising. You can hope that the person at the
store who does this can direct you to their advertising agency, their photographer, or may even direct you to the modeling agency they use. Basically,
you are making phone calls to trace your way to a modeling agency suppling the models for the store ads. This will lead you to an agency with working
models. I hate making cold calls like this myself, but this can be an effective way to find a modeling agency. Then again, if you can make cold calls like
this, you may want to forget the modeling and become a photography rep!
What to Look For
If you are looking for a paid model listing site and you actual want to have some hope of getting work from it, consider these factors before signing up:
1) The site should be easy for someone who wants to find a model to use starting with the home page with clear directions for the model
seeker(photographer, art director, and such) to follow. Most sites clutter their opening page with model mania news, how a model should sign up, and
stories of not so famous models. If a potential client can't find how to search the site and feel welcome, they are not going to stay.
2) Does the site have a good search system? Many of the model listing sites let you search by size, gender, hair color, ethnic background, and planets in
the solar system, but most fail to let you search by city. Since 90% of the work for models outside of New York does not include travel money, only local
models will be used. If I, as a photographer, can't find what talent this site is listing for my area, the site is useless. Again, most of these sites want you to
think top casting directors from around the world are going to find you so they don't include city search and in reality these sites are useless.
3) Does the site use thumbnail (small pictures) of the models and do they load quickly? I am amazed at how many of these listing sites think an art
director or photographer is going to sit there while 5 or 6 high K files down load, and do this time and again trying to get an idea of the talent the site is
offering. Or worse yet, where their thumbnails are 80K files rather than a quick-load 3k. Believe me as a photographer you go through a couple of these
and you are out of there. You quickly don't care what talent is there - you have a life to live.
4) Does the model get to include other information? Many of these sites let you post just a couple of photos and vital statistics. After a photographer, or
other potential client, has narrowed the choices down, extra info, like resume or interview questions can help show a model's personality and experience.
Not only do you like a model to have that "look", but you also want to know she or he is someone you can work with. This extra information can help with
that.
5) How easy does the site make it to contact and book the model? This part does not seem to be a problem with most sites. Many sites just let potential
clients email you. Other sites try to be more like an agency and screen clients and set up bookings. The key point is that if someone does respond to the
web listing, you must have a plan on how to proceed. Remember most of these sites are open to the whole world, so you do not know for sure who or
what might contact you. You need to work out a system to qualify clients and make sure they are legitimate.
6) What does the site do to attract potential clients? The bulk of these sites just try to get listed on search engines and hope someone finds them. A few
actually have a plan for attracting clients and a very few of those actually have budgets with which to do so. If potential clients can't find the site or are
not driven to it, it does not matter what else the site does right, it will eventual fail, and along with the site's failure goes any hope of the models finding
work.
Modeling Agency Contracts
There are three styles of contracts that you typically will run across. Some modeling agencies will work with exclusive contracts. This means that they are
your exclusive representatives and they get a commission on any work you do. They get this commission whether they find the work or you find it on your
own. If you sign this kind of contract, be sure the agency is really going to be working for you. If they are providing a lot of guidance getting your career
started and are out there beating the bushes to find work for you, this type of contract is fine. If the agency signs you just to fill space in their roster and
then leaves you hanging in limbo for the length of your contract it can be a bad way to try and start a career. Another type of contract is a non-exclusive
modeling contract. In this case if the modeling agency finds you work, they get paid their commission. If you find work on your own you pay them nothing.
You are free to sign non-exclusive contracts with other modeling agencies. This way you might have several agencies representing you at once. Now
don't expect the same service and help from a non-exclusive agency as with an exclusive agency. In smaller markets, where you are expected to provide
all of your training, portfolios, composites and other marketing materials before an agency will work with you.
The final contract is a Mother Agency Agreement. In this case the modeling agency knows there is not enough work locally to support any one over the
long term. Their position then is to move you on to a major market and get you signed with a major modeling agency. They may get you work locally but it
is more with the idea of getting you ready for the major market. For helping prepare you and helping to place you with a top modeling agency, they get a
percent of your earnings for a long time to come. You, in essence, never leave the mother agency - you are just loaned out to the top agencies. This can
be an attractive arrangement if the mother agency invests time and money in your career and gets you on with top money making agencies.
The Agency
Types of Modeling
Test Shoots
You Need Photos
Whether you are working with a modeling agency or working freelance you will need photos for your composite, portfolio, and
web presence. With a modeling agency, they may try to help you find test shoots. Working independently, you will have to
contact photographers for your own test shoots.
Test shoots or testing has become a generic term for photographic shoots where a model acquires photographs to use for the
model's promotional materials.
You have two basic goals when doing test shoots. One is to get good quality photos as fast as you can to start getting work.
The better quality (more professional and creative) photos you have in your portfolio the better paying jobs you will get. The second is to get experience
in front of the camera and learning how to find your way around a studio or location shoot.
Advice for Models
My definition of a Test Shoot (also refereed to as a photographer's test shoot and Time For Prints [TFP] Trade for CD [TFCD] shoot) is when a
photographer wants to try out a new creative idea, test some new equipment , wants to build the photographer's portfolio, or just wants to practice and
try new ideas, he sets up a photo session. In the case of a fashion or people photographer he/she needs a model to put in front of the lens. This is
where the volunteer model comes in. This can work out well for both parties. The photographer does not want to pay for a model and the model does
not want to pay for a photographer, so by trading services both get images for their portfolio and gain experience. In some cases the photographer
might give you a couple of prints or cd of raw images for your services, in other cases you may have to pay for prints.
You may be able to find an advance amateur photographer or a pro who is getting back into model shooting. In either of these cases you have a
shooter who has the ability to produce good work. This situation gives you good quality photos, very fast, for little or no money, and the experience of
working with someone who knows something about the business. These types of shoots can also be the hardest to find.
The Model Release
As you start to do photo shoots the need for a model release will come up.
If you sign with a modeling agency they may already have a list of photographers that need models to put in front of the camera. The agency may have
checked out these photographers and feel they are of a professional quality that the agency can recommend. In some cases, even with an agency, you
may be on your own to track down test shoots.
