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.
Showing posts with label advice. Show all posts
Showing posts with label advice. Show all posts
Monday, April 6, 2009
Monday, February 23, 2009
Waiting For Payment
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.
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.
Thursday, February 12, 2009
Invoicing
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.
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.
Tuesday, February 3, 2009
Networking
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.
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.
Thursday, January 8, 2009
New Year, New You...
...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!
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!
Tuesday, December 2, 2008
5 things about "Down and Dirty" shoots
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.
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.
Tuesday, November 25, 2008
Updating Materials
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.
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.
Monday, October 20, 2008
Exclusivity
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.
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.
Friday, October 17, 2008
5 Things About Phone Calls
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.
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.
Friday, October 3, 2008
AdBase's Art Buyer Lounge
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?
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)
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).
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).
Monday, September 29, 2008
Client Projects
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.
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.
Saturday, September 27, 2008
Tutorial
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.
Tuesday, September 23, 2008
Hitting the wall
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).
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).
Thursday, September 11, 2008
5 Things to Improve Business
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.
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.
Wednesday, September 10, 2008
Creative Gathering
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
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
Monday, September 8, 2008
Personalities
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.
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.
Friday, August 22, 2008
Shipping A Portfolio
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.
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.
Monday, August 18, 2008
Partner or Vendor?
In light of me asking the question about client relationships, I thought this article in AdAge was incredibly interesting and a great one to kick the week off with.
In the piece [here] Millie Olson discusses the agency and client relationship. She also outlines her thoughts on key components of what makes a good partnership.
Food for thought for small business owners and people who are self-employed... how do you build on these relationships from just being a vendor?
In the piece [here] Millie Olson discusses the agency and client relationship. She also outlines her thoughts on key components of what makes a good partnership.
Food for thought for small business owners and people who are self-employed... how do you build on these relationships from just being a vendor?
Friday, August 15, 2008
Fall Mailers
Yes I know, I said "Fall" as in the Fall season. But realistically it is nearing the end of the summer and back to school ads are at full storm so this brings about the conversation, "Have you thought about your marketing lately?"
Summer brings out the best in everyone, the thoughts of relaxing and barbecues and vacations. Even ad agencies tend to slow the pace a little. But now that Fall is looming it might be time to get marketing materials together and start promoting if you took a small summer hiatus.
It's a good time to start making calls and scheduling appointments. Get your lists updated and send your emails and mailers out. Talk about the great summer project you worked on whether it was a personal project or a commissioned one.
Fall gets people's creativity and ideas brewing. Clients and agencies start to gear up with new strategies and so should all us freelancers.
Summer brings out the best in everyone, the thoughts of relaxing and barbecues and vacations. Even ad agencies tend to slow the pace a little. But now that Fall is looming it might be time to get marketing materials together and start promoting if you took a small summer hiatus.
It's a good time to start making calls and scheduling appointments. Get your lists updated and send your emails and mailers out. Talk about the great summer project you worked on whether it was a personal project or a commissioned one.
Fall gets people's creativity and ideas brewing. Clients and agencies start to gear up with new strategies and so should all us freelancers.
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