Clients

Q:

I have a lot of new projects that I want to show on my website, but don’t want to overwhelm potential clients when visiting my site. If I get rid of some of my older projects, where could they live online without taking up precious space on my portfolio website? A blog or Behance?

A:

Websites must have a clean wave of memorable, fast, readable, and concise impact. We also want to show a story with a different vibe every now and then. The story can be just that, a story. Use a personal human vibe showcase with a unique descriptive platform that stands out as different but shows more of your personality to be the common thread.

Photographers, what extras are you bringing to the job? Think about it. What is your contribution that extends beyond your client’s expectations? Reach further by offering more than completing the expected shot list. Build up your reputation to win you the jobs.

Q:

How would you advise a photographer about how to get more work?

A:

Focus specifically on the client or industry you most want to work with, and shape your portfolio around that market. Start with one area and master it. Then you can expand and grow.

Q:

We just had an odd situation, and I would love to consult with you and see what an actual cost would have looked like, knowing what I know now. It was for a big international brand for a big ad campaign, and we felt completely taken advantage of. We want to learn from this, but I’d love to consult with you! Is this something you might help me out with?

A:

Terrible situations happen with clients across the board, and I always have the same answer: have a rep and/or a producer on your team when bidding on any new type of project. Not all image makers have the experience to know how to protect themselves from a client. An extra set of experienced eyes before the trouble begins can be worth the cost. 

Q:

How do you work with a client with little to no budget? Do you work with them at all?

A:

Budget is always the issue. Every level of photographer deals with it, and it always ties back to the overall marketing plan. Where are you in your career? Will this image benefit you? Could it solidify a future relationship or be a good image for your portfolio? The bottom line question is: will this “lack of budget” still allow you to create a quality image? If the answer to that question is no, I’d suggest turning down the job. 

Q:

How do you navigate big corporations that are not paying advances upfront for big-budget shoots? Is it a deal breaker? Should a production company pay the upfront production expenses?

A:

Advances are extremely important but the one requirement I’d be flexible with is when we get the advance. It isn’t always before the job begins and if it’s a trusted company, I’m ok with that. If they don’t pay an advance I’d see it more as a red flag making me question if this was a trustworthy client I can rely on for payments. 

Always assume your client has less than one second for your email. Include any links they may already know. Write in full sentences that retrace the emails so they don’t need to scroll down and read old ones to understand. Speak in each email as if it’s the first one, gathering all the info. Unless of course you are responding immediately, then it can be quick “yes” or “no”, etc. 

Trick of the trade- be smart when needing quick answers from your clients! Fully spell out questions/topics without assuming clients remember the topic details. Unlike us, they usually have 5 or more other jobs happening simultaneously. Be the support staff, and understand their situation by repeating the details back to them with your full question so they don’t have to search through previous emails. Assume they are off-the-charts busy!

Q:

I’ve had issues this year with clients giving extensive shot lists. Due to time constraints, I’ve either had to do a free half-day reshoot to finish their list or missed key moments keeping track by cross-checking a list with a pen and paper. What wordage can I place in my contract to set better shot-list boundaries?

A:

Shot count lists have become secondary to clients and treated more casually in their bidding process. We must take responsibility for getting precise, specific shot counts upfront and setting limits and costs.

Here are some terms I’ve used:

• Bid based on a client-provided, exact shot list of up to 10 images, maximum, if time allows within a 10-hour day. No overtime is included in the bid.
• All costs are based on the information provided; any additional shots or changes may result in overages.
• No variations are included. 
• Final image count and timing are based on immediate on-set or remote client approvals.

Sometimes, the more you say, the less you will be heard. Consider your audience and how much time they have to read an email.

Treat others the way you want to be treated. How much time do you have to read an email or take a phone call?