What are some strategies for tracking down photographers for free test shoots? One way might be to check photographers' web sites. Find
ones in your area and see if any of them are doing model photography. If you find some photographers in your area, email them and ask if they do any
free photographer test shoots. They may say no, but you don't know until you ask. You can also try calling around or visiting photographers' studios but
that will take more work. The yellow pages might be helpful for this approach.
If all of the current professional photographers in your area turn you down for free test shoots you may want to try the new upcoming photographers.
These are the student photographers. You can check to see if your local community college or university has a photography program. If they do you
may find you can tell the instructor or place a notice on a bulletin board in the photography department that you are looking for test shoots. This could
be your place to connect with a student photographer. Keep in mind that the photographer is as new to photography as you are to modeling so you will
both be trying to learn the business.
Some other fringe spots where you might make contact with a photographer for test shoots are camera stores and camera clubs. Sometimes the clerks
at a photography store or photo lab might know of someone who is doing fashion or people photos. They may be able to keep an eye out for a
photographer once you let them know you are looking for test shoots. Also, some camera clubs may have members who do people photos. Letting the
head of the club know you are looking for test shoots may lead to something.
Another area is one of the regional forums for models and photographers. It seams these forum tend to attract a lot of the "adult entertainment"
photographers and not many fashion or commercial print photographers (although there maybe some lurking around). The photographers range from
beginners to season pros. The photo interest can run from fashion but tend to be a lot of Playboy type glamour photography to web "adult
entertainment" photography. So these Forums are not for those under 18 and please read the warnings and use caution.
Warning - Making Internet Contacts
18 and under please read
When you want to contact a photographer via the Internet, it should be done by your parent and not directly by you. They MUST be fully engaged and
supportive of your modeling aspirations because they may be REQUIRED to be PRESENT at the shoot and sign all of the Releases. As a photographer,
I involve them in the shoot itself, helping me and helping you. I can't stress it enough - THEY MUST BE INVOLVED WITH YOUR COMMUNICATIONS AND
MODELING.
Although the Internet is a great place for self promotion and getting information about modeling, it's not a fully safe environment. If your parents are not
aware that you are communicating with a photographer, they should be, and I recommend that you sit with them and discuss together what you want to
communicate to the photographer. Then draft the note together using their email address, not yours. You may also suggest that they call the
photographer - most will post their phone number on their web site. I insist that I speak with the parents prior to consenting to do a shoot.
If you want to shoot with me or get my advice on any aspects of modeling, it MUST be through your parents. It's that simple.
Sorry, but it's for your own good...
When contacting a Photographer
Once you have your parents involved, you need to describe what types of modeling you want to do, what training you have had, why you want to model,
a little about yourself [your stats] and anything else you can think of to help the photographer decide if they will do the shoot or not. It really helps to
attach a photo, but do not give out your phone number or address in this first exchange of notes. It's important to be honest with yourself and the
photographer. Be as specific as you can about your goals, your training, and your interest in the session. Test Shoots and TFP / TFCD are an
investment of the photographer's time and talent. They haven't got time to waste if you are not serious. You need to be actively practicing poses - walks
- facial expressions, building a pose book, learning about modeling and the "business" of modeling, and building your skills at every opportunity you
can. It's a fact that talent won't make up for lack of drive and drive won't make up for lack of talent. A pretty face and body are only the most BASIC of
elements of modeling - it's not an easy business - and it takes dedication and education.
A Need for Photos
Whether you are able to track down free test shoots or have to pay for photo shoots as a want to be model you will have to have photos. You also have
to have experience working in front of the camera. The photos are needed for your marketing materials - portfolio, comp card, and web site. The
experience in front of the camera is how you truly learn to be a model. During your first few photo shoots you may be just trying to get comfortable in
front of the camera. As you do more shoots you will pickup how to move, how to work in the light, how to hit your mark, and the routine of a studio. After
you have 30 to 50 shoots you will have a handle on working in front of a camera. At this point you become a valuable asset to a shoot. It always amazes
me how modeling schools offer to train you to be a model but either never or maybe one time put you in front of a camera. New York modeling agencies
send models out on test shoots to gain experience and build a portfolio. That is how they start and train the top professional models. Tracking down test
shoots is essential for a beginning model.
Whether you are working with a modeling agency or working freelance you will need photos for your composite, portfolio, and
web presence. With a modeling agency, they may try to help you find test shoots. Working independently, you will have to
contact photographers for your own test shoots.
Test shoots or testing has become a generic term for photographic shoots where a model acquires photographs to use for the
model's promotional materials.
You have two basic goals when doing test shoots. One is to get good quality photos as fast as you can to start getting work.
The better quality (more professional and creative) photos you have in your portfolio the better paying jobs you will get. The second is to get experience
in front of the camera and learning how to find your way around a studio or location shoot.
Advice for Models
My definition of a Test Shoot (also refereed to as a photographer's test shoot and Time For Prints [TFP] Trade for CD [TFCD] shoot) is when a
photographer wants to try out a new creative idea, test some new equipment , wants to build the photographer's portfolio, or just wants to practice and
try new ideas, he sets up a photo session. In the case of a fashion or people photographer he/she needs a model to put in front of the lens. This is
where the volunteer model comes in. This can work out well for both parties. The photographer does not want to pay for a model and the model does
not want to pay for a photographer, so by trading services both get images for their portfolio and gain experience. In some cases the photographer
might give you a couple of prints or cd of raw images for your services, in other cases you may have to pay for prints.
You may be able to find an advance amateur photographer or a pro who is getting back into model shooting. In either of these cases you have a
shooter who has the ability to produce good work. This situation gives you good quality photos, very fast, for little or no money, and the experience of
working with someone who knows something about the business. These types of shoots can also be the hardest to find.
The Model Release
As you start to do photo shoots the need for a model release will come up.
If you sign with a modeling agency they may already have a list of photographers that need models to put in front of the camera. The agency may have
checked out these photographers and feel they are of a professional quality that the agency can recommend. In some cases, even with an agency, you
may be on your own to track down test shoots.
What are some strategies for tracking down photographers for free test shoots? One way might be to check photographers' web sites. Find
ones in your area and see if any of them are doing model photography. If you find some photographers in your area, email them and ask if they do any
free photographer test shoots. They may say no, but you don't know until you ask. You can also try calling around or visiting photographers' studios but
that will take more work. The yellow pages might be helpful for this approach.
