An Art Producer's Perspective

John Huet and Michael Phelps

2009-06-21T11:41:00.003-04:00

©John Huet

John Huet's study of Olympian Michael Phelps is incredibly gorgeous. From action/motion shots to detailed portraits John exhibits his artistry at being a top sports photographer. The thing that intrigues me the most is the underwater shots that while displaying sports motion are truly more a fine art approach.

Check out the entire gallery here at cadenbach.com.

Johnhuet.com
cadenbach.com

And That's How Time Flies...

2009-06-21T11:33:00.002-04:00

8 full weeks seem to have flown by incredibly fast and each day I kept saying.."Must update blog" and every day kept racing away from me without that time to get a topic and share it. I'm sure I've lost some people in the process but I do vow to update at least once a week.

I received an email a little while back asking about illustrator books that I thought I'd share here.

Question:
What do other people's illustration books look like? I'm talking literally, not so much content-- like are they normally contained in that standard black portfolio? 8 x 10? Or are they a printed book that you can make on line from places like Blurb.com? Literally how many images do they usually include?

I always listen to those great podcasts on Adbase and they speak of such things sometimes, like I just heard mention that in photography plastic sleeves are passe. Just wondering what the current expectations are for illustration.

My Opinion:
I feel like an artist's portfolio is an extension of themselves and gives the viewer some insight to the artist. Most of the portfolios I see are leather bound with the artist's name embossed on the front. But some of my favorites tend to have quirky elements, like a textured cover or a fabric-like cover with your name The one thing I can definitely recommend is keeping the portfolio closer to book or coffee book size. 8x10 is perfect. I've come across portfolios that are so obscenely large in size it makes it hard to flip through at my desk.

I do recommend quality prints and I'd say about 15 - 20 is a good number of images to put in the book. Too few and people feel like you don't have enough work to put in the book and are hesitant to hire, too many and people are overwhelmed. I'd say put together a good mix/range of work that truly represents your breadth of work from personal, editorial and commercial.

I think advice you hear the AdBase podcasts about photography books is absolutely applicable for illustrators as well. I have not seen any portfolios made on blurb as of yet. Definitely if you're putting out a printed book that's meant to be story-telling or a take away book/coffee table book I think blurb is a great idea. For trying to go after jobs I'm not exactly sure if I'd recommend putting forward a printed book BUT I think it's innovative and it really depends on the design of the book and how you put it together.

Update about 'Must Read' post

2009-04-18T08:38:00.003-04:00

Last week I had posted some information about a must read.. a designer who was reportedly having his artwork and intellectual property stolen. Of course this wasn't the whole story as we saw a few articles from both sides.

Well in addition to all that hoopla that overtook twitter and blogs everywhere it seems as though the designer, Jon Engle, has taken down his website (which is why the link no longer works).

Here is a post from LogoFactory from this past week (here)

So now that Jon's profile, blog, twitter account and logo design work has been pulled from several sites (in addition to the fundraiser for his legal fees canceled), it begs to ask the question if he's the one being ripped off and having his intellectual property exploited why is he fading into obscurity and backing off?

A severe reminder to all artists to keep meticulous records of your work, metadata attached to the work and to protect your intellectual property.

News

2009-04-17T15:52:00.002-04:00

Postings will become sporadic the next few months. This art producer will be starting a new job and will need to throw myself wholeheartedly into this new endeavor.

I will continue to keep the blog going and update as often as possible.

Agency Scoop

2009-04-17T15:41:00.003-04:00

A new LinkedIn type of networking website but for the ad industry.
Take a gander or join at Agencyscoop.com.

MITX Event

2009-04-13T20:32:00.004-04:00

Massachusetts Innovation and Technology Exchange (MITX), The Digital Combine: The Next Generation Employer and Talent Showcase

A half day program to help both entry-level and seasoned marketing professionals think differently about the job market in general and the digital marketplace in particular.

Chris Colbert will be leading a session entitled "Managing and Marketing Your Personal Brand," which will provide attendees with a different way to think about how they package and promote themselves to create employment opportunities.

If you are interested or know of marketers and communications folk that are out of work or seeking a way to get into the industry please direct them to the following: http://www.mitx.org/events/1825.cfm

The event is free. Attendance is limited to 500 people and is expecting to sell out, so please encourage friends and peers to sign up as soon as possible.

Boston Ad Club

2009-04-12T22:15:00.004-04:00

An update since I last posted about this event being hosted by Boston's AdClub (Agency Reunion):
From the Boston AdClub:
"Dear Friends,
With networking being more important than ever, we're excited about putting on the first ever Ad Club Agency Reunion. It promises to be the biggest networking event of the year.

A lot of our friends and partners have already told us they're coming. But we've also heard that some of you would like to attend but can't really afford the $200 ticket because the economy's kicked us all in the butt a little.

So we're offering a special Stimulus Package price of $140.

There's no difference between this ticket price and the full price. You still get a night of networking complete with an open bar and buffet dinner.

However, if advertising continues to be good to you and you would like to support The Ad Club, we will graciously accept the full $200 ticket price.

See you at The Garden!"

See more info here: www.adclub.org/REUNION

Matt Hoyle's Barnumville

2009-04-10T19:00:00.010-04:00

They are a series of black and white portraits of sideshow performers called "Barnumville". Over 3 weeks, Matt photographed nearly 30 portraits of physically amazing people including performers from the two remaining "freakshows" (as they call themselves).

"It's about a fictitious town in 1940's Florida inhabited by sideshow performers of all shapes and sizes. It's inspired by the real life town of Gibsonton Florida which used to be an active vacation town for wintering circus folk. I was lucky enough to shoot many known sideshow performers and physically intriguing characters who are in the last remaining sideshows in America, Coney Island Sideshow and 999 Eyes Freakshow from Austin Texas."

The portraits are beautiful with a cinematic quality and the raw personality of the people he photographed coming right through. The images are intense but so beautiful in the stark black and white he's presented to the viewers. Instead of seeing the bold bright colors of the circus we see in ads and on TV today, it's like Matt has transported us back to the 30's when the circus was a traveling show of animals, trainers, working men and best of all the side show freaks.

The images include a Lobster Clawed Man, a Giant, Sword Swallowers, Little People, Fire Breathers, Clowns, a Serpent Lady, a Tattooed Lady and more...

Check out more of the work here:
www.jkand.com/public/matt-hoyle/barnumville

www.matthoyle.com

all images ©Matt Hoyle

New England Portfolio Review

2009-04-08T19:31:00.003-04:00

On Friday May 8th through Saturday May 9th, the Photographic Resource Center and the Griffin Museum will be hosting a New England portfolio review at Northeastern University. You can find more information here:
portfolioreview2009.com.

Here is a full description from the PRC:
This year the PRC and the Griffin Museum of Photography have teamed up to co-sponsor the New England Portfolio Review Event 2009. Photographers of all genres and skill levels will have a rare opportunity to have their work assessed by leading curators, gallery owners, editors, and educators during this two-day event hosted on the campus of Northeastern University.

Photographers can sign up for a single review, a package of three reviews, or a package of six reviews. Photographers can sign up for reviews on Friday, May 8th, Saturday May 9th, or both days. There will be a morning session on Friday, and morning and afternoon sessions on Saturday. Each portfolio review will last 20 minutes with a 10 minute break between reviews.

Registration is open at 9am on Monday, April 13th and will occur online only. Processing is done on a first come, first serve basis. The cost of the portfolio reviews will range from $45 for one review to $250 for 6 reviews for members of each of the organizations.

Please note: There are no guarantees that photographers will be assigned the reviewers that they requested. Once the portfolio review sessions are full, photographers have the option of being placed on the wait list.

Here is a list of participating reviewers:
http://www.portfolioreview2009.com/reviewers.html

Dealing with Crises

2009-04-08T13:23:00.002-04:00

This is a great post and can relate to anyone across the board. I think it's especially useful in dealing with clients and being on a production/job. It's sound advice.
Read the article here.

Gist:

Calm down, smile and remain polite to maintain any chance of success

Become a human being rather than a faceless number

Be persistent to grind away the brick wall

Be prepared to lose to expand your freedom of thought and action

Be clear about your objective so you can be flexible about how to achieve it

Find who can, since often the first person you speak to cannot help

Take an active part in making things happen more efficiently

Make the other person feel good about helping you so that they are more likely to help you

Don’t relax this stance until it’s over, it’s easy to snatch defeat from the jaws of victory.

Thanks to my husband for finding this one.

Heather Morton art buyer

2009-04-07T10:25:00.003-04:00

Heather Morton is back to blogging and regular postings. After a 5 month hiatus she comes back with contributors Myles McCutcheon and Liz Ikiriko, both photo editors and photographers.

It's fantastic to have Heather back and sharing her opinion. check out her blog (if you haven't already) at heathermorton.ca/blog/

Artists with Blogs

2009-04-07T09:52:00.003-04:00

I find that artists blogs keep coming up in conversation, particularly artists asking if it's even a useful tool.

It should be completely up to you whether to maintain blogs and social networking. If you feel it's beneficial to your business or if it's a way to share personal opinions, images, etc. then go for it.

Personally I love artists' blogs. It's a nice insight into other work as well as the personality of that artist. It's sort of like peeling back another layer. The portfolios are useful to find appropriate talent for projects but the blogs for me are useful to find out a little more about the talent.

My only suggestion is that if you maintain a blog try to update it. It doesn't have to be everyday or even every week if you don't have anything or are busy but try to keep it as up to date as possible. Especially with imagery or a behind the scenes look at a recent project. I've also found a few photographers and illustrators who use their blog to show some new work or a new style they are experimenting with. The blog is a great way to showcase more work and outtakes of some shots that are in your portfolio.

Just remember to keep it honest but also a little professional (I don't want to read about a rant on a client). Express your opinions but remember who your potential audience is and the fact that they could potentially hire you. It's also a good format to not only promote personal work but share information that helps the creative community (award announcements, networking events, lectures, student shows, etc.)

Here are a few artist blogs I enjoy reading that are really good examples:

Finn O'Hara: finnohara.com/blog/
Andrew Hetherington: whatsthejackanory.com/
Timothy Archibald: timothyarchibald.blogspot.com/
Susana Raab: susanaraab.wordpress.com/
Thomas Broening: thomasbroening.blogspot.com/

also check out this Q&A on Photo-Blogging on the Glasshouse blog, Stone-Thrower.

Must Read

2009-04-06T13:00:00.006-04:00

Granted this person is a designer and this information posted on his blog is logo related but it relates to the entire creative community.

This post is a must read for all artists and their intellectual property - jonengle.com/2009/04/accused/.

This also makes a great argument for tagging everything with meta data and tracking your work.

**UPDATE: Thanks to Jason Campbell who sent this link to some info about the other side of the story, read it here.

Adam Hester Portfolio Review

2009-04-01T09:21:00.001-04:00

all photos ©Adam Hester, used with permission

I've had the opportunity to speak with several photographers over the phone regarding my offer in the beginning of March for portfolio reviews. My idea was this: provide completely honest feedback to the photographer's portfolio as well as answer questions they had and tailor the answers specifically to their work and aspirations.

Earlier this week I chatted with Adam Hester, who has okayed snippets of our conversation to be published here with a few pieces of his work. Adam's been assisting for a few years and is now shooting for himself and working on getting his own clients. His questions were:
Get some feedback on his website. How to approach art buyers? How could he come off as more prepared or assure potential art buyers/creatives of his attention to production value?

**Note: All of the feedback provided below is just my opinion and is specific to Adam and his work.

Feedback:
The set up of his portfolio starts with the sub head "Playful Surroundings", a personal project Adam's been working on and testing. When I search through websites looking for potential photographers for a project, I normally go to either the first subhead or the most obvious relevance to my project. Meaning - you have 5 subheads and I'm looking for portraits, I'm going to go to your portraits portfolio first look through it quickly to see if it jives with the needs of the project and then move onto the next photographer.

My suggestions were to use some different props or none at all. the images are great even without the subject holding anything. For instance a few of the images I didn't necessarily understand as far as the conceptual approach but the subject, the expression and the framing of the image was beautiful. Some of the strongest work that I reacted to in the portfolio were the snapshots in the "Instant Love" section. I know these are some personal projects hence the names associated with them but I suggested splitting some of these up to really show focus on the in the portfolio so the can attract work.

Approach art buyers with confidence in your work. I always suggest face to face meetings, it speaks so much more to the personality and associating the work with the photographer. Especially go after the clients that he wants to add to his roster. have an aspirational list of clients that he can see his work being associated with and start knocking on their doors.

As far as being prepared and working on projects that require more production, don't bite off more than you can chew, surround yourself with a very capable support team of producer, stylists, crew, and be honest.

