I was reading Leslie Burns Dell'Acqua's blog today and saw she had a post [here] about standardizing usage prices. Just the usage fees and not the creative fee. Interesting, I thought, and I'm very curious to see what people think.
Personally I have found that when triple bidding, the usage costs are kind of all over the place. But does this mean if there's standard industry pricing for usage that if a photographer feels the standard cost is too low the creative fees skyrocket? I have a feeling it might make my job easier instead of doing so many negotiations back and forth or having the client go with a photographer who has a lower bottom line but not the highest quality creative.
Leslie says in her post: "Try getting that $35K photographer the gig when the cost consultants and the end-client are completely wrapped up in the numbers! Buyers have to fight hard (sometimes) to get the right photographer for the project in these situations!"
I love the idea but does it open up a firestorm with the creative fees? Reps, how do you value each photographer's creative fee? Is one higher than the other because of experience, clients, etc?
If you saw the usage of say, unlimited print media and web/global electronic in the US for one year from date of first use, nonexclusive - what would you consider fair?
I was thinking $5,000 per image for usage... possibly lower but then again I'm always hearing from the account managers to negotiate the cost lower so I could be seriously low balling the cost.
Wednesday, April 30, 2008
Marketing yourself
The age old debate - there's no right way and there's no wrong way. (just don't piss off the art buyer, art director, or photo editor). There's always advice and you can take it or leave it. At Heather Morton's blog, at A Photo Editor, and at Burns Auto Parts Consulting, they point out there are pros and cons to each marketing strategy no matter what.
Doesn't matter though as long as you keep marketing yourself to the appropriate people. Do your research and make sure your work is right for the audience you're trying to reach. Don't just rely on email promos - mail a promo or make a few calls.
My suggestions would be these (and again I am only one person, one art buyer - for each person out there you will hear all sorts of different advice) but this is what works for me:
1. Email promos - Keep it simple and small. If the email doesn't open automatically because the image is too large chances are I'm not going to wait for it too load (unfortunately with web being instantaneous I expect the email attachment to be as well.). Link the email image to your site. As far as tracking goes - touchy subject because it is a useful tool but use it wisely. If you're going to follow up with an art buyer, art director or photo editor keep it professional and simple - something like "I'm following up on the promo I sent a week ago" and not "I saw you visited my site"... it makes some people uneasy.
2. Mailed promos - Another keep it simple but sizeable. I'm not a big fan of the huge envelopes and posters. I personally love the clear plastic envelopes with the promo completely viewable (it's another one of those instantaneous reads for me). I also suggest looking into the paper you're printing the promo on and the printing process. You want your work represented in the best possible light and not on over saturated paper that the color looks dull. Also make sure to double check your mailing list and spell names correctly. I can't tell you how many promos (mailed and emailed alike) where my name has been spelled incorrectly and it's all over the map so I can't fault agency access or ad base.
3. Phone calls - Professional, not too sales-y and 5 minutes. If you're making calls definitely leave a message and if you don't get an immediate response give it at least a week before you follow up. I usually screen calls (don't we all?). I know it seems harsh but if I took every call I would not get any work done for my clients. I usually amass a bunch of messages and take Friday morning to do all my callbacks. If you don't leave a message but I see you're calling me everyday, it's going to weird me out a little. Keep the call short but comfortable. If I hire you for a job I want to know we can chat and you're not going to be too nervous, too pushy, etc. it's sometimes tough to get people on the phone but it's worth it to try and check in a few times a year.
4. Meetings - Try to get at least one meeting a year with your target audience. I love meetings and portfolio reviews, I really do. It gives me a great sense of the photographer or rep I am meeting with. Remember to bring new work and a fresh portfolio (not the same one you showed the year before).
But keep your name and your work out there - just make sure it's getting to the right people.
Doesn't matter though as long as you keep marketing yourself to the appropriate people. Do your research and make sure your work is right for the audience you're trying to reach. Don't just rely on email promos - mail a promo or make a few calls.
My suggestions would be these (and again I am only one person, one art buyer - for each person out there you will hear all sorts of different advice) but this is what works for me:
1. Email promos - Keep it simple and small. If the email doesn't open automatically because the image is too large chances are I'm not going to wait for it too load (unfortunately with web being instantaneous I expect the email attachment to be as well.). Link the email image to your site. As far as tracking goes - touchy subject because it is a useful tool but use it wisely. If you're going to follow up with an art buyer, art director or photo editor keep it professional and simple - something like "I'm following up on the promo I sent a week ago" and not "I saw you visited my site"... it makes some people uneasy.
2. Mailed promos - Another keep it simple but sizeable. I'm not a big fan of the huge envelopes and posters. I personally love the clear plastic envelopes with the promo completely viewable (it's another one of those instantaneous reads for me). I also suggest looking into the paper you're printing the promo on and the printing process. You want your work represented in the best possible light and not on over saturated paper that the color looks dull. Also make sure to double check your mailing list and spell names correctly. I can't tell you how many promos (mailed and emailed alike) where my name has been spelled incorrectly and it's all over the map so I can't fault agency access or ad base.
3. Phone calls - Professional, not too sales-y and 5 minutes. If you're making calls definitely leave a message and if you don't get an immediate response give it at least a week before you follow up. I usually screen calls (don't we all?). I know it seems harsh but if I took every call I would not get any work done for my clients. I usually amass a bunch of messages and take Friday morning to do all my callbacks. If you don't leave a message but I see you're calling me everyday, it's going to weird me out a little. Keep the call short but comfortable. If I hire you for a job I want to know we can chat and you're not going to be too nervous, too pushy, etc. it's sometimes tough to get people on the phone but it's worth it to try and check in a few times a year.
4. Meetings - Try to get at least one meeting a year with your target audience. I love meetings and portfolio reviews, I really do. It gives me a great sense of the photographer or rep I am meeting with. Remember to bring new work and a fresh portfolio (not the same one you showed the year before).
