Branding

Finding the Right Rep Checklist:

1. Who reps competing photographers you admire?
2. Which reps work with the clients you want to be working with?
3. Referrals work best, so ask those in the biz like a paid membership resource you are on, consultants, and clients for their rep suggestion. 
4. What type of reps branding best fits your style?
5. Start with a “Temp Rep” situation to get to know if you work with the same approach on a project. 
6. What marketing platforms are most important to you, and which reps meet your standards in their marketing?
7. The most important one is the rep’s reputation. Ask around and get some good reports on those you can trust. 

Q:

What is the importance of a “one-sheet” attachment promo in an email sent to a potential client? How many images and should this promo include any descriptive text about the images, background/bio, pitch, etc., or should all of the text be in the body of the email?

A:

When saying hello in an email, it can be good to have a fast visual sampling looking like it belongs in that email. The key to a one-sheet promo is that it’s a quick relatable read of a small number of images only, not needing that extra step of being clicked to open.

Q:

Are elaborate/over the top promos worth the money to get a client’s attention? If so, should more simple promos be sent first so you are potentially already on the client’s radar?

A:

Depending on your budget, I like to stick with consistent, well-designed promos with a quick, concise message. The expensive promos we can send or hand to clients could be a striking piece that ends up on their wall, getting the attention of a long-standing art piece. I’ve seen this happen, but it’s like going to Vegas and playing the High Roller risky games.

Q:

What do we do with our email promo “clicked” lists?

A:

To know who CLICKS from our email promo to our website supplies valuable feedback shaping our marketing direction. Analyzing this relevant resource can be what you need to know.

1. Put them on a hotlist and use every method to follow up with them, including following and engaging on IG.
2. Look up all the others at that agency or company on Agency Access, yodelist, and LinkedIn to get them on your lists. If your work is applicable for one person at that place, I will put money down that the same is true for the others.
3. If one of your top dream list clients didn’t have any clocks, you know you have some changes to make.
4. Compare the marketplace segments clicking percentages to see which category of clients your work is attracting vs. which types are not being drawn in.
5. When you get an unusual amount of clients or lack of clicks from one email, use that to analyze what was different, like your subject line, the time or the day of the week, wording changes or design.

Q:

How do I leverage this abundance of accolades and high end client work to get more exposure? My past mailers and hand curated Do you always expect clients to negotiate? Or do they just walk away sometimes if the price is automatically too high?

A:

Unfortunately, clients walk away for so many reasons beyond our control. I like to feel out the situation to hear the temperature of their response before fully committing to a price. Odds are more in our favor if we can create a human connection off the bat, helping us open the doors of communication. The conversation can include the openness to flexibility by discussing a price range before we officially submit an estimate. If clients know we are willing to bridge, they may be more apt to negotiate.

Q:

How do I leverage this abundance of accolades and high end client work to get more exposure? My past mailers and hand curated marketing promos have yielded a 3% response rate, and I must say I’m a bit frustrated.

A:

Emails, in general, seem to be a dying breed pushing us to figure out new ways to be in touch. They are no longer the one dependable marketing tool as they now serve one piece of the promotional pie.

You know I’m all about Instagram, so that is my first suggestion, but of course, we still need to push those promos out.

Email promo material should go out in two separate ways, which will, in turn, support each other:

1. Mass email lists will have a lower response rate because they are a larger list of unknown clients but provide us with solid marketing open/click data.
2. Smaller fine-tuned lists built around those we know, and those who open/click the larger mass emails will get better traction.

What niches we fit into and what titles we call ourselves are beneficial but not the only part of our business path decision-making process.

Our business minds alone cannot always run the show. The challenging piece is where one direction or opportunity may take us, which must be the guiding force. We can’t get too stuck on our business titles when we are in a creative career like this; growth and opportunity lead the show

Q:

Why can the best cinematographers serve the story and change their look for each script, depending on the requirements of the script, but if a photographer does that, they are condemned, overlooked and discarded for being a “generalist?”

A:

We get to choose two types of paths: technically savvy with a lot of variety or those who provide a more specific curated style, look and feel.  Both options can work, giving you a long-lasting accomplished career, usually depending on your situation, the size of your market, and your skillset. I’ve repped both of these and found the careers of generalists depend on the relationships they build, and the specialists get jobs for their portfolios.

How do Photographers Get Started?

3 Step Formula for All Photographers:

1. PORTFOLIO RESEARCH

Regular education and research of our imagery industry will help you master the “Objective” eye, giving you the skills to edit your work. 

2.  CHOOSE THE STYLE

The constant honing-in forward growth of what your style is about will bring you the control clients can depend on. 

3.  ATTITUDE

Owning who you are, finding ways to express it allows clients to know what they get by hiring you. 

Q:

Do you think it’s a photographer’s personal work that defines their style?

A:

As Amy V. Cooper would say, “This is one JUICY question!” The definition of personal work can mean two very different things. Personal could mean family dinners and travel images, or it can mean testing similar types of scenarios helping to grow even stronger. Personal testing work takes a photographer’s style to that next level. It is how the craft is freely explored and shaped with 100% focus from within creative inspiration vs. an industry trend or client’s guided brand decisions.