You can view Adam Hester's work at adamhester.com

Ad Club... seriously?

2009-03-31T11:04:00.003-04:00

I love this idea... I love the visual that came in my email... I did not love the price of the tickets. Tickets are listed as $200... each.

AdClub of Boston has a brilliant idea to bring agencies and former/current employees together for a big networking event. But, AdClub, come on. The ad industry has been hit hard and for those people still employed at said ad agencies they probably won't even go, it's the people who have been laid off that want to network.

I hope it has open bar....

Blender Closing The Doors

2009-03-30T10:50:00.002-04:00

Unfortunately another magazine is biting the dust. Blender Magazine officially closed up last week with it's last publication. The magazine's parent company will continue to run Maxim.
Blender will be operating solely on the internet and keeping the brand name alive.
see the AdAge article here.

So I'm wondering with all the magazines and newspapers folding, are we witnessing the beginning of the death of print?

I personally say no but I'm curious to hear other thoughts.

Advance Checks

2009-03-26T13:51:00.003-04:00

Check out this discussion on the liveBooks photo blog about the whole advance checks situation and Omnicom.

Specifically read the comments left by all the reps, photographers and even a few art buyers.

Moving Beyond Economic Fear

2009-03-26T09:38:00.003-04:00

An interesting article (here) in The Boston Business Journal very much worth reading because it can be looked at from both a personal perspective as well as an institutional one.

Avoid the "fear" and build a sense of strength and confidence in your business.

What Art Buyers Might Look For

2009-03-25T08:17:00.004-04:00

In many of the portfolio reviews and calls I've been having with photographers one of the big questions being asked is What does an art buyer look for?

There is no exact science to what each of us is looking for. It greatly depends on the client and the project and trying to match the best talent with the client's brand and messaging.

To be completely and utterly honest you have to have great imagery. With all the competition out there, if your work is considered run of the mill or does not stand out from the pack (so to say) it won't get called in. I know this may sound harsh but it's the reality just like if an ad agency goes after a client and their brand book does not have stand out items or campaigns, the client passes on to the next "competitor".

I'm always interested in seeing something visually arresting... whether it's a lighting technique, an angle, the talent chosen, off the cuff set ups, etc. If what you're presenting is flat or looks (pardon the expression) "too pedestrian", there's a good chance you're work may get passed over.

To be blunt, presenting a local corporate portrait or a portrait from an annual report is not going to get you the next ad campaign for Dolce & Gabbana. Art Buyers are super picky when it comes to imagery, especially the imagery we're recommending to art directors, creative directors, and clients.

Challenge yourself and experiment with personal projects. Get to know art buyers and some of the clients they work on, if you start to develop a rapport with that person, they may be more likely to give you a chance (whether it's a pro-bono or smaller project) to get in the door. Most of all continue to develop your work.

additional note:
I also wanted to add this little bit that I thought of this afternoon. Make it real and make it your own (your images should speak to who you are as an artist). And by real I don't mean lifestyle or "slice of life" situations, I mean real as in the feel of the image.
Just like with some bad reality TV shows, the audience can tell when someone is fake or coming across too contrived. If your imagery is too propped or too staged it doesn't feel real and can drive people away. Art buyers will go to the stock sites if they want that feel. No offense but the typical image of the growl face with hands in the hair has been done so much that it turns me away from a portfolio.

Ad Data In Magazines

2009-03-24T09:35:00.004-04:00

Saw this in the New York Times and thought it'd be worth sharing - see it here. An interesting comparison of magazine ad pages from 2005 and 2008. Some have significant cut backs while others have significant increases. Click on the magazine to see how many advertising pages and the percentage. Most of the magazines featured are mainstream titles.

Creative Database

2009-03-23T11:36:00.002-04:00

Krop.com is a site I've visited to peruse through job postings before. I haven't been to the site in awhile or either hadn't been paying attention to hard. Essentially Krop is a job board for creative professionals however in 2008 they also lauched a creative database to build resumes and portfolios.

It's free (for the basic account) and no advertisements show up. I'm in the process of putting mine together on there but have also found some photographers (Michael Muller with Stockland Martel) and other artists through here.

check it out at krop.com/creativedatabase

Thanks to Frank Rapp for sending.

On Vacation

2009-03-08T14:59:00.002-04:00

Apologies for the posting delay but I'm taking a little break for some island sun. I'll have more posts up in a couple of weeks when I'm back (physically and mentally).

In the meantime here's some things to look forward to:
Info and feedback on the artist meetings/portfolio reviews (from my perspective as well as some of the artists)
The one year Blogiversary of Art Producer's Perspective
Creative Opinions
Comparison of illustrator and photographer promos (per a reader's request)

I'm also welcoming any questions or topics you would like to discuss or bring up (email me or reply to a post).
One of the main reasons for this blog is to create open communication in the creative community.

See you soon!

New Illustrator

2009-03-03T14:29:00.003-05:00

I received a promo this morning from a new illustrator on the market and thought her work was worth mentioning here.

It's a nice combo of pencil and watercolor and has a beautiful fashion quality.
Take a look: jessicacarberry.com

First Come First Serve... Spots filled

2009-02-25T15:55:00.001-05:00

The 10 spots are definitely filled. I'll be chatting with these people over the next two months. If it's successful and the artists feel it's beneficial to them, I'll make the offer again around the summer months, so keep an eye out.

Thanks so much

First Come First Serve

2009-02-25T12:36:00.004-05:00

I'm offering to sit down with artists for a meeting if anyone is interested, for the first 10 people who email me.

Basically I'm offering my opinion as an art buyer to your portfolio, website, work, questions, etc. Anything you might want to discuss and ask an art buyer - literally anything and I will do my best to be honest and have some constructive words for you.

If you're in the New England area, I'm happy to meet with you one-on-one OR if you're not in the area we can have a chat on the phone.

The only thing I ask is that you come prepared with relevant questions and needs. We can set up a quick call first to have an interview of sorts and that way I can familiarize myself with your work. Then we can schedule another meeting to go more in depth.

You can email me here.

Get What You Want

2009-02-24T11:30:00.003-05:00

It might sound idealistic but how do you get what you want in tough times?

Realign your focus
Trust in yourself to handle the challenges that come along
Become resourceful
Bring something unique to the table and look for ways to grow
Network, network, network

Find something you love to do and are passionate about and you end up being able to deal with more.

APA NY Event

2009-02-23T11:57:00.001-05:00

Thought this was worth mentioning:
Advertising Professional of America, New York chapter is having a marketing seminar/event tomorrow.
Check out the details here.

For those of you not in the New York area reach out to local photography groups and chapters to see what they are offering.

Waiting For Payment

2009-02-23T10:48:00.003-05:00

Advertising Age is reporting today that some large clients are asking their ad agencies and media firms to wait for payment, some as long as 120 days (4 months). The article is here at adage.com.

This, in turn, means that the ad agencies are either paying the vendors out of the agency's pocket or not able to pay them at all until the client pays them. This is where your estimate and terms you agree to as an artist are exceptionally important.

Prior to the actual shoot or illustration project always have on your estimate your billing terms, in writing and agreed to by the client and reiterate it in conversation for them as well.
For instance:
Payment in full is to be issued within 30 days of final art delivery.
Past 30 days incurs additional finance fees (something like 2% per week or a rebilling fee).
Advance of 50% (or whatever you agree to) prior to start of job.

If these items are not in writing, even if they appear to be industry standard, the client might not adhere to them. In today's climate it's especially important (and acceptable) to discuss the billing process and how you as an artist and a vendor will be paid and on what time line.

Arrested for Photography

2009-02-21T13:36:00.001-05:00

PDN reports a photographer was arrested in NYC for photographing a train.
Article here.

Creative Opinion

2009-02-20T13:57:00.004-05:00

Talking about ideas and plans for this year to drum up business, I thought it'd be interesting to ask this month's creative opinion.

What are you doing differently this year than you have in the past? (As far as marketing, approaching new clients, approaching existing clients who have had to cut budgets, etc.)

You can email me here to share anonymously or post a comment.

New Artist Rep Agency

2009-02-20T12:33:00.003-05:00

A new rep agency in New York has popped up.

Ara Edsinger, formally of E. Poje, has started iCreate. She is representing some up and comers.

Check out the work at icreatenyc.com

Inventive Idea

2009-02-19T12:52:00.005-05:00

This morning I met with Valerie Gates, creative director at Gates Studio, who had contacted me through LinkedIn - just looking to network and connect. We discussed the state of the industry, local agencies, and tossed a couple of ideas back and forth.

We also were discussing marketing ideas and how to promote one's name in today's industry and economy. Valerie shared her current project with me, an idea that I think is incredibly inventive and a brilliant marketing tool for her studio.

This is definitely thinking outside of the box and proactively. She has issued a press release which I'm including below and reached out locally and nationally. The Boston Globe is featuring her story in their Sunday Globe edition. Oprah is a personal goal of hers. Aside from the idea of helping others she is creating quite the brand awareness for herself and her studio.

She, along with her business partner/husband, is documenting the experience on her blog at gatesstudio.blogspot.com.

Press Release:
Wellesley, MA… When Gates Studio founder and principal, Valerie Gates read Omnivore's Dilemma and Animal, Vegetable and Miracle this winter, she knew she had to do something to help the small organic farms and the local food movement in the Boston area. Gates came up with the idea to offer local growers and farms her studio’s professional design and branding services on a creative pro-bono sliding scale. With help from the non-profit group, Southeastern Massachusetts Agricultural Partnership, she put out the word to local farms that she was offering her studio’s services on a first-come, first-served basis as follows:

First five farms: a barter agreement of design time and services for organic food or CSA shares
Next five farms: 75% discount on rates for services
Next five farms: 50% discount on rates for services
Next five farms: 25% discount on rates for services

By the end of the second day, Gates had over 16 farms and local growers lined up to take advantage of her unique offer. “I wanted to do my part in helping even out the playing field for small growers and help them compete with larger farms and organizations that have larger marketing budgets,” explained Gates. “I also wanted to find a creative way to get my family to eat more organically and introduce them to sustainable farming life by creating a relationship with these local farms.” Gates Studio will also run a blog showcasing the farms and progress at http://gatesstudio.blogspot.com

Update about Facebook TOS

2009-02-18T08:15:00.002-05:00

As of this morning Facebook is taking the feedback to their recently revised Terms of Service:

"Over the past few days, we have received a lot of feedback about the new terms we posted two weeks ago. Because of this response, we have decided to return to our previous Terms of Use while we resolve the issues that people have raised. For more information, visit the Facebook Blog.

If you want to share your thoughts on what should be in the new terms, check out our group Facebook Bill of Rights and Responsibilities."

Agency Production

2009-02-17T19:07:00.003-05:00

Creativity article about advertising production and agency producers - especially some of the work and obstacles that went into well known projects.
Check it out here at creativity-online.com

Invoicing

2009-02-12T18:54:00.004-05:00

When invoicing for jobs it's important to include back up receipts for proof of line items. Nowadays clients are scrutinizing every dollar spent and making sure line items add up. It's my responsibility, as an art buyer, to review the invoice submitted with a microscope to justify all costs to the clients. In advertising, photographers are normally asked to submit all backup receipts.

Keep your receipts no matter what the cost is... if it's for a postage stamp, if it's for a latte, if it's for crew, etc. Whatever the case may be keep all receipts pertaining to the job you're working on. I have always asked this for every job I've ever worked on, as part of client requests and how the agencies work.

The agencies are working for the clients and therefore are also audited to ensure spending dollars are what they should be and that the agency is working in the best interest of the client (and their money). I've even heard from other art buyers that some agency accounting departments will not pay an invoice without the backup production expense receipts. Every dollar needs to be accounted for.

I bring this up because I ran into a situation and posed the question to several other art buyers... all agreed that when receiving invoices they require this backup.

I know people have brought up markups here when I've posted about billing before, I suggest including it in your creative fee or having a wrap fee.
Either way when you do larger advertising jobs you will always be asked to account for each line item in your invoice with backup receipts as proof.

Riding through the times

2009-02-09T14:23:00.002-05:00

I really liked Leslie Burns Dell-Acqua's post yesterday (here) where she had some info about working with the client during these bumpy times.

I don't discuss clients or projects here for specific reasons (and I'm not going to disclose specific clients). However a few of the client projects I have been working have been changing because the companies are going through tough times (like the rest of us). One client is having to cut a substantial amount of their employees across the board nationwide. Therefore they are pulling back on their spending dollars. These clients however realize that they have a product to sell and in order to bounce back need to keep spending to get the product and messaging out there.

With this information photographers have been working with me and the agencies to be able to continue to work together at the budget constraints. One photographer is working with me on image re-negotiations and the next shoot. We're planning on "trimming the fat" on some of the production and he's also been flexible enough to adjust his fees, treating this particular shoot as a one-off.

