Getting started: Costs and picking the right agent

Getting started: Costs and picking the right agent

I originally prepared this response for one model in particular, but as it may be of some value to other people considering a career in modeling, I’m sharing it here. The following comments are a result of my experiences over the years in this business; they are my opinions and are not to be mistaken for the last word on these matters.

Photographer: John Fisher

Agency fees

Agency fees charged directly to a model can be broken down into two distinct groups: one which can be considered normal charges made by any agency (although they can be abused), and another group which are possibly suspect (but not necessarily improper).

The first group of normal fees would include the agency commission for placement on jobs. Normally expressed as a percentage of the hourly or daily rate earned by the model, this percentage can be as low as 5 percent, and as high as 50 percent, with the average for placement on standard print or runway work being 20 percent. Be aware, though, that the agency may also charge the client, not the model, a service fee—again typically 20 percent. The lower fee structure is usually associated with TV or movie work, and the higher percentages are typical of foreign assignments. Other “normal” agency charges include the physical cost of producing materials directly associated with the promotion of individual model. These include composite cards for the model (which are ordered through the agency and then charged back to the model), placement in the agency promotional book which is printed and distributed by the agency, and electronic media promotional materials such as (but not limited to) internet promotional websites.

Why are these charges and fees passed down to the models, and not absorbed by the agency as normal operating expenses? Part of this has to do with tax law, and part of it has to do with the nature of the “standard” representation contract signed by the models with their individual agencies. The vast majority of these contracts strive to create a business arrangement that isn’t based on an employer-employee relationship. The agency typically promises only to “advise” the model, and doesn’t promise guaranteed work or payments—except the direct pass through of collected model’s fees from the clients. If this arrangement is properly structured, the agency is not normally responsible for taxes such as withholding, social security payments, unemployment, and workers’ compensation premiums.

Payment related to direct charges for printing, publishing and distribution of promotional materials for the models could imply that an employer-employee relationship does exist, and therefore would place the agency in the position of having to pay significant taxes and premiums to the government (federal, state, and local). It is also possible that the agency would even come under the equal opportunity provisions of various oversight agencies. Clearly, this would put agencies in an odd position (do you have enough models over 40, how many of them are handicapped or of Serbo-Croatian ancestry?). So, agencies unfortunately have little say in the matter. Also, major agencies (in cities like New York, Miami, and Los Angeles) who provide access to “model’s apartments,” advance living expenses for things like food, and prepay fees for travel to and from assignments, do so under loan arrangements. They fully expect to be paid back by the models from client fees or directly by the models from their own pockets.

The second set of more questionable charges made by smaller agencies in smaller (and sometimes large) markets include such things as “modeling classes,” makeup and runway training, and photography produced by a specific “agency photographer.” These “agencies” invent special fee opportunities faster than I can keep up with them, but unless they are related to direct marketing charges for model promotion, I remain very skeptical. These “fees” are more likely to be the agency’s major (or even only) source of income, when the placement of their models on paying assignments should be. Asking to be provided with information about the income made by the agency’s top models for assignments arranged by the agency is not out of line when you are considering being represented by that agency.

Model searches

I am also not a fan of the various model “searches” — which promise access to a major agency’s representatives or scouts — but primarily are in the business of collecting large fees from prospective models while providing access to these people (if they can actually attract them) under the most adverse circumstances. A better option is for the local agency or agent to arrange individual appointments for their models with the major agencies, and then these models would go see these agencies at their offices. Typically, this could all be arranged for the same fees charged for these ”searches,” and it still places the model in the best position to be seriously considered.

So, what are the expenses a person should reasonably anticipate when considering a career in modeling? First, photography (and not necessarily with one photographer): Reasonable charges for photography — which should produce images which can be used to promote the model first to the agency, then to prospective clients — run from $500 to $1,500, not including makeup and enlargements. Many photographers who work for ad agencies or other commercial clients will test models for a minimal fee (figure $300 to $500) in order to meet and work with the model prior to a commercial shoot. In some instances, a qualified photographer may test for very little or nothing, but understand that the photographer under those circumstances may be more interested in getting a picture of interest to them than one of value to the model. Sometimes, an agency can arrange for a free test with a photographer the agency is interested in learning more about, but then again, the results are a matter of some conjecture (hence the need for the test).

Makeup and hair styling

Makeup and hair styling for photography shoots are also a responsibility of the model. Some models can do their own makeup, but this is an area of great importance to the finished result, and it really should be left to a qualified professional. Sources for referrals to a good makeup artist can be found through the agency, or through a qualified photographer. Costs for makeup can run as little as $50 for a short shoot, to as much as $300 or more for a longer one. A reasonable fee for a qualified artist for a typical portfolio shoot might be around $250. Don’t expect one session to produce more than two or three “looks” (changes in attire and makeup). Any more than that starts to become repetitive and the number of useful images drops dramatically.

Comp cards

Finally, composite cards are vital for marketing any model. These are normally a single ”flip” card, 8.5 inches by 5.5 inches in size (although this can vary slightly), with normally one shot on the front, and three or four on the back. A great head shot normally is the “grabber” on the front, and the back would show images consistent with the type of work the model seeks on the back. The costs for these cards can run as little as $100, to as much as $1,500 or more for elaborate multi-fold, printed color cards.

Today, most new models (and many heavily booked veterans) have cards with both color and black and white images produced on specialized laser copiers for as little as $150 to $200 for 100 cards. Additional cards can be obtained quickly when they are needed, and new pictures can be inserted when desired on subsequent orders. After a model has the necessary four or five quality images this is the one marketing tool they must (I stress, must) have.

Agencies, particularly smaller market (or remote) agencies are increasingly using the internet as a communication and marketing tool. We are even seeing the major, large market agencies now “online.” Again, the agencies are charging the models for their inclusion on these websites (they do cost money), but the costs are typically low (figure $100 per year as a fair charge). Anything substantially higher than
that would be a red flag.

So, what does it cost to get started?

As a purely speculative number based on my analysis, lay aside $500 to $750 for photography (figuring two or three shoots), $200 to $300 for makeup and hair styling, $400 for cards, a portfolio book with six to eight high-quality enlargements, and maybe $100 for electronic media. This doesn’t include wardrobe, travel expenses, shoes, meals, living expenses, etc. Can it be done for less? Well, of course. Primarily in the area of photography, where trade outs are possible, but remember, the closer you cut the corners, the greater the risk in failing to get appropriate marketing materials.

Ongoing expenses include the cost of constantly updating and improving your photographic images (and here you can get help, as you work with photographers and find people who give you quality work, you can frequently work out trades for time), replacing old cards with new images, hair care, wardrobe, travel to meet new clients, agents, and photographers. Hopefully, by this point in your career, your agency should be taking care of your placements, so these expenses will just become part of the normal cost of doing business.

Picking the right agency for you

An agency should only take you on because they believe they can place you on jobs, as their income is dependent on you working (assuming they are a legitimate agency). It is reasonable to expect that if they sign you, you will have the opportunity to work, which justifies your start-up costs. But please, do check (ask them directly) about models they represent, and if they are getting assignments that pay decently. Real agencies are not reluctant to provide this information. In fact, they should be proud of their record; it is how they attract working models. Even big name models change agencies (Niki Taylor from Irene Marie to IMG, Claudia Schiffer from Metropolitan to Elite, for example), and they do this because they believe that the new agency can provide them with more work. If an agency has a great track record, they can’t wait to tell you!