Modeling 101Modeling 101Tips and Guidelines for Models
See also: The Model - defining types and other information
Here are some guidelines that I've put together over the last few years,
I hope you find them helpful.
A. Modeling and Talent Agencies
My spin on them.
Modeling agencies find you work and get paid a percentage from your pay.
The first modeling agency, as we know them today, was started by John Robert Powers in the 1920s. His company is still around today and is mostly franchised (each office is owned by someone other than the John Robert Powers Corporation). Other agencies followed, many successful, many not. As we have moved into modern times, some new concepts have been added to them to help increase revenues, most of which are sound business practices. But some, especially if they are not able to place enough models to keep the doors open, or they just want to increase profits even more, are looking at ways of charging models to be represented by them. So, if I may, I'd like to ramble on a bit and give you some of my reflections. Please feel free to comment, I hear a lot from models, and different sources, and this is put together from that.
Look at the agency's local statistics for placing models rather than their national stats which include their offices in large fashion centers like New York. Check out any agency/company asking for large amounts (or any amount) of money upfront. Be sure you know what you are buying. If you have to make a decision 'now' to buy their product/service or they will go to the next person...let them and walk away. If they really, really think you can make it as a model, they loose if you don't work with them...they should be 'courting' you. Some offer "Photo Packages", which is a nice service, but can you say, "No" to the extra services they offer you at a cost to you. Now, I'm not saying they are all bad, the fact is most are hard working and good. But do be careful, know exactly what you are signing and paying for (don't be afraid to seek legal counsel before signing any contract), and ask around. If an agency/company wants YOU, they will give you time to check their references or 'think about it'. If they won't give you that time, it is your wallet they are after. No reputable company will ever say that you have to make a decision 'now' or you will lose your opportunity with them. (If they have you in mind for a certain ad campaign, don't expect a week or two, there may be only a day... but there will be some time given you to make a decision.) The bottom line here is... if they ask for money... BE CAREFUL.
You should be able to choose your photographer and order your own comp cards (sample right - 2 sided 5½ x 8½) and portfolio shots (usually 8x10, but can vary) from whomever you like.
By the way, your portfolio will NEVER be complete, it grows and changes with you over time.
Portfolios should show a variety of looks and EXPRESSIONS. Have different styles. Include full length to close-ups; sexy and casual; cover shots (look at Cosmo and Vogue and Harper's Bazaar and others. Be bold, be demure, be hot, be shy, be happy, be sad, be funny, be YOU. (This is your time to be an actor.) Be conservative, be hot, be covered from head to toe, be nude*. It's up to you, but be ALL you can be. Your book should have removable pages...take the nudes and ultra-sexy pics out if you're interviewing for a conservative company, take a couple conservative ones out and put nudes in if you're going to Playboy. You get the idea. A few should be with very light or no makeup and even less 'Photoshop'. Art directors know what a make up artist can do with you... Leave the freckles in; don't have the photographer do much retouching on these 'natural' pics...especially face and body. I'd rather see 10 good, well rounded images rather than 50 mediocre ones.
* Consider carefully. If nude is something you are willing and want to do, and you are over 18, then do it. Photos in a bikini or bra/panty/thong are good alternatives. This is discussed more thoroughly below in "E - The Shoot".
Bottom line:
+ Modeling/talent agencies do not usually charge for representation up front. They will charge a percentage of what you earn, and take that from your pay AFTER you are paid by the client.
+ How an agency earns a commission depends on the type of contract you have with them.
A "non-exclusive" contract is one in which the agency only earns a commission if that agency gets the job for you.
Conversely, an "exclusive" contract is one in which they are entitled to a commission on all of your modeling/talent income. If you accept a job through another agency, you will owe two commissions.
Commissions are normally paid on actual dollars the model/talent earns, but could be due on services, bonuses, and 'perks'.
+ An agency may pay for services for a model, but more often than not, they will make an advance to the model for comp cards, headshots, prints, travel, etc. and expect to be reimbursed from the models earnings (in addition to their commission). They may want repaid after a period of time for these advances even if the model never receives a paying job. There should be a clear understanding, in writing, on how, when, which, and if, these items will be repaid to the agency.