Different ideas work for different people so it depends on what the artists and the agencies work out together.

Fair Use

2009-02-05T08:06:00.004-05:00

I thought this would be interesting to share. I'm sure some of you have heard about it already and probably have your own opinions as artists. Shepard Fairey's Obama posters used an AP photographer's image for the basis of his idea and concept. An image that is now on posters, T-shirts, buttons, stickers, and lots of other items. An image that was found simply by "Googling" it.

One art buyer shared this article while another added this link to the copyright clearance center discussing the idea of fair use.

Networking

2009-02-03T15:18:00.003-05:00

Your networks can be your most valuable resource with finding jobs and remaining active right now. Reach into your roladex and any back files and reach out to people.

Sometimes if one hasn't had a job for a little bit, things can get static and one can even get lazy. The best asset is having others to reach out to. Networking on the phone or face-to-face is incredibly valuable. Reach out to other artists, stylists, producers, and agency people (especially art buyers, photo editors, and creatives). You never know when someone might have a one-off project they're working on, a freelance gig they heard about or can even put you in touch with someone they know.

Don't be weary of getting in touch with people. Use any time you have to reach out and not to solely rely on e-promos and mail promos. Especially now, in the reality of the employment situation, people are relying more and more on each other for ideas, work, industry references, support, etc.

Monday Morning Quarterbacking

2009-02-02T10:02:00.004-05:00

Here's a run down of commentary about Superbowl ads:
Reviewing via Twitter so everyone can participate in the commentary (article here) and (here)

Adweek has a customized Superbowl media link (here)

AdAge's rundown including video commentary by ad critic Bob Garfield (here)

2009 Ad Meter at USA TODAY (here)

Art Producer's Perspective opinion:
top picks were the CareerBuilder.com spot and the Doritos (Free Doritos/Crystal Ball) spot.
worst was a toss up between the GoDaddy.com spot and the Toyota Faces spot.

Superbowl Ads

2009-02-01T23:39:00.000-05:00

Check out all the ads here:
www.hulu.com/superbowl

Communication Arts Photo Contest

2009-01-30T19:07:00.005-05:00

This is definitely one of the contests you want to enter to get everyone to see your work. There is not one art director, designer, or art buyer I know who does not read Communication Arts or at least steal it from someone who does.

Deadline is March 6, 2009
enter at www.commarts.com/competitions

Categories include:
Advertising, Books, Multimedia, Editorial, work produced For Sale, Institutional, Self-Promotion and Unpublished.

This is for both Illustration and Photography.

This is the type of competition that is known worldwide and definitely worth entering.

Taking a job

2009-01-30T10:05:00.002-05:00

In times like these, freelancers will take any job (and we should), however don't take on anything that is more than you can handle. If you are used to doing smaller production jobs be wary of taking on a larger production (I'm NOT saying don't take the job). Make sure that the team you hire to help you is capable of taking on this type of job and also work with them to make sure the clients are getting the best value and work for their dollars. Be prepared and be confident.

Clients and agencies are super aware of the dollar amounts they are spending now (especially when a commercial shoot can be the same cost as an employee's yearly salary if not more). We will question every dollar if we're unsure of why the cost is higher than we expected or when there is a line item we think is unnecessary.

If the shoot is a bit bigger than you are used to, don't go overboard and get extravagant with the line items and your bottom line costs. Don't hire 3-4 photo assistants if you don't need them. Don't have set builders on location if there isn't a set to build. Unnecessary costs like these will be questioned and will be asked to be removed. Make sure you communicate the best you can between you, your producer, the art buyer and the art director. Make sure you have all the scenario or shot descriptions and keep those lines of communication open during the entire project

I had a recent job where I was working with a team that I felt got greedy and charged for several things that were overkill and not needed. The person even confided in me that this was only their 2nd large production job and wasn't sure how to come up with usage license costs for print advertising. This is a big no-no. As an art buyer I will work with artists but I completely lose confidence in the ability of the artist if something like this is said. It basically says to me ... this person didn't have a good handle on what they were doing.

If you are unsure, get help... ask someone you know who has done jobs like these, get a stellar line producer that can help, talk to a photo consultant or a photo rep to help with estimates or suggestions on the production and approach to the job. Most of all don't bite off more than you can chew if it will ultimately work against you.

Estimates

2009-01-20T11:07:00.005-05:00

About a month ago someone asked me here about estimating and I wanted to try and answer her questions:
How do you present your estimates?
Do you present the photography bids to the client or compile into your own? Do you show each line item? Do you pad anything on your own?

It really depends on the company I'm working for and how they format their estimates and terms and conditions. Normal practice is the photographer/producer estimates are worked into a separate estimate dictated by the company or the program the company is using. Not all line items are shown unless the client specifically requests it. I usually break the costs into photography fee (creative + usage fees) and then into production expenses (which include everything from crew, talent, and equipment to travel expenses and meals).

To be quite frank I usually will pad an estimate and most art buyers do depending on the project. If there is a strict bottom line we won't go above the number dictated by the client however I usually pad numbers because inevitably additional costs are incurred and if not, well then the costs come in lower. Although I should note I never pad the estimate by an incredible amount and usually will add sales tax (My state is 5%) to the bottom line. The thing about padding is that it is not an exact science and sometimes I won't even pad an estimate. It really depends on the project at hand.

In the event of a competitive bid I will do my own estimate formatting in excel to provide an "apples to apples" comparison of the photographer's bidding and where their line items are comparing. I will provide this if asked but also like to have it in my own files and available to the account executives so that they can answer any questions the client might have regarding the estimate (and use their own discretion to provide it to the client if they choose to).
It looks a little like this:

I also can't take credit for this design.. a friend and fellow art buyer showed me this several years ago and it has remained a great asset to my bidding process ever since.

The main thing to remember when presenting estimates is how do you normally put them together and present them and how/what does your client expect? If you morph the two make sure you have backup that details your break down of costs and then the breakdown of the estimate that goes to the client.

Photo Contests

2009-01-11T14:04:00.004-05:00

One of the best ways to get your work seen is by entering into photo contests. With all the artists (photo, illustration, design, etc) out there, it's hard to be familiar with everyone. The photo contest work is published in materials that I read and peruse through, therefore I see it and become familiar with it. Many other buyers do the same thing, we read photo annuals and other trade materials. When an artist's work gets published in a photo contest it's viewed by several buyers of imagery which in turn means more views to the artist's website and other materials (add in plug for marketing plan here).

PDN has put a list together for January deadline contests (think "best of 2008" opportunities) here.

While yes most of these photo awards and contests require an entry fee, if you don't try you can't succeed or achieve.

Consultants

2009-01-09T14:51:00.004-05:00

Consultants can be an artist's best friend... so to speak.
They'll give you advice, they'll tell you how it is with honesty and help you morph a plan into reality.

It's a good idea to find a good fit though, most consultants offer preliminary services to make sure the partnership is a potential. For example a 20 minute introductory consultation where the artist can ask questions and the consultant can look at the portfolio and get an idea of the needs the artist is looking for.

Many consultants have a questionnaire they will give you to determine where you are at and any goals you may have. The artist should also go in with a small list of objectives they want to achieve - long term and short term. In addition ask about the consultant's experience and background. After all, this is the person who will be giving you advice on your livelihood. Speak to a few consultants to get an idea of which match the needs you are looking for.

Start your checklist for your 2009 plans and aspirations. If a consultant is someone you'd like to work with there are several well known and respected ones in the creative community. Ask for recommendations (from other artists, reps, art buyers/photo editors, adbase, agency access, etc.) and peruse through their sites (if they have them) or give them a call to start discussing.

New Year, New You...

2009-01-08T12:29:00.003-05:00

...well not really a new you. But it's the time of year to send out reminders of new work, new websites, new promos, new everything.

I've been getting a bunch of email promos with subject lines like:
New Year, New Work
New website for 2009
not participating in the recession so here's some new work

Lots of "new" in the title

A few suggestions when sending out e-promos to celebrate the new year and draw people into your 2009 marketing, website, imagery, etc.:

Make sure the work really is new. Don't include a few filler images from previous e-promos or imagery that people may have already seen. If you're calling out that it is new work, make sure it's brand new imagery that your audience hasn't experienced yet.

Also think about what your competitors are doing... the same thing. I get bombarded with emails the first 2 weeks in January and then hit a dead zone until late March or April.

I'm a big hater of New Year's resolutions (mostly because I can't keep them past 5 days). I always suggest making any resolutions/changes mid to late January or even in February, this way you actually have a chance of sticking with them. Same goes for e-promos and mailers, everyone sends them out at the same time and then you don't see or hear anything for several months after. When you start out the year with a marketing campaign, stick to it. Come up with a plan that works for you and gets a good response from your audience.

This is the biggest suggestion I have, to come up with a solid marketing plan for yourself this year. With all the hype about the economy, ad agencies having layoffs, magazines closing up shop, and the rest of the doom and gloom it is crucial that freelancers and artists have a plan to market themselves and make their work visible. There are several resources out there that can help with suggestions and ideas (consultants, websites, blogs, etc.). Having a plan can help you achieve this year.

Happy 2009!

Holiday Vacation

2008-12-29T20:15:00.002-05:00

Ahhh the holidays... it means family, friends, lots and lots of food and most often a little vacation from your day to day activities. So I took a short break from the blogging to get some other stuff done and participate in the all around merriness.

For most businesses this time of year sees a slow down in activity. How do you spend your down time? Aside from doing holiday stuff I managed to update records and my portfolio. It's usually a good time to gear up for the new year's mailings and meetings. To get your calendar in order for the new year to hit the ground running.

I always get a flurry of calls starting the first full week in January so I advise some of you to wait a few weeks after the start of the new year to begin your 2009 marketing. I'm still a big advocate of in person meetings so if you're traveling in the new year whether it's for business or personal try to schedule and additional afternoon to meet with some folks.

LeBook and Workbook will be sending out their new 2009 additions that creatives, art buyers, etc peruse through. AdBase usually updates and rechecks contact information around this time of year. Make sure you are up to date with your contact info and start getting in touch with people.

Hit the ground running for 2009!

Purchase Orders

2008-12-10T08:32:00.005-05:00

In my mind a purchase order is more than an invoice receipt for the agency or client, it also acts as a contract between the artists/vendors and agency/client. The more descriptive a purchase order is, the better it is to protect all the parties involved on the agreed upon licensing and information accompanying it. Some clients or agencies might keep their purchase orders for internal billing only, in that case always make sure there is an agreement in writing, whether it is an email or on the artist invoice.

Here's what I usually include:
- Phone and fax number for artist and rep
- Team working on the project (Art Buyer, Art Director, Project Manager or Account Manager)
- Date of shoot and date of film/digital file due to agency
- Advance paid amount and date paid
- Usage parameters, if the usage is a limited usage and not unlimited I always like to include the date of first use and whether it is non-exclusive or exclusive.
- Shoot description, an outline of all the situations to be photographed and the number of shots expected as well as for final usage
- Outline a mini-schedule with travel, prep, shoot, and wrap dates
- Who is paying for talent/models if there are any
- A rights for self-promotion line for the agency and client
- Include all receipts when invoicing for backup of invoice. This also provides a paper trail of expenses for agency and client as well as proof for auditing purposes.
- Expenses not to exceed "X" amount without written authorization in advance (I find this helps keep track of any overages that occur on set and get client sign-off so there are no surprises.)

- When purchasing stock, whether from a stock house or a photographer, I include the image number, what the image description is, size, licensed usage and cost per image (not just the lump sum).

The other benefit of having paperwork that is this descriptive is that it allows as back-up for someone that may have to work off this at a later date (especially if the main person is not around) and it makes reference for re-use easy because you have all the original information available.

Usage - part one

2008-12-09T08:02:00.003-05:00

Usage can be a tricky thing, whether it is licensed assignment photography or licensed stock photography. Determining the usage fee depends on several different factors specifically what the agency or client is licensing. License by definition mean to permit the use of something. The client is contracting specific rights to use the imagery the artist has produced.

Here are some usage terms to keep in mind:

Buyout - This refers to unlimited use for an unlimited time in all mediums unless otherwise specified for a specific medium or market. By no means should this be assumed as a transfer of copyright.

Transfer of Copyright - All rights to the artwork are transferred through contract from the creator/artist to the purchaser/client. unlimited use for an unlimited time.

Exclusivity - This limits how a copyright holder can offer work to a third party for reproduction. Clients who license usage with an exclusivity term want to block potential competitors from using the same imagery.

