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A photographer's most important tool is her portfolio, and this is
particularly true for beginners who don't have an established
reputation.
"Having been around, I know how hard it is to get in the door," says
Allure magazine photo editor Clio McNicholl, who receives around 50
unsolicited portfolios a month. Conde Nast's Allure, with a monthly
circulation of almost 900,000, is a prime target for beginners wanting
to get their work seen. "If I don't know who the person is, I ask them
to send me some promotional material. Generally I only see people who
are coming with a direct recommendation from somebody I know," she says.
Many photographers find that websites offer an inexpensive way to
showcase a relatively large quantity of images. Eva Mueller
(www.evamueller.com), a Munich-born fashion and beauty photographer who
has been living and working in Manhattan for ten years, points out that
computer editing is also a method of keeping down retouching and
printing costs.
But despite the medium's advantages, most industry professionals will
still need to see an old-fashioned book before they hire you. By all
means use the web as your calling card, but have something to show them
when they call you in for a meeting.
Many fashion photographers find the sharp, bright imaging of 4 x 5"
transparencies show off their work to best effect. Tear-sheets
(literally, pages ripped from a magazine) are great if you've been
published, but good quality, 8 x 10" prints are also OK. Have at least
20 in your book, and be prepared to leave them for at least a week.
"I like to see a common thread throughout the book," says Clio
McNicholl, who says she can tell within three images whether she likes a
photographer's style. "Tell a story: not necessarily having all the
pictures relating to each other, but I like to have some sort of sense
at the end of it that I've seen that photographer's personality come
through in the pictures."
The images you choose to showcase in your portfolio should be
thematically linked to the job you're trying to get – still-lifes or
product shots if you're going for an advertising gig, for example. But
also throw in one or two other images to demonstrate your range. Strong
portraits are always a safe bet, as they tend to stay in the mind of the
viewer.
Once you've got your portfolio together, the next challenge is to get the picture editor to use you.
"Most people who cold call me haven't done their research, which is the
world's biggest mistake," says Clio McNicholl. "The single biggest thing
that people should do is their research. They should know what the
magazine does, and see how you can apply that to what you do. And they
should at least know the name of the photo editor."
When you submit work to photo editors, remember that you're "showing"
rather than "selling". Editors almost never buy the specific image they
see before them; they're looking for a photographer who can execute
future commissions. You'll need to be persistent in sending out your
work, and ruthless in editing what you choose to show.
The best way to grab an editor's attention is to show previously
published work. But there's a down-side. "Because there's such an
over-supply of photographers, a lot of magazines really take advantage
of that fact," says Eva Mueller. "Some mags have a decent budget, but a
lot of magazines just cover your expenses, they don't pay for your time
or anything. And a lot of magazines don't pay at all." McNicholl says
Allure's rates start at $350 a day for unknown photographers, up to
$130,000 for a fashion spread.
A photograph is a document just as much as an article or an essay, and
picture editors are looking for concise images which clearly communicate
an idea or an emotion. Celebrity portraiture, for example, should
reveal an aspect of the subject's character, preferably one that is in
harmony with the accompanying written profile. Women's magazines all
over the world buy hundred of stock shots every month – typically young
women having fun with their boyfriends, hanging out with friends, or
maybe moping home alone with their stuffed toys – all of which express a
sentiment commonly dealt with in feature articles. If your work speaks
clearly, you'll stand a much better chance with picture editors than
with vague or ambiguous images.
When you're submitting your work, remember:
Photo agencies exist to liaise with clients and sell photographers' work
on their behalf. They benefit everyone from start-out photographers,
who may not have many industry contacts, to seasoned professionals, who
are too busy to take care of business dealings themselves.
Gloria Cappelletti is an agent with the Management Artists' Organization
(MSO) in Manhattan, which represents a stable of prominent fashion
photographers including Stevein Klein, Michelangelo di Battista, Stefan
Sedanoui and Alexei Hay.