+ No one can guarantee how much, or even if, they can get any work for you. The idea is to have your face (comp card) in front of as many art directors and editors as possible all of the time. These people don't normally search the Internet for models...they like to have paper comp cards in front of them when they have to choose a model. It isn't possible for them to look at 100 websites, one at a time, to find a 'look' for an ad or article. Comp cards are vital for commercial and print models.
Managers are not agents. They do not find you work. They guide your career. How you should look, who should do your hair and makeup, what jobs you should accept, which ones to pass, what you should weigh, and recommend diets (check with your physician BEFORE and DURING dieting and/or exercising and tanning). They will even recommend where you should have lunch and what photo styles will be best for your book. They may guide you to personal trainers, tanning (yes? no? how much?). And, yes, they do charge a percentage of everything you earn (over and above your agent's fees) ... and they aren't cheap. However, they can be worth their weight in gold by guiding your career and earning you a lot more money. Can an agent be a manager? I would answer that with a "qualified" Yes.
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B. Working With Photographers
Photographers take your picture and get paid for that.
There are many excellent photographers and some provide specialized photo services for models. These can include portfolio shots - color and black & white, comp cards, and retouching. Pretty simple, really. In the real world the person seeking the other's services pays for those services. Models pay photographers when they need photos and photographers pay models when they have a need for her look in their portfolio.
TFCD / TFP
The use of the term TFP or TFCD (Time For Prints and Time For CD) is new with the Internet. Sometimes called Trade For Prints and Trade For CD, but it's concept goes back to the earliest days of photography, painting, and sculpting. It simply means that the model exchanges her time for the photographer's time, plus, the photographer also gives her either, a) a CD of the session; b) a CD containing a predetermined number of finished photographs and/or jpegs. If finished images (jpegs) are to be given to the model, they are usually emailed to her.
It is when this mutual need arises that a TFCD or TFP session is considered. Don't get caught up in doing only TFCD/P work. Many models that could have made it get burned out doing these. My advise is to get a few shoots under your belt and hit the bricks looking for an agent. Read 'A' above.
Professional, busy, working commercial and portrait photographers seldom need to shoot TFCD or TFP sessions, and the same goes for busy, professional models. You wouldn't expect to go to your hair stylist and ask them to do your hair just for the experience of doing it, would you? You happily pay them and even leave them a tip and are happy doing so. Then why would you expect a photographer to be any different? If the photographer is getting the looks that you are looking for, then hire them and pay their fee. Just because a photographer won't photograph a model on a TFCD/P basis doesn't mean the photographer doesn't like her work or is disrespectful of the model. It just means that the photographer doesn't need or have time to do a free exchange of services.
I've seen some models remark on their web pages that they would never pay a photographer for his work. What a slap in the face to photographers. What if the photographer said they would never pay you for your services? How would you feel? You can be sure I would never recommend a model to a client or for an assignment that said this. You can say that you are looking for only TFCD/P shoots, or that you want only paid shoots...that's fine. Think about how you are saying things and it's consequences to you. Respect has to go both ways. Fact is, you probably won't find all of the professional and commercial photographers listed on modeling sites offering TFCD/P work for the main reason that most models on these sites want TFCD/P shoots and those photographers just don't need to, or have time to do TFCD/P.
The reverse is true, most highly paid commercial models aren't on these sites because the photographers on them want to shoot on a TFCD/P basis. Also, many modeling agencies require that any model they represent remove their portfolios from ALL web sites. So don't look for successful, working commercial models on websites other than their agencies.
So if a photographer (or model) says paid work only, take another look at their style and look and ask yourself, do I want that look in my book? If so, hire them!
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C. Preparing YOURSELF for The Shoot
I'm sure you've been preparing for years. Now is the time to put all of what you've learned into practice. Skin, makeup, hair, hairstyle, clothing, shoes. Sounds easy. HA.
