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With a growing audience, high pay and fascinating lifestyle, fashion photography may seem like one of the world's most sought-after jobs for all photography students and professional photographers. However, for every fashion photographer who makes it through the door of a top magazine or modeling agency, many others find their niche in fashion advertising, art photography, celebrity portraiture or even product work just to make a living.

But let's face it! Chicago is not known for the greatest editorials produced in the industry or even for our knowledge or understanding of it, worst yet, the couple of magazines that promote fashion in Chicago have the tendency to produce their editorials in the most fashion influenced cities in the USA, so how can Chicago fashion photographers get a chance to even get their books at front of a fashion editor?

Here are a few tips for getting started:

Mackett Hidalgo, Director of Ledom Models agrees that breaking into the industry can be hard. But he gave us some tips when submitting work to magazine editors or agency's directors. Also he gave us some tips for beginners on setting up a portfolio, choosing the right photo agency and even in how to arrange your book.

Setting up a portfolio

A photographer's most important tool is his/her portfolio, and this is particularly true for beginners who don't have an established book.

"I have seen literally hundreds of dozens of books from photographers, make-up artist and models and for the most part, my advice is always the same: "invest in a professional portfolio, work more on your lighting techniques and use professional models", I know how hard it is to get in the door of an agency, but I also know that photographers get my point after our first meeting and when they return, they always have a better book" says Ledom agency director Mackett Hidalgo, who sees around 11 photographers 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," says Allure magazine photo editor Clio McNicholl."

Nowadays, many photographers exploit the simplicity of the internet. They find that their websites offer an effective and inexpensive way to showcase their work. The internet can be a great tool of keeping down retouching and printing costs, but despite these 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 also your portfolio ready when they call you in for an interview.

The most effective way to show your book once you have set up an interview is to have at least 20 -8x10- or larger images in your book, and be prepared to leave them with the magazine or agency for at least a week. Obviously, tear-sheets (literally, pages ripped from a publication) are great if you've been published, so don't be afraid to show them all.

The images you choose to showcase in your portfolio should be thematically linked to the job you're trying to get, therefore include your fashion, beauty and editorial work. In order to demonstrate your range, start with a great picture, something that completely impacts everyone that has seen your work, then include the good pictures in between, spark your book again with something great in the middle, and repeat this step at the end of your book.

Try to have another book for still-life or product shots if you're going for an advertising gig. But also throw in one or two other images to demonstrate your variety. 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 a fashion editor to hire you.

Submitting your book to a fashion/picture editor

When you submit work for consideration to photo editors, keep in mind that it is like if you were presenting your Resume. Get rid of the idea that most photographers have in mind when presenting their book: "I hope they buy one of my pictures." Editors almost never buy any specific image they see before them; they're looking for a photographer who can execute future assignments. You will need to be persistent in sending out your work, and careful in editing what you choose to show.

Do no "cold-call" a magazine picture editor, instead make inquiries about the person and the magazine. "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 photographers 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."

Send me your comments at webmaster@chicagofashiondesigners.com. Post a comment about this article in our forum.

So, when you're submitting your work, remember:

Do some research and then call the magazine and get the name of the person to whose attention the submission should be marked. Label everything with your name and telephone number, include at least 3 of your business cards or comp-cards
Send working prints or transparencies, not originals
Include a stamped, self-addressed envelope if you want the work back or include a letter indicating that you will pick your book up seven dates after the date in which it was delivered.

Many of the difficulties in becoming a fashion photographer do not end here; once you are offered your first job, that is when all the negotiations start: contract, copyrights, alterations, and many other issues, so how you cut through the clutter? Find an agent.

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