Photo Reps - The list

212 Artists Representatives Inc.
VII Photo Agency

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

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

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

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

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

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

Gary Mandel
Giant Artists
GF Represents
Greenhouse

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

i2i Photography
iGroup

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

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

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

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

Nadine Kalmes Artist Representation
Nancy Grant
Norman Maslov

O'Gorman Schramm
Oliver Piro Inc.
Orchard Photographer Representation

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

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

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

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

Unit c.m.a.
Utopia

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

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

Photography Agents

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

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

Wallace + Gromit in High Fashion

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

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

text taken directly from Creativity Online

Personal Projects II

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

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

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

Personal Projects

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

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

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

Brian Finke's Flight Attendants.

Christopher Churchill's Traveling with Ghosts

Tim Simmons' Snowbank

Jill Greenberg's Monkey Portraits and End Times

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

Nike - BBDO Argentina

Check out the broadcast ad here.

Creativity's 2008 Awards

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

Shipping A Portfolio

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

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

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

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

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

Nike Retail

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

Here Nike has created video art for their stores.

Creative Opinions

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"

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?

Don't Forget

Don't forget to send or post your comments for the Creative Opinion:

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?

I've received a few thoughts on this subject but I'd love to hear more opinions.
many thanks!

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.

AdBase Art Buyer Lounge

AdBase has their first part of a very cool series, Art Buyer Lounge. It's a podcast and first of the series.

Juliette Wolf-Robin is interviewing Lisa Oropallo at Digitas in New York.

Here's their email pitch:

In the first of our Art Buyer Lounge series, we've got an interview with Lisa Oropallo, art buyer at Digitas New York.

In Just 14 Minutes, Part 1 Will Show You:

* What attracts email opens
* What works (or doesn't!) in artist websites
* The low-down on hard-cover portfolios
* Promotional frequency and follow-up etiquette

11 Minutes is All You'll Need for Part 2 to Teach You:

* Trends in photography and illustration
* New opportunities for artists
* What motivates buyers to meet with artists

You do have to be registered and pay for their services to be able to listen to the podcast.
**UPDATE: thanks to Jenny Millar, communications manager at AdBase, you can access the podcast here.

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?

The Changing Face of Production

Creativity Magazine published their summer edition about production. In it they have an article dedicated to "The Changing Face of Production". It's not necessarily about who is new on the scene but rather how the role and view of production is changing.

For digital/interactive producers it's not just traditional production elements, it's weaving in creative execution and client interface. For interactive producers it also means being able to produce print photo shoots as well as video shoots.

As for traditional producers, whether is it print or broadcast, they're starting to need to know and understand interactive and how their portion of the production incorporates the interactive side.

The other thing that many of us - producers, agencies and photographers/illustrators/reps - are hearing is that the budgets are shrinking. Many clients want more "bang for their buck" but what does that mean for the production value? It is very understandable that clients want to keep costs down as much as possible however it also depends on the complexity of the project. In addition as Christine Beardsell states in the article: "The goal is to create a quality of content to reach and connect to the relevant audience."

Finding an Agent

As the previous couple of posts prove, finding a rep is like finding a partner. It's finding a partner for business and creativity. Not all photographers have reps and not all photographers need reps.

There are plenty of solo photographers that I have and will continue to work with. I will be honest though, when starting research for a project the first places I end up going (out of habit) are to the agent sites.

In my opinion you want a rep who is going to help market you and your talents to the right clients for the right project. You'll want to collaborate as much with them as you do with any art director, creative, photo editor, etc.

If you are in search of an agent just remember it's as much of an interview for them as it is for you.

I won't be posting the next few days (off to a weekend wedding) but I am compiling a big list of agents and will post all the links here next week.

Agent + Artist Relationship (part two)

I wanted to continue today from yesterday's post with a few more comments and advice from current photo reps. The comments will remain anonymous but these agents work for their own company or one of the larger ones. (a hearty thanks to all the agents who offered their time and their opinions)
The questions I asked of them were: What do you think the most important things are as a rep in your partnership with your artists? And what advice would you have for an artist who is shopping for an agent?

On important aspects of the partnership:

"I would say that the most important elements in an agent/artist relationship are the same elements that are most important in any other successful, healthy relationship: communication, honesty and trust. If the lines of communication are kept open and the artist is open to honest and direct feedback from the agent based on their knowledge of the marketplace, then there is the opportunity to develop a partnership that fosters growth and flexibility."

"Most important things... Honesty, shared vision and work ethic, creativity - appropriate division of labor and respect for what each person brings to the table to create a partnership"

"Good communication. Mutual trust and respect. A common vision about the artist's work: where it applies, as well as the means of getting there. A strong collaborative spirit."

Advice:

"Before looking for an agent, I think an artist needs to be very clear about why they want an agent. A lot of artists aren't good at marketing themselves or negotiating with clients, or are too busy shooting and they see the value of having someone handle this side of the business for them. Other artists also see the value in having an agent that can offer career advice and a professional perspective on the marketplace. If an artist already feels like they are the best negotiator, marketer and feels like they have a current, global view of the industry then I would say they don't need an agent."