Did you notice that I mentioned skin and makeup separately; and the same for hair and hairstyle. Having great skin and great hair is so much more than makeup and hairstyles. Take really good care of your skin. Look at it closely under magnification. Are there any blemishes, even tiny ones? Is your skin smooth? Does it look 'old' because of getting too much sun year after year?
If you think no one looks that close, guess again. When I'm retouching a photo, the digital cameras give me an unblievable large photo to work on. Looking at a headshot at 100% resolution, I'm seeing your nose the full size of the monitor, now make that a 21" monitor and you'll see each pore of the skin magnified several times. It's amazing. And I'm asked what takes so long retouching? (Without being redundant, 'HA'.)
Cleansers and skin care products, quality products, are much more important than a new dress or lingerie. The same is true for hair. The condition of your hair and what is being done to it by bleaches and other hair products is crucial. I recommend working with a trained, competent hair stylist and aesthetician for skin care and makeup suggestions. There are state license boards for each profession. So look for that, and most important, do they give you the look that you and your manager and your agent want?
Go to an interview in sloppy clothes and hair and makeup a mess, unless they are casting for a vagrant, no one will take you seriously. The first impression walking through the door for an interview, or go see, is most important; this is 'live' folks, you never get a retake. ________________________________________________
(still writing this.. more to come)
D. Setting up The Shoot
2. The Model Release: Understand it before you sign it, and if a paid shoot, don't sign it until you are paid (exception- commercial shoots).
If it is a paid shoot (photographer or advertiser/client paying the model), then the model probably is restricted from using the photos; and depending on the circumstances, may not even receive a copy of the photos, except maybe the final one after the ad/project is released.. and then as a 'tear sheet'. These photos belong to the photographer and/or advertiser. This release will be different and what you are given is totally up to them. Before saying 'no way' to this, these are the shoots you've been dreaming about since you were a kid and this is how all of the models you see in advertising do this. You may be able to get something from the photographer after the final choices are selected for the ad.
The Legalities: A model release
is basically a type of contract, and as with all contracts you have a right to have your attorney look them over and advise you. If that is your intent, you must ask the photographer for a copy of the release at the time the appoint is made...not the day of the shoot, not the day before, not the week before, but immediately upon booking and be honest and say you are having your attorney look it over and you'll have an answer the next business day...not in a week, not the day of the shoot, but immediately. This applies to all other contracts that may be involved, usually with the advertiser/client. They will be glad to share them with you; actually, they will expect you to ask for them. They don't want any legal problems popping up at the last minute. It isn't uncommon for them to ask you to sign the release and contracts days or weeks before the shoot. Advertising, editorial, and catalog work is very serious business to them, and it should be to you.
If you are not of legal age (18 in the US) in the state/country in which the work is being shot, a parent or legal guardian will have to sign also. There are ways of doing this if that person will not be accompanying you to the shoot. (It is highly advised that a responsible person does accompany you.)
Model releases vary for each type of shoot and each photographer or ad agency will have their own. Read them over carefully and be sure you understand them.
Who owns the photos? What I can do with them? The Law: The
PHOTOGRAPHER
that took the photo owns the copyright, even if YOU PAID him (her)
to take the photo or paid for the print or jpeg. You must have
WRITTEN permission from the
photographer to use the photograph for any purpose whatsoever . If you want to
alter or retouch the photos these
permissions must be stated in this document. It also must give YOU
permission to use his images with
other images and publish (media stated) the images if you plan on doing this.
Many times this is written into the model release that you sign with the
photographer. This means that without a release you can't publish any
photos, not even to "my space" or modeling sites. GET A RELEASE STATING HOW YOU,
AND THE PHOTOGRAPHER, MAY USE THE PHOTOS.
3. Ask questions if you don't understand. It is really poor form to come back after the shoot and signing a release to ask the photographer not to use some of the photos. First, the photographer doesn't have to honor that request. And second, it's just not right. If you have doubts as to which photos you want shown or used under the terms of the release, the time to voice your requests is before the shoot, when you are setting up the shoot.
