I read an article in Ad Age, Five Things to Do Now to Improve Your Agency, and I think it's definitely worth a read. I think it applies and is relevant to people outside of agency life, who are their own small business or freelancers. In an earlier post I mentioned using the beginning of the Fall season to revamp marketing strategies and I think these are another few ideas to gear yourself up for a successful season.
In the article Marc Brownstein (AdAge Small Agency journal reporter and president of The Brownstein Group) lists the 5 things as:
Grow Organically
Grow with new clients
Grow through merger/acquisition
Grow by improving your talent
Grow your profits
My own take/ideas on each:
Grow organically - you are your own leadership team with your own client relations, how do you continue these relationships and keep them coming back? What else can you do to "up the ante" for your current client roster? Marc mentions capabilities presentation... I say for photographers and illustrators what about a test shoot or rough sketch?
Grow with new clients - this is the goal for most, get new clients and to keep them on your current roster. How do you approach new clients? Is there a new way to attract clients or to market yourself other than traditional approaches and email bombardment? Do you have a new business program?
Grow through merger/acquisition - this doesn't really apply but it can resonate. My post from yesterday discussed a creative gathering, networking in the creative community is the greatest tool. It may not be a merger but you can join forces through networking, photography seminars, rep partnerships, etc. Connecting with other artists to discuss the industry and talk shop can get ideas flowing and create a support system.
Grow by improving your talent - you are your own talent (along with your crew on shoots). To improve your own talent, keep up with the personal work, try out new things with lighting or post-production techniques, push yourself. As for your crew - you know how you work best and you want to have the best support team around you to make sure things move along seamlessly and the best work comes out.
Grow your profits - In this economy, agencies are tightening up and cutting costs, budgets are getting even smaller. Don't sacrifice your pay and undercut by bidding incredibly low (this approach can back fire when the economy is on an upswing). There are ways to make things happen without breaking the bank.
Thursday, September 11, 2008
Wednesday, September 10, 2008
Creative Gathering
Last night the Boston creative community of photographers, stylists, producers and art buyers came together for a social outing. It was incredible and smartly organized by Tanya Mathis and Maggie Yarlis of Fidelity along with Ennis Inc.
The idea of these gatherings is to foster camaraderie, networking and dialogue in our creative community. It's a great idea to get people of all facets together in one room and put the faces to the names and make new contacts.
I had great conversations last night about the industry and how we are being affected by this economy, about other people's experiences, about production value, about the value of a peer's critiques, about putting a photographer in touch with a company that I have a contact at, etc.
Advertising, print and photography - it really is a small world and even if you have never met someone before, you have this industry in common and therefore people in this industry generally want to help you out - this is how it should be.
Thing is, if you want to start this in your community or your city, do it. It's a great concept and it cultivates/promotes new partnerships and networking in your industry close to home.
Here are some of the people I encountered last night (some I knew and had worked with, some I knew their name, some I had never heard of before but am glad I met them last night:
Margaret Lampert
Dave Bradley
Bruce Peterson
Cheryl Clegg
Jonathan Beller
Kate Kelley
Francie Hill (rep for Scott Goodwin)
Mari Quirk - no website but a stylist extraordinaire who has at least 25 years under her belt
The ladies of Ennis Inc
Steve Marsel
The idea of these gatherings is to foster camaraderie, networking and dialogue in our creative community. It's a great idea to get people of all facets together in one room and put the faces to the names and make new contacts.
I had great conversations last night about the industry and how we are being affected by this economy, about other people's experiences, about production value, about the value of a peer's critiques, about putting a photographer in touch with a company that I have a contact at, etc.
Advertising, print and photography - it really is a small world and even if you have never met someone before, you have this industry in common and therefore people in this industry generally want to help you out - this is how it should be.
Thing is, if you want to start this in your community or your city, do it. It's a great concept and it cultivates/promotes new partnerships and networking in your industry close to home.
Here are some of the people I encountered last night (some I knew and had worked with, some I knew their name, some I had never heard of before but am glad I met them last night:
Margaret Lampert
Dave Bradley
Bruce Peterson
Cheryl Clegg
Jonathan Beller
Kate Kelley
Francie Hill (rep for Scott Goodwin)
Mari Quirk - no website but a stylist extraordinaire who has at least 25 years under her belt
The ladies of Ennis Inc
Steve Marsel
Tuesday, September 9, 2008
Personal Project - Graeme Mitchell
I'd like to share Graeme Michell's personal project, NYC Journal. It's a look into the regular life happening in New York City. The images have a gritty feel to them with the black and white photos. I personally like the natural feel of it all, the implied motion, and the different perspectives of the chosen object in frame.
What made you choose this project?