"First of all, it's vital to be known, and an agency is in daily contact
with clients and publications," she says. "That's the best way for a
young photographer to be able to have a connection with them, because
usually the photographer is busy taking pictures, and the agent is busy
talking to clients. And that's the way it should be. Usually the
photographer doesn't have enough time to take care of everything."
Agencies can also re-sell your work in several different markets, acting
as a mini publicist and giving career advice. There are so many
agencies – and so many photographers – that Cappelletti says it's
important to research which one may be right for you before making an
approach.
"The young photographer has to understand their target, in terms of
their personal goals the direction the photographer wants to take," she
says. "Everyone is different."
Agents recommend treating your first contact with them as seriously as
if it were a job interview. You should also consider whether they
already represent someone whose style is significantly similar to your
own – there may not be enough work for both of you, and the other
photographer could resent the competition.
A photo agency is not the only place that can sell your work. If you're
more interested in concentrating on your personal vision than taking
commercial work, you can also considering exhibiting in a fine art
photography gallery.
Once derided as a scientific curiosity with no artistic value,
photographs are now one of the hottest growth areas in the international
fine art market.
While gelatin silver prints are the staple of fine art photography,
you'll find a healthy interest both in contemporary photos using antique
methods (such as Chuck Close's daguerreotypes), as well as modern
printing methods, including Cibachromes and C-prints.
Like any artistic undertaking, art photography is unlikely to pay you a
living wage for many years. Although many artists sell their work
directly from the Internet, critical attention and the strongest sales
come from a relationship with a Gallery. While there is now at least one
photo gallery in most major cities, the center of the world art photo
market is New York. Manhattan boasts around 100 galleries dealing in
photographic prints, and prices there tend to be strongest. A
comprehensive list of New York and international galleries is available
at the websites of the bimonthly listings guide Photograph, as well as the Association of International Photography Art Dealers.
Before approaching any gallery with your work, you should telephone and
request details of their submissions policy. Many galleries review new
work only at set times of the year, and even to get in the door of some
places you will need the recommendation of somebody known to the gallery
directors. (Sometimes it helps to drop the name of a well-known critic
or museum director, even if your connection to them is tenuous.)
If a gallery is interested in taking you on as an artist, they'll
probably want to see a representative sampling of your work. Even if you
have one or two knock-out images in your portfolio, a gallery will want
to know that you have a mature body of work with a consistent standard
throughout. Remember that many artists join a gallery simply by having
their work go into the back-room inventory, where it will be shown to
specific collectors, rather than having a public exhibition. Not
everyone is offered a solo show.
The most important thing to remember about working with a gallery is to
maintain a proper business relationship. Every print you give to a
gallery should be inventoried by you – not them – and you should
understand when and how you can expect payment in the even of a sale.
Industry standard is that the artist receives 50% of the retail price of
a photo.
You should also discuss whether you are free to have relationships with
other galleries, or if your gallery expects exclusivity. If you have a
New York gallery, for example, but then arrange to have a show in Los
Angeles, sometimes the New York gallery will expect a cut (typically
10%). However, in return for that, they are expected to deal with
details like paperwork and shipping. Each relationship between artist
and gallery is unique, and you should get as much as possible in writing
at the beginning.
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"There's nothing more important than to intern at a magazine during
college," says Ruth Basloe, the 25-year-old fashion editor at
Cosmopolitan. While a senior at Barnard College in New York, Basloe
secured an internship at Harper's Bazaar. "It was in the features
department, but I didn't care, I just wanted to be there." Her
internship led to a job as an assistant at Redbook, and after a year she
went back to Harper's Bazaar as a market editor.
Cosmogirl editor-in-chief Atoosa Rubenstein started as a Sassy intern.
Rubenstein was notorious for her enthusiasm, even over the most menial
tasks. "To me, that job was like saving lives," she says. "I did it with
a real vengeance."
