Agencies are "go-betweens" that arrange the connection of models with possible jobs. They have many different models on hand, each with difference characteristics, and those who need models will come to the agency to find the look and style they may be looking for.
Agencies are not "employers." Rather they are like commissioned salesmen. When they sell "you," you have to pay them a "commission" on the sale (for their role in lining up the job for you). Generally this commission is between 10% and 20%.
Also, agencies try to negotiate the highest possible price for the models (because the amount they make is tied directly to what the model makes). While this might seem like a good strategy, it often hurts models. This is not always best, because the few who can afford to pay those rates only want to work with the best and most experienced models (often leaving newcomers without any prospects to get jobs). That is why it is beneficial for many models starting out to get as much experience (whether paid or unpaid) as possible before signing up with an agency, so that they will be able to compete well against the other models at the agency.
Agencies are very helpful, and they have their place. For national campaigns and large advertisers, there is no way to get an audition for a commercial or print job without having the agency recommend you. Also, having an agency makes you appear more legitimate and sincere than the thousands of other people all "claiming" to be models.
Finding an agency is easy, but finding a reputable agency is much harder. If you are trying to find a reputable agency, there are several methods which might be helpful for you.
In general it's best to avoid agencies that have modeling "schools" attached to them. "Schools" tend to accept anyone who walks in the door, and unfortunately most of these people are told "oh, you have superb potential," when few actually do. If any "agency" is requiring you to pay them, or to take certain classes, or to use certain photographers -- you're likely walking into a scam. A real agency makes their money when a model works -- and if they need to charge you anything extra -- it likely means they really don't find models much work. Also, some agencies require that you use certain "providers" (photographers, printing companies, hotels, health clubs, etc.) because they get a "kick-back" payment. Again, it's generally a bad deal and best to avoid such places.
One thing that should be explained is that most professional agencies will require you to have photos taken and comp cards made (half -sheet cards which have your pictures on) at your own expense. This is your responsibility to pay for these items, because they are needed to "market you" to potential clients. Only be wary if the agency requires you to use certain photographers or printing companies. Since they want to help you be the most "marketable" they will often ask to help you pick out photos (after they are shot), but they don't particularly care which professional you work with. Also a professional agency will never make you pay a "signing fee" or "audition fee" or any other such bogus fee.
Remember that as a model, you are your own small business. All decisions are up to you, and you should always try to find the best price and service possible for your needs.
First, you should know that you can list with more than one agency, unless the agency you sign with requires "exclusive" representation (which means that you can't sign with anyone else). Unless you are very close to becoming a supermodel, it's best to avoid these "exclusive" contracts, because the agency is likely to work harder for you if they know you are in "high demand."
Perhaps one of the first questions you should ask of an agency is what other models do they represent and which ones got jobs in the last week (or two if you are in smaller markets). Ask for the phone numbers of these models so that you can call them for references about the agency.
Do not sign with the first agency that offers you a modeling contract. It's best to look at several agencies first, and then sign with the one that seems to have the most potential for getting you the type of work you are interested in. Also, while you can sign a modeling contract on the spot, remember that you don't have to. The modeling contract should be carefully read, and you may want to take it home so that you can look it over. If there is terminology which you don't understand, perhaps bring it to an attorney to review. Remember that ALL contracts are negotiable, and if you see something you don't like, you have the right to ask for a change (however, the agency must also be willing to grant that change by signing and dating the change --- otherwise the change is not valid).
Again, be reasonable in what you ask. The contract has to be fair to both parties, and both parties have to "give" the other party something (and both parties have certain risks as well). Finally, remember that the agency is like and employee, and they work as salespersons for you. That is why it is always best to sign limited length contracts (1 year or so), because if the agency isn't (or can't ) do their job, then you need the ability to find another who can.
Never, never ever rely solely on an agency to promote you and manage your career. Again, as a model you are a "small business," and you always need to be out there promoting yourself at every opportunity. You're the "owner," and you need to understand that the only way your modeling "business" will be successful is if you put in a lot of hard work and effort promoting, marketing, and selling yourself. This often means forever taking non-paid jobs which will heighten your public profile and provide you with interesting modeling projects.
What is the key to being a successful model? Having other people THINK you are a successful model. That means having them see your image over and over again. That means having them recognize and remember your face (and perhaps even your name). That means getting potential clients to "search" for you when they want to do their ad ("do you know who the model is in this ad? We want to use her!").
This means that the model has to take every opportunity possible to get face and name out there before the buying public. Very few people know that the models on the covers of the fashion magazine only make around $100 for a full day's work to shoot the cover, but the money is NOT what is important -- it's the EXPOSURE to potential clients that is. If a top model only makes a $100 for a full day's work at a top magazine, figure that you'll have to work for considerably less (usually free) to get the same exposure locally.
Being out there promoting your own career will have a second benefit. Agencies will respect you more if they see you are hard-working and trying to promote yourself. That makes their job easier. That means they will have confidence in you to send you out to larger and more important jobs -- because they know that you are treating your modeling career with seriousness and professionalism.