But keep your name and your work out there - just make sure it's getting to the right people.
Monday, April 28, 2008
Contributing Agent
Avisualsociety has a new piece on the blog, A New Voice - The Contributing Agent. love it! It's nice to see the opinions and thoughts of the rep/agent.
I thought it was interesting they brought up the fact of a photographer switching photographic genres. The example given was switching from portraiture to landscape. I think it takes a seasoned professional to weather this change.. and I'm not sure it can be done in 3 months. It's tough as an art buyer to have a photographer market this change. In my mind you're a portrait photographer and I have confidence that you can achieve everything I need on a shoot. If you've switched to landscape, in all honesty I'll probably still call you for portraiture. However there's always two sides (of course) - If you have some good landscape work in your portfolio or incredible test shots I might take a risk. I'd also consider taking a risk if I personally know the photographer and his/her working style.
But photographers shouldn't be discouraged about changing styles or experimenting with other styles. Do what you love. Just remember it takes time for you and your rep to market, promote and pull in jobs for this new style. It has been done (Christoph Morlinghaus used to be a still life photographer) but there is an adjustment period.
I thought it was interesting they brought up the fact of a photographer switching photographic genres. The example given was switching from portraiture to landscape. I think it takes a seasoned professional to weather this change.. and I'm not sure it can be done in 3 months. It's tough as an art buyer to have a photographer market this change. In my mind you're a portrait photographer and I have confidence that you can achieve everything I need on a shoot. If you've switched to landscape, in all honesty I'll probably still call you for portraiture. However there's always two sides (of course) - If you have some good landscape work in your portfolio or incredible test shots I might take a risk. I'd also consider taking a risk if I personally know the photographer and his/her working style.
But photographers shouldn't be discouraged about changing styles or experimenting with other styles. Do what you love. Just remember it takes time for you and your rep to market, promote and pull in jobs for this new style. It has been done (Christoph Morlinghaus used to be a still life photographer) but there is an adjustment period.
Saturday, April 26, 2008
V.Skeltis II
So yesterday's post was a slight debacle for me. I had a few hiccups in posting it and several emails back and forth with Vincent. I don't think I had expected such a long answer either... but that wasn't a big deal because the question I asked was pretty broad and Vincent put a lot of thought into it, especially interweaving the photographs throughout the piece turning his answer to my question into an art installation.
Normally on Artist Fridays I throw in a few brief comments about how I feel about the work and why I like it. (It's all subjective and just one person's opinion). With this post I thought it appropriate to do in two parts - Vincent's approach and then my answer. Vincent also sent me an email yesterday - "you know, a big part of my motivation to do this was to hear the thoughts of my Questioner. From what angle do you see this perspective?"
It really breaks down to personal taste. The photo I love and might suggest a photographer use as an opening photo to his/her portfolio, the next art buyer might hate. This much I do know - most people when looking at photographs or art pieces either like it or they don't... there's not much of a grey area.
Vincent asked some questions in his piece regarding art buying opinions that I thought I should address.
What do art buyers latch onto when considering the photographer for their campaign?
It breaks down to the creative brief. What does the client want or what is the takeaway from the ad, who do they want to reach, and what is the message. Depending on who the client is, the creative team has some ability to be risk takers and go for an edgier look. I base my research and suggestions to the team based on the artwork I see in the portfolios. Whether they have high profile clients or have an established name is nice but not relevant - the photographs are the key here. Simply enough I look for great work and whether it's somewhat relevant to the idea we're trying to achieve. In the end I am an art buyer working to make sure that the creative vision gets achieved on the photo shoot and that the client is happy with the work being done. With that said it is possible to get artful images from a commercial shoot but it's all about the photographer being able to create art instead of just "getting the job done".
I loved that Vincent's answer was broken into three parts that suited him - commercial, hybrid, and art.
What I felt about his work at first glance was that I loved his personal work (I feel most art buyers are drawn to personal work). The photos (at the bottom of the post) are raw and a little rough around the edges but it's also the subject matter he chose to portray. They are beautiful - at first glance I was a little taken aback and then I began to study them more and realized I had not looked as closely at the other images he sent.
Commercial photography can be tough... you have to cross all the red tape involved in getting from the concept to the finished product while making all parties happy. Sometimes you come out with a stock photo feeling image or sometimes you come out with an amazing photo that can stand on it's own without copy and logos.
I had a photographer say to me this week, "I want to create art first." It starts with that aspiration and idea and then the photographs come next to back up that statement.
I think sometimes it's tough to get the art from the commerce side but if you're a great photographer (like Vincent here) you can cross the line and bring the art to the table.
Normally on Artist Fridays I throw in a few brief comments about how I feel about the work and why I like it. (It's all subjective and just one person's opinion). With this post I thought it appropriate to do in two parts - Vincent's approach and then my answer. Vincent also sent me an email yesterday - "you know, a big part of my motivation to do this was to hear the thoughts of my Questioner. From what angle do you see this perspective?"
It really breaks down to personal taste. The photo I love and might suggest a photographer use as an opening photo to his/her portfolio, the next art buyer might hate. This much I do know - most people when looking at photographs or art pieces either like it or they don't... there's not much of a grey area.
Vincent asked some questions in his piece regarding art buying opinions that I thought I should address.
What do art buyers latch onto when considering the photographer for their campaign?
It breaks down to the creative brief. What does the client want or what is the takeaway from the ad, who do they want to reach, and what is the message. Depending on who the client is, the creative team has some ability to be risk takers and go for an edgier look. I base my research and suggestions to the team based on the artwork I see in the portfolios. Whether they have high profile clients or have an established name is nice but not relevant - the photographs are the key here. Simply enough I look for great work and whether it's somewhat relevant to the idea we're trying to achieve. In the end I am an art buyer working to make sure that the creative vision gets achieved on the photo shoot and that the client is happy with the work being done. With that said it is possible to get artful images from a commercial shoot but it's all about the photographer being able to create art instead of just "getting the job done".
