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.
Saturday, November 29, 2008
Tuesday, November 25, 2008
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.
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
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, November 24, 2008
Advances
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.
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.
Tuesday, November 11, 2008
Unconventional Marketing
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.
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
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.
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.
Friday, November 7, 2008
Continuation of Stock Conversation
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.
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.
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