Limited use - Your typical usage that can be specified by a time frame, type of media, quantity, territory, etc.
This has several subsections like the following: print ads (newspaper, magazine, sponsorship, trade publications), point of sale/collateral (brochures, direct mail, catalogs, free standing inserts, take-ones), out of home (billboards, kiosks, wild postings, transit), packaging, global electronic/web (web sites, banners, mobile, viral, interactive). Mediums: Print, Web, or Broadcast.

Presentation/Research use - This normally refers to non-commissionable media or not for the public market. Simply for testing purposes or focus groups.

The higher the usage the higher the fee. Be sure to always get usage and licensing contract information in writing. Ensure the client understands the license and the usage parameters. It is a good idea to write out the specific usage in detail, for example, some clients still use the term buyout but in your contract you should write something like buyout, unlimited use for an unlimited time in all mediums.

Good resources for more usage information are ASMP and PLUS.

Adweek's list of Most Influential People

2008-12-08T07:46:00.002-05:00

AdWeek is celebrating its 30th anniversary this year. As one of their special anniversary exclusives they have highlighted 30 (technically only 27 are listed) of the most influential people working in advertising, marketing and media today.

See the article here on adweek.com.

Another Notable Item

2008-12-05T08:18:00.003-05:00

This AdWeek article published today discusses Mattel's Barbie vs MGA's Bratz and a ruling on intellectual property.

Notable Items

2008-12-04T08:32:00.005-05:00

Some news and stuff that's worth taking a look at or taking a few minutes to peruse.

Seth Godin's article on his blog: The High Cost of Now

Photo Marketing Tips Blog has an interesting post regarding 7 things to do before you cold call.

ASMP's Year End 2008 bulletin is out, download the pdf here.

Head over to too much chocolate - thanks to post on Concientious blog - connecting emerging photographers.

Personal Project - Jonathan Beller

2008-12-03T10:02:00.004-05:00

One of the reasons I chose to feature Jonathan's project "Fans" is that aside from his wit, he really gets into the thick of the "fandom" to get people's true reactions, emotions, and expressions of being a fan.

What made you choose this project?

About five years ago, I was working with photographer, Julian Germain. After looking at my portfolio, he suggested that I do a personal project on fans. I decided to start by going to a celebrity signing, one of the more obvious places to find fans. I realized that in order to get at the essence of what being a "fan" meant, I would have to branch out. I talked with and photographed people outside of sporting events, waited with people in line hours before a show was starting, and have even gone to midnight book releases. Its easy to get as excited as they are when you get surrounded by hundreds of people who feel the same about something.

How many photos were there before you edited it down to the featured images?

This has been an ongoing project for me over the past five years. I continually update my site with new work. I have been preparing to make a book of these photographs.

What was your favorite aspect of this personal project?

My favorite part is getting to meet the people. This project has taken me all over the place. I've eaten sausages with Patriots Fans outside of Gillette Stadium, taken a charity walk with Hanson fans, and even did 10-pin bowling for the first time with Big Lebowski fans. We are all fans of something, no matter how different it is, being a fan is the same.

Check out Jonathan's project here and the rest of his portfolio at jonathanbeller.com

5 things about "Down and Dirty" shoots

2008-12-02T13:33:00.005-05:00

These type of shoots have a few names that people call them: down and dirty shoots, guerrilla shoots, no time shoot.. etc. Whatever you refer to them as, normally these types of shoots/projects mean a few things: little money, little time, and big quality.

Here are my 5 likes and dis-likes (strictly in my opinion as an art buyer).

Likes:
1. Think on your toes. While sometimes the production can keep you guessing (or confused) it proves what a good problem-solver you can be. I think it's also an adrenaline rush to get it all pulled together as quickly as possible.

2. The teamwork and collaboration. I have found that even more so on these types of jobs the teamwork and collaboration between the art director/designer, art buyer, photographer, rep and virtually everyone else working on the job really come together to make it happen.

3. Creativity. This goes hand-in-hand with the collaboration as well as thinking on your toes. Sometimes these shoots allow for more creativity because of the timing and nature of a project like this, the team doesn't have time to sit and stare and mull over the project. And I have found that photographers especially have great ideas and solutions on the fly that the art directors and designers are more willing to be avant-garde with or experimental.

4. Production Value. While this could also be in the dislike category, because yes the production value does suffer some, I feel it fits nicely here and touches on all the points above. We are still able to pull off a good shoot/project with the right production and elements. It requires effort and finagling but it can be done. I think a good shoot is achievable even with the constraints as long as people/team players are willing, problem solving and creative.

5. No matter what, it always comes together. It can start out as the craziest project with the worst timing and absolutely no budget and for whatever reason (mostly the effort of the whole team) it always comes together and it always works out. The thrill of pulling it all together and having beautiful work come out of it is so rewarding. I feel like it's more energizing knowing the hoops everyone had to jump through.

Dislikes:
1. No budget or small budget. The no budget thing kind of puts a damper on the production value. It's tough for the photographer/producer to potentially call in favors, it's tough for the art buyer to explain to the photographer there's little budget and to the account team the importance of certain spending on certain production items, and it's tough for the client to understand why a shoot costs about the same amount as an employee's yearly salary.

2. Complaining. I think complaining doesn't get you anywhere. It's about getting the job done and trying your damnedest to get it done right and to get it done well. As an art buyer I totally get that down and dirty shoots are tough on both sides, for the photographer as well as for the agency. (And none of these dislikes are thought of as complaints.. more like speed bumps to the process of a normal production)

3. Post-production costs. In my experience (most of the time) when these types of shoots are completed and the high res artwork is in-house, they actually require more post-production time and money than normal. Sometimes the weather wasn't right on that day and the sky needs to be cloudier, sometimes the logo placement and cropping wasn't thought of correctly, sometimes in the rush to get a location there's a building the client wants to come out and trees to be put in... there are a few factors that aren't taken into consideration and once it's all said and done it usually needs a bit more work.

4. Timing. I've had different timelines with these types of productions.. some have been 2 days, some a week. It never fails that time ends up being my worst enemy on these down and dirty shoots. The hardest part is making sure that you've gotten everything done (casting, locations, permitting) and it has still gone through some sort of approval process and it's ready to go on the day of. (Doing casting and approvals in one day off headshots is always a crap shoot.)

5. Process. No one really likes the word process but there's always some sort of process or organization that goes into pulling a project together. When fast projects come up, inevitably something slips through the cracks. It could be an advance or PO doesn't get out soon enough, it could be that the location wasn't approved (or permitted correctly), it could be that the money allotment was put against the wrong job or project, it could be a number of things. We all just hope it's a small thing and preferably only one and not several.

Doing What You Love

2008-11-29T10:48:00.002-05:00

Leslie Burns Dell'Acqua at Burns Auto Parts Blog had a post yesterday about a piece that well known photographer, Doug Menuez, has written. I think it's definitely worth the read and reinforces the idea of: do what you love and love what you do.
And as Leslie points out on her post: "It is scary, you might fail. But if you don’t try, you WILL fail."

Check out Doug's article here at editorialphoto.com.

You can also view his work at his personal site menuez.com or his rep's at stocklandmartel.com.

Creative Opinion

2008-11-25T20:54:00.004-05:00

The past few "Creative Opinion" queries have been a bit on the serious side and a reflection of recent trends.

This month I'd like to keep it a little lighthearted and a little more personal:

What is the best part of your job? (whether you're a photographer, illustrator, stylist, art buyer, etc.)

I'll give my answer with the responses in a few weeks.

You can email me here or post a comment.

Updating Materials

2008-11-25T10:05:00.004-05:00

How often are you updating your site and marketing materials? If you're not thinking about updating your website and its imagery, it should be something on your to-do list. Most times it's your website that art buyers and photo editors peruse through to get a sense of your work and your clients before your book is ever called in or a conversation is had about a project. If it's not consistently updated, there may be a a possibility these people will pass over you.

It's so worth taking the time to add new projects/images that you've been working on and replace some of the older images... or keep the older ones if you love them but make sure the flow works well.

Does the layout of the site feel dated? If so, update that too.

These are the bells and whistles that attract people to hire you for jobs. While you might not be a designer by trade, photographers/illustrators are creative people and as a buyer I would this creativity transcends through your imagery and to your marketing material. It doesn't have to be changed every three months but update imagery when you can, definitely at least once a year. And when you have a new project or when you update this imagery send out some promos/newsletters to drive traffic to your site.

I just received a simple e-promo newsletter layout from Sharpe + Associates that included one new image from a recent project for each of their photographers. No lengthy explanation just brand new imagery to click on that sent me to the site and the blog for more news.

Updating your website and its imagery is a smart way to keep people interested and consistently drive traffic to your work.

Advances

2008-11-24T14:02:00.003-05:00

Almost everyone knows an advance is essential to the production of a job. Sometimes there there is a client or a higher up (insert CFO here) who doesn't quite understand the necessity behind this. If it's a client that doesn't understand the importance of an advance it's a bit easier, because then the agency can front the advance check for the project.

I'm assuming that most understand what an advance is but for definition sake here you go: pay someone a monetary amount before a final date/billing invoice. The advance is normally 50-75% of the production expenses. This is essential to the photographer or producer working on the project in order for them to pay for anything immediate needed and even pay the crew on the day of. This way it's not all out of pocket for the photographer/producer.

When an advance is not paid prior to the start of the job most people have clauses written in their estimates that detail a markup will be charged or a percentage of costs per dollar amount will be charged. If you don't have this written in, you probably should. And if you're the person purchasing/negotiating for the project, keep an eye out for these clauses and make your client aware so there are no snags after you get the go ahead.

Advances are an unwritten and understood rule that we assume everyone knows about and most certainly should understand as part of the production process. However there are the few people that don't agree and if all the explaining in the world doesn't change their mind, you should make sure you're protected in some manner.

Unconventional Marketing

2008-11-11T16:26:00.003-05:00

Had to share this email I received from Art + Commerce. Now granted this is Steven Meisel we're talking about and the puzzle is a little pricey but the idea is fantastic.:

Now available: Steven Meisel Limited-Edition Jigsaw Puzzle

1000-piece jigsaw puzzle
Edition of 1000
Signed and numbered by Steven Meisel
$750

Legendary fashion photographer Steven Meisel has been reluctant to publish his work in conventional print editions or books. This special object will be a first: a signed, limited-edition jigsaw puzzle of an image from the amazing 'Patterns' story Meisel photographed for Italian Vogue. The 1000-piece puzzles are packaged in a custom box and are signed and numbered by Steven Meisel. They have been produced in an edition of 1000 and are $750 each.

Puzzles are also available at Colette in Paris, at Barneys New York, and at 10 Corso Como in Milan.

Creative Opinion - Responses

2008-11-11T10:52:00.002-05:00

Back in the beginning of October I asked for opinions about whether people were noticing an influx of stock and were photographer and rep sites being used as an alternative to stock houses [here].

A couple of art buyers responded with the following:

I find that very few reps actually have stock on their sites and if they do-they are not very searchable.
Art and Commerce is the best one I think however they almost all use top models so you have to find out all the details and gain those rights.
I wish more agencies did sell stock.

We frequently search photographers sites for stock. it takes more time and doesn’t work out always but when it does it’s a higher quality creative that you can deliver to the client. also, if I’m renegotiating talent from one of our shoots the agents feel like they have it on us, and can be unreasonably demanding. in contacting these talent I’ve found they are much more agreeable to deal and negotiate with. since the image has been released by the client it was originally shot for, maybe it wouldn’t have ever gone anywhere or stimulated any more income so, it’s good news for them.

From photographers/peers:
I've been working with an ad agency in Chicago for the past 3 weeks. The rep I've been dealing with would rather deal with the photographers and not the stock agencies.
I prefer not to deal with the stock agencies

Only the mid-level players seem to toggle between stock and assignment. The higher end clients still need proprietary imagery and the low end (catalogs etc) have no choice. Generally speaking, everyone has put the brakes on for a month or so but I am getting calls almost every day lately so 'somebody' is hiring! (budgets are another story though....)

I am an editorial, corporate, advertising shooter in the Chicago market. Assignments are down and my stock agency, Photoshelter, is closing. I am considering moving my stock sales in-house in my website rather than with another stock house. Glad to hear there is some market for this.

Continuation of Stock Conversation

2008-11-07T13:46:00.002-05:00

I'd like to introduce guest blogger today, Amy DeVoogd. Amy is an illustrator I've worked with in the past, being a fan of her work I've also featured her art on this blog, she's also an avid commenter and brings the much needed illustrator perspective to some of the conversations.

In Amy's words:
I thought this might be an interesting tangent to add to the conversation about stock.

I went to this panel discussion yesterday and panel members included an illustrator, a rep, an art buyer, and an art director.

Most of the audience were graduating students, I'm presuming mostly in Illustration, although I believe there were a few photographers and graphic designers in the mix.