4. If you are shooting in another country, it is a very good idea to get advice from your attorney and agency before traveling or signing for this. Also from our local embassy on arrival. There are many, many legal, contractual, and other issues you may need to be made aware of. E.g., posing for, or even
possessing nude photos (of you or anyone) may land you in a foreign jail...a place that you really, really, really, don't want to be. Be sure of their laws before entering their country with even your book containing nude photos of you. Don't forget about you computer, cell phone, PDA, or camera that may have nudes
(of you or anyone, male or female) stored in their memories... erase them.
Deleting an image and emptying the trash can isn't enough. Computers store things in hidden memories forever,
including photos on websites you've visited. Like
emptying the trash can, emptying the Temp Internet Files doesn't erase
everything either. Have an expert help you clean it up. Customs and foreign government agents can be quite good at finding
these things.)
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E. The "Shoot"
My rule is that if you are going to be late, call me. If you are 20 minutes late without calling (NOT emailing), I reserve the right to go shopping.
Please CALL me and tell me as soon as you know that you are going to be late or
can't make it, that way I will stick around or we can reschedule. I do actually
worry about models that are late or are a 'no show'. This has not been a big
problem with me, but it is not good for any model-photographer relationship.
If you are late or a no-show for a commercial, paid product shoot...you will probably not be used by that agency,
client, and photographer again. If you think they will be forgiving, it will
cost them thousands of dollars when there is a no-show (or even late). They
can't afford to take another chance with you. This isn't like being late for
work when someone else can step in for you to flip the burgers...this is BIG.
8. The opposite is also true, don't be early without calling. You may find yourself walking in on another shoot or not find anyone at the studio. I, many times arrive just before the scheduled time, especially if I am getting back from a location shoot (or
lunch). Please call when you see you are going to be early.
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Please read the page, "Safety First".
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1. *** WITH ME, we MUST re-confirm ALL sessions within 48 hours BEFORE the shoot. This means an email from one of us to the other confirming, AND A REPLY! I usually send one about 2 days ahead and I need a reply back.
* I am also now requiring a brief exchange of email, text, or phone call the morning of the shoot. If it gets closer to the session, please call me, I many times do not have your number (I now ask for cell #s). My cell phone is 614.218.8707 and is also listed under 'Contact Us'. Unless we've agreed otherwise, I consider the session cancelled if this 2-way communication does NOT occur.
* I also want a cell phone contact with you the morning of the shoot.
*** Each photographer will handle this differently, but I do recommend that you confirm the shoot close to it's date or time and again the morning of the shoot.
2. Check your emails often and don't allow your mail box to get near your limits. It is very frustrating not to be able to reach a model before a shoot, and model websites have been known to disable accounts if mail can't get through. I always include my name, studio name, and contact information after my name in emails; and it helps me tremendously if the models do the same. This is particularly emphasized if the model goes by a nickname or professional name and signs emails with her real name. I also work with several models with the same first names, it gets confusing to figure out which ' Toni ' an email is from.
3. Set up a separate email account with Google (gmail), Yahoo, or Hotmail. Yahoo has a great Instant Messenger and Google's email can't be beat. Almost all are free. I particularly like IMs that allow you to leave off-line messages when the other person is not online. Be sure that NO ONE else has access to this account. (All rules have exceptions...
AND, if you are under 18, your parents MUST have access to your emails and IMs and be advised of ALL calls with your manager, agent, and all photographers (even me). I can't stress this one point enough. I assume that if I communicate with a model under 18, that all of my communications are shared with a parent or guardian.
H. Finishing Photographs
A word about 'Finishing' photographs. In 25 years of photography, both as an amateur and a professional, including some time as an instructor at a local art college, I had never heard of photos being presented without some sort of finishing. Go back to the 30s and 40s, the star photos and pinups, look at the greats like Ansel Adams...all photographs were retouched: first the negatives with pencil leads sharpened to the finest points, then painstakingly printed in the darkroom, and finally enhanced with print dyes and/or airbrush retouching. Ansel Adams published several books on printing and shared how he finished some of his most beloved photographs; I don't believe any were printed as they were shot. Countless volumes have been written on how to print a photograph in the darkroom...burning, dodging, etc (making PART of a print lighter or darker to bring out or hide features). So much time was taken in getting the print just right...one print.
