Monday Q+A

Q