The panel talked about typical things graduating seniors should know, like portfolios, marketing, etc. and then sort of framed the industry from their individual points of view.

At the end during the Q+A session, I asked, "How do you guys feel about stock?" I felt like the seniors should know that it exists as a valid way to make money and get exposure, and I was honestly curious to hear how the panel would respond, especially the rep, since I myself have been told that I can forget about ever being represented because of my involvement with Getty, and I keep waiting for the tide to turn!

The rep said it was the worst thing ever to happen to the industry and that he wouldn't touch an artist who had done stock (okay, no surprise there.) The illustrator said that only the worst-of-the-worst artists do it (okay, so he's rich and famous and his phone rings off the hook for commission work.) But the most surprising response was from the art buyer, who said that in her 25 yrs she has "never, ever" bought stock illustration or photography for a project. Never? I find that hard to believe. And it saddened me, really, because I think it's misleading to these young professionals. I do understand that it's always preferable to commission work, of course, but it's not always practical. And I also understand that when stock came along it was a giant change and it hurt some contingencies like the already-famous and reps. But its definitely part of the landscape now, and there's no going back.

Personal Project - Susana Raab

2008-11-06T10:33:00.004-05:00

above images ©Susana Raab

When I first looked at Susana Raab's images I laughed a bit at the quirkiness and subject matter. Her personal project, Consumed | Fast Food in the US, was the one that stood out the most to me. What I really love about this series however is the storytelling effect and not the typical cliche shots of fast food, obesity, and unidentifiable ingredients. It's really a cross-country journey of a photographer observing the effect and influence of fast food in the U.S.

What made you choose this project?
I returned to grad school in 2003 at Ohio University's School of Visual Communications with the intention of focusing on a long term series and redefining my career as a photojournalist. I chose fast food after reading Eric Schlosser's book Fast Food Nation because the idea of illustrating this problem challenged me. It was an ubiquitous problem that affects us all, whether we eat fast food or not, and it's a subject that is located in our backyard. Yet the problem of illustrating it without focusing on pictures of obese people or people eating food and the resulting visual cliches was huge. Despite the difficulties of illustrating it, I was committed to focusing my time and energy on a subject I felt had not been explored exhaustively. In the end this project is about consumption which to me is one of our more interesting modern dilemmas. I also share the same birthday as Big Mac, yes, we debuted on the same day. And my great-grandfather was a distinguished professor of animal husbandry at Penn State University, author of the The Meat We Eat (sadly out of print today). So my concern with food, how we make it and how we eat it, is in the genes.

How many photos were there before you edited it down to the featured images?
This is impossible to say, the project is on-going, dovetailing nicely with another project I'm working on about America at leisure. I've been working on it sporadically for 4 years, I edit straight from the negatives and very selectively, so I have only made prints for about 30 other images you do not see on my website. But I'm getting back film today so that might change by this afternoon!

What was your favorite aspect of this personal project?
There are many aspects about this project that I am grateful for: I have found a voice in this series that very much represents my inner monologue. I've always enjoyed humor, and I believe I've found a way to express something very important, but do it in an unexpected way, so people are more accepting of it, and then the message slyly sneaks in. That's my intention at least. I like to call it the Mary Poppins effect, as a spoonful of sugar helps the medicine go down. Like many photographers I love having that passport to trespass, to travel around and familiarize myself with the American milieu, sundry as it is.

These pictures are mostly impossible to plan, as they are all documentary and unstaged (with the exception of a couple of portraits) - so it's really helped hone my awareness and presence while I'm concentrating on making the work. But sharing the work and surprising people is definitely the most fun. I love it when people tell me that first they laugh when they look at my pictures (with, not at - I hope!) and then they think about the pervasive presence of this industry and the deeper message behind these photographs. I'm an English major and one of the lessons I took from that education was that humor and tragedy are intertwined.

Susana is a documentary and editorial photographer based in Washington D.C. Check out this project and Susana's other work at susanaraab.com

State of Stock II

2008-11-05T11:26:00.004-05:00

Apologies for a complete disconnect the past week.

So to follow up on the original State of Stock post, I have licensed stock imagery directly for photographers. I have purchased imagery from photographers directly when it was an image on their site that attracted me or the art director OR when I have always wanted to work with the photographer but never had the perfect situation arise and stock was the way to go.

Stock photography has kind of an ugly connotation to it - some people assume it's a stereotypical cheesy image with people perfectly framed and perfectly smiling directly at the camera, others (like myself) view it as an already existing image (whether photographed specifically for stock, personal, or commercial use) that is available for licensing.

I have also found that photographers are in the running cost-wise with stock houses and most often more affordable (and more willing to negotiate). In fact in the past few weeks I was working on a project with designers scouring all sorts of stock sites while I was searching photographer sites. Rony Shram came up with some amazing shots that fit the bill... in fact they liked them so much that they decided to commission him to do a small shoot for the project. AND since he's mostly a fashion shooter they loved the sexy/sleek look to his images but asked if he could apply them to cityscape... which he did. We got great imagery at close to stock pricing.

My opinion is that if you reach out to people, network, and let them know what you're doing they will most likely respond. Offering additional services and opportunities to clients makes you that much more marketable and someone they are likely to reach out to to help with the creative needs.

Delayed posting...

2008-10-29T22:32:00.001-04:00

I'm a traveling queen this week and unfortunately have a busy schedule that I can't keep up with postings this week.

I love the responses to the State of Stock post from Monday... I will most certainly follow up with a post on this answering questions and backing up opinions.

Other things to look forward to very soon:

Creative Opinion follow up from October 6 - answers and opinions.

More personal projects to share - these are always fantastic, keep sending me stuff.

5 thing I like and don't like - I'll think of something, whether it's meetings, promos, reps, stylists, productions... dare I say it... clients (stay tuned).

I'll keep thinking of other things to come up with and share with the creative community and I encourage all of you to do the same.

Want to throw a question at me, get an opinion, or touch base on something I haven't thought of - You can email me here.

Cheers and chat soon

The State of Stock

2008-10-27T16:03:00.003-04:00

PDN reported [here] last Thursday that JupiterImages has been acquired by Getty.

Today it's being reported [here]that Corbis is taking a hit with the economy and therefore are cutting the royalty rates it offers to their contributors (at least for rights managed).

With PhotoShelter having closed their stock house doors, Corbis cutting back, and Getty owning almost everything where does that leave the contributors who want other options. The microstock market offers images for a dollar - what royalty can they offer?

If stock imagery is still being purchased, which it is, and agencies want good images where do they head?

I still think individual photographers should offer stock imagery in addition to being commissioned for shoots. If the opportunity is there I say take it, especially since you get all the royalties and there isn't commission being paid to anyone but yourself (and you rep if you have one).

Responsibility

2008-10-22T18:31:00.002-04:00

Suffering from a head cold today I left work (a freelance gig) early for the comfort of pajamas, cold medicine, and perhaps a nap... however being pretty busy, I feel like I was shirking some of my responsibilities.

What happens when you have a personal issue to address yet have work responsibilities you need to deal with as well? One ends up taking a back seat to the other unfortunately. The problem is trying to juggle personal things that pop up in addition to the work. Have a cold.. take the needed nap/rest and work a few extra hours in the evening. Have a larger personal family issue... talk to the people producing the job and open the lines of communications to find out if there is some wiggle room.

Most assuredly people will understand when you have personal things come up. Most people realize that everyone has a life outside of work where things come up and issues need to be handled. We all make it work out in the end and balance responsibilities.

Exclusivity

2008-10-20T19:08:00.002-04:00

Clients more and more want to have exclusive imagery... this is a good thing. And I should clarify that I don't mean proprietary but instead they want the usage to cover their needs but also to have industry exclusivity, meaning a competitor will not have access to the same image.

By definition exclusivity means excluding all but what is specified... and this is where you should pay attention. Because more clients are enlisting this term in their usage parameters it means you should acquire, in some form of writing, what that actually specifies. For example, if you have a financial client looking for financial industry exclusivity, does it include credit, 401k, banks, investment firms, etc.? The more info you have, the better understanding you have of the clients terms and expectations, this way you don't have a breach of contract or any confusion.

Also with the exclusivity and getting all the information about what it entails means you can adjust your fee appropriately. Depending on the contract it may refer just to the imagery and talent or it might mean the client doesn't want you shooting for a competitor for the length of their usage - knowing exactly what the expectations are allows you to be completely prepared with both production and creative fees.

5 Things About Phone Calls

2008-10-17T16:17:00.004-04:00

Calls can be tough especially as a freelancer trying to get your name in with an agency, art buyer, photo editor, or any creative. Mail and email are easier because they are so much more impersonal. I like calls... granted I don't always have the time to get the calls or spend hours a day chatting with artists (while it is part of my job description I'm also responsible for a boatload of other things) but I do enjoy the calls.

5 things I like:
1. Staying on my radar/quick check-in - this doesn't mean call me every month but a twice a year check-in following up on a portfolio review or promos sent in, keeps you in mind.

2. Casual conversation - I like the casual and slightly more personable calls than direct sales call which can come off as pushy. Telling me what you're working on and asking how things are going at whatever agency is a great approach.

3. Directing me to a new personal project or artist show - I love to hear about things like this that might be considered outside of the advertising realm. Especially if you're doing a show in my area that I might not have heard of... but a personal invitation or update about a project I might be interested in is definitely welcome.

4. First time caller approach/schedule review - best way to do this is to leave a quick message or if you actually get a voice, to schedule a meeting or portfolio review. Cold calls don't really work if the art buyer/ photo editor/ et al. is not familiar with your name or your work.

5. Talking about your artwork - I love to chat about the photographs and recent work you may have done whether it's a production or personal. To me it's cool and it shows your passion. It touches back to the casual call and stays away from the super sales/hire me call.

5 things I do not like:
1. "Any work I'd be great for going on right now?" - I know this is the prime reason you are calling but starting the conversation with this is a turn-off. To be completely blunt... if you were perfect for a job, I would have called.

2. Too personal - unless I know you outside of work please don't get too personal. If I have met you once or only had a couple of phone conversations it's slightly uncomfortable for me to hear about overly personal information (like your colonosopy appointment that morning... don't need to know).

3. The website tracker call - It's been talked about before (especially on aphotoeditor.com) but these are totally creepy. After just visiting your website, a call to say "I saw you were on the website - anything of interest or can I do something for you?" Wait a week or two if you have to do this and don't mention you saw me on the site.. it just reeks of desperation ... and did I mention creepiness?

4. Calling several times in one day - Most likely I am sitting at my desk working on something and looking at the phone to see if I recognize the number. Call once and leave a message - if you don't hear back in 3-4 weeks give another call. DO NOT call ten times in one day but not leave a message it pretty much guarantees that I won't pick up or that I won't return a call once the message is finally left.

5. The over-sales call - Meaning you sound like a stereotypical car salesman (no offense to car salesmen). Coming off over-eager and over-pushy is too much and will end the call quickly. Saying your perfect for whatever client and have done some spec work with them in mind is not an appropriate route. There's a fine line you have to walk here with selling yourself and your work but not overdoing it.

Lucie Awards

2008-10-16T16:24:00.003-04:00

©www.lucieawards.com/Wouter van Gens

Erwin Olaf is being honored at the 6th Annual Lucie Awards in NYC on Monday October 20th with the 2008 award for Achievement in Advertising.

His clients have included Diesel, Milk the Game, Playstation, Nokia, Kohler, New York Times... just to name a few.

To see more info about the awards and other honorees head over to lucieawards.com/08

Personal Project - Oscar "OG" Garcia

2008-10-15T12:50:00.004-04:00

After a week of craziness and throwing the blog to the back burner... we're back (me and the blog that is).

I'm sad to say that Heather Morton is shutting her blog down until further notice. Hopefully we'll see more of this Canadian creative soon.

Happy Wednesday to all and I hope you enjoy some eye candy courtesy of OG's personal project, Destiny by Design.

What made you choose this project?

The main reason for choosing to be involved with and produce a project for Destiny by Design program, was simply for community involvement and service. I know and understand the importance of having positive experiences growing up and how they can contribute to how an individual develops as they get older. Another point of interest was the subject and focus of the program, hip-hop. As a music photographer and hip-hop fan, being involved with a program that strives to provide youth with tools for cultural and career development within music was a simply a no-brainer for me.

How many photos were there before you edited it down to the featured images?

This project involved documenting a entire semester of the Destiny by Design program at Kealing Middle School in Austin, Texas. When it was all said and done, there were thousands of images to go through. Normally that may seem like a big burden, but to be honest, I had a blast. Editing down the images allowed me to revisit the moments that motivated me to get involved in the first place.

What was your favorite aspect of this personal project?