If all of the current professional photographers in your area turn you down for free test shoots you may want to try the new upcoming photographers.
These are the student photographers. You can check to see if your local community college or university has a photography program. If they do you
may find you can tell the instructor or place a notice on a bulletin board in the photography department that you are looking for test shoots. This could
be your place to connect with a student photographer. Keep in mind that the photographer is as new to photography as you are to modeling so you will
both be trying to learn the business.
Some other fringe spots where you might make contact with a photographer for test shoots are camera stores and camera clubs. Sometimes the clerks
at a photography store or photo lab might know of someone who is doing fashion or people photos. They may be able to keep an eye out for a
photographer once you let them know you are looking for test shoots. Also, some camera clubs may have members who do people photos. Letting the
head of the club know you are looking for test shoots may lead to something.
Another area is one of the regional forums for models and photographers. It seams these forum tend to attract a lot of the "adult entertainment"
photographers and not many fashion or commercial print photographers (although there maybe some lurking around). The photographers range from
beginners to season pros. The photo interest can run from fashion but tend to be a lot of Playboy type glamour photography to web "adult
entertainment" photography. So these Forums are not for those under 18 and please read the warnings and use caution.
Warning - Making Internet Contacts
18 and under please read
When you want to contact a photographer via the Internet, it should be done by your parent and not directly by you. They MUST be fully engaged and
supportive of your modeling aspirations because they may be REQUIRED to be PRESENT at the shoot and sign all of the Releases. As a photographer,
I involve them in the shoot itself, helping me and helping you. I can't stress it enough - THEY MUST BE INVOLVED WITH YOUR COMMUNICATIONS AND
MODELING.
Although the Internet is a great place for self promotion and getting information about modeling, it's not a fully safe environment. If your parents are not
aware that you are communicating with a photographer, they should be, and I recommend that you sit with them and discuss together what you want to
communicate to the photographer. Then draft the note together using their email address, not yours. You may also suggest that they call the
photographer - most will post their phone number on their web site. I insist that I speak with the parents prior to consenting to do a shoot.
If you want to shoot with me or get my advice on any aspects of modeling, it MUST be through your parents. It's that simple.
Sorry, but it's for your own good...
When contacting a Photographer
Once you have your parents involved, you need to describe what types of modeling you want to do, what training you have had, why you want to model,
a little about yourself [your stats] and anything else you can think of to help the photographer decide if they will do the shoot or not. It really helps to
attach a photo, but do not give out your phone number or address in this first exchange of notes. It's important to be honest with yourself and the
photographer. Be as specific as you can about your goals, your training, and your interest in the session. Test Shoots and TFP / TFCD are an
investment of the photographer's time and talent. They haven't got time to waste if you are not serious. You need to be actively practicing poses - walks
- facial expressions, building a pose book, learning about modeling and the "business" of modeling, and building your skills at every opportunity you
can. It's a fact that talent won't make up for lack of drive and drive won't make up for lack of talent. A pretty face and body are only the most BASIC of
elements of modeling - it's not an easy business - and it takes dedication and education.
A Need for Photos
Whether you are able to track down free test shoots or have to pay for photo shoots as a want to be model you will have to have photos. You also have
to have experience working in front of the camera. The photos are needed for your marketing materials - portfolio, comp card, and web site. The
experience in front of the camera is how you truly learn to be a model. During your first few photo shoots you may be just trying to get comfortable in
front of the camera. As you do more shoots you will pickup how to move, how to work in the light, how to hit your mark, and the routine of a studio. After
you have 30 to 50 shoots you will have a handle on working in front of a camera. At this point you become a valuable asset to a shoot. It always amazes
me how modeling schools offer to train you to be a model but either never or maybe one time put you in front of a camera. New York modeling agencies
send models out on test shoots to gain experience and build a portfolio. That is how they start and train the top professional models. Tracking down test
shoots is essential for a beginning model.
Photo Shoots
OK, if you are going to be a professional model and work in front of a camera, what goes on when you are working? Here is a photographer's
perspective on how a model should handle a photo shoot. This is still leading to what you should know to be a photo model, but maybe seeing the end
result will help the training process. I must apologize if I sound a little gruff on this but a photographer can get a bit demanding on the job. Also, keep in
mind if a photographer has hired you for a shoot and things go wrong, it is the photographer who is held responsible, not you. The photographer has to
make sure everything goes right. It sounds a little dramatic, but if you heed these points now it makes everything more fun later. Again, when you're a
famous super model you can forget all about this and let every one wait on you hand and foot.
The first rule is to make the photographer's life easy. The reason you are being hired as a professional model and we are not pulling someone off the
street is that you are going to do things that will allow the shoot to go quickly, easily, and more successfully. I can take anyone off the street and make
him or her look good (that is what glamour portraiture is all about) but a model who knows what she or he is doing will allow me to get the job done in
less time and with a lot less hassle.
Before the Shoot
Get a good night's sleep and stay healthy. If you are tired it will show both on your face and in your attitude. Please do not party the night before a
shoot. The photographer, ad agency, and client will have invested a lot of time and money in a shoot and will depend on you to arrive ready to do the
job. It is part of being a professional. In Milan or New York they may put up with partied out super models but in a secondary market, if you arrive for a
shoot only half-there, you will not be there again.
Get your items ready and packed up. Unlike the big fashion scene you may need to provide items of wardrobe and props for a shoot. This should all be
discussed and worked out before the shoot. If you have talked about bringing certain items please be sure they are packed and ready to go the night
before. This avoids last minute running around and forgetting. Reliability again is part of being a professional.
You may need to put on a base make-up before leaving for a shoot. In a secondary market you may need to do your own make-up as there usually isn't
a budget for a make-up artist or there isn't one available. By taking care of your contouring and base items before the shoot it helps speed matters
along. This is not meant to cheat you out of billing time at the studio.
You may need to have no make-up on at all before you arrive for a shoot. Confusing isn't it? There may be times when the make-up has to be done at
the shoot and not having any make-up on speeds the process. This is why a photographer appreciates a model he can communicate with so that all
these things can be worked out ahead of time.
At the Shoot
Arrive on time. Studio time is often based on an hourly fee. If time is being wasted waiting for a model to arrive it either costs the photographer in time
that can't be billed or it costs the client in time they are paying for nothing. In either case you just made the photographer's life less easy and you may
not be asked back.
