Creative Opinion

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.

Creative Opinion

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.

Creative Opinion - Responses

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.

Creative Opinion

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.

Creative Opinion - Responses

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.

Creative Opinion

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.

Creative Opinions

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"

Creative Opinions

I thought I would try something new for the blog. It's perpetually a work in progress and I'm always looking for new things to discuss.

I wanted to try and pose a question to all who read this and post the responses in a forum manner. You have the option of leaving a comment but I thought it better to have opinions emailed to me (here) and I can post them in an anonymous manner but format it somewhat.

Here's the trial question to you all:
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?