Also, never "just wait" for your agency to call you with a job. Keep in contact. If you haven't heard from your agency recently, call them to gently remind them that you're available for assignments. Also make sure to let them know about any other experience you've gotten or promotions of yourself that you've been doing. All three of these seem to be highly effective in getting more work for models.
While you should carefully consider all advice your agency gives to you, in the end, it's only advice. All the decisions are up to you, because this is your "business." While changes of hairstyle or make-up are usually worth "trying," any agency requesting or advising cosmetic surgery should be seen as highly questionable. Cosmetic surgery will usually not save or start your career, and any permanent change to your looks may do you much more damage than it will good. Most models opting for cosmetic surgery NEVER recoup the expenses of the surgery, and the risks to your physical and mental health are just not worth the risks for a couple extra modeling jobs.
Well, the agency has done it's job, now it's up to you.
An audition is a way for prospective clients and photographers to look at your portfolio and to see what you look like "in person." Depending on the job, you may also have to do a script reading (for a commercial), or dance, or act, or get a few test shots done to better evaluate your look for a certain job.
Always bring your portfolio, comp cards, business cards, and resume with you. Even if the agency sent some ahead, often these are lost or misplaced before you arrive for the audition.
Unless your agency tells you otherwise, always arrive in professional business attire that enhances your looks. If the client is selling a clothing product (jeans, lingerie, swimwear, etc.) you may need to wear (or bring along) these items to wear for the audition. It's always best to check with the agency (or the client if you don't have an agency) specifically what to bring or wear. Usually agencies get "bring lists" for auditions and assignments, and you should be able to get a copy of that list ahead of time.
One of the hardest parts of modeling is the audition. You need to meet with complete strangers and try to "sell yourself" to get the job. There is a lot of rejection, and very few auditions will result in jobs. Perhaps only 2-5% of auditions will result in an actual job. This amount of rejection can be very hard on a model -- but it's all part of the process.
Think of it as if you are buying a car. Rarely do you pick the very first car you see. You often look at hundreds and hundreds of cars to find the one best suited to your tastes and needs. Well, clients are doing the same with models. While some clients are looking for a "sexy red corvette" others may be more interested in a "dependable family sedan." They key is that the more times you get seen, the better chance you will find some client who needs your looks and talent.
If you only get 2% of the jobs you interview for, that means that you have to go on 500 interviews to get 10 jobs. Unless you are a "supermodel" (where people request you by name and hire you without an interview), you're likely to always face this "rejection ratio." However, the more jobs you do and the better your portfolio, the higher your percentage of jobs that you actually get. Perhaps after considerable experience you'll get 10% of the jobs you audition for, which means to get 10 jobs, you now only have to go on 100 interviews.
Perhaps one of the biggest determinations of "who gets the job" is who appears the most professional and reliable. This means arriving a few minutes early to interviews (but not too early -- like you have nothing but spare time on your hands), being exceedingly polite, being well-prepared, making good eye contacts and giving a firm and confident handshake, and "listening" rather than "talking." You also have to believe in yourself 100%. Always answer questions positively and confidently ("yes, I'm sure that would be fun," as opposed to "well, I don't know if I'd be very good at that, I've never done it before"). Also, don't make excuses for your photos or tearsheets. Sit back quietly and answer questions only if asked (clients know that newcomers don't have "fantastic" portfolios -- and they don't have time to listen to chatter about "well, this picture was really supposed to turn out differently...").
Don't be disappointed if the audition makes you wait for an hour and then only lasts 30 seconds. Sometimes all that a clients wants to do is to quickly page through your portfolio. On the other hand, don't think you "have" the part if you have to wait only 30 seconds and the audition takes an hour. Neither situation means anything about the job. It's just that different clients have different interviewing styles. Always remain confident, positive, and cheerful. When the audition is done, politely thank the client for their time and leave.
The market you are in will greatly affect the number of auditions you get sent for. In small markets, you'll be lucky to get one interview a week. In large markets (if you are great and dedicated model) you may get 10 a day. That is why models with the most potential are often advised to go to "New York" or "Los Angeles" so that they can get on the fast-track by getting lots of interviews and auditions (and therefore in a couple of weeks, might start getting some jobs on a regular basis).
Again, one of the keys to remember is that YOU are in charge of your own modeling "business." You have a large responsibility in marketing yourself so that you will become successful.
Perhaps one of the best ways of improving your odds is to constantly be working with as many photographers as possible. Many photographers will be willing to do FREE photo shoots with models and even give the models some FREE prints from the shoot if the models are willing to pose for the photographer's special personal projects. Every photographer has a "wish list" of shots they'd like to try, but won't because they don't want to have to pay for the models needed for the shots. A lot of times these are glamour (sex appeal) or figure (artistic nudes) shots, but not always. The key is to work out a compromise where the photographer is willing to dedicate a portion of the overall shoot to taking the photos that you want and need in exchange for you doing posing for whatever their needs are.