I loved that Vincent's answer was broken into three parts that suited him - commercial, hybrid, and art.
What I felt about his work at first glance was that I loved his personal work (I feel most art buyers are drawn to personal work). The photos (at the bottom of the post) are raw and a little rough around the edges but it's also the subject matter he chose to portray. They are beautiful - at first glance I was a little taken aback and then I began to study them more and realized I had not looked as closely at the other images he sent.
Commercial photography can be tough... you have to cross all the red tape involved in getting from the concept to the finished product while making all parties happy. Sometimes you come out with a stock photo feeling image or sometimes you come out with an amazing photo that can stand on it's own without copy and logos.
I had a photographer say to me this week, "I want to create art first." It starts with that aspiration and idea and then the photographs come next to back up that statement.
I think sometimes it's tough to get the art from the commerce side but if you're a great photographer (like Vincent here) you can cross the line and bring the art to the table.
Friday, April 25, 2008
Artist Friday - Vincent Skeltis
Re-posted due to a few errors on my part and not completely conveying the entire artistic view for this piece.
Vincent is a talented photographer in New York City and in addition to sharing his photography; he is also sharing his insight on Art vs. Commerce. Vincent was great enough to send a plethora of his work but I did have to edit it down a bit. My question... In your mind what distinguishes art from commerce?
The Short Answer: Taste! Personal taste.
The Long Answer: Your question is very broad, and in answering it I think it's necessary to note how I ended up here on your blog; My public suggestion to APE, asking him now to run his Free Promo a second time, except this time breaking image groupings into "art" and "commerce," rather than jumble all 297 photographers into one group. Looking at Rob's edit, I think a great majority of the pictures would fall into a commercial or lifestyle genre. Art involves more risk, and more obscurity. Pictures that are used to tell stories that aren’t necessarily clear, and images that are open to more interpretation. His edit may reflect the current state of our marketplace that he and his colleagues are used to seeing on a daily basis.
(It's important to note the ambiguity in the word "lifestyle" used above. There is a photographer who I came up with named Ryan McGinley, who's work currently challenges the idea that lifestyle isn't commercially artful. His pictures in many ways are the epitome of lifestyle photography, yet he's a thriving art star simultaneously doing campaigns for Puma, Verizon, Converse and Wrangler. The question isn't whether his pictures would be artful if his models weren't predominantly naked... It’s rather, what do art buyers latch onto when considering the photographer for their campaign? Great photographic skill? A specific technique? A body of work that is consistently one thing? A photographer with high-profile clients? A photographer with an already existing and expansive following? An opportunity to work with a top-tier guy? Someone already proven or accepted? Someone "discovered?" A similar photographic style to "insert photographer's name here______", but cheaper, less revered and chosen only for budgetary reasons? Or, is it all about the assumed specificity of the particular brand they're shopping for?)
Having been on both sides of the table during creative meetings; working both as a photographer and a creative director, I understand the process, the often mile-long line of red tape, etc., all the while trying to better understand the intended viewer, market and target demographic. However, where I personally lose the thread to the decision making process is when the opportunity to think outside the box and take a risk is an option. I'd risk it all (the project or job as both the photographer or the CD) to say something new and fresh in an unconventional way, whereas some of the people I've collaborated with will not. This is where "art" for me trumps commerce. I'm willing to chance a job's success based on a number of things - the exact same numbers of things are present for me while doing my personal and commercial work. (Now before you jump to conclusions, this isn't to say I'm irresponsible, unwilling or cavalier with my clients - I just won't hesitate to start the conversation about different possible directions or executions. An open dialogue and full disclosure is something I practice, mainly as a rule of learning.)
The "things" I'd be willing to chance for both personal and commercial work, and why: The most obvious - affording anyone the opportunity to chop me down. I only know what I think I know, and that's debatable. The chance to be wrong certainly loses out to the chance to move forward. I believe everyone is more or less capable of a lot of the same things. "No," and "I don't know how" or "I can't," doesn't really exist, and if information is presented in a way where people can attempt something new, make decisions and form opinions on their own, without feeling forced, belittled or degraded - then that is powerful and successful work, regardless of whether those decisions or opinions are positive or negative. Hard to do within advertising specifically, but to me that should always be the goal.
A great example of this in relation to art vs. commerce would be an Op (Ocean Pacific) advertisement printed on the back-cover of Vice Magazine about 4 years ago. (Vice is a free, urban-style and culture magazine targeted to the 18-35 demo, and is not only read coast-to-coast, but very popular in the UK and Asia - it's not just New York.) On the cover was a still life, photographed as if the viewer is the seeing what the camera is seeing (in the first person, in other words.) "You," now as the viewer, have become Op's puppet, looking down at a mirror lightly dusted with cocaine - the line of cocaine "cut" or configured in the shape of the brand's logo. Crass and super bold, borderline irresponsible even, but memorable and certainly, in the very least - artistic. And, it was an ad! I use this example because it's the quickest and notably most extreme, for delivering the point. - Again, I do understand that you can't go into a meeting with a bunch of Gatorade execs and insist as the art buyer that their next campaign be a bunch of football players stuffing dismembered and screaming cheerleaders into 5 gallon coolers while celebrating their accomplishment with a winning smile, gulping their blue, electrolyte infused sports drink. (The ad copy reading... "Look out for our NEW! Heavier Plastic Container!")