"A relationship with a rep is VERY MUCH like a marriage...you can't take it at face value, you won't get something without putting something into it, it doesn't come easy and it takes time and patience."

"Do your research: What talent are they currently repping? How is the fit with what you do/want to do? What is their reputation among your clients (chances are, if your clients/prospective clients have never heard of them, it's not a good thing)? What do their talent think of them? What are they like in person (there should be a strong personal connection/fit)? What are their expectations? How do they align with your own?

Include the reps who you've researched and feel might be a good fit in all of your marketing efforts.

Remember: a rep is NOT a panacea!"

Agent + Artist Relationship

I think this is an important aspect to discuss. Being on the other side it's important as an art buyer to know the talent you're hiring has a good partnership with their agent, if they have one. Specifically because we rely on the communication between the two and hope that our needs are addressed and taken care of whether it's creative or budgetary.

I asked a few reps their thoughts about what the most important things are as a rep in the partnership with their artists. As well as their advice and suggestions for an artist looking/shopping for representation. The following statements are anonymous thoughts from these agents (more comments tomorrow as well).

On important aspects of the partnership:

"Trust and communication. Trust comes with time, but once it's achieved the relationship starts to run a lot more smoothly and productively. Communication is also crucial. I try and talk to my artists every single day, if not by phone then by email or IM. I would also say availability, it's important to make time for everyone and spread yourself evenly amongst the roster, it's tricky but that way no one falls through the cracks."

"Understanding what the artist is about. In other words, what is it they love to do and what it is that is unique to the industry. Understanding their vision and how they work. It is a relationship based mainly on trust and communication. There are times you work a great deal there are other times there seems to be no work at all. The artist must understand that I position the right talent for the project. It is not uncommon for me to get a call for a recommendation. My recommendations are based on who the artist is and what they will bring to the table based on the parameters. IN other words I do not put a square peg in a round whole. Our artists understand that. I always need person work from the talent. The artist must understand we fight for them and do everything we can to get the price the market allows for that work. That does not mean what the budget is but what is fair. We fight for what is fair for everyone."

Advice:

"Know the agent's roster. Often times people call or email me and their work just doesn't fit in with my brand. So do your research. I like a nice, short, personal email with a link to a site and maybe a little background or client info. I personally review everything I get and keep files on artists, especially if they're out of my usual market. I usually only meet with new artists a few times a year so if I get back to you and tell you to keep in touch -- do it. I'll probably set up a meeting at some point, just not maybe right at the moment you contact me. I typically hear from someone once and then never again. Ask your clients who they might suggest rep-wise. I get a lot of photographers that way "so-and-so recommended you", and to be honest, that usually peaks my attention."

"Take pictures you love that show some type of production value. Very important to make sure these images are unique to the industry. Everything has been done. I want to see how you make it different and how it flows through your book. Show me the images that you feel are reflective of who you are and who you want to be seen as. Send me an email every couple of months with a small jpg sample of your work."

What makes a good agent?

Having a good agent means having a good partnership. Essentially the agent and the artist goes into business with one another.

In my mind a good agent is an advocate for the artist and acts as a consultant while letting the artist still explore their creative. I remember reading once on APE a comment left by a photographer that stated the rep should "carry your karma". It's about finding a rep who is going to match your talents and market them the way you might market yourself.

They are also the business end of the creative as well, maintaining relationships with agencies, art buyers, photo editors, etc. A good rep also realizes that it's not always all about money but about working on amazing projects that build the artist's creative repertoire.

3x3 Illustration Magazine

3x3 is a magazine dedicated solely to contemporary illustration. Their mission "is to spotlight the best international artists working today and encourage a new focus on the use of illustration by the advertising and design communities."

About 80 pages dedicated to international artists and the art of illustration. In the magazine they have artists profiles, a career talk section, a gallery of works section and more.

Check out the interview [here] AIGA's Steven Heller had with 3x3 founder Charles Hively.

You can subscribe to 3x3 on their website, 3x3mag.com, or through amazon.com.

Identifying Illustration part deux

(I apologize for the posting delay, my days got a little busy and ran away from me).

So to continue from Wednesday on the stylings of illustration, here a few more to consider:

Oil / Renaissance / Traditional / Painterly - Traditional really is in the eyes of the beholder but it can also signify what one may think of as renaissance style and "traditional" oil paintings (reminiscent of master artists - Delacroix, Monet, Vermeer, Velázquez, etc.). The enticing element to this style is the texture that comes across in the artwork as well as the richness of colors.
Glenn Harrington and Shawn Barber are good modern day examples of this style.

Digital / Computer / Graphic - This is illustration that is done with computer programs (hence "computer" style). It's stylized and usually has a more modern feel or a cartoon-ish feel. The edges are sharp and the colors are tight and bright. Check out Kirsten Ulve and Michael Clampton.

Retro - This style references more of what we think of as pop art, art deco, and recent historical art style from the 1920's through the 80's. It's a similar style and techniques from the recent past.
See the work of illustrator Dave McMacken or the rep agency Retro Reps.


There are so many styles and so many mediums and even more great illustrators.
Explore books like Showcase, Workbook, Communications Arts or blogs like Drawn!, IllustrationMundo, and Illustration Friday