Doing such photo sessions is beneficial in 3 ways.
First, you get a large number of professional portfolio photos for free (rather than having to pay for them).
Second, you get a chance to work with photographers who may be in charge of hiring the "talent" for future jobs (many times the advertising agency leaves it up to the photographer to cast the models for the ad campaign, and many photographers by-pass the audition process and simply hire models that they've worked with before and get along with).
Third, many times clients will look over the works and portfolio of the photographer and ask "who is that model? Is she available?". This is yet another way to get your name and face out there in front of "clients" who will pay for your modeling services.
Another way to help "improve your odds" is to do modeling for benefits. If a local charity is holding a fundraiser, suggest to the chairman of the charity that you would be willing to volunteer your time for a fashion show, and that you could probably come up with other models who would be willing to do the same. The same goes if the local mall is having a fashion or bridal show. Volunteer to be one of the models for the show. The more experience you get and the more contacts you make, the better off you will be.
Finally, a model may want to consider working cooperatively with a photographer in coming up with postcards, posters, or calendars. If these projects get sold for publication, the model and photographer can divide out the royalties, but more importantly, the model can get national exposure of her face and name with the project. Again, the more people recognize you, the more "celebrity value" you have, and the more jobs you are likely to receive.
Your appointment book is like oxygen for your modeling career. Without having along ALL the time and keeping it OPEN (looking at it frequently to make sure you are on time for appointments), your career will DIE! Nothing is more hurtful to a models career than being unreliable / unprofessional. The quickest sign that you are a "flake" is if you are late, or worse yet -- simply forget an appointment.
You need to keep your calendar with you at all times. You never know when you are going to get information about an audition or assignment, and you have to be instantly ready to say whether or not you are available at that time (and also so you can write it down so nothing else gets planned in that block of time). Your appointment book is also a "ledger" of how you spent your time. You need to keep careful track of how long you were at each appointment, how long you worked, how many miles you had to travel (a tax deduction), and also the phone numbers, names, and addresses of all those you are working with (clients, photographers, make-up artists, hairstylists, costumers, etc.).
Get as many names and numbers as possible! It's a great way to network with others who can help your career or give you leads about upcoming jobs.
Clients and photographers prefer to work with experienced and reliable models. The more experience you have, the more reliable you will seem to them. Use a computer to keep a complete and current resume, and always print out a couple new copies to put in your portfolio after you've completed each job.
Remember that your resume should just list the "highlights" of the job, essentially client and product. You can include dates if you want to, but if you're very new (and all your jobs were in one month -- with no prior experience) or if you haven't worked in a while (you last job was a year ago), you may want to leave off dates. Don't explain in the resume what type of modeling you were doing, or who you worked with, or how many hours it took.. If this is important to the client, they will ask (make sure that YOU know the information).
Resumes are usually in reverse chronological order, which means that your most recent modeling job should be listed first, and your first modeling job listed last.
Tear sheets are what the name implies. It's something you "tear" out of a magazine, catalog, brochure, etc. Tear sheets are finished ads or articles where your photos were used. These are the MOST IMPORTANT pieces to have in your portfolio, because they show that you were actually hired and used. Make sure that whatever print jobs you work on will send you some tear sheets from the finished work. These tears should immediately go into your portfolio (sometimes it's best to laminate them first so that they won't tear or fray).
Most agencies work on a voucher system. The voucher is like a time card which you fill out and have the client sign (indicating that the number of hours you've filled out is correct and that you actually showed up and did the work). If the agency uses a voucher system, they will give you vouchers before you go to the job. Always bring them with you! You can't get paid unless you have a filled out voucher!
After the voucher is completed, it is turned in to the agency, and they need to process it and bill the client. Many times, clients are given 30-60 days to pay. Once the money arrives at the agency, they take out their percentage and will make out a check to you for the remaining amount. However, they have to do their own accounting, and it may take another two weeks for them to write you a check. That means you could easily go 10 weeks before getting paid from a job. That's just part of the system -- and it's also why you have to be out there promoting yourself all the time, so that you'll have enough steady income from jobs to help pay your bills.
If you are not working with an agency for a job, then you have to determine what amount of time you'll be willing to wait to get paid. Many photographers will pay you "on the spot" for simple and inexpensive modeling (a general rule is the higher rate you charge, the longer you'll have to wait for your money). However for many commercial jobs, the photographer isn't paid until the advertising firm has been paid. And often they aren't paid until the ad campaign has been launched (out in the public, in magazines, etc.). If you're not willing to wait for your money, many photographers may pass over you to a model who will. Of course you may be able to work out a compromise where you get 10-25% of the money up-front and the rest of it after the photographer gets paid (30/60 days).
Almost every teenager and most young adults dream of being models. There is LOTS of competition out there for a very few, select number of jobs. The three things that photographers and clients are most interested in are models who are hard-working, professional, and dependable. There are lots of "pretty faces" out there, but it is the "brains" and attitude behind the face that matters. If you aren't professional and polite, you have little chance of getting repeat work. Always keep in mind: