Clients

Quick sales tip that you may not have thought of is to wait and spread out your communication with a client. If it’s not a pressing production matter, use your response/question/personal note as a way of staying on their mind for a longer period of time.

Here’s a sales and marketing tip you might not have considered: I often don’t respond to clients immediately. While sometimes prompt responses are necessary, if it’s a personal matter or if you have a question for them and you’ve just been in touch, try to delay your response as long as possible. The goal is to stay on their mind and remain visible. Use your email communication strategically to keep yourself in their thoughts for a longer period.

Q:

Hello! I have a question. My producer and I did a major bid for the product launch using many models, it involved a huge production of set building, and various teams for what they asked for. We ended up not getting the project, it was nothing that was asked of us as far as production, sets and look. Is there a way to approach the agency when bidding that allows us to be bidding the same job – apples for apples?

A:

While we can’t predict or control the bidding process, we can ask every question to help us understand the production details. The key is to have an A+ producer and make sure you get on a creative call, as that is where we get our answers. The purpose of three-way bidding is to protect clients in a fair apple to apple comparison, so they are not overpaying. Our goal is to protect ourselves by understanding all the information, even when we may have to dig around to get that info.

Clients don’t always have all the facts when we are bidding a job, leading us to under-bid certain areas. If more responsibility falls into your lap than expected, don’t hold back in stating your case to request more $. Clients know that some gray areas may result in an overage, but they need us to be the ones to ask for it.

Sometimes we bid on projects where we don’t have all the information yet, and the client may not have all the details either, leading to many assumptions. We should include “TBD” (to be determined) on those line items in our bid to protect ourselves. Even if we don’t include them, once the job is awarded and more responsibilities shift to us that were initially thought to be handled by the client, don’t hesitate to ask for additional funds. Address any new needs or changes directly with the client—don’t get frustrated. Often, they will understand because the situation was unknown at the time. Request more prep days, additional tech scout days if needed, extra post time, or anything else necessary. Remember, just because the bid is awarded doesn’t mean you have to absorb these changes without discussing them.

Q:

Hey there, I had a meeting today with a client that I would really like to work with. The meeting went great but they asked what my test rate is and I’m kind of at a loss. Any suggestions on pricing a test would be greatly appreciated.

A:

A test rate usually falls within half of what the regular day rate can be for a client. The logic behind the test rate is how it does not include usage licensing fees. This principle is the same premise for how I price a pre-light day; always have the estimate read, “no usage included” next to this fee.

Admit it; you are SELLING a product. Approach the conversations with a potential client as a LISTENER, ready to open the pathway to let your true purpose be heard. Choose your words wisely instead of filling any space. Trust me; there won’t be much empty space.

Q:

In the directing world, spec work is a way to break in. In photography, would you recommend photographing specific brands on spec to build your portfolio, or using no brands whatsoever?

A:

In the photo world, clients want to see your overall style match their brand. Build your portfolio to show the look and feel your favorite clients cater to, and use this “spec” concept to incorporate the products your ideal clients will need to see. If you want to get beer campaigns, put in some cans or bottles and show off how your shiny condensation skills fit your cohesive vibe. Displaying the type of product is more important than the specific brand of the product.

Bring the client’s BRANDING into your bidding approach as much as possible. Do your research, ask the questions, as the ultimate purpose of receiving the job is to achieve your client’s branding goals.

When we’re in the process of getting a job, there’s a lot of times where we can focus on the branding for the client. We need to make sure a lot of what we are working around is their branding because that is what’s most important to them. Do your research to find out what their brand is. Check out their website. If they don’t make it clear what the feeling/color/ tone is then ask about it and make sure you mention it in your treatment. Because that’s what they want to hear. They want to know that you’re a part of it. You’re not just a part of this one shoot, you’re part of their long term vision.

Q:

I’ve been told many different answers on who I should be reaching out to. Creative Directors vs Art Directors. Who!? If there is not an Art Buyer or Print Producer, who do I focus on reaching out to? I’ve been told NOT to reach out to Creative Directors but recently been told I should reach out to them over Art Directors. I’m so confused!!

A:

Your confusion about who to contact is natural since there is no absolute rule book. Client-direct business has a whole different setup vs. ad agencies and is even more ambiguous as they often hire a producer or production company to handle their photography. My secret sleuth style is to see which of the titles (art director/creative director/producer) have many photographer connections on LinkedIn. Then you know they are working with us!

Q:

Hi Andrea, great Insta feed. Your tips are really helping me. Am I free to ask you for some advice? I’m convinced my portfolio is good and I have a lot of experience (15y). But I’m not where I want to be. And I really have no clue how to approach new clients like magazines or advertising agencies. What do I write in my email pitch? What’s the key to get the clients I want? I know it’s not about the portfolio, so how do I convince them to do a shoot with me? Thanks 🙂

A:

The answer usually comes down to your portfolio of images. All the other parts of our business need to be in place, but it comes down to your portfolio being the right fit for what a client is looking to bring to their project. 

Research to know that you are contacting the appropriate people and have your “elevator pitch” ready to go with keywords they can search for when they are looking.

Write a quick and concise email as if you were receiving it. Don’t sound like a sales pitch; sound like a human connecting to another human, and then stay on their radar with your marketing plan. You wrote this question in a very thoughtful and sincere way, so stick to that and be yourself!

Highlights on IG are that fast direct route for clients to know what they can hire you for. Make this easy for them to know what you do!

To make the most out of your instagram you must use highlights. You knew I was going to say that. These are your categories or your projects like on your website, because instagram is like your second website. You must use highlights. Make it quick and fast for clients who have 2 seconds to figure out who you are and what you do and to make you find-able if they’re looking for sports or like athleisure or still life for beverages, something like that. Make it really fast because you don’t want them to have to scroll down your whole feed. They could do that if they have time but if they don’t, highlights make it very quick for them to find you.