After your arrival and pleasantries are done, you will review with the photographer how to proceed with the shoot. (The game plan, or the 'plan your
work then work your plan' bit.) Next it is off to finish your make-up and change clothes. This part may vary a lot depending on budget and purpose of
the shoot. You may be left to schlep in your own make-up case and wardrobe and get prepared in some corner of the studio or you could be whisked
away by a make-up artist and hair stylist while the caterer brings you delicacies. In the meantime the photographer will be making last minute lighting
and set adjustments, schmoozing the art director, making sure the client is happy, trying to find out why something that was promised hasn't arrived yet,
rechecking the cameras, directing the photo assistant, checking on how things are going with the model, and, oh yeah, trying to have fun. Now you see
why rule number one is 'make life easy for the photographer'.
Ok, now it's show time! You are ready to get in front of the camera. Communication is very important at this point. You need to follow the verbal
instructions of the photographer and give feed back. As a model and a photographer work together more, this give and take becomes easier, but the
first time out it can take a while to develop a rapport. Also, it is important to establish a touch-or-don't-touch understanding up front. When working with
large format cameras the posing can be very slow and precise. It may be quicker and easier for me to physically move you and your arms, head and
legs where I want them. If you are uncomfortable with that or other posing issues, please state it up front. This is one time it is better not to make the
photographer's life easier if it is going to make your life miserable. All of this should get worked out and become part of the professional working
relationship.
Another challenging part of the photo shoot process is trying to stay relaxed and comfortable. I may be telling you where your main light is, where your
posing spot is, the expression I want, having your arms and legs going in different directions while you're trying to hold the product so you don't cover
the label, while a crowd of folks look on, and through this all you have to stay relaxed so the tension doesn't show on your face. If only it was all rock
music playing and dancing around in front of the camera like they show on TV. In secondary markets it is a lot of product, illustrative, and catalog. But in
spite of it all this you can still get a lot of excitement and electricity going.
I still find it strange, how this electricity and excitement can build between a photographer and a model. And it is even stranger when it suddenly stops
during a shoot. Its like a switch is turned off or you run out of gas. One minute everything is really happening and you are doing great work and the next
minute, for no reason, the energy drops. I used to try to work through that energy drop and keep going but it just doesn't work. If it happens in the
middle of a shoot, it means, "It's break time". Time to recharge, brake for lunch, socialize, change sets, change wardrobe, or something. This part is
always hard to explain to a client though sometimes they can feel it as well. If it happens close to the end of a shoot you may as well just call it a day.
You hope you have all of the primary shooting done and you are just working on the extras so it is a good time to wrap up.
After the shoot
When the shoot is over it is time to clean up, pack up and go. When you're starting out you may want to stay and ask questions about modeling or if
there is more work, or where else you can find work. A little of this is fine, but remember time is money and the photographer may need to move on to
another project, so don't stay too long and wear out your welcome. Also, don't be too quick to dash off. The photographer may indeed have another
project coming up, but does not want to talk about it until the client and art director have left. More confusion! Also, try not to leave things behind again
part of being professional is being organized.
Lastly, the inevitable question, when will the pictures be ready? You know you want to see them. Try to work out a time when you might be able to
return to look at them. What is excellent, is when you are starting out and the photographer can take time to review the photographs with you and not
just leave something at the front counter. A critique of what the photographer saw and how you might do better can be a real ego bruiser, but can also
help you learn and improve.
perspective on how a model should handle a photo shoot. This is still leading to what you should know to be a photo model, but maybe seeing the end
result will help the training process. I must apologize if I sound a little gruff on this but a photographer can get a bit demanding on the job. Also, keep in
mind if a photographer has hired you for a shoot and things go wrong, it is the photographer who is held responsible, not you. The photographer has to
make sure everything goes right. It sounds a little dramatic, but if you heed these points now it makes everything more fun later. Again, when you're a
famous super model you can forget all about this and let every one wait on you hand and foot.
The first rule is to make the photographer's life easy. The reason you are being hired as a professional model and we are not pulling someone off the
street is that you are going to do things that will allow the shoot to go quickly, easily, and more successfully. I can take anyone off the street and make
him or her look good (that is what glamour portraiture is all about) but a model who knows what she or he is doing will allow me to get the job done in
less time and with a lot less hassle.
Before the Shoot
Get a good night's sleep and stay healthy. If you are tired it will show both on your face and in your attitude. Please do not party the night before a
shoot. The photographer, ad agency, and client will have invested a lot of time and money in a shoot and will depend on you to arrive ready to do the
job. It is part of being a professional. In Milan or New York they may put up with partied out super models but in a secondary market, if you arrive for a
shoot only half-there, you will not be there again.
Get your items ready and packed up. Unlike the big fashion scene you may need to provide items of wardrobe and props for a shoot. This should all be
discussed and worked out before the shoot. If you have talked about bringing certain items please be sure they are packed and ready to go the night
before. This avoids last minute running around and forgetting. Reliability again is part of being a professional.
You may need to put on a base make-up before leaving for a shoot. In a secondary market you may need to do your own make-up as there usually isn't
a budget for a make-up artist or there isn't one available. By taking care of your contouring and base items before the shoot it helps speed matters
along. This is not meant to cheat you out of billing time at the studio.
You may need to have no make-up on at all before you arrive for a shoot. Confusing isn't it? There may be times when the make-up has to be done at
the shoot and not having any make-up on speeds the process. This is why a photographer appreciates a model he can communicate with so that all
these things can be worked out ahead of time.
At the Shoot
Arrive on time. Studio time is often based on an hourly fee. If time is being wasted waiting for a model to arrive it either costs the photographer in time
that can't be billed or it costs the client in time they are paying for nothing. In either case you just made the photographer's life less easy and you may
not be asked back.
After your arrival and pleasantries are done, you will review with the photographer how to proceed with the shoot. (The game plan, or the 'plan your
work then work your plan' bit.) Next it is off to finish your make-up and change clothes. This part may vary a lot depending on budget and purpose of
the shoot. You may be left to schlep in your own make-up case and wardrobe and get prepared in some corner of the studio or you could be whisked
away by a make-up artist and hair stylist while the caterer brings you delicacies. In the meantime the photographer will be making last minute lighting
and set adjustments, schmoozing the art director, making sure the client is happy, trying to find out why something that was promised hasn't arrived yet,
rechecking the cameras, directing the photo assistant, checking on how things are going with the model, and, oh yeah, trying to have fun. Now you see
why rule number one is 'make life easy for the photographer'.