Here's where I go where maybe one shouldn't, but Op did. Someone had to have pitched that concept for it to come to life on Vice's cover, right? Maybe the most important aspect of all of this is the conviction in our thoughts and ideas first, and not so much within the photograph or artwork
Some visual examples using my work to illustrate a few points (and questions.): The first two images below were shot for the IT industry server conglomerate, Tekelec. I have no idea how Sean LaBounty (the then CD at Hanft Raboy) convinced everyone I was the right guy for the job. This is a perfect example of a left-of-center conceptual approach, coupled with a questionable and risky shooter choice. Sean trusted I would approach the layouts and production with "disregard for what my books look liked" and knew I could grasp and execute layouts despite providing visual proof. His knowledge of my technical background helped, but even I had to squint a little to see the reasoning behind his thinking. My conclusion: Wanting to be a bit surprised, knowing the photographer's universal personal approach to everything, and some recklessness and hope. Oh, and small budgets and tight timelines help secure vigor in small time photographers like me too!
The results in my honest opinion are adequate. But so was what I had to work with, little money and time. We were able to produce VERY COMMERCIAL IMAGES with as artful a concept permitted by the client.
Now, work I consider useful from all three vantage points - ART, COMMERCIAL & LIFESTYLE: This entire thought is difficult to convey in scope without writing a book, and even then I imagine it all comes down to individual taste, personal history and experiences, early photographic paths and internal projection of ones own work. Either way, to further consistency, I think this work could be considered for all three categories. Not a favorite of grey areas.
I have many interests: photography, design, drawing.... so the work understandably has a life of it's own. Hard to see in a small edit, and hard to show in a convincing way, but I consider this (a mix of both editorial and personal images) to be artful. Stories not included.
Check out Vincent's work at vincentskeltisstudioinc.com/ and his blog, A American Family Man
©Vincent Skeltis, used with permission
all artwork is copyrighted and intellectual property and cannot be used without artist's permission.
Vincent is a talented photographer in New York City and in addition to sharing his photography; he is also sharing his insight on Art vs. Commerce. Vincent was great enough to send a plethora of his work but I did have to edit it down a bit. My question... In your mind what distinguishes art from commerce?
The Short Answer: Taste! Personal taste.
The Long Answer: Your question is very broad, and in answering it I think it's necessary to note how I ended up here on your blog; My public suggestion to APE, asking him now to run his Free Promo a second time, except this time breaking image groupings into "art" and "commerce," rather than jumble all 297 photographers into one group. Looking at Rob's edit, I think a great majority of the pictures would fall into a commercial or lifestyle genre. Art involves more risk, and more obscurity. Pictures that are used to tell stories that aren’t necessarily clear, and images that are open to more interpretation. His edit may reflect the current state of our marketplace that he and his colleagues are used to seeing on a daily basis.
(It's important to note the ambiguity in the word "lifestyle" used above. There is a photographer who I came up with named Ryan McGinley, who's work currently challenges the idea that lifestyle isn't commercially artful. His pictures in many ways are the epitome of lifestyle photography, yet he's a thriving art star simultaneously doing campaigns for Puma, Verizon, Converse and Wrangler. The question isn't whether his pictures would be artful if his models weren't predominantly naked... It’s rather, what do art buyers latch onto when considering the photographer for their campaign? Great photographic skill? A specific technique? A body of work that is consistently one thing? A photographer with high-profile clients? A photographer with an already existing and expansive following? An opportunity to work with a top-tier guy? Someone already proven or accepted? Someone "discovered?" A similar photographic style to "insert photographer's name here______", but cheaper, less revered and chosen only for budgetary reasons? Or, is it all about the assumed specificity of the particular brand they're shopping for?)
Having been on both sides of the table during creative meetings; working both as a photographer and a creative director, I understand the process, the often mile-long line of red tape, etc., all the while trying to better understand the intended viewer, market and target demographic. However, where I personally lose the thread to the decision making process is when the opportunity to think outside the box and take a risk is an option. I'd risk it all (the project or job as both the photographer or the CD) to say something new and fresh in an unconventional way, whereas some of the people I've collaborated with will not. This is where "art" for me trumps commerce. I'm willing to chance a job's success based on a number of things - the exact same numbers of things are present for me while doing my personal and commercial work. (Now before you jump to conclusions, this isn't to say I'm irresponsible, unwilling or cavalier with my clients - I just won't hesitate to start the conversation about different possible directions or executions. An open dialogue and full disclosure is something I practice, mainly as a rule of learning.)
The "things" I'd be willing to chance for both personal and commercial work, and why: The most obvious - affording anyone the opportunity to chop me down. I only know what I think I know, and that's debatable. The chance to be wrong certainly loses out to the chance to move forward. I believe everyone is more or less capable of a lot of the same things. "No," and "I don't know how" or "I can't," doesn't really exist, and if information is presented in a way where people can attempt something new, make decisions and form opinions on their own, without feeling forced, belittled or degraded - then that is powerful and successful work, regardless of whether those decisions or opinions are positive or negative. Hard to do within advertising specifically, but to me that should always be the goal.
A great example of this in relation to art vs. commerce would be an Op (Ocean Pacific) advertisement printed on the back-cover of Vice Magazine about 4 years ago. (Vice is a free, urban-style and culture magazine targeted to the 18-35 demo, and is not only read coast-to-coast, but very popular in the UK and Asia - it's not just New York.) On the cover was a still life, photographed as if the viewer is the seeing what the camera is seeing (in the first person, in other words.) "You," now as the viewer, have become Op's puppet, looking down at a mirror lightly dusted with cocaine - the line of cocaine "cut" or configured in the shape of the brand's logo. Crass and super bold, borderline irresponsible even, but memorable and certainly, in the very least - artistic. And, it was an ad! I use this example because it's the quickest and notably most extreme, for delivering the point. - Again, I do understand that you can't go into a meeting with a bunch of Gatorade execs and insist as the art buyer that their next campaign be a bunch of football players stuffing dismembered and screaming cheerleaders into 5 gallon coolers while celebrating their accomplishment with a winning smile, gulping their blue, electrolyte infused sports drink. (The ad copy reading... "Look out for our NEW! Heavier Plastic Container!")