Another seasoned fashion editor at Hearst goes as far as to say that
everyone she knows in the business has interned. "You're not going to
get a job if you don't intern," she says flatly. "When we're hiring for
assistants, we want someone who's already had magazine experience, and
the best way to do it is while you're at college." If you're not lucky
enough to attend a New York City school (many of Manhattan fashion
editors have degrees from Barnard, Columbia and NYU), a summer
internship is a good option.
Publishing powerhouses Conde Nast and Hearst receive thousands of
resumes a year, and getting into one of their publications is the style
equivalent to an acceptance letter from Harvard. Many are called, but
only a few of the fashion-mad are chosen.
It's not all about who you know. Some editors do hire candidates based
intelligence and passion. "When I'm hiring assistants and interns," a
fashion director says, "I always look for a high aptitude as well as a
real energy for the clothes. I mean, the job is not that exciting. I
want someone who'll swoon when the Versace gowns come in, because that's
what makes it worth it."
Persistence is key. If you don't know anyone at a magazine to send your
resume to, go through the mastheads of your target titles and mail away.
"I sent my resume everywhere," recalls Basloe. "Someone called and said
they didn't have an opening, but they knew someone who did at another
magazine. And because my resume looked good, they wanted to recommend me
for the position." If your cold-calling doesn't yield results, you can
always make your name and fatten your portfolio in the indie-mag
frontier. Avant-garde magazines, with smaller budgets and an alternative
viewpoint, can be stepping-stones to corporate behemoths. Surface,
Arude, Flaunt and Visonaire, are more prepared take on the
responsibility of testing out lesser-known talents. Be prepared to work
for free, but amassing a great clip file from the 'underground' is a
great way to launch into the mainstream. Camilla Nickerson, Vogue's
senior fashion editor, made her career by styling eccentric,
in-your-face shoots for British magazines like The Face. An early
peddler of heroin chic, Nickerson was soon snapped up by Vogue's Anna
Wintour to work on the other side of the Atlantic.
There's no occupation more sartorially demanding than fashion editor, so
dressing the part in your interview is essential. Still, when you're
starting out, it's hard to make an impression. However, all the editors
interviewed for this story agree: wear something respectfully
professional, but still stylish. "No suits!" a fashion director
commands. "Knee length skirt, bare legs, heels. Strappy sandals are OK.
But don't wear jeans – unless they're Chloe."
Basloe, who is routinely photographed by the fashion paparazzi and has
been pictured numerous times in the "Street Style" section of the New
York Times and the fashion pages of the New York Post, still remembers
her first interview outfit. "I had a sleeveless black turtleneck, a
periwinkle knee-length skirt, and those Sabrina heels – the ones when
they first came out. I was a senior in college and I didn't have too
much money to shop, so the shirt was from the Gap, the skirt I got at
Filene's, and the shoes were from Zara. And I still think it's a great
outfit!"
"Basically, you're styling yourself," she says. "When people see you at
appointments and at shows looking good, they'll want you. Your value
rises. Let's face it, this is a looks-oriented industry." Helen Gurley
Brown remembers that when Atoosa Rubenstein was an assistant, "People
would ask me, Who is that girl? She was so striking."
Once you're in, keeping up the look is important. "I like to make sure
every thing is right. I dress somewhat thematically," another
much-photographed editor says. "I like to make sure I have the right
jewelry on, the right shoes. If I'm working a look and I'll remember
that I have another pair of shoes that might have worked better, I'll
spend the whole day berating myself for not thinking of them sooner.
It's all about the details."
Still, bargain shopping is not to be sniffed at. "It's all about
mixing," says Basloe. "I still love H&M and the Gap. Don't be a
snob."
It's not all sample sales and town cars. Internships are typically
unpaid, or on the low side, and assistants earn in the high teens or low
twenties. Entry-level jobs in the fashion magazine industry are also
mindless and menial. "It's going to be pretty unglamorous," a former
assistant at Vogue told me. "Mostly you end up steam-cleaning clothes
for shoots, answering phones, opening mail." After interning at Sassy,
Atoosa Rubenstein's first job was as a fashion assistant at Cosmopolitan
– she had to keep the fashion closet (where all clothes and accessories
are kept between shoots) neat and tidy.