Ok, now it's show time! You are ready to get in front of the camera. Communication is very important at this point. You need to follow the verbal
instructions of the photographer and give feed back. As a model and a photographer work together more, this give and take becomes easier, but the
first time out it can take a while to develop a rapport. Also, it is important to establish a touch-or-don't-touch understanding up front. When working with
large format cameras the posing can be very slow and precise. It may be quicker and easier for me to physically move you and your arms, head and
legs where I want them. If you are uncomfortable with that or other posing issues, please state it up front. This is one time it is better not to make the
photographer's life easier if it is going to make your life miserable. All of this should get worked out and become part of the professional working
relationship.
Another challenging part of the photo shoot process is trying to stay relaxed and comfortable. I may be telling you where your main light is, where your
posing spot is, the expression I want, having your arms and legs going in different directions while you're trying to hold the product so you don't cover
the label, while a crowd of folks look on, and through this all you have to stay relaxed so the tension doesn't show on your face. If only it was all rock
music playing and dancing around in front of the camera like they show on TV. In secondary markets it is a lot of product, illustrative, and catalog. But in
spite of it all this you can still get a lot of excitement and electricity going.
I still find it strange, how this electricity and excitement can build between a photographer and a model. And it is even stranger when it suddenly stops
during a shoot. Its like a switch is turned off or you run out of gas. One minute everything is really happening and you are doing great work and the next
minute, for no reason, the energy drops. I used to try to work through that energy drop and keep going but it just doesn't work. If it happens in the
middle of a shoot, it means, "It's break time". Time to recharge, brake for lunch, socialize, change sets, change wardrobe, or something. This part is
always hard to explain to a client though sometimes they can feel it as well. If it happens close to the end of a shoot you may as well just call it a day.
You hope you have all of the primary shooting done and you are just working on the extras so it is a good time to wrap up.
After the shoot
When the shoot is over it is time to clean up, pack up and go. When you're starting out you may want to stay and ask questions about modeling or if
there is more work, or where else you can find work. A little of this is fine, but remember time is money and the photographer may need to move on to
another project, so don't stay too long and wear out your welcome. Also, don't be too quick to dash off. The photographer may indeed have another
project coming up, but does not want to talk about it until the client and art director have left. More confusion! Also, try not to leave things behind again
part of being professional is being organized.
Lastly, the inevitable question, when will the pictures be ready? You know you want to see them. Try to work out a time when you might be able to
return to look at them. What is excellent, is when you are starting out and the photographer can take time to review the photographs with you and not
just leave something at the front counter. A critique of what the photographer saw and how you might do better can be a real ego bruiser, but can also
help you learn and improve.
| Pointers on working in front of the camera |
Stay in your Light
Of foremost importance - knowing where the main light is coming seems that more and more of the lighting I see used in fashion
magazines is an over-under-soft box set up. This creates a soft butterfly light, a term from classic portrait photography. It is also
an idiot-proof lighting. For a model, all you have to do is stand and look at the camera. It is also a very flat, uninteresting light. If
you have seen the photos of the Hollywood stars from the 30's and 40's you might remember how dramatic and glamorous they looked. A lot of that is
from the dramatic lighting. For dramatic lighting to work, the person in front of the camera must position herself just right. With all of these light setups
there is a single main light coming from one direction and you must learn how to use it. If the light is coming from the right you need to work to that
direction. You may also find that a certain type or direction of light may make you look better. This is a difficult idea to grasp until you have done a few
shoots - but it is best to be aware of it right from the start.
Hitting your Mark
Many product and dramatic lighting setups are designed for the model to be at a particular spot in the set up. It is important to be aware of how much you
can move from that spot; how far forward, back, side to side and up and down from that mark you can move. If it is a very tight set up and requires you to
say very close to your mark, then be-bopping and twirling around destroys the whole set up. When you move from your mark you throw off camera focus,
move out of the light, destroy the alignment of the shot, and distort perspective. If you have a tight mark you must learn to do all of your action and poses
within that tight space.
Framing
Another point that is important to understand is how much of you will show in the picture. Working full length is quite different from doing a tight head
shot. With full length body posture, arm placement and leg position are very important. With a head shot, who cares what your body is doing, it's the face
and expression that is everything. Knowing how much of you is going to show allows you to concentrate on just the part that is showing.
What is the Photo Saying
All of the previous is dictated by one thing, what is the purpose of the shoot? Selection of lighting, focus, camera format, framing and you are determined
by the purpose of the shoot. It is important for you to have some idea what the final photo is to convey. This will help you to understand your motivation
and purpose in the photo. This helps you to know what sort of expressions, gestures, and poses you should do. If the photo is to sell grave-side services
for a funeral home, then your winning smile that sells tooth paste just won't do. I think a lot of photographers would rather view you as a collaborator in a
photo rather than another prop to move around.
Of foremost importance - knowing where the main light is coming seems that more and more of the lighting I see used in fashion
magazines is an over-under-soft box set up. This creates a soft butterfly light, a term from classic portrait photography. It is also
an idiot-proof lighting. For a model, all you have to do is stand and look at the camera. It is also a very flat, uninteresting light. If
you have seen the photos of the Hollywood stars from the 30's and 40's you might remember how dramatic and glamorous they looked. A lot of that is
from the dramatic lighting. For dramatic lighting to work, the person in front of the camera must position herself just right. With all of these light setups
there is a single main light coming from one direction and you must learn how to use it. If the light is coming from the right you need to work to that
direction. You may also find that a certain type or direction of light may make you look better. This is a difficult idea to grasp until you have done a few
shoots - but it is best to be aware of it right from the start.
Hitting your Mark
Many product and dramatic lighting setups are designed for the model to be at a particular spot in the set up. It is important to be aware of how much you
can move from that spot; how far forward, back, side to side and up and down from that mark you can move. If it is a very tight set up and requires you to
say very close to your mark, then be-bopping and twirling around destroys the whole set up. When you move from your mark you throw off camera focus,
move out of the light, destroy the alignment of the shot, and distort perspective. If you have a tight mark you must learn to do all of your action and poses
within that tight space.
