One of the questions I frequently get from young models is:  What kind of earnings can I expect from my modeling career?  The short answer is zero to 30 million.  It depends on the area you live in, the type of modeling you do, your talent, looks, and personality.

One day you might make $100 modeling for a small retailer  ad.  Another day you could make $1,500 (as talent) doing a commercial plus get residuals from it.  The next month you might make nothing.

Each type of modeling has different pros and cons with regards to income.  For example successful fashion models are the best paid making between $4,000 to $15,000 a day when shooting for a Macy’s or Bloomingdales catalog.  To say nothing of doing a high profile ad campaign for Prada or Louis Vitton which could run into six figures.  But fashion is also the hardest segment to break into.

On the other hand, shooting a big spread in Vogue, Elle or Marie Claire –to be seen and admired by a million readers would get you $100 to $200 and a lunch.  Surprised?  That’s supply and demand for you!  The editors of Vogue know every model would kill to be in their magazine because it’s the best exposure a model can get and will cause his/her career to blossom.

Also, runway models in New York are sadly underpaid before they achieve notoriety.  So while fashion modeling is the biggest prize, models work extremely hard to achieve a level where they are well compensated.  Of course one might argue that any field is like that!

We typically think of a “model” as someone who is tall and thin with a blindingly beautiful face. They have no pores… the skin was airbrushed on at birth. The body is equally perfect —free of the defects sustained by mere mortals.

But look at ads in any consumer magazine or TV and we encounter the Maytag repairman, Mr. Whipple (Charmin toilet paper), and Col. Sanders. Even the Marlboro guys aren’t precisely “beautiful.” But they all do have one thing in common: they can ham it up in front of a camera. They have personality, they’re funny or interesting, and they’re fun to watch.

There are three main types of people cast for commercials and ads: Models (known as the beautiful people), real people, and character models. The first category would include people like Gisele Bundchen or Cindy Crawford. The second (real people) are hardly what you see when you walk out the door. They are way too attractive, tidy, “my-life-is-perfect” looking to be considered “typical.” But they may be ten pounds beyond perfect or their nose may have a little character or they may be 40 or 50 years old. In other words someone who can credibly pull off the role of a dapper CEO or surgeon.

The last category, character models or actors is everyone else. Danny DeVito, Steve Buscemi, Juan Valdes (Colombian Coffee), and the Wendy’s “Where’s the Beef” lady. There are agencies specifically devoted to representing character models.

A 40 year old agency founded in England, they represent models from every walk of life from the bizarre to the untraditionally beautiful.

So the issue is not whether you are as handsome as Brad Pitt. The real issue is finding your niche in an industry which needs an enormous variety of talent. And cultivating your skills as an actor or model. The real issue is: Do you enjoy working as a model? If the answer is “yes” chances are you love what you do and you’ll work hard to improve, get assignments, and succeed!

Adam White is an associate with Christian Lange Photography, a fashion and advertising photography studio in Knoxville, TN.  Website: www.christianlange.com

Many actors augment their income by also modeling. Enter the comp card –a model’s ambassador …the 5.5 by 8.5 inch calling card that shows the prospective client a model’s versatility and talent. The standard format contains one headshot in the front and three looks on the back.

A modeling gig usually starts when a buyer (such as an ad agency art director) requests the modeling agency for a selection of say “18-25 year old males, urban look, mixed ethnicity.” The agent will do a “pull” from his files and send the AD (art director) a selection of 15-20 comp cards from which the AD will choose four people for the ad campaign. This AD will eventually want to personally meet the candidates but until the selection is pared down the comp cards are essentially what will sell this talent.

Because comp cards play such an important role, the “looks” you pick are critical to your success. Ask your photographer and agent what they feel are your most marketable looks, ie, the looks you are capable of pulling off. Could you be a convincing athlete? How about an edgy look? Or a girl next door type? Could you pass as a technician? Or a classic beauty? The idea is to show several contrasting looks to improve your chances of displaying the look a client is searching for. Even creative people sometimes lack imagination and they only choose models who display exactly the appearance they seek to portray.

The next item of course is the photography itself. I find that comp cards that are shot completely in-studio look boring. Hopefully, you’ll find a photographer that is creative and will select some interesting locations for two of the scenes –spots that compliment your wardrobe and styling. If you don’t have your own stylist ask the photographer to recommend one. With a female model great hair and make-up is what ties it all together.

Finally, a word about choosing your photographer. Make sure you meet him in person before scheduling the shoot. Look at his work and make sure there is good chemistry. If he takes great interest in your wardrobe, styling, and looks …if he exudes creative energy … you’re in good hands! If he or she schedules half day for your project you should feel properly cared for.
One last note: keep your comp cards updated! If your agent distributes photos of you featuring a mysterious dark haired beauty and you show up at a client with a bright red hairdo …no one is going to be happy!

Christian Lange is a fashion and advertising photographer in Knoxville, TN You can see his work at christianlange.com