The short answer to this is heartbreak. And on that note, as is often the case, the project choose me more than I it. It was a necessity, not a whim. But the impetus for the NYC Journal was left by the wayside rather quickly and is now incidental. What became interesting is not the inspiration, but the motivation, or what kept me and keeps me working on it. It was so far from anything I'd ever even considered doing; one day I began it, and now over two years later I still work on it on a pretty consistent basis. The reasons why are various, ranging from the physical to the metaphysical, but most of all I do it (and love it) b/c the act of physically shooting it, that process of it, is rife with knowledge. And I love learning.
How many photos were there before you edited it down to the featured images?
Those sets on my site are not by any means static. the NYC Journal changes monthly, or every two months or so, and is not finished. To get an idea of how I work on it, and of the "journal" aspect that is in it's title, go here: graememitchell.com/blog/category/nyc-journal. On my blog there is pretty consistent update to it in the spirit of a journal. Then when I have new favorites, I do better scans, and then post them on my main portfolio page. The portfolio page is edited to ones that I think are effective (logos); the blog is more a stream of conscious - though not in the true sense - and is more visceral (pathos).
What was your favorite aspect of this personal project?
Like I said in the answer to the first question, it's all the things I learn doing it. The people I meet. The things I see. And it can be intense shooting it too, standing toe to toe with uncomfortable situations... Yes, it can be uneventful on some days when I work on it, but at it's best there are moments at once terrifying and sublime. That's a drug. It elevates. It can make the rest of the day seem slight.
The pictures are probably better without my attempt at talking about them.
And on that end note check out the project at graememitchell.com.
What made you choose this project?
The short answer to this is heartbreak. And on that note, as is often the case, the project choose me more than I it. It was a necessity, not a whim. But the impetus for the NYC Journal was left by the wayside rather quickly and is now incidental. What became interesting is not the inspiration, but the motivation, or what kept me and keeps me working on it. It was so far from anything I'd ever even considered doing; one day I began it, and now over two years later I still work on it on a pretty consistent basis. The reasons why are various, ranging from the physical to the metaphysical, but most of all I do it (and love it) b/c the act of physically shooting it, that process of it, is rife with knowledge. And I love learning.
How many photos were there before you edited it down to the featured images?
Those sets on my site are not by any means static. the NYC Journal changes monthly, or every two months or so, and is not finished. To get an idea of how I work on it, and of the "journal" aspect that is in it's title, go here: graememitchell.com/blog/category/nyc-journal. On my blog there is pretty consistent update to it in the spirit of a journal. Then when I have new favorites, I do better scans, and then post them on my main portfolio page. The portfolio page is edited to ones that I think are effective (logos); the blog is more a stream of conscious - though not in the true sense - and is more visceral (pathos).
What was your favorite aspect of this personal project?
Like I said in the answer to the first question, it's all the things I learn doing it. The people I meet. The things I see. And it can be intense shooting it too, standing toe to toe with uncomfortable situations... Yes, it can be uneventful on some days when I work on it, but at it's best there are moments at once terrifying and sublime. That's a drug. It elevates. It can make the rest of the day seem slight.
The pictures are probably better without my attempt at talking about them.
And on that end note check out the project at graememitchell.com.
Monday, September 8, 2008
Back in Action
Heather Morton is back from her summer hiatus. Check out her blog and get reacquainted.
Personalities
In this business we often run into lots of personalities, some welcoming and knowledgeable, others that want to slam our fingers in the door. But it's all how you deal with them and to take it in stride.
I had a few people vent to me today about frustrations and impossible expectations being placed on them. Unfortunately you can't always say "yes" to everything but you can't say "no" either. Becoming a problem solver is a talent and a necessary one. Learning to deal with difficult personalities is another.
Don't be passive-aggressive about things, being a decisive prioritizer is key to collaborating with a team.
Don't get steam rolled. Different personality types is what makes the workplace and the projects. A good manager (not always of people but of situations) knows how to manage themselves as well as the things going on around them.
Don't be sensitive.. it's business. "It's just business" may sound like a cop out to some, especially those who are so passionate about what they do, but it's a reality.
Now get out there and play nice.
I had a few people vent to me today about frustrations and impossible expectations being placed on them. Unfortunately you can't always say "yes" to everything but you can't say "no" either. Becoming a problem solver is a talent and a necessary one. Learning to deal with difficult personalities is another.
Don't be passive-aggressive about things, being a decisive prioritizer is key to collaborating with a team.
Don't get steam rolled. Different personality types is what makes the workplace and the projects. A good manager (not always of people but of situations) knows how to manage themselves as well as the things going on around them.
Don't be sensitive.. it's business. "It's just business" may sound like a cop out to some, especially those who are so passionate about what they do, but it's a reality.
Now get out there and play nice.
Friday, September 5, 2008
Creative Opinion
Trying to make this idea a monthly discussion on the blog.