Paying your dues means never giving any attitude when performing trivial
tasks. "Don't sigh. Don't roll your eyes. This is a social game, people
notice," an editor warns. "Also, you shouldn't kiss ass too much. It's
better if people think you're cool." Enthusiasm is infectious – and can
lead to bigger things. Nancy Roth, an NYU graduate who interned and
worked as an assistant at Harper's Bazaar, followed that with a stint as
a market editor for Allure, and was recently made a Senior Fashion
Editor at Mademoiselle at 24. Roth was notorious for her dedication –
she was reported not to have missed a day of work as an intern, even
during finals.
As an assistant, you're responsible for the magazine's relationships
with the showrooms. "You can't be careless," a Vogue assistant says. "If
you say you'll have a sample from a shoot back at 4pm, you should make
sure it goes back at 4pm. You have to keep to your word and respect
their job and their obligations to other magazines." Usually, several
magazines need the same sample, so a bad reputation can mean others in
the fashion clique won't be so ready to help you out during deadline
time.
The endlessly catty environment is also something you will have to adapt
to – quickly. This is no career clich�. Fashion magazines are typically
estrogen-heavy environments, and things can get nasty and competitive
faster than you can say "Bitch on heels." One former Hearst staffer
says, "If I wanted to join a sorority, I would have joined one in
college. But you just can't take it personally." On the plus side:
unlike the stiffness endemic to the typical office jobs, life at a
magazine is less rigid, and sitting around and gossiping all day is
allowed during slow moments. Still, the creative industry does breed its
share of tyrants. It's common knowledge that several Vogue editors are
notorious for their less-than-appealing behavior, but the sisterhood
regularly warns other junior assistants about which editors to avoid.
Where are the goodie bags?
So your colleagues are hormonal and the pay isn't anything to write home
about (or in most cases, to live on), but the perks – oh, the perks.
"You get a lot of free clothes," an editor admits. "Depending on your
rank. You get a good amount of stuff at different levels. But you have
to be careful not to get too greedy." Taking advantage of your position
is a definite no-no. "People will notice. But it's hard – it's a strange
thing. It's partly friendship and partly bribery – and things can
definitely get out of hand." While some working fashion journalists are
not allowed by their publications to accept gifts – e.g. the New York
Times and the New York Observer – in the rest of the business it's a
free-for-all.
Assistants can also view the fashion show circus first-hand, usually in
their boss' place. "I remember when I was at Bazaar," says
Cosmopolitan's Ruth Basloe recounts, "I went to my first show because my
boss couldn't go. It was the Enrico Coveri show, and they sat her in
the front row. I was so used to sitting in the back for Redbook. Of
course I'm there 20 minutes early and I'm waiting. Ivanka Trump is
modeling. And who sits next to me but Donald Trump!" Basloe laughs. "I
was horrified! All the photographers started going nuts and I just
wanted to hide underneath my seat."
Not for long, of course. Once they get through the door, few
fashionistas want to step back outside. After all, a fashion editor's
job is what every style addict craves.
"When I was a teenager, I cried, when I saw the Harper's Bazaar with
Linda Evangelista on the cover. I cried, it was so beautiful," says
Rubenstein.
"I was 8 years old and my family went on this cross-country train ride,"
remembers Basloe. "We were supposed to look at the scenery – that was
the purpose of the trip. I totally missed it because I was immersed in
my copy of Vogue. My family still teases me about that. But that's what I
am. I'm a magazine and fashion junkie."