Framing
Another point that is important to understand is how much of you will show in the picture. Working full length is quite different from doing a tight head
shot. With full length body posture, arm placement and leg position are very important. With a head shot, who cares what your body is doing, it's the face
and expression that is everything. Knowing how much of you is going to show allows you to concentrate on just the part that is showing.
What is the Photo Saying
All of the previous is dictated by one thing, what is the purpose of the shoot? Selection of lighting, focus, camera format, framing and you are determined
by the purpose of the shoot. It is important for you to have some idea what the final photo is to convey. This will help you to understand your motivation
and purpose in the photo. This helps you to know what sort of expressions, gestures, and poses you should do. If the photo is to sell grave-side services
for a funeral home, then your winning smile that sells tooth paste just won't do. I think a lot of photographers would rather view you as a collaborator in a
photo rather than another prop to move around.
Comp Card
The Composite Photo Card (Comp Card) helps to get you noticed and considered for projects.
A comp card provides a small collection of pictures and basic stats on card stock or rigid paper. It is a
standard marketing tool that has been around for many years and is still very essential to have today.
A comp card is a relatively inexpensive and versatile sales tool.
Modeling agencies often put comp cards in their display racks. This makes it easy for a client to go into a
modeling agency and quickly scan their talent pool. Modeling agencies and models send comp cards to
photographers, art directors, and others to advertise new talent or to show updated looks or expanded
capabilities of an established model. Photographers often maintain a talent file (comp cards) for future
projects.
In addition, the comp cards make it possible for a photographer to show prospective clients a selection of
talent available for their project. Comp cards can be used in other ways, but they remain a very essential marketing tool for a model.
You Begin with Photos
The ultimate success of a comp card lies in the quality of the photographs. This quality comes not only from the level of professionalism and
creativity of the photographer, but also from the level of the model's talent. An effective comp card requires an excellent set of photographs.
Most important is an eye-catching, grab your attention from across the office head shot for the front of the card. You can have great photos
with a poorly produced comp card and still come out with something useful. But bad photos plus bad production show that you are not a
professional. High-quality photos, innovative design, and the best comp card production will announce you as a top-tier professional model.
In addition to a great head-shot, a comp card will have other photos that show your experience, versatility, range, and the type of work you are
seeking. For the best result, all of the photos should be the highest quality you can obtain at your stage in your modeling career.
Comp Card Possibilities
Digital imaging and Photoshop have become the standard. Color printing is inexpensive and options are numerous. Black-and-white photography is
mostly used for fine art photos, and color is often less expensive. Many new and eye-catching looks are possible for a comp card, and can now include
all of the latest graphic design, advertising, and printing techniques.
Comp cards remain a key selling tool for a model so make yours as effective as possible and move beyond the standard format. Use innovative and
colorful comp card layouts. Big and small companies are using creative, high visual impact layouts for their advertising and promotional materials. They
do this because it cuts through the clutter and gets notice. It also effectively shows the benefits of a product or service to the consumer or client.
Bottom line, it works. In selling your services as a model in a highly competitive market shouldn't you be doing the same? Many still use the standard
comp card format but today you can do better.
Comp Card Production
Computers, digital imaging, and digital printing are responsible for today's lower production costs.
You can produce an innovative comp card today for what it used to cost to do a cheap black-and-white quick-print card.
There are numerous production steps required to produce a comp card. Some companies specialize in
comp card production. Most of them produce the same old style of comp card that was popular 20 years ago.
A comp card provides a small collection of pictures and basic stats on card stock or rigid paper. It is a
standard marketing tool that has been around for many years and is still very essential to have today.
A comp card is a relatively inexpensive and versatile sales tool.
Modeling agencies often put comp cards in their display racks. This makes it easy for a client to go into a
modeling agency and quickly scan their talent pool. Modeling agencies and models send comp cards to
photographers, art directors, and others to advertise new talent or to show updated looks or expanded
capabilities of an established model. Photographers often maintain a talent file (comp cards) for future
projects.
In addition, the comp cards make it possible for a photographer to show prospective clients a selection of
talent available for their project. Comp cards can be used in other ways, but they remain a very essential marketing tool for a model.
You Begin with Photos
The ultimate success of a comp card lies in the quality of the photographs. This quality comes not only from the level of professionalism and
creativity of the photographer, but also from the level of the model's talent. An effective comp card requires an excellent set of photographs.
Most important is an eye-catching, grab your attention from across the office head shot for the front of the card. You can have great photos
with a poorly produced comp card and still come out with something useful. But bad photos plus bad production show that you are not a
professional. High-quality photos, innovative design, and the best comp card production will announce you as a top-tier professional model.
In addition to a great head-shot, a comp card will have other photos that show your experience, versatility, range, and the type of work you are
seeking. For the best result, all of the photos should be the highest quality you can obtain at your stage in your modeling career.
Comp Card Possibilities
Digital imaging and Photoshop have become the standard. Color printing is inexpensive and options are numerous. Black-and-white photography is
mostly used for fine art photos, and color is often less expensive. Many new and eye-catching looks are possible for a comp card, and can now include
all of the latest graphic design, advertising, and printing techniques.
Comp cards remain a key selling tool for a model so make yours as effective as possible and move beyond the standard format. Use innovative and
colorful comp card layouts. Big and small companies are using creative, high visual impact layouts for their advertising and promotional materials. They
do this because it cuts through the clutter and gets notice. It also effectively shows the benefits of a product or service to the consumer or client.
Bottom line, it works. In selling your services as a model in a highly competitive market shouldn't you be doing the same? Many still use the standard
comp card format but today you can do better.
Comp Card Production
Computers, digital imaging, and digital printing are responsible for today's lower production costs.
You can produce an innovative comp card today for what it used to cost to do a cheap black-and-white quick-print card.
There are numerous production steps required to produce a comp card. Some companies specialize in
comp card production. Most of them produce the same old style of comp card that was popular 20 years ago.
Portfolio Cases
Ok, you have been doing your test shoots and you have your photos which are all fabulous, now what do you put them in to show potential clients.
Here is a quick look at some of the portfolio case options that are on the market.