Today, many photographers like myself are using programs like Photoshop to achieve the same results, except we can do so much more with it. And when finished we can make print after print, even changing sizes, all identical, at the push of a button. High quality poster size prints can be made from high resolution hand held digital cameras. Before digital, a monster view camera and tripod would have been needed to get these results. There is still a certain quality to film that will always make it different, appealing, and at times, necessary. I salute the photographers that use it well. It makes me feel good to see that many photographers take the time to finish images before publishing them, rather than just post the image right from the camera with zits, bruises, and who knows what for the world to see.
Retouching! Every image that I publish has been retouched in some way. The average time on ONE image is between one-half and two hours, averaging about 45 minutes. That is not all on just the model, some of the time is enhancing or changing the background or adding special effects. My usual look is that of finished images as you would find in advertising or magazines.
Not all photos need to be retouched to this degree. This level of retouching may be used for images that are published to show totally finished photos of the model, to a degree that you would find in magazine ads or articles. Another level, simpler, should be used on portraits; still another, a more realistic finishing, may be used on images for portfolios and headshots. In these cases, the ad agency or client wants to see the model's real looks without a lot of enhancements. If they hire the model, they know what their hair dressers, makeup artists, and photo retouchers can do for assignments.
I admit there is a learning curve to this new way of retouching. Formal training and hands on experience can be expensive. It's different...no more pencil leads sharpened to the diameter of a hair, or large magnifiers over a light table, real air brushes and colors that had to be mixed...along with a very study hand. But "the times, they are a changin' ". Photoshop and other programs give the photographer the ability to do things impossible only fifteen years ago.
Each photographer or artist has different techniques for finishing photographs. Each look a little different. Each take time. Totally finishing a small set of photographs will probably take more time than the photo session. Much of the time, minor retouching is done to cover blemishes and color balance and adjust contrast. Rates vary from photographer to photographer on prices for this. Keep in mind it is very time consuming and is part of making the final prints or jpegs. Not all photos are finished, or finished to this degree; if they were, the cost would be enormous. Check with your photographer on this sometimes overlooked expense.
J. Headshots for Actors
Here are a few tips on taking a good headshot.
It is essential for every actor to have a headshot - a true picture of themself.
An 8x10 headshot (actually, today they can be 8½ x 11s paper with the photo just a little smaller) is a must have for all those who are actors or hope to become actors. A headshot is a photograph taken from the top of the shoulders up and has truly captured your look. One of the biggest pet peeves of casting directors is when an actor has a headshot that has been gussied up and looks nothing like the actor in person or on camera. Black and White has been the standard; why? It’s simple, it’s basic, and it looks professional. All actors should include a resume with their headshot, some even do it on the very backside, listing their statistics of eye color, hair color, weight, height, etc. along with their listed acting experience. With the advent of quality digital cameras and printing, the cost of color digital prints are much lower. Color prints are now being seen more in headshots. The shooting cost in a digital camera is the same. Either is acceptable.
So what is the secret to a good headshot? Before you even get into the photography studio there are a few pointers to remember:
It is probably not a good idea to wear black or white clothing as it may be too bold and actually harder to print and bring out detail. If you are going for B/W, colors such as blue, red, or green show up rather evenly when printed. Solid colors are much easier on the eye than stripes or prints, and much less distracting. You are the star here, not your outfit.
Extreme make-up is not necessary, however if you do choose to wear make-up, a light foundation evenly covering the face may make you look better. Don’t coat your face with it. If you are blessed with lots of freckles, don’t cover them up. Directors know the miracles of make-up and if you are cast and the freckles have to go they will take necessary steps; your freckles may give you just the character they are looking for.
If you normally wear your hair straight, don’t curl it up, and vice versa if you have naturally curly hair-don’t straighten it flat.