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Most models are recruited by modeling scouts who roam around the country
in a tireless search for fresh faces. Models are often discovered in
shopping malls, schoolyards, clubs or other obvious places where young
people hang out. If you fit the requirements, it's very likely that you
will be noticed. You can also send pictures of yourself to an agency. At
the end of the article you'll find the addresses of the top agencies in
New York and Paris. You're better off sending a few simple photographs
than trying to create an expensive portfolio. The simpler the
photographs are, the better it is. An agency wants to see a natural
face, not someone that's playing dress up and trying to strike
supermodel poses. Another way to get signed is to go to agencies's open
castings. Call the agencies's reception desks to find out when those
are. Although some models have been discovered through model
conventions, most schools and competitions is generally a waste of
money. You shouldn't have to pay anybody to get access to an agency.
Unless you already live in New York, Paris, or Milan, you will most
likely have to move there after you've signed with an agency. They will
find you an apartment and help you get settled with your new life. But
the beginning of a modeling career is a very difficult time: "You need
to have a strong character," says Hel�ne Caroline Bodet who is a booker
at Elite in Paris. "In the beginning many girls feels insecure and weak.
They're far away from home and maybe they don't get any jobs at first."
The agency will try to support you through difficult times: "We let
them know that it's OK to cry in front of us and try to give them
security and trust, but we can't take the place of a family," says
Bodet. An agency can also not be there to protect you 24 hours a day. We
all know the stories of young models that have been drugged and
violated by people they met in clubs, or ripped off by scam artists who
promised them the moon. "The fame and glamour of this business attracts a
lot of sharks," says Bodet, "we always tell the models not to believe
what anybody tells them and not to listen to anyone who promises them
anything." Ambitious models stand a much better chance to be successful.
Although it is of course exciting to be on your own in a big city and
glamorous to hang in the VIP room at all the hippest night spots, you
have to be disciplined and keep going to castings and show up to
meetings on time. "The girls that never make it are the ones that don't
take modeling as a real job," says Bodet.
Presenting yourself for clients is an important part of the job. "Many
girls make the mistake of trying to look elegant and sophisticated, but
they don't have the fashion knowledge to pull that off," says Bodet.
"The client wants to see the natural beauty of the model. We try to
teach them not to wear make up - except maybe a little blush - and just
have clean hair and nice nails." She also recommends dressing simply -
jeans and a t-shirt will do - and wear nice shoes with medium high
heels. It is of course also extremely important to have a pleasant and
professional attitude. However, don't to try too hard to be charming.
Clients are generally more impressed by someone who has a
take-it-or-leave-it attitude than someone who seems desperate to get the
job.
A large part of being photogenic is to love to be in front of a camera.
To be a successful model you have to be a bit of an exhibitionist and
enjoy having your picture taken. It is also important to remember that
you need to be very relaxed about nudity. "The best models are the ones
that really like the job and want to take part in the process," says
photographer Dean Thunderwall who works for magazines like Arena, Mixte
Mode, and Italian Glamour. "Some models really work with you on the
picture, they come to the shoot prepared, they look up references
beforehand and have suggestions and ideas. It's more fun to work with
someone who doesn't look at the polaroids to check if she looks good,
but does it to see the whole picture and try to make the story work."
Like with anything else, it's important to find your own niche and know
what you're good at. "Many models have found a certain "character" that
works for them. Some are really good at looking pissed off, some are
really good at being sexy, like Frankie Raider, and some just look
really cool, like Kirsten Owen," says Thunderwall. The girls who know
how to perform well in front of the camera are also the ones that are
most likely to make a successful crossover into acting. Milla Jovovich
is a good example of a model who has managed to bring her talent for
expressing herself on photographs onto the big screen. She once confided
to us that she always tries to "be as real as I possibly can." Perhaps
that is the secret.
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There are as many different ways to embark upon a fashion career as
there are styles of design. Ralph Lauren's Polo empire was founded on a
small tie collection that he sold to Bloomingdales. Helmut Lang decided
to open his own clothing store when he couldn't find a t-shirt that he
liked. Michael Kors built up a network of customers by selling clothes
in a trendy NYC boutique. However, most people find that the best
foundation for a design career is to get a fine arts degree in fashion
at a prestigious school. Besides teaching you the craft, a good school
will also add credibility to your resum�. "We live in a brandname
society, and having the name of a good school behind you really does
help," says Carol Mongo, Director of the Fashion Department at Parsons
School of Design in Paris.
