Most make-up artists look for clients in the wrong place. They post their work, wait for a brand to notice, and wonder why the phone stays quiet. On a production, the brand almost never books the make-up artist. Somebody else on the crew does.
Know who actually books you
On most shoots the decision sits with one of four people: the producer, the production manager, the photographer or the director. They are asked "who do we use for make-up?" and they answer with a name they already trust. Your job is to be that name for as many of those people as you can.
That changes who you spend your time on. A photographer who shoots twice a week is worth more to you than a brand that shoots twice a year.
Make it easy to say yes to you
When a producer looks you up, they have about a minute. They want to see three things.
- Work that looks like their job. Group your portfolio by type: commercial, editorial, film and TV, bridal. A producer casting a skincare ad doesn't want to scroll past special effects to find clean skin.
- Proof you've been on set. List your credits, even small ones. Behind-the-scenes pictures help, because they show you working with a crew.
- A way to reach you today. Your location, your email and your phone number, without a form in the way.
Assist before you lead
Assisting an established artist is still the fastest way onto bigger jobs. You learn how a set runs, you meet the crew, and the artist you assist will pass on the work they can't take. Write to artists whose work you admire, keep it short, and say when you're free.
Work the people you've already met
Your next job is most likely to come from someone you've worked with before. After every shoot:
- Send a thank-you message to whoever booked you, the same day.
- Follow the crew, and tag them properly when the work comes out.
- Check in every couple of months with a line about what you've been working on and when you're free. That isn't pestering. Producers forget who is available, and the artist who reminds them gets the call.
Test shoots, used properly
Unpaid test shoots are worth doing when they fill a real gap in your portfolio and you choose the team. One good test with a photographer who is going places can pay back for years. They stop being worth it when a business is making money from the pictures. If the work is commercial, it's a paid job.
Be easy to work with
Turn up early. Bring a kit that's clean and organised. Read the call sheet. Keep notes and photos for continuity. Stay off your phone on set. None of this shows in your portfolio, and all of it decides whether you get booked again.
Start this week
- Sort your portfolio into types of work.
- Write down ten photographers, producers or directors near you, and message three of them.
- Message everyone who booked you in the last year to say hello and share your availability.
The artists who stay busy aren't always the most talented in the room. They're the ones people remember, trust and can get hold of.