Once there's real interest — an agency responds, or you want to strengthen an application — that's when digitals actually belong in the process. These are still simple and unretouched, but shot properly: front, side, back, a natural expression, maybe a close-up. I've written a full breakdown of what to expect at a digitals session if you want the details.

Your comp card gets built next — and it's completely normal for a new model's first comp card to use those same digitals or early test images. There's no rule that says you need a separate, more elaborate shoot before you're allowed to have one. I go through exactly what happens at a comp card shoot in its own article.

One honest note here: you don't need me, or anyone, to design the card itself. Canva has genuinely solid comp card templates, and putting one together yourself is a completely reasonable way to go. If you'd rather have it designed for you, that's something I'm looking at offering — but I'd rather you know the DIY route exists and works than assume you have to pay for it.

After signing, agencies typically arrange test shoots — creative sessions whose whole purpose is building real portfolio material, rather than the neutral, evaluative approach of digitals. This is where actual styling, lighting, and direction start to matter.

A portfolio isn't a single shoot you book once — it accumulates. Test shoots, then real bookings — campaigns, editorial work, lookbooks — each add to it over time, and your comp card gets updated as your strongest, most recent work comes in.

So the real order, start to finish: honest phone photos to an agency → digitals → a comp card built from those same images → test shoots once you're signed → a portfolio that keeps growing from there.