Here's where I go where maybe one shouldn't, but Op did. Someone had to have pitched that concept for it to come to life on Vice's cover, right? Maybe the most important aspect of all of this is the conviction in our thoughts and ideas first, and not so much within the photograph or artwork
Some visual examples using my work to illustrate a few points (and questions.): The first two images below were shot for the IT industry server conglomerate, Tekelec. I have no idea how Sean LaBounty (the then CD at Hanft Raboy) convinced everyone I was the right guy for the job. This is a perfect example of a left-of-center conceptual approach, coupled with a questionable and risky shooter choice. Sean trusted I would approach the layouts and production with "disregard for what my books look liked" and knew I could grasp and execute layouts despite providing visual proof. His knowledge of my technical background helped, but even I had to squint a little to see the reasoning behind his thinking. My conclusion: Wanting to be a bit surprised, knowing the photographer's universal personal approach to everything, and some recklessness and hope. Oh, and small budgets and tight timelines help secure vigor in small time photographers like me too!
The results in my honest opinion are adequate. But so was what I had to work with, little money and time. We were able to produce VERY COMMERCIAL IMAGES with as artful a concept permitted by the client.
Now, work I consider useful from all three vantage points - ART, COMMERCIAL & LIFESTYLE: This entire thought is difficult to convey in scope without writing a book, and even then I imagine it all comes down to individual taste, personal history and experiences, early photographic paths and internal projection of ones own work. Either way, to further consistency, I think this work could be considered for all three categories. Not a favorite of grey areas.
I have many interests: photography, design, drawing.... so the work understandably has a life of it's own. Hard to see in a small edit, and hard to show in a convincing way, but I consider this (a mix of both editorial and personal images) to be artful. Stories not included.
Check out Vincent's work at vincentskeltisstudioinc.com/ and his blog, A American Family Man
©Vincent Skeltis, used with permission
all artwork is copyrighted and intellectual property and cannot be used without artist's permission.
What's the Word?...
I've been super busy on a job this week so I have two posts today to keep up with the information flying around.
So more information from Allegra Wilde - if you have updates to share you can post them here or send to aw@allegrawilde.com.
Stephanie Anderson of Anderson Hopkins announces new photographers to their roster:
Peter Lippmann - Still life, food
Stuart Hall - Landscape, automotive, people
Position available:
Senior Level Art Producer - Beauty Company
Send resumes to: Sylvia Laniado
sylvialaniado@ gmail.com
Position available:
Studio/Office Manager - James Salzano
Contact: js@salzanophoto. com
Position available:
Radical Media has opened a 360 integrated content, marketing, creative department and has several large blue chip clients. Maggie Meade is looking to find a middle to senior producer and has worked on fashion brands before for full time work. You can contact her directly at meade@radicalmedia. com
Head over to Heather Morton's Blog:
Ask an Art Buyer: Promotion? : Joe Photographer asks: How in the Sam Hell am I supposed to get work?
It's brilliant and insightful.
So more information from Allegra Wilde - if you have updates to share you can post them here or send to aw@allegrawilde.com.
Stephanie Anderson of Anderson Hopkins announces new photographers to their roster:
Peter Lippmann - Still life, food
Stuart Hall - Landscape, automotive, people
Position available:
Senior Level Art Producer - Beauty Company
Send resumes to: Sylvia Laniado
sylvialaniado@ gmail.com
Position available:
Studio/Office Manager - James Salzano
Contact: js@salzanophoto. com
Position available:
Radical Media has opened a 360 integrated content, marketing, creative department and has several large blue chip clients. Maggie Meade is looking to find a middle to senior producer and has worked on fashion brands before for full time work. You can contact her directly at meade@radicalmedia. com
Head over to Heather Morton's Blog:
Ask an Art Buyer: Promotion? : Joe Photographer asks: How in the Sam Hell am I supposed to get work?
It's brilliant and insightful.
Tuesday, April 22, 2008
APE en Fuego!
I hate to harp on something that Rob over at A Photo Editor is trying to get past or get his readers past but I find it's a pretty passionate debate.
This past Sunday he posted a bit about the "SINGLE MOST ANNOYING WEB 2.0 FEATURE FOR PHOTOGRAPHERS". A valid, intriguing, and thought-provoking piece that has now gotten 101 comments.. more than his free promo for 297 talented photographers... and has everyone fired up over the issue. Rob has said on his blog:
While this provides for some serious interesting banter on both sides I have to agree with a fellow blogger and poster:
It's a little disconcerting that several photographers rant and rave in a less than desirable tone on this site that many people read - fellow photographers, art buyers, photo editors, creatives, producers, consultants, etc. You don't want to completely turn people off by leaving a nasty note (linked to your site).
We love your passion for the industry and your work but just be wary of your words.
This past Sunday he posted a bit about the "SINGLE MOST ANNOYING WEB 2.0 FEATURE FOR PHOTOGRAPHERS". A valid, intriguing, and thought-provoking piece that has now gotten 101 comments.. more than his free promo for 297 talented photographers... and has everyone fired up over the issue. Rob has said on his blog:
Done with this post, done with this topic. Moving on to the next conversation trying to avoid getting more personal attacks while still just posting whatever I feel like. Oh, and now my former editors read the blog. I am so fkd.
While this provides for some serious interesting banter on both sides I have to agree with a fellow blogger and poster:
If you don’t like them, agree with them or care to take part in the life-spying reality show that is blog-land, then peace out. I’m disgusted to read the recent comments section on fellow bloggers site A Photo Editor.
It's a little disconcerting that several photographers rant and rave in a less than desirable tone on this site that many people read - fellow photographers, art buyers, photo editors, creatives, producers, consultants, etc. You don't want to completely turn people off by leaving a nasty note (linked to your site).
We love your passion for the industry and your work but just be wary of your words.
