Clients

Less is more. The clients’ imagination is our strongest selling point

Clients can’t usually give you numbers, you have to throw numbers out there for them to bring you up or down.

Q:

How does a photographer transition from working with small, often-client direct companies to working with bigger clients and ad agencies?

A:

The biggest difference between getting Client Direct and Ad Agency work is a photographer’s portfolio. Client direct companies will be more understanding of a wide variety of images. Ad agencies have so many photographers to choose from that they will choose the one who specializes in that one specific topic that they are looking for. The smaller, in-house companies will often use one photographer for all of their photo needs. If Ad Agencies are your goal, identify your specialty and commit to excellence in that category.

You usually have 10 seconds on the phone or over email to grab someone’s attention. Choose your top question and only ask them ONE.

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 this and it always comes back to the overall marketing plan. Where are you in your career? Will this image be helpful to you? Will 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 for a quality image? If the answer to that question is no, I’d suggest turning down the job.

On a shoot, never share your stress with your client. Talk to your rep or someone else.

Q:

My client list isn’t huge and consists of mostly small startup companies. I’ve been on the shortlist for bigger jobs lately, but haven’t been getting awarded. The response I’ve been getting a lot is, “you have great work and we would love to work with you, but we’re going with someone who has more experience.” How do I get more experience and reputable clients under my belt when no one will give me a chance?

A:

This type of response is most often what every bidder gets that isn’t getting the job. It could mean they liked someone else’s work more, or the other photographer had the specific look they were going for. It could be that the other photographer had the specific look they were going for, was better on the creative call, or had a better treatment. It could also be their past experience with the winner, or that the winner has a rep. Mostly, I’d recommend working harder and get your book even better with more stylists involved.

When you’re on a business phone call, be aware of speaking clearer and slower than you’re used to. On work calls we are less inclined to ask someone to repeat themselves. Slow it down, enunciate, and listen.

Q:

When you talk about the rising importance of “content,” are you referring to the necessity of photographers to post more and better content, the necessity of clients to produce more content and hence hire photographers more often, or both?

A:

When I refer to the importance of content, I am talking about both: photographers need to create more content, as do clients. And hey, reps too. We all need to constantly be creating and posting content in today’s business world.

Q:

Can you recall a treatment that went above and beyond the prerequisites and landed the photographer the job?

A:

I do remember a particular treatment ‘success story.’ My product photographer was up for a Google job, and he tested some comp images to show how he would bring the products to life. Perhaps that showed his enthusiasm or perhaps they saw the lighting they needed. They loved it and he got the job!