My favorite aspect of this project was definitely being able to directly interact with the kids and give back to the Austin community. The children were great to work with. Something else to note was that Chamillionaire, hip-hop artist and a longtime client of ours, autographed prints (photograph of Chamillionaire that I had taken a few years back) for each of the children who participated in the program. I had mentioned it to him on one of our shoots and he was more than willing to help out. Everyone of the kids were very thankful which aided in making this entire experience well worth it.

You can check out the project online at ogphotographer.com/projects/
Design by Destiny is an after school program provided by Narcisse-Banks Community Resource Center.

Art Buyer Conversation

2008-10-08T16:52:00.002-04:00

I believe in being honest and up front with artists and reps, it makes things go a little more smoothly when there is an understanding there. Sometimes it's not always easy to relay information or get across the feelings and intentions of the team (AD, account manager, client, etc) but as art buyers it's our responsibility to try.

One of the things I can get frustrated with is when the creative gets ignored and more pressure is put on the finance part. I completely understand and get the finance part makes the creative happen but when so much attention is on the budget it hampers the creative and the creative collaboration.

I do my very best to remain fair to all involved. If I have a budget I will give it to you, if I even have a range of what is expected I will give it to you. The sad thing is when the conversation keeps going back to the fact that it's not enough money or that it's incredibly lean when we've gone back and forth several times abut the numbers... Don't bid on a project if you feel the budget does not work with your fees and your production value. On the opposite side of that conversation... Don't undercut to try and guarantee the job is yours, it sets you up for going over budget and taking a chunk of your fee to cover production expense overages.

The best way is to have open conversation with the art buyer on the project from the very beginning. It's very appreciated. If you have concerns about the budget up front ask all the questions so you can make an informed decision whether to participate. Know that the art buyer is doing their best to be fair to both sides - the client and the photographer. Also know that the more the conversation is kept candid and honest the more mutual respect grows for all the parties involved (candid to the professional sense, just don't call me names).

Creative Opinion

2008-10-06T17:18:00.004-04:00

Keeping pace with a few of last weeks posts:

The consensus I've been hearing is that people are slowing up and stock is the word of the month (if not the next few months).

Through my blog and portfolio meetings I've been asked the question:
Do you search photographer and rep sites for stock?
And if so what do you think the benefits are as opposed to the larger stock houses?

As artists and reps, are you seeing the same thing? how are you adjusting/what are you offering?

I'd love to share (anonymously) any feedback people are willing to contribute on this subject to pass the information and thoughts to others.

I already have some feedback from fellow art buyers but would like to hear from all sides.

You can email me here or post a comment.

AdBase's Art Buyer Lounge

2008-10-03T12:40:00.004-04:00

Be sure to check out this valuable resource AdBase brings to you.
Art Buyer Lounge: Episode 2

Juliette Wolf-Robin interviews three Art Buyers from McCann Worldwide. Find out their answers to some of her questions like:

* How do buyers look for talent?
* What promos really get noticed?
* Do buyers prefer to work with artists who have reps?
* What is the internal process for hiring artists?

Advertising and the Economy (part 2)

2008-10-03T11:28:00.003-04:00

In response to Amy's question... I wonder if the economy (which actually has been affecting my own freelance income stream since LAST fall) is going to mean more stock buying as a way for clients to save cash?

In my opinion - probably.
Stock imagery, especially the royalty free kind, is a cheaper way for clients to get imagery in their advertising. It doesn't mean it's a great image or an exclusive image though and that's what art buyers and account managers need to reiterate.

The unfortunate thing with the economy being in the proverbial toilet is that budgets are going to be slashed considerably so it requires adjustments on the artist, crew, and agency's parts. I will still recommend original imagery to the clients in hopes of continuing to have original work done by photographers and illustrators but I'm pretty sure the budgets won't allow for much. Which in turn will force creatives to turn to stock imagery.

Here is a benefit - most art buyers are aware that artists are offering their own stock on their websites and will search there as well as the larger stock houses BUT make sure you let them know with your marketing. I highly recommend to all to have a section on your site that at least states you offer stock imagery. Even if you don't have a section to that allows viewers to search on their own offer to pull lightboxes that might be appropriate for the projects and clients.

Art + Commerce has an image archive section that offers imagery from their photographers. Jim Erickson is a photographer who balances commissioned shoots and stock imagery exceptionally well.

When in doubt adjust to the market and market yourself so you keep working and keep yourself busy (and with an income).

Advertising and the Economy

2008-09-30T09:38:00.002-04:00

So while Wall Street is in a panic and the bailout bill failed yesterday, we sit here and wonder what is going on and what is going to happen, especially in the advertising world.

I want to share a few different reports regarding the economy and the advertising industry. Time to tighten the buckle on your spending and for those who are self employed to keep your heads up.

Suze Ormann was on the Today Show and CNN yesterday urging consumers to cut back their spending on unnecessary products. She stated that consumers need to reduce their debt and stop buying stuff.

AdAge is reporting the AdMarket 50 crashed 6.4% in yesterday's scramble. They're also reporting that McDonald's is getting hit from the credit/banking crisis. But on the upside AdAge has an article that retail brands are already clambering with holiday promotions which means more seasonal work.

Danny Flamberg has an interesting article on Talent Zoo, After the Crash: Rebuilding Financial Services Marketing.

Take a look at how the industry is being affected then take a look at your own marketing plan - how do you rise above others to ensure you get the job?

Client Projects

2008-09-29T17:49:00.004-04:00

When assigning/awarding a project I do my best with the art director to give the photographer/illustrator a sense of the project at hand and information about the client. I also hope the artist does a little research on their own as well. It's most certainly not expected but goes a long way.

Granted the ultimate reason the artist is hired for a job is because of their work and the images they can create for the client but the artists who do a little client research on their own also adds to the project. It helps to understand the client and their product. For example if you're working on a project for a commercial retail client, go into the stores and check out the products and the signage, take a look at the catalogue, look at the most recent advertising campaign, etc.

Understanding where the client has come from and taking a look into the brand and their brand positioning can help you interpret the project better. Essentially artists are hired for their creativity and what they can bring to the project, not always do we want to hand over layouts and have you simply recreate something similar to the layout.

Tutorial

2008-09-27T08:56:00.004-04:00

Åsk over at AdLand has posted an informational (and hysterical) tutorial [here] about how to work with freelancers. It is smartly written and helpful to those on both sides (the actual freelancers and those hiring). Definitely worth 10 minutes of your time to read through and I'm sure there are a few items in there we can all relate to.

iPhone vs. Android

2008-09-25T12:13:00.001-04:00

Which to get???

Check out the pros and cons at Popular Mechanics [here].

de Blob

2008-09-24T10:17:00.004-04:00

It's a new game for Wii and it's creative. de Blob was designed by Dutch students that shuns violence and promotes creativity in the video game era.

I remember as a kid not being allowed to play video games and instead being enrolled in classes at RISD (Rhode Island School of Design). For kids today the art programs are still there however the new rage is video gaming so this game seemed the sensible next step.

The concept: "Long live color!" and fight back from monochromatic mediocrity. It's an action puzzle game that allows players to explore and embark on a quest to re-animate and re-colorize the city. Splatter buildings, landmarks, and citizens with color.

Interested?... it's being made for Wii, Nintendo DS, and the iPhone.

I still prefer the "old school" way of creating art (with my own hands) but to each their own and whatever gets kids interested in art is okay in my book.

Hitting the wall

2008-09-23T13:31:00.003-04:00

There comes a time every once in a while where you hit a creative wall and aren't sure what the next step is. Reason I haven't posted in a few days... I hit a wall and wasn't sure which topic to discuss. I try to pull from my experiences as an art buyer and I also pull from the creative community (questions from artists, images from artists, discussions on blogs or articles from advertising/design sites).

The last few days I tried to think of things to share and was not coming up with anything. I personally don't feel like I have to post everyday just to post, I want to make sure it's relevant, interesting or entertaining but I do want to make sure I post frequently to keep people coming back to the blog and to promote discussions or thoughts.

So what to write about when I can't think of something to write... creative blocks. Do you get them and if so what do you do? Do you have a process or do you pick up your camera and run outside or into the studio?

I don't believe creative blocks come from self doubt or low self esteem or something from psychology monthly (Van Gogh cut an ear off.. I'm certainly not headed in that direction). But I do believe all creatives at some point experience creative highs and lows, the lows when they are not thrilled with what they are producing.

For me I think one of the solutions is keep pushing forward, I think laziness begets laziness. If you start suffering from inertia it can become your worst enemy and in the long run it makes it harder to create something. If you're running low on creative fuel, run with ideas... any idea because from just doing and being active with your work can come something fantastic.

Dad always says Carpe Diem (Seize the Day).

Personal Project - Chris Crisman

2008-09-17T09:32:00.006-04:00

My favorite part about featuring these personal projects is that each photographer I've spoken to feels very strongly about the subject matter he/she has shot and a big part of them is in these photos. I just hope that passion comes across in these posts.
Chris Crisman's personal project in Titusville, PA is a great story and the images walk you through that story and the significance it had on the photographer. I think the characters chosen and their environments are brilliantly showcased and Chris has done a fantastic job to capture the human emotions and honesty in each.

©chris crisman

What made you choose this project?
I actually started a project connected to this back towards the end of college. This start was more concerned with the remains of the space that was Cytemp Specialty Steel in Titusville, PA. This is actually my hometown. The steel plant there is where my father worked during the years I was growing up. In the mid 90's the business there started to be sent overseas and the workforce was being drastically reduced. It was the largest employer in Titusville and it was a major economic disaster for the small community. When the mill was going down my father served as the Vice President of the Steelworkers Local Union. He knew every one of the men in the photos.

After I finished the college project and graduated from school, I decided I wanted to continue the project. I also realized that the more integral part of the story was actually the men that had worked there. In the winter of 2005 I started taking trips back to Titusville to photograph these men. At that point I was also trying to my career as a commercial photographer off the ground. Every week I would try and get any work I could here in Philly and if I didn't have any jobs around or through the weekend, I'd get in my car and drive back to Titusville to meet and photograph 2-5 of these men. It's about a 650 miles round trip from Philadelphia to Titusville. I think I have racked up about 12,000 miles in the car so far with this project.

These men are really quite a throwback. It's not just the men, but the entire community of Titusville. Growing up, I guess I always knew this and that's why I made the decision to move to Philly and live in a city for awhile. Most of the men in the photos worked at least 20 years in the mill, with some of them putting in over 40. You can see the toll it put on their bodies, but after working on the project I really feel it's a labor of love. My father was really such a big part of this project as he is the one who helped me find and make contact with the steelworkers. I also would usually bring him along on the shoots as most of the guys felt more comfortable with him there. At some point the shoots even started to have a script to the process. We would arrive, do an introduction to the project, then I'd sit them down with my dad as he would take them through a portfolio of my work. While they were looking at photos together I would scout around their home and/or property searching for some options for the photographs.

In the scouting process I usually would lean towards spaces or environments that would convey something about the current passion. Some of the men would live alone for different reasons and you can see that in the photos. There are others where the men still lived with their wives and you can see how much impact the wives have on the decor. In most situations, I would try to not disturb a room or space in any way. I really wanted to bring as much of a journalistic process as possible to what was coming into the camera. The post process is a different story.

How many photos were there before you edited it down to the featured images?
The photos you see is a pretty good sampling of the best of the best. I would usually shoot 2-3 scenarios with all of the men, then choose just one photo as my favorite. I would say there are 10-15 men/shoots that aren't represented in the edit that is online. A few of them didn't sit well with me, a few others just aren't that strong. There are even a few shots that I thought I had great options with a different setups, but those that I didn't select have just been tucked away for another day.

What was your favorite aspect of this personal project?
My favorite part of this project while I was doing it was the time I was able to spend with my father and these men. It was such an amazing feeling to listen to the conversations my dad and any of these men would have with me in the other room. Just sitting and talking about their lives and the time they worked at the mill, their families, the reconnection this project created because of it, and so on.

In retrospect, it's a good feeling that this project is getting some kind of recognition. When I started it I was in such awful financial shape, I had very little work, and I could hardly pay my bills. As a matter of fact, on one trip back to Titusville I was absolutely broke. I had enough money for gas and a meal and I thought if I just made it home I would be okay. About 50 miles from home my car broke down with a snapped belt and I was in trouble. My credit cards were maxed out and I had to call my parents to have them pay for a tow truck to get it back to Titusville. I was very embarrassed and to make matters worse my landlord at the time called me to tell me my rent check bounced and I was going to have to move out of my apartment. Did I tell you it was raining, too? It all worked out and I went on that weekend to make two of my favorite photos from the series. Actually, I think one of them got into the Comm Arts Photo Annual that year.