Monday, April 21, 2008
PIP
Short for Photography Industry Professionals - photographers, reps, art buyers, photo editors, photo assistants, etc.
PIP was founded by Kelly Carson (of TTS Reps in New York) a couple of months ago.
APP: What inspired you to start PIP?
KC: I would have to say that I first thought that a group such as this was needed because I am part of groups and have been denied access to groups that are very exclusive, and do not allow others to seek out the answers that so need. I also thought it would be great to get ALL the photography industry professionals together for future events.
APP: How many members does PIP currently have and what is the benefit for members?
KC: PIP has 565 members and counting. The group benefits it's members by bringing together people with a common interest. It will serve as a safe zone for those who want to either use it as a recourse, and allow it's members to stay in the know.
APP: What do you hope the future of PIP holds?
KC: I hope that PIP keeps growing, and that it's members truly benefit from the knowledge they gain, and the great people they meet.
You can join the group by sending an email to Kelly or subscribing at the Yahoo Group:
General - kelly@wearepip.org
Website - www.wearepip.org (in use, but under construction)
Forum - PhotographyIndustryProfessionals-owner@yahoogroups.com
Subscribe - PhotographyIndustryProfessionals-subscribe@yahoogroups.com
Events- events@wearepip.org
Sunday, April 20, 2008
2008 NY Photo Festival
The press release as described on Shoot! the blog:
Founded by Daniel Power and Frank Evers, and a joint initiative of powerHouse Books and VII Photo Agency, the New York Photo Festival will be the first international-level Festival of photography to be based in the U.S., with the ambition of documenting the future of photography in all its forms. For the inaugural edition (May 14-18, 2008) of this new annual event, a group of internationally respected curators have been selected to deliver their personal vision of the newest and most important trends in contemporary photography: Magnum photographer Martin Parr, The New York Times Magazine picture editor Kathy Ryan, Lesley A. Martin of the Aperture Foundation, and Tim Barber of tinyvices.com. In addition to the curated pavilions, the Festival will offer visitors an extensive range of activities that will generate dialogue and buzz among all the communities of photo professionals, amateurs, students, and aficionados of art and culture: seminars, portfolio reviews, slide shows, book signings, photographic workshops, live performances and events, and a gallery row. The New York Photo Festival will be headquartered in DUMBO.
Head over to the New York Photo Festival website and take a look. The submission deadline is Monday April 21 by 6pm (EST).
The Award ceremony will be held on May 16th and will feature 16 category winners, 32 honorable mentions and student awards.
Submit your work!!
Watch the New York Photo Festival advertisement by DUMBO residents and famed Sprint commercial directors the Snorri Bros.
Founded by Daniel Power and Frank Evers, and a joint initiative of powerHouse Books and VII Photo Agency, the New York Photo Festival will be the first international-level Festival of photography to be based in the U.S., with the ambition of documenting the future of photography in all its forms. For the inaugural edition (May 14-18, 2008) of this new annual event, a group of internationally respected curators have been selected to deliver their personal vision of the newest and most important trends in contemporary photography: Magnum photographer Martin Parr, The New York Times Magazine picture editor Kathy Ryan, Lesley A. Martin of the Aperture Foundation, and Tim Barber of tinyvices.com. In addition to the curated pavilions, the Festival will offer visitors an extensive range of activities that will generate dialogue and buzz among all the communities of photo professionals, amateurs, students, and aficionados of art and culture: seminars, portfolio reviews, slide shows, book signings, photographic workshops, live performances and events, and a gallery row. The New York Photo Festival will be headquartered in DUMBO.
Head over to the New York Photo Festival website and take a look. The submission deadline is Monday April 21 by 6pm (EST).
The Award ceremony will be held on May 16th and will feature 16 category winners, 32 honorable mentions and student awards.
Submit your work!!
Watch the New York Photo Festival advertisement by DUMBO residents and famed Sprint commercial directors the Snorri Bros.
Thursday, April 17, 2008
What's the Word?...
Allegra Wilde has been kind enough to keep her fellow art buyers and photo editors (at the art producers group with Yahoo groups) informed with some news in the industry. Allegra is a Creative Director and Visual Strategist at her own company, Allegra Wilde -- many of you might remember her from her days at Workbook. She's compiled quite the list...
If you have any information to share about job openings, gallery shows, photographers or illustrators with new reps please send to Allegra at allegrawilde@yahoo.com or aw@allegrawilde.com
So here is the news going around:
Tricia Scott - Sahler of Merge Left Represents is now representing Gustavo Marx and George Fulton.
Michael Ash has departed from Radical Media and has formed Michael Ash Partners. He is looking for a new assistant : Contact him if interested at ash@michaelashpartners.com
Robin Ogden has added fashion and product photographer, Martin Menocal and also Ron Crofoot, interiors photographer.
Rona Siegel of Rona Represents reports that Henrik Bulow was named Fashion Photographer of the Year by Dansk Magazine.
Fashion and celebrity photographer, Hanspeter Schneider, is now represented by Alex Newhall of Snap Artists
Bob Wolter is now representing NY and Chicago based food and still-life photographer, David Bishop.
Melissa Hennessy added location and portrait photographer, Michael Hall, and is representing him exclusively in the U.S.
Still life photographer Mark Platt of EVCreative, Inc. has teamed up with art director Guillaume Bruneau and digital master Ray Martinez to form Shop Studio- a digital still life photography studio which specializes in luxury goods
Artist Representative Michael Smith, previously with Artist Logic, has joined Illustrator and Storyboard agency 411 Creatives. 411 Creatives recently signed Fashion Photographer Natasha Lee.
Norman Maslov has added still-life photographer Sue Tallon and food, travel & leisure photographer Justin Lewis to his roster.
Richard Solomon Artists Representative announces that 3-D Illustrator Liz Lomax has joined the agency.