The New York Agencies
The bigger agencies will have their own portfolios for their models. These are attractive, functional, quick to set-up, and can only be purchased in large
quantities. They generally have a nice simulated leather appearance (vinyl but nice) complete with the agencies' logos. These portfolios are about
10"X 13" in size and come in sizes to hold 20 or 40 photos or tear sheets. The bigger agencies may provide these portfolio cases to their models but
most likely will want to be reimbursement for them. So if you know New York has a portfolio like this you should be sure your photos are in nice case too.
If you are with a smaller agency or working freelance you will need to find and purchase your own portfolio case.
What are some of the basic features to look for in a portfolio?
Professional Appearance
When considering any other features or materials of a portfolio you must always keep in mind that the portfolio must have a professional appearance.
You will be dealing with folks who are very visually oriented. Photographers, graphic designers, art directors, creative directors, and fashion designers
all make their living by producing strong visuals. If you want to be taken seriously as a professional model you must present yourself that way. And your
portfolio must have a very clean professional look.
Open Book or Zippered Case
Generally, portfolios come in two styles - the open book or the zippered case. The New York portfolios have moved to the open book. It has covers and
pages and reads like a note book. You have to be sure everything is glued down in these books so nothing falls out. You also have to protect them
when carrying so rain, snow or coffee does not get into them and destroy the photos. They will fit into a larger bag for transporting and are of a smaller
size then the zippered case. The zippered case style of portfolio zips up and can be carried like a briefcase. Zipping the case closed keeps things from
falling out and the weather or beverages from getting in. The handle makes it easy to carry on its own. Its larger size might make it a little more awkward
when thumbing through, but it allows you to carry presentation materials that do not fit in standard photo sleeves (mounted prints, advertising
packaging, transparencies, etc.).
Portfolio
Your second marketing tool is the portfolio. After someone shows interest in you, they are going to want to see more photos of you. This is where your
portfolio or book comes in. Your portfolio contains an assortment of photos and tear sheets showing what you have done and your "look". They all, of
course, must be of excellent quality. When you're starting out you won't have any tear sheets as you haven't done any jobs yet. As you do get work,
you will add tear sheets to show you have done actual jobs.
How many photos and tear sheets do you need? Enough to show what you are about, but not so many as to overwhelm and bore someone. It is a tricky
balance and takes a lot of scrutiny and evaluation to get a balanced book. What size and format? I think that is open. You need to be able to leave it
behind, messenger it over, mail it out, and carry it in. It doesn't hurt to be distinctive, but it needs to be easy to look through rugged but fashionable -
sounds like a Professional Model.
So what types of photos should be in your book? First, you need a good clean head shot. This goes for your composite card as well. This head shot
needs to show you - both your physical appearance and personalty. This gives a photographer clear idea of your "look". In addition have a couple of
full length shots that show your body shape. The head shot and body shots might be more technical kind of shots. The rest of the portfolio should be
filled with WOW shots. Just as in any kind of advertising (which is what a portfolio is), you need to sell the client. That is what the bulk of the photos in
your portfolio should do.
Photos for a portfolio should usually not be done by just one photographer this is because many photographers develop their own style. If your
portfolio were to be shot by just one photographer, it would only show that one style, that one way of looking at you. Although one photographer can
shoot your initial composite, a portfolio needs variety. It needs to show how several different photographers see you and how they capture your look.
Remember, for print models the portfolio is your major marketing tool and can often close the deal. Also, having said all that, there are exceptions and
exceptional photographers who can produce enough variety images to fill your portfolio, but it's rare to find one.
Materials
Common portfolio case coverings can be made of vinyl, leather, cloth, and wood. Vinyl (plastic) is the cheapest and least durable. Leather is more
expensive but can take more years of wear. Cloth and wood are used more to create an interesting appearance and are less common. Within each of
these materials there can be differences in quality that can affect appearance, longevity, and price.
The pages that hold your photos in the portfolio normally come in three types of material - vinyl, polyester or Mylar. Vinyl pages are very clear, fairly
rugged and reasonably priced. At one time these were the standard that everyone used. But through the years we have found a few short comings with
these pages - they release Coleraine gas that will bleach out photos, things stick to them, they scratch easily, and over time they become brittle, plus
their price keeps going up. Polyester pages came in to overcome some of the problems of vinyl but they are not as optically clear as vinyl. With some
lower quality pages you are viewing the photo through a milky haze. Some of these pages have gone to a non-glare texture to overcome this problem
(you can't tell it is milky because the texturing breaks up the light passage). Mylar pages are very clear and archival quality, but unless you get a fairly
thick Mylar the pages can be quite fragile and as you get the thicker Mylar the cost goes up. Just so you know, the New York books are using non-glare
vinyl pages.
There are several methods for holding the pages in the portfolio. The least expensive, but also the least flexible, system is to glue or fuse them into the
book. Next up is a metal comb binder setup like you find in a three ring binder but with many more rings. A little more classy setup uses metal screws
and posts. The comb binder and screw post setup lets you add and remove pages as you need. The glued or fused page setup leaves you with just
the number of pages that came with the book - no adding or removing.
What Size?
Portfolio cases come in a variety of sizes. The smaller size cases hold 8" X 10" enlargements and 8½" X 11" sheets of paper. This allow you to put
standard size photographic prints and common business size printed piece in the portfolio. A larger size case, often 11" X 14", allows you put larger 11"
X 14" prints in it plus it can hold over size tear sheets that might come from magazine, multi smaller prints per page or other business printed material.
The smaller case cost less. The idea of the larger case is to make a bigger impression with the larger prints and to be able to hold larger tear sheets.
Which is the right size? Some of this might be determined by what your modeling agency wants. If they are set up for certain size case you may have to
go with that size. In general the smaller size will be fine for someone just starting out. When starting out the only thing you will have to put in a portfolio
will be prints from test shoots. As you get more actual jobs and tear sheets and acquire better quality test photos you may need to move to the larger
book to hold them.
Shop Around
You should shop around and check out other styles and qualities of portfolios. For starting models, I of course like the portfolio case the modeling
advice site is offering but there are certainly better quality leather cases available. Your portfolio has be something that you are proud to present
without any excuses or explanations, so be sure to get a portfolio case you feel good about.
Here is a quick look at some of the portfolio case options that are on the market.