It might also be of interest to you to learn something about Titusville that has quite a bit of significance in our country right now. You can learn that here: http://en.wikipedia.org/wiki/Titusville,_Pennsylvania

Check our Chris' Titusville project [here] and his other work at crismanphoto.com.

Creative Opinion - Responses

2008-09-16T13:19:00.005-04:00

This month's Creative Opinion question was:
What do you wish/think art buyers or photo editors can improve upon?

And responses were pretty similar: returning a call or taking a risk

- I would like to have phone calls and emails answered in a more timely manner. regarding an ongoing project or introducing myself to someone for the first time.
- I know it's a bit much to ask, but would love to know the real reason why I wasn't the one chosen for a project.
- I've heard this "but we are oh so busy" excuse, but in all honesty, how long does it take you to apply some professional courtesy and drop a 1 line e-mail?
- I wish Photo Editors/Buyers would take more chances on talent that they aren't incredibly familiar with.
- Whether the price isn't working or whatever the deal is, it would be nice to get an acknowledgment for our response to their inquiry and an opportunity to try convincing them of our value.
- a return call or email when you bid on a job - especially if you don't receive the job - is greatly appreciated. it's frustrating putting time and effort into a bid and then never knowing what happened. Were we too high, did they go with a different style, did the job get killed?
- Letting us know if we DIDN'T get a project without me or my rep having to call or email 10 times about a job we were asked to bid on. Most of the time when we aren't awarded, we don't even find out until weeks after a projects been shot. I know everyone's extremely busy, just a quick email would show some respect for our time.
- I'd like to know what might get a PE or buyer to work with new talent? Great work is a definite I'm sure, but beyond that what can a photographer do to start a relationship? I understand that often it means putting their neck on the line, but what might make them take that chance? Or is that a risk they don't take?

My response...
I can only answer for myself as an art buyer, these are my opinions only. I would however like to try and formulate some of the questions above to get a few anonymous art buyer responses (I'll work on this but can't guarantee anything).

For the callbacks:
I think everyone deserves a callback or an email. I am guilty as well of not returning a few phone calls... more often than not it is because I didn't get the call out within the first few weeks and procrastinated so it turned into a non-returned call. (sad excuse I know). I can say that I try to return all calls as a professional courtesy especially when it involves a job. The complicated part is calling someone who did not get the job and letting them know why - sometimes there is no answer.. the AD just didn't think the images jived with the project at hand and therefore the portfolio was cut from the running. Sometimes the images are just not good or not what the creatives wanted to see - the hard part of my job as an art buyer is placing these calls and discussing why you didn't get the job. I try to be as honest as possible in the most professional manner. I do think it is the responsibility of an art buyer or photo editor to take the time to make these calls in regards to projects.

As for the "too busy" excuse. We are busy and many times are juggling several projects, inquiries, legal clearances, stock photo searches, productions, and fielding calls and emails. I think if a photographer or illustrator is calling or emailing just to check in or see if there are any ongoing projects they could be considered for, give the art buyer/photo editor a few days or weeks to respond. Since these are not urgent they sit on a back-burner. Some people do not return these calls, I'm not sure of the reasoning, if it is too busy or if it's can't be bothered right now or having a bad day, but don't take it personally. I like to save Friday afternoons to make my callbacks and email responses. I think it is important to respond to these because it helps strengthen relations between art buyer and artist/rep. It doesn't hurt to send a follow-up to remind them but don't push the annoying envelope by emailing or calling on a weekly basis... give it a few months but continue to stay on their radar.

Taking a chance on new talent: it takes risk on both parts but even more than that it takes great work (whether photography or illustration). To get an art buyer/photo editor to take a risk on you, you have to have the work to back it up. Make sure you are a good match for the client you're trying to go after. I've said it before... I am a huge proponent of face-to-face meetings and think this can get you far. The art buyer/photo editor can put a face and a personality to the portfolio of work. This is a good start to forming a relationship with the art buyer/photo editor. We'll take the risk if you're right for the project.. and being right for the project means you have beautiful images but it also means you have a personality, creative mind and production value to back it all up.

I'll see what I can do to get other opinions than mine. I also appreciate the responses I received because it helps me be a better art buyer.

Notable Items

2008-09-15T10:08:00.005-04:00

I'm sad to say that last Thursday I read Rachel Hulin was leaving PhotoShelter and Shoot! the Blog is no more. I have to admit I was one of many who had a blog crush on Hulin. Her witty and conversational writing kept us reading but also the photography she showcased, sharing all aspects of the art with all of us multiple times a day. Over at Heather Morton's blog she discusses the situation and debuts her own blog, where she remains ever faithful to photography and artists.

Over at Leslie Burns-Dell'Acqua's blog she has posted about the job of an art buyer. I commend Leslie for writing on both sides of the issues but also injecting her honest opinions. As an art buyer, I thought I should comment. We have to walk the fine line of working for the agency and doing what is best in the interest of the client and agency and also act as an advocate for the photographer. Because we went with another photographer who shot it at half of what the other photographer bid at doesn't mean we're anti-photographer. It means the client made the decision to shoot with the photographer who bid cheaper or undercut their costs quite a bit to get the job. There are a ton of photographers out there competing for all the same jobs. We look at several photographers' websites before we call in portfolios, then we weed out the portfolios with our creatives, and then we bid. The fact that a photographer got to bid is a good step because it means the creatives liked the work enough to push it in front of the client. Ultimately it is the client's decision, but don't point fingers there and don't be cranky because you didn't get the job. It happens.

I want to work with the best photographer for the job and the photographer that the art director/designer feels can best accomplish the project/s. If your costs are not in line with the client's budget I'll tell you and I will do my best to be honest about the job. I cannot however force my client or creative team to choose you if the quality is comparable to your competitors but cost came in higher. I try to present the best case for each photographer, explain the costs of the line items and be a creative consultant. Art Buyers get flak, and that's okay it comes with the territory but be sure to understand the world of advertising... you need to have some thick skin in this industry. (more to come tomorrow with the creative opinion discussion).

And lastly, Jill Greenberg. Who knew another photographer (besides Annie Leibovitz) could cause such a commotion? PDN featured an article about her recent photo shoot with John McCain. Politics get heavy and people get very passionate and emotional about their views. Greenberg owns the images and negotiated certain usages regarding these images. McCain's people and the magazine should have had a legal person (or a producer, art buyer, etc.) review with her all their stipulations regarding his imagery and had someone on set to watch and manage. I'm not supporting Greenberg's actions (including her statements) or the reactions in the community.. I'm completely neutral on this but Greenberg does own the copyright to her own images. The magazine should have put limitations in effect prior to the shoot.

5 Things to Improve Business

2008-09-11T09:59:00.003-04:00

I read an article in Ad Age, Five Things to Do Now to Improve Your Agency, and I think it's definitely worth a read. I think it applies and is relevant to people outside of agency life, who are their own small business or freelancers. In an earlier post I mentioned using the beginning of the Fall season to revamp marketing strategies and I think these are another few ideas to gear yourself up for a successful season.

In the article Marc Brownstein (AdAge Small Agency journal reporter and president of The Brownstein Group) lists the 5 things as:
Grow Organically
Grow with new clients
Grow through merger/acquisition
Grow by improving your talent
Grow your profits

My own take/ideas on each:
Grow organically - you are your own leadership team with your own client relations, how do you continue these relationships and keep them coming back? What else can you do to "up the ante" for your current client roster? Marc mentions capabilities presentation... I say for photographers and illustrators what about a test shoot or rough sketch?

Grow with new clients - this is the goal for most, get new clients and to keep them on your current roster. How do you approach new clients? Is there a new way to attract clients or to market yourself other than traditional approaches and email bombardment? Do you have a new business program?

Grow through merger/acquisition - this doesn't really apply but it can resonate. My post from yesterday discussed a creative gathering, networking in the creative community is the greatest tool. It may not be a merger but you can join forces through networking, photography seminars, rep partnerships, etc. Connecting with other artists to discuss the industry and talk shop can get ideas flowing and create a support system.

Grow by improving your talent - you are your own talent (along with your crew on shoots). To improve your own talent, keep up with the personal work, try out new things with lighting or post-production techniques, push yourself. As for your crew - you know how you work best and you want to have the best support team around you to make sure things move along seamlessly and the best work comes out.

Grow your profits - In this economy, agencies are tightening up and cutting costs, budgets are getting even smaller. Don't sacrifice your pay and undercut by bidding incredibly low (this approach can back fire when the economy is on an upswing). There are ways to make things happen without breaking the bank.

Creative Gathering

2008-09-10T10:37:00.004-04:00

Last night the Boston creative community of photographers, stylists, producers and art buyers came together for a social outing. It was incredible and smartly organized by Tanya Mathis and Maggie Yarlis of Fidelity along with Ennis Inc.

The idea of these gatherings is to foster camaraderie, networking and dialogue in our creative community. It's a great idea to get people of all facets together in one room and put the faces to the names and make new contacts.

I had great conversations last night about the industry and how we are being affected by this economy, about other people's experiences, about production value, about the value of a peer's critiques, about putting a photographer in touch with a company that I have a contact at, etc.

Advertising, print and photography - it really is a small world and even if you have never met someone before, you have this industry in common and therefore people in this industry generally want to help you out - this is how it should be.

Thing is, if you want to start this in your community or your city, do it. It's a great concept and it cultivates/promotes new partnerships and networking in your industry close to home.

Here are some of the people I encountered last night (some I knew and had worked with, some I knew their name, some I had never heard of before but am glad I met them last night:
Margaret Lampert
Dave Bradley
Bruce Peterson
Cheryl Clegg
Jonathan Beller
Kate Kelley
Francie Hill (rep for Scott Goodwin)
Mari Quirk - no website but a stylist extraordinaire who has at least 25 years under her belt
The ladies of Ennis Inc
Steve Marsel

Personal Project - Graeme Mitchell

2008-09-09T11:41:00.005-04:00

I'd like to share Graeme Michell's personal project, NYC Journal. It's a look into the regular life happening in New York City. The images have a gritty feel to them with the black and white photos. I personally like the natural feel of it all, the implied motion, and the different perspectives of the chosen object in frame.

What made you choose this project?
The short answer to this is heartbreak. And on that note, as is often the case, the project choose me more than I it. It was a necessity, not a whim. But the impetus for the NYC Journal was left by the wayside rather quickly and is now incidental. What became interesting is not the inspiration, but the motivation, or what kept me and keeps me working on it. It was so far from anything I'd ever even considered doing; one day I began it, and now over two years later I still work on it on a pretty consistent basis. The reasons why are various, ranging from the physical to the metaphysical, but most of all I do it (and love it) b/c the act of physically shooting it, that process of it, is rife with knowledge. And I love learning.

How many photos were there before you edited it down to the featured images?
Those sets on my site are not by any means static. the NYC Journal changes monthly, or every two months or so, and is not finished. To get an idea of how I work on it, and of the "journal" aspect that is in it's title, go here: graememitchell.com/blog/category/nyc-journal. On my blog there is pretty consistent update to it in the spirit of a journal. Then when I have new favorites, I do better scans, and then post them on my main portfolio page. The portfolio page is edited to ones that I think are effective (logos); the blog is more a stream of conscious - though not in the true sense - and is more visceral (pathos).

What was your favorite aspect of this personal project?
Like I said in the answer to the first question, it's all the things I learn doing it. The people I meet. The things I see. And it can be intense shooting it too, standing toe to toe with uncomfortable situations... Yes, it can be uneventful on some days when I work on it, but at it's best there are moments at once terrifying and sublime. That's a drug. It elevates. It can make the rest of the day seem slight.
The pictures are probably better without my attempt at talking about them.

And on that end note check out the project at graememitchell.com.

Back in Action

2008-09-08T17:57:00.001-04:00

Heather Morton is back from her summer hiatus. Check out her blog and get reacquainted.

Personalities

2008-09-08T16:04:00.003-04:00

In this business we often run into lots of personalities, some welcoming and knowledgeable, others that want to slam our fingers in the door. But it's all how you deal with them and to take it in stride.

I had a few people vent to me today about frustrations and impossible expectations being placed on them. Unfortunately you can't always say "yes" to everything but you can't say "no" either. Becoming a problem solver is a talent and a necessary one. Learning to deal with difficult personalities is another.

Don't be passive-aggressive about things, being a decisive prioritizer is key to collaborating with a team.

Don't get steam rolled. Different personality types is what makes the workplace and the projects. A good manager (not always of people but of situations) knows how to manage themselves as well as the things going on around them.

Don't be sensitive.. it's business. "It's just business" may sound like a cop out to some, especially those who are so passionate about what they do, but it's a reality.

Now get out there and play nice.