Susanne Bransch announces Ofer Wolberger has been awarded the Humble Arts Foundation Spring 08 Grant for his project, "(Life With) Maggie"
________________________
If you have industry news to share, please send it along!
If you have any information to share about job openings, gallery shows, photographers or illustrators with new reps please send to Allegra at allegrawilde@yahoo.com or aw@allegrawilde.com
So here is the news going around:
Tricia Scott - Sahler of Merge Left Represents is now representing Gustavo Marx and George Fulton.
Michael Ash has departed from Radical Media and has formed Michael Ash Partners. He is looking for a new assistant : Contact him if interested at ash@michaelashpartners.com
Robin Ogden has added fashion and product photographer, Martin Menocal and also Ron Crofoot, interiors photographer.
Rona Siegel of Rona Represents reports that Henrik Bulow was named Fashion Photographer of the Year by Dansk Magazine.
Fashion and celebrity photographer, Hanspeter Schneider, is now represented by Alex Newhall of Snap Artists
Bob Wolter is now representing NY and Chicago based food and still-life photographer, David Bishop.
Melissa Hennessy added location and portrait photographer, Michael Hall, and is representing him exclusively in the U.S.
Still life photographer Mark Platt of EVCreative, Inc. has teamed up with art director Guillaume Bruneau and digital master Ray Martinez to form Shop Studio- a digital still life photography studio which specializes in luxury goods
Artist Representative Michael Smith, previously with Artist Logic, has joined Illustrator and Storyboard agency 411 Creatives. 411 Creatives recently signed Fashion Photographer Natasha Lee.
Norman Maslov has added still-life photographer Sue Tallon and food, travel & leisure photographer Justin Lewis to his roster.
Richard Solomon Artists Representative announces that 3-D Illustrator Liz Lomax has joined the agency.
Susanne Bransch announces Ofer Wolberger has been awarded the Humble Arts Foundation Spring 08 Grant for his project, "(Life With) Maggie"
________________________
If you have industry news to share, please send it along!
Tuesday, April 15, 2008
APE's "I like these photos"
Rob Haggart over at A Photo Editor has compiled a slideshow of 297 talented photographers. It is a free promo slideshow aimed at art buyers and photo editors. One photo per chosen photographer has been featured. Click on the photo to see the name and website of the photographer.
You absolutely have to check them out. Fantastic idea and effort... Kudos to Rob.
You absolutely have to check them out. Fantastic idea and effort... Kudos to Rob.
Friday, April 11, 2008
Artist Friday - Claudia Goetzelmann
Claudia Goetzelmann is a native german photographer who has landed in San Francisco. She has a fresh and unique approach to her photos which focus primarily on fashion. But her images are not the typical approach to fashion, they are unconventional and quirky. Her images tend to mirror her - she's a petite woman but a ball of energy with reddish purple streaks through her hair... basically she gives haute couture a run for it's money.
Her images are beautiful and fun and usually make you look a little bit closer.
Check out Claudia's work at claudiagoetzelmann.com
Claudia is represented by Marge Casey + Associates in New York
©Claudia Goetzelmann, used with permission
all artwork is copyrighted and intellectual property and cannot be used without artist's permission.
Thursday, April 10, 2008
Monaco Reps announces new site
Monaco Reps has launched their new revamped website: monacoreps.com.
The site is easier to navigate through and has brand new galleries. The gallery bookmarks include a news section which tells the viewer about any new talent joining the roster and new work and portfolios from the photographers. I personally love the new work section because it gives you the sneak peek into what that particular photographer just worked on in the past month.
Definitely take 5 minutes to poke through the site and re-familiarize yourself with the talent they represent.
Wednesday, April 9, 2008
AT&T : Hands campaign
AT&T Wireless is pushing their new international roaming with a series of fantastic ads. I love the artistic quality brought to this ad with the hand painting as well as the photography. BBDO Atlanta/New York is the agency behind the idea.
Photographer of the entire series is Andric, who is represented by Tim Mitchell, you absolutely have to go and take a look at his portfolio (he's self taught by the way) where he combines shooting and digital retouching (he does all his own post-production).
I think the star of the ad is the body painter who painted all the hands for these concepts: Guido Daniele. An Italian artist, he started his "Handimals" in 2000 which has grown into international interest: with ads not only for AT&T but for El País and World Wildlife Fund.
To see the entire AT&T campaign: Hands, head over to Creativity online
Tuesday, April 8, 2008
Networking
So as a freelancer it's all about networking and getting your name out there - whether you're a photographer, an illustrator, an assistant, a rep, even a freelance art buyer. A friend of mine passed along a few words of wisdom: try and schedule as many face to face meetings as possible. Lunch/coffee/cocktail meetings or portfolio reviews are key.
You're doing everything right by emailing updates and mailing promos but face to face is the best way. People want to help and are interested in your work but emails are impersonal and can be easily forgotten or backlogged. Even though they have the best intentions, everyone gets busy. An in person meeting can be incredibly successful. As long as you're diligent about staying in touch with people in and out of your network, projects will start rolling in.
There is plenty of proof and suggestions that these meetings work. Leslie Burns-Dell'Acqua wrote an article in ASMP's 2007 Year End Bulletin that in person meetings can be a key to your success. "The best way is to be honest, open and real. It's okay if your work is not a good fit - there are other clients out there. Practice makes perfect."
In person meetings and networking give you a chance to show your portfolio and gives the art buyers and photo editors something tangible to your talent rather than the just your website. Read through discussions on A Photo Editor or Heather Morton's blogs. Again, the proof is there - and it works.
There is nothing like an in person meeting to get a sense of the person's character, drive and talent.
You're doing everything right by emailing updates and mailing promos but face to face is the best way. People want to help and are interested in your work but emails are impersonal and can be easily forgotten or backlogged. Even though they have the best intentions, everyone gets busy. An in person meeting can be incredibly successful. As long as you're diligent about staying in touch with people in and out of your network, projects will start rolling in.