The New York Agencies
The bigger agencies will have their own portfolios for their models. These are attractive, functional, quick to set-up, and can only be purchased in large
quantities. They generally have a nice simulated leather appearance (vinyl but nice) complete with the agencies' logos. These portfolios are about
10"X 13" in size and come in sizes to hold 20 or 40 photos or tear sheets. The bigger agencies may provide these portfolio cases to their models but
most likely will want to be reimbursement for them. So if you know New York has a portfolio like this you should be sure your photos are in nice case too.
If you are with a smaller agency or working freelance you will need to find and purchase your own portfolio case.
What are some of the basic features to look for in a portfolio?
Professional Appearance
When considering any other features or materials of a portfolio you must always keep in mind that the portfolio must have a professional appearance.
You will be dealing with folks who are very visually oriented. Photographers, graphic designers, art directors, creative directors, and fashion designers
all make their living by producing strong visuals. If you want to be taken seriously as a professional model you must present yourself that way. And your
portfolio must have a very clean professional look.
Open Book or Zippered Case
Generally, portfolios come in two styles - the open book or the zippered case. The New York portfolios have moved to the open book. It has covers and
pages and reads like a note book. You have to be sure everything is glued down in these books so nothing falls out. You also have to protect them
when carrying so rain, snow or coffee does not get into them and destroy the photos. They will fit into a larger bag for transporting and are of a smaller
size then the zippered case. The zippered case style of portfolio zips up and can be carried like a briefcase. Zipping the case closed keeps things from
falling out and the weather or beverages from getting in. The handle makes it easy to carry on its own. Its larger size might make it a little more awkward
when thumbing through, but it allows you to carry presentation materials that do not fit in standard photo sleeves (mounted prints, advertising
packaging, transparencies, etc.).
Portfolio
Your second marketing tool is the portfolio. After someone shows interest in you, they are going to want to see more photos of you. This is where your
portfolio or book comes in. Your portfolio contains an assortment of photos and tear sheets showing what you have done and your "look". They all, of
course, must be of excellent quality. When you're starting out you won't have any tear sheets as you haven't done any jobs yet. As you do get work,
you will add tear sheets to show you have done actual jobs.
How many photos and tear sheets do you need? Enough to show what you are about, but not so many as to overwhelm and bore someone. It is a tricky
balance and takes a lot of scrutiny and evaluation to get a balanced book. What size and format? I think that is open. You need to be able to leave it
behind, messenger it over, mail it out, and carry it in. It doesn't hurt to be distinctive, but it needs to be easy to look through rugged but fashionable -
sounds like a Professional Model.
So what types of photos should be in your book? First, you need a good clean head shot. This goes for your composite card as well. This head shot
needs to show you - both your physical appearance and personalty. This gives a photographer clear idea of your "look". In addition have a couple of
full length shots that show your body shape. The head shot and body shots might be more technical kind of shots. The rest of the portfolio should be
filled with WOW shots. Just as in any kind of advertising (which is what a portfolio is), you need to sell the client. That is what the bulk of the photos in
your portfolio should do.
Photos for a portfolio should usually not be done by just one photographer this is because many photographers develop their own style. If your
portfolio were to be shot by just one photographer, it would only show that one style, that one way of looking at you. Although one photographer can
shoot your initial composite, a portfolio needs variety. It needs to show how several different photographers see you and how they capture your look.
Remember, for print models the portfolio is your major marketing tool and can often close the deal. Also, having said all that, there are exceptions and
exceptional photographers who can produce enough variety images to fill your portfolio, but it's rare to find one.
Materials
Common portfolio case coverings can be made of vinyl, leather, cloth, and wood. Vinyl (plastic) is the cheapest and least durable. Leather is more
expensive but can take more years of wear. Cloth and wood are used more to create an interesting appearance and are less common. Within each of
these materials there can be differences in quality that can affect appearance, longevity, and price.
The pages that hold your photos in the portfolio normally come in three types of material - vinyl, polyester or Mylar. Vinyl pages are very clear, fairly
rugged and reasonably priced. At one time these were the standard that everyone used. But through the years we have found a few short comings with
these pages - they release Coleraine gas that will bleach out photos, things stick to them, they scratch easily, and over time they become brittle, plus
their price keeps going up. Polyester pages came in to overcome some of the problems of vinyl but they are not as optically clear as vinyl. With some
lower quality pages you are viewing the photo through a milky haze. Some of these pages have gone to a non-glare texture to overcome this problem
(you can't tell it is milky because the texturing breaks up the light passage). Mylar pages are very clear and archival quality, but unless you get a fairly
thick Mylar the pages can be quite fragile and as you get the thicker Mylar the cost goes up. Just so you know, the New York books are using non-glare
vinyl pages.
There are several methods for holding the pages in the portfolio. The least expensive, but also the least flexible, system is to glue or fuse them into the
book. Next up is a metal comb binder setup like you find in a three ring binder but with many more rings. A little more classy setup uses metal screws
and posts. The comb binder and screw post setup lets you add and remove pages as you need. The glued or fused page setup leaves you with just
the number of pages that came with the book - no adding or removing.
What Size?
Portfolio cases come in a variety of sizes. The smaller size cases hold 8" X 10" enlargements and 8½" X 11" sheets of paper. This allow you to put
standard size photographic prints and common business size printed piece in the portfolio. A larger size case, often 11" X 14", allows you put larger 11"
X 14" prints in it plus it can hold over size tear sheets that might come from magazine, multi smaller prints per page or other business printed material.
The smaller case cost less. The idea of the larger case is to make a bigger impression with the larger prints and to be able to hold larger tear sheets.
Which is the right size? Some of this might be determined by what your modeling agency wants. If they are set up for certain size case you may have to
go with that size. In general the smaller size will be fine for someone just starting out. When starting out the only thing you will have to put in a portfolio
will be prints from test shoots. As you get more actual jobs and tear sheets and acquire better quality test photos you may need to move to the larger
book to hold them.
Shop Around
You should shop around and check out other styles and qualities of portfolios. For starting models, I of course like the portfolio case the modeling
advice site is offering but there are certainly better quality leather cases available. Your portfolio has be something that you are proud to present
without any excuses or explanations, so be sure to get a portfolio case you feel good about.