You have the option of leaving a comment but you can also email your opinions to me (here) and I can post them in an anonymous manner. Depending on the amount of feedback I'll post answers next week or the week after.
Here is this month's question:
What do you wish/think art buyers or photo editors can improve upon? (whether it's regarding feedback, working on projects, responding to calls, etc. etc.)
Candid and honest answers are always appreciated focusing on positive and negative but still professionally appropriate.
You have the option of leaving a comment but you can also email your opinions to me (here) and I can post them in an anonymous manner. Depending on the amount of feedback I'll post answers next week or the week after.
Here is this month's question:
What do you wish/think art buyers or photo editors can improve upon? (whether it's regarding feedback, working on projects, responding to calls, etc. etc.)
Candid and honest answers are always appreciated focusing on positive and negative but still professionally appropriate.
Wednesday, September 3, 2008
Personal Project - Anthony Georgis
Back to the grindstone after a lovely long weekend and starting to ease back into things. I'm glad a lot of you found the rep list useful. I also am psyched about the personal projects post from last week, quite a few of you emailed me with links and info of upcoming personal work.
And on that note I'd like to share the first by Anthony Georgis. What I love about this project is that these girls are bruised and bleeding and ready to kill the opposing team yet at the same time thinking about prom and Anthony captures each aspect of them in a beautiful way.
What made you choose this project?
I walked out my front door and there it was. I know it sounds absurd, but I live across the street from a park. There was a big commotion over there one day with lots of girls shouting and pushing each other so I went outside to see what was going on. At first I thought, "Wow, that's a really violent soccer game" which was followed by, "Oh no, wait, that's just rugby" which was in turn followed by, "OMG!!! Are those high school girls playing rugby?!?"
I was fascinated by what was going on and I knew immediately that I wanted to go and take pictures. At that point I wasn't really thinking of it as a project. I watched a bit, took a few frames and talked to some of the girls. What really struck me was how much intensity these girls played with. They'd hit really hard but after the match they were as sweet as can be. That's when I knew there was something there and that I had to shoot more.
How many photos were there before you edited it down to the featured images?
I was using medium format film (which will either make me sound heroic and crazy or like a total elitist). In a way the format was helpful because there's always the "Who's this weird guy with the camera?" factor and the YashicaMat helps relieve a little of that, making it "Who's this weird guy with the cool camera?"
In the end I shot about 500 frames - 23 made the cut.
What was your favorite aspect of this personal project?
The project has been really well received and it's generated a couple of good assignments. From a personal standpoint, getting an assignment based on something that I loved shooting and that I would have shot anyway is truly a great feeling.
The most incredible thing, however, has been hearing back from some of the players who've seen the project. They love it and have gone on and on about how great it is, how it's a true representation of rugby culture and how they've never seen anything like it. They've also told me that I'm "super rad" and that's cool too.
Check out the project at www.bloodmakesthegrassgrow.com
And on that note I'd like to share the first by Anthony Georgis. What I love about this project is that these girls are bruised and bleeding and ready to kill the opposing team yet at the same time thinking about prom and Anthony captures each aspect of them in a beautiful way.
What made you choose this project?
I walked out my front door and there it was. I know it sounds absurd, but I live across the street from a park. There was a big commotion over there one day with lots of girls shouting and pushing each other so I went outside to see what was going on. At first I thought, "Wow, that's a really violent soccer game" which was followed by, "Oh no, wait, that's just rugby" which was in turn followed by, "OMG!!! Are those high school girls playing rugby?!?"
I was fascinated by what was going on and I knew immediately that I wanted to go and take pictures. At that point I wasn't really thinking of it as a project. I watched a bit, took a few frames and talked to some of the girls. What really struck me was how much intensity these girls played with. They'd hit really hard but after the match they were as sweet as can be. That's when I knew there was something there and that I had to shoot more.
How many photos were there before you edited it down to the featured images?
I was using medium format film (which will either make me sound heroic and crazy or like a total elitist). In a way the format was helpful because there's always the "Who's this weird guy with the camera?" factor and the YashicaMat helps relieve a little of that, making it "Who's this weird guy with the cool camera?"
In the end I shot about 500 frames - 23 made the cut.
What was your favorite aspect of this personal project?
The project has been really well received and it's generated a couple of good assignments. From a personal standpoint, getting an assignment based on something that I loved shooting and that I would have shot anyway is truly a great feeling.
The most incredible thing, however, has been hearing back from some of the players who've seen the project. They love it and have gone on and on about how great it is, how it's a true representation of rugby culture and how they've never seen anything like it. They've also told me that I'm "super rad" and that's cool too.
Check out the project at www.bloodmakesthegrassgrow.com
Subscribe to:
Posts (Atom)