There are a lot of colleges that have fashion programs, but only a
handful has the kind of reputation that can really push your career.
(See separate listings for addresses and web sites.) It's hard to enter
these schools as competition is high, and they tend to be very
selective. You apply by sending a portfolio of drawings of your designs.
"We can't teach you how to be creative -- you have to bring your
creativity to us and let us lead you on your way," says Carol Mongo. She
recommends students to get some sewing experience before they apply.
Drawing is also an important skill for a designer -- it is the way you
communicate your ideas. In order to build an impressive portfolio it's a
good idea to have some experience in sketching; taking art classes will
help you understand form and proportion. But you don't have to be an
expert drawer to get accepted to a school. "The most important quality
that we look for in our students is that they are truly passionate and
exuberant about fashion," says Mongo. "If you have wonderful ideas but
can't draw, there are always ways to get around it. You could for
example put your designs on a mannequin and take pictures of it."
Most fashion programs are three to four years long. During that time you
will take fine arts classes and study drawing, color composition and
form. You will also learn pattern making, draping and cutting
techniques. One of the most important advantages of design schools is
that they work really closely with the industry. Parsons, for example,
have "designer critic projects" where successful designers like Donna
Karan and Michael Kors work directly with the graduating students.
Ambitious students also have the chance to win prestigious awards and
grants, which bring them a lot of attention as well as financial
support. One very important event is the fashion show at the end of the
last semester, when graduating students show their collections. A lot of
important people from the fashion industry attend these shows to scout
new talent. It's also an opportunity to be really outrageous and get
noticed by the media. Hussein Chalayan, for example, became instantly
infamous when he showed rotting clothes that he had buried in his
backyard for his graduation show at Saint Martins.
"Let's be realistic," says Carol Mongo at Parsons, "School's not for
everyone. If you're just looking to get a job in the fashion industry --
not a career as a designer -- you probably don't need to go school." If
you want to work as a seamstress or a patternmaker, the best thing is
probably to apply for an internship at a fashion house and work your way
up. However, there are many examples of famous designers who started
out as interns with no formal training. For example, Dior's brightest
new star, men's wear designer Hedi Slimane, had a degree in journalism
when he started working with men's wear designer José Levy. Balenciaga's
Nicolas Ghesquière is another example of a brilliantly successful
designer who learned the jobs hands-on, as an assistant at Jean-Paul
Gaultier. Usually, you apply for an internship by sending a portfolio to
a fashion house you're interested in. But it's a good idea to call them
up beforehand to see exactly what they need. It's also important to
note that competition is fierce, and unless you have personal
connections, it's very difficult to get an internship without an
education.
There are also designers, like Luella Bartley, who started their own
business after working as stylists for several years, thus building an
industry network as well as a good marketing sense.
Unfortunately, it's not enough for a designer to be creative; you also
have to have some business sense. As fashion gets more and more
corporate driven, it's important to be aware of the business climate and
understanding the mechanics behind it. By religiously reading trade
papers like "Women's Wear Daily" you will get a lot of valuable
information. If you want to run your own company, you need to be
extremely organized and learn at least the basics of economics. A lot of
fashion schools are currently increasing business classes in their
curriculum. "Our students have to be smart enough to know how to
negotiate a contract, or to pick a business partner," says Carol Mongo.
It's perhaps telling that many of the designers that are really
successful today, like Calvin Klein or Tom Ford, are involved in every
aspect of the business -- from licensing strategies to ad campaigns to
actually designing the clothes.
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Bargain Price Premium Domains for sale. see list below .
**BARGAIN OFFER** PREMIUM QUALITY DOMAINS FOR SALE.
Domains highlighted in bold are for separate negotiation
To Contact us: click here or send an email to: [email protected]
Domains for sale