Creative Opinion

2008-09-05T10:45:00.004-04:00

Trying to make this idea a monthly discussion on the blog.
You have the option of leaving a comment but you can also email your opinions to me (here) and I can post them in an anonymous manner. Depending on the amount of feedback I'll post answers next week or the week after.

Here is this month's question:
What do you wish/think art buyers or photo editors can improve upon? (whether it's regarding feedback, working on projects, responding to calls, etc. etc.)

Candid and honest answers are always appreciated focusing on positive and negative but still professionally appropriate.

Personal Project - Anthony Georgis

2008-09-03T12:05:00.014-04:00

Back to the grindstone after a lovely long weekend and starting to ease back into things. I'm glad a lot of you found the rep list useful. I also am psyched about the personal projects post from last week, quite a few of you emailed me with links and info of upcoming personal work.

And on that note I'd like to share the first by Anthony Georgis. What I love about this project is that these girls are bruised and bleeding and ready to kill the opposing team yet at the same time thinking about prom and Anthony captures each aspect of them in a beautiful way.

What made you choose this project?

I walked out my front door and there it was. I know it sounds absurd, but I live across the street from a park. There was a big commotion over there one day with lots of girls shouting and pushing each other so I went outside to see what was going on. At first I thought, "Wow, that's a really violent soccer game" which was followed by, "Oh no, wait, that's just rugby" which was in turn followed by, "OMG!!! Are those high school girls playing rugby?!?"

I was fascinated by what was going on and I knew immediately that I wanted to go and take pictures. At that point I wasn't really thinking of it as a project. I watched a bit, took a few frames and talked to some of the girls. What really struck me was how much intensity these girls played with. They'd hit really hard but after the match they were as sweet as can be. That's when I knew there was something there and that I had to shoot more.

How many photos were there before you edited it down to the featured images?

I was using medium format film (which will either make me sound heroic and crazy or like a total elitist). In a way the format was helpful because there's always the "Who's this weird guy with the camera?" factor and the YashicaMat helps relieve a little of that, making it "Who's this weird guy with the cool camera?"

In the end I shot about 500 frames - 23 made the cut.

What was your favorite aspect of this personal project?

The project has been really well received and it's generated a couple of good assignments. From a personal standpoint, getting an assignment based on something that I loved shooting and that I would have shot anyway is truly a great feeling.

The most incredible thing, however, has been hearing back from some of the players who've seen the project. They love it and have gone on and on about how great it is, how it's a true representation of rugby culture and how they've never seen anything like it. They've also told me that I'm "super rad" and that's cool too.

Check out the project at www.bloodmakesthegrassgrow.com

Photo Reps - The list

2008-08-29T12:10:00.002-04:00

212 Artists Representatives Inc.
VII Photo Agency

Achard & Associates
Acme Photo
AFG Management
Ally Godfrey Represents
Alyssa Pizer Management
Anderson Hopkins
Anne Albrecht Artist Agents
Anyway Artists
Aperture Access
Apostrophe
Arc Representation
Arlene Johnson & Associates
Art + Commerce
Art Department
Art Mix Photography
Artists and Creatives
Artist Representation Inc
Atelier Management
Aurora Select

B-Hive
Balcony Jump
Barbara Laurie Photographers
Beauty And Photo
Bernstein & Andriulli
Bill Charles
Blink Management
Blur Photo
Bockos Creative Representation
Bransch
Bruml Conlon
Bryan Bantry Inc
Bunny Fisher Represents
Button Represents

Cake-Factory
CameraLink
Carole Lambert
Carolyn Somlo Talent
Chapman Represents
Charlene Colombini : CAC Reps
Chris Boals Artists
City Artists Management
Clare Agency
the Clik Group
CLM (Camila Lowther Management)
CPi Reps
Creative Exchange Agency

Daniela Wagner Photographers
Daniele Forsythe Photographers
Deb Ayerst
Deddens + Deddens
Deborah Schwartz Reps
Defacto
Design House Reps
Doug Truppe Represents

Edge Reps
EH Management
Elyse Connolly
Emily Inman Artists Representative
Erica Chadwick : etc creative inc.
ESP Agency
Exposure NY
Eye Forward Inc.

Farimah Milani & associates
Faucher Artists
Felix Management
Friend and Johnson
Freda Scott
Fox Creative

Gary Mandel
Giant Artists
GF Represents
Greenhouse

Hamilton Gray & Associates
Heather Elder
Held and Associates
Hennessy Represents
Holly Hahn + Co.

i2i Photography
iGroup

Janice Moses Represents
Jean Gardner + Associates
Jed Root Inc.
Agent: Jeff Cerise
Jennifer Butters
Jennifur Condon & Associates
Jessica Oldham Representative
JGK
JH Artist Group
Jim Hanson Artist Agent
JK Reps
Jodi Zeitler artist representative
Joel Harlib Associates, Inc.
John Kenney &
Joseph Reps
Josette Lata
Judi Shin
Judith Miller Inc
Judy Casey
Judy McGrath
Julian Meijer Agency
Julian Richards

K. Ray and Company
Kate & Company
Kate Ryan Inc
the Katy Barker Agency
Korman + Company
Kramer + Kramer

L2 Agency
L&A Artists
Lamoine Photo Group
Laura Lemkowitz Represents
Lesley Zahara Represents
Levine/Leavitt
LGA
LVA represents

M Represents
M3 Reps
Magnum Photos
Mama Management
Management + Artists
M.A.P.
Marco Santucci
Marek & Associates
Marge Casey + Associates
Marianne Campbell Associates
Marilyn Cadenbach
ME Reps
Meo Represents
MergeLeft Representatives
Michael Ash Partners
Michael Ginsburg Associates
Michele Filomeno
The Mitchell Agency
MiteyBig Representation
Monaco Reps
Moo Management
MS Logan

Nadine Kalmes Artist Representation
Nancy Grant
Norman Maslov

O'Gorman Schramm
Oliver Piro Inc.
Orchard Photographer Representation

Peter Bailey Company
Photographic Management Inc
Pinkstaff Photographers
Pojé + Associates
Proof
Punch Artists

Radical Media
Randy Cole Represents
The Rappaport Agency
Ray Brown Represents
Red Eye Reps
Redux Pictures
Rep Girl Inc.
Renee Rhyner and Company
Rich Hall Reps
Robert Bacall Representatives

Sally Bjornsen Represents
Sandberg Agency
Sarah Laird
Schumann & Company
See Management
Seed Reps
Sharpe + Associates
Shotview Photographers Management
Snap Artists
Snyder & Company
Spinnler Reps
Steichen Represents
SternRep
Stockland Martel
Syndicate Six ::: A Photographer's Collaborative

They Representation Inc.
Tim Mitchell
Tom Maloney Reps
Tricia Joyce Inc
TTS Reps

Unit c.m.a.
Utopia

Walter Schupfer Management
Watson + Spierman Productions
Webber represents
Weiss Artists, Inc.
Westside Studios
Wonderful Machine

Vaughan Hannigan
Velvet Reps
Vernon Jolly Inc
Vertical Reps
Vicki Sander Represents
Vince Kamin & Associates
Virtu
Vis A Vis Reps
Visu Artists

Photography Agents

2008-08-29T07:06:00.002-04:00

I am super stoked about the post I'll be putting up later today. After a few weeks of research, I've compiled a concise list of photography agents. Now I am sure I have missed some names and companies, please feel free to send names or links my way.

If you celebrate Labor Day, please enjoy your long weekend.

Wallace + Gromit in High Fashion

2008-08-28T20:16:00.003-04:00

I felt the need to share this because I'm a huge fan of Aardman Animation and an even bigger fan of Wallace and Gromit (CHEEEEEEEESE Gromit!).

"Wallace & Gromit appear in high fashion for a store opening in their hometown.
The British claymation duo were created at Aardman Animations in Bristol, where department retailer Harvey Nichols in opening a new store. For the campaign, Wallace trades in his usual green sweater vest for tony threads from Alexander McQueen and Dolce & Gabbana."

text taken directly from Creativity Online

Personal Projects II

2008-08-28T11:07:00.004-04:00

So continuing on from yesterday's post, I actually got a few emails giving me a heads up of people out there working their tails off on their own projects and enjoying the freedom it gives them.

Love it... I think it is absolutely fantastic so many artists are doing this. To me (and I'm sure to other art buyers and photo editors) this indicates you love what you do but that you are always thinking creatively about the next step and exploring new creative avenues.

So in lieu of some of the emails I received and in the spirit of promoting creativity in this community, I encourage you to send me any links to personal projects (now or in the future) and I will share them here.

Personal Projects

2008-08-27T12:45:00.004-04:00

Last week I read a post on Leslie Burns-Dell'Acqua's blog about personal projects.

I've been working on a project now for a few weeks which has had me researching through many...many photographers websites. While looking through the sites, I'm also looking to see who may have personal projects or blogs that feature personal work. I love looking at personal projects because it shows me not only what the certain person is passionate about but also their own creativity and ideas. Not working on a commissioned advertising or editorial project/production, but being able to go out on their own and dictate the shots they want to capture.

Here are a few that caught my eye (I cannot confirm that all of these are personal projects, but in my view they appeared that way):

Brian Finke's Flight Attendants.

Christopher Churchill's Traveling with Ghosts

Tim Simmons' Snowbank

Jill Greenberg's Monkey Portraits and End Times

Thing is, from these personal projects and exploring your own creative and new techniques can come commissioned/paying projects and jobs.

Nike - BBDO Argentina

2008-08-26T22:18:00.000-04:00

Check out the broadcast ad here.

Creativity's 2008 Awards

2008-08-25T18:23:00.002-04:00

There are going to be smaller posts this week as I'm feverishly composing a large post of the agents list I promised a few weeks back. In the meantime check out Creativity's awards winners list [here].

Shipping A Portfolio

2008-08-22T13:00:00.005-04:00

So when receiving portfolios, they usually come in a soft case, hard plastic or metal case or wrapped in bubble wrap sent in a FedEx box. These are great protection for the portfolio but do you include a delivery sheet as well?

Delivery sheets are another protection for portfolios in my mind. When I'm calling in books I input everything into an excel spreadsheet - photographer, rep, phone number, and most important, the items delivered. Delivery sheets are a great way for the agent or artist to document what was exactly sent.

I appreciate the fine print that goes on a delivery sheet. Here's where the details are, like work is copyrighted (obviously but good to remind everyone) and that the receiver is responsible for the material sent.

I once had a person I was working with, at the very beginning of my career, spill a can of soda all over a portfolio. Accident, but it cost the agency nonetheless.
So it's a good idea to put in print how much the portfolio is valued at and what any other material (such as matte prints or original transparencies) may cost. I do not recommend ever sending original work.

It's just a small item to enclose with your portfolio that can ensure its safety.

Nike Retail

2008-08-21T18:25:00.002-04:00

Retail advertising is a little different than traditional ads, specifically the in-store experience. Many retailers want you to notice their product and interact with it... eventually purchasing it. And no company does this better in my mind than Nike and Apple. It's about interweaving visuals and products to create a sensory experience.

Here Nike has created video art for their stores.

Creative Opinions

2008-08-20T15:47:00.005-04:00

So last week I asked for creative opinions regarding the question :
In terms of client relationships (whether it is with an agency or a direct client), what do you feel are key factors or ingredients to a good partnership?

Overall theme seems to be keywords like communication, trust, organization and respect.
Here are the responses:

"open and clear communication throughout the job from bidding to final invoice and transparency in billing."

"Clear expectations."

"Respect and organization.
As a freelancer illustrator, I'm on the somewhat powerless side of
things, so it's really nice when a client treats me with professionalism and respect... The three women that I worked with were polite and clear and direct at each juncture in the project. They sent me a check midway through the project without my even asking. They gave me lots of positive feedback when appropriate. They never unloaded on me about their client, they never got too chummy, they were always completely organized before giving me the next part of the assignment. And they were cognizant of the fact that I may be working on other projects simultaneously. That was my dream job!"

"Trust- The more trust the faster and the more creative the work. Understanding where we fit- No carrots, no promises just tell us what role you'd like us to play. Dialogue- Open communication about the job and all the issues you're dealing with. Planning- "preproduction saves lives" Let's take a little time on the front end to save days on the back end. Having Fun- We're not doing brain surgery here. We're lucky to be in a creative field. Let's make some pictures and
have fun doing it.
Key ingredients from our (photography) end.....
From a smaller market perspective developing a relationship pales in comparison to working as hard as you can
to maintain it. Treat everything as an opportunity to demonstrate why they've made a wise decision by hiring us. We keep it simple by continually trying to answer the question, "how can we make our clients lives easier?"

"Treating each other as partners in a relationship... there has to be trust, collaboration, and respect for each other's way of thinking and approach"