Smile. It doesn’t have to be cheesy, it doesn’t have to be angry, it just has to be you. A nice glimpse of your teeth also show the casting director what you’ve got in there. If you’ve got braces, crooked teeth, a big gap in the middle, smile anyway. Don’t hide anything.
Don’t be a glamour model. Avoid flipping the hair, leaning your chin on your arm, or any other kind of prop. Keep retouching to a minimum. The directors want to see a straight head shot, they don’t want to see you being cute or knock dead gorgeous, they want to see you.
Never use soft focus or special lighting techniques. The basic key, fill and back lights of the studio should be all you need.
Be sure you are using a simple, non-distracting backdrop. White or black are not recommended, however some professionals can make it look nice. Most common are off-white, gray, light blue or any color that comes through with a gentle tone. If you are taking the photographs outside, again be sure there is nothing distracting to the eye in the background. A headshot’s background will probably be mostly out of focus anyway.
So where can you get a headshot taken?
Many photographers can take basic headshots, but be sure you choose on that knows the difference between a professional ‘headshot’ and a ‘portrait’. Be prepared to spend at least a couple hundred dollars. Headshots are a necessity for every actor. And you have to duplicate the finished product a few hundred times, especially if you are auditioning several times a week. When an actor auditions, he hands over the headshot to the casting director, and he never gets it back. It is always a good idea to have lots of copies, more copies than you think you'll need is enough. However, don’t go overboard on ordering too many copies. Your headshot needs to be kept up to date. Since the printing will probably be digital, large orders probably won’t save you much money and you won’t be throwing away a lot of old sheets when it’s time to get a new photo taken. Normally, a new actor will want a new headshot fairly soon after the original is taken…you’ll get suggestions and may find a different look for you is what directors are looking for; and you’ll find that you have changed, too.
When it comes to duplicating, today’s digital printers are fine. There is absolutely nothing wrong, or even less professional looking to a director, when they see a digitally printed black and white or color photo rather than an actual photograph. Note I said ‘printed’, not copied; in other words the images is sent to the printer from a computer, not copied. Be careful not to reproduce your photos without the photographer's permission because you will infringe on the photographer's copyright if you do so. Even if you pay for a photograph, the copyright stays with the photographer. Obtain a release to use the photo and it should list the permissions that you have when it comes to printing, reproducing, or having your photos published.
One word of caution however, it is always a good idea to get a second, third or even fourth opinion from those in the business before selecting your personal headshot. You may think that you look beautiful in that one shot, but others may shake their head and say it looks nothing like you. The best judge would be your manager or talent agency. Once you get proof sheets or a roll of film developed, it would be extremely wise to take them in and have your manager or agent select one for you, or at least choose a couple that appeal to them.
Remember, the actor’s headshot sells the actor. You need a good and true photograph of yourself. Many agencies have what they call a "headbook" which includes all the headshots of all of the actors in their agency. As casting directors come through town, many times they will request a copy of the headbook before they ever hold an audition. They browse through the headbook choosing the actors simply by their headshot alone. Then those who have been selected are called in for the audition. Other times, particularly for extras, actors are selected straight from the headbook. Casting directors want what they see and in this business, your look is everything. So be sure to sell yourself true and honest. You never know what look they are after. You may just have it.
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En Passant
Everyone is not going to like everyone's work or every photo by the same photographer, just as everyone doesn't like every painting and photograph in a gallery or museum, but that is what makes art and this business so great. Diversity! Models, I'm afraid the same is true for you, too. Each advertisement that is cast, each movie role, each part, a certain look, feature, or attitude is being sought. Just as an orchestra looking for a horn player isn't going to hire a violinist...even if that violinist is the best in the world...they will hire a horn player...because that is what they need. This is the same for models. The director or art director has a look in mind...and the model with that look is who they will hire. So remember, for each and every one of you there is a director or art director somewhere looking for 'your' look to use in a print ad, commercial, or movie; or, by a photographer working on a special project or just expanding his/her portfolio. So much of success is having your face in front of the right people at the right time.
Copyright 2010 Digital Light and Illusions. Tom Newberry, Photographer, Columbus, OH USA
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