There is plenty of proof and suggestions that these meetings work. Leslie Burns-Dell'Acqua wrote an article in ASMP's 2007 Year End Bulletin that in person meetings can be a key to your success. "The best way is to be honest, open and real. It's okay if your work is not a good fit - there are other clients out there. Practice makes perfect."
In person meetings and networking give you a chance to show your portfolio and gives the art buyers and photo editors something tangible to your talent rather than the just your website. Read through discussions on A Photo Editor or Heather Morton's blogs. Again, the proof is there - and it works.
There is nothing like an in person meeting to get a sense of the person's character, drive and talent.
Monday, April 7, 2008
A Picture Is Worth A Thousand Words
This phrase refers to the idea that any story can be told in just one impactful picture. A picture can tell the reader in one glance what the gist of the words are. This is where photographers and creatives come in. The collaboration of ideas to lead the viewer to understand the purpose of the ad.
This visual message is an important communication medium in our society, especially to the individual who views it. To each person the image tells the story as how that person interprets it. But it still proves how important those visuals are, so keep raising the bar.
This visual message is an important communication medium in our society, especially to the individual who views it. To each person the image tells the story as how that person interprets it. But it still proves how important those visuals are, so keep raising the bar.
Saturday, April 5, 2008
Swedish Fish ads
I couldn't help but laugh this morning when I came across these Swedish Fish ads by New York's JWT. So brilliantly executed, the "A friend you can eat" campaign is bright and colorful featuring your favorite snuggly animals. A bunny waffle, a kitty sandwich and a grilled teddy bear panini are among the executions (to see more head over to Ads of the World.) Under the cuddly animal the copy reads "Nej"... pronounced "neigh" in swedish, meaning "No". And under the swedish fish? "Ja" meaning "yes".... Clever!
The photographer is David Rowland, First Base Digital Imaging U.K. His site has a mix of different genres of photography but his advertising portfolio is the most eye-catching.
Friday, April 4, 2008
Artist Friday - Turbo Squid
I had heard about this site but had never investigated or used any imagery. Another art buyer mentioned it to me today so I thought I would take a closer look. Turbo Squid is not necessarily an artist but more of a stock house specializing in 3D models (as well as other things). You can search for the specific imagery you are looking for just like any other traditional stock imagery site. The 3D products offered are from different artists and developers and range from animals to cars to characters.
Terms and conditions are similar to those at other stock houses as well. The seller/artist of the content posted on Turbo Squid agrees that the content is their original work and contains no copyrighted material of any kind (including images and releases). However there is an indemnity clause you may want to check out before you purchase.
Aside from those technicalities the artwork is pretty cool and applicable, especially if your client doesn't have the funds available to do an original creation. Most of the artwork on the site pays pretty close attention to details and are meticulous in the design.
Even if you don't have a need for 3D artwork it's fun to peruse through.
Terms and conditions are similar to those at other stock houses as well. The seller/artist of the content posted on Turbo Squid agrees that the content is their original work and contains no copyrighted material of any kind (including images and releases). However there is an indemnity clause you may want to check out before you purchase.
Aside from those technicalities the artwork is pretty cool and applicable, especially if your client doesn't have the funds available to do an original creation. Most of the artwork on the site pays pretty close attention to details and are meticulous in the design.
Even if you don't have a need for 3D artwork it's fun to peruse through.
Wednesday, April 2, 2008
American Apparel snafu
AdFreak reports American Apparel has used Woody Allen's image without permission, so he's now suing the cargo pants off them. Reuters is reporting the US company is using his image in print (including the billboard pictured above) and the internet. He has stated that the company never contacted him or compensated him for the use of his image.
Art Buying 101 - ALWAYS get a talent release. I'm pretty sure there was not an art buyer or business affairs person involved in this project. We have to be so meticulous about the imagery - sometimes to the creatives chagrin - but it's part of the job. There should always be written permission for the images - this includes anything from talent, property, name, or logos. Getting clearances covers the client and the agency.
I'm wondering if American Apparel contacted the photographer or the director for usage. The billboards were only posted in California and New York City - Woody Allen filed suit in a Manhattan Court.
Tuesday, April 1, 2008
Good resources
Most art buyers, art directors and creative people don't always pick great talent off the top of their heads, it requires research.
As much as some people say promos don't always work or I put them in a pile... I go through that pile or to the website and mark it. My research will take several hours. I go through my bookmarks, I make calls to have some new work sent, I especially go through Le Book, Workbook and Black book.
I love Le Book for researching photographers and illustrators. They are immersed in the creative community both in the US and internationally. They have even started a creative tour called Connections which invites the creative community to converge in one place and review photographer/illustrator portfolios... network with art buyers and creative directors.
Workbook is probably the most well known resource for industry professionals to go search for advertising and editorial assignment photographers/illustrators. In addition to searching for the right talent you can also purchase art for sale, organize a phonebook contact list and create a custom mailing list.
Blackbook is similar... a resource site to search out creative talent. On the site there is also a creative industry directory
As much as some people say promos don't always work or I put them in a pile... I go through that pile or to the website and mark it. My research will take several hours. I go through my bookmarks, I make calls to have some new work sent, I especially go through Le Book, Workbook and Black book.
I love Le Book for researching photographers and illustrators. They are immersed in the creative community both in the US and internationally. They have even started a creative tour called Connections which invites the creative community to converge in one place and review photographer/illustrator portfolios... network with art buyers and creative directors.
Workbook is probably the most well known resource for industry professionals to go search for advertising and editorial assignment photographers/illustrators. In addition to searching for the right talent you can also purchase art for sale, organize a phonebook contact list and create a custom mailing list.
Blackbook is similar... a resource site to search out creative talent. On the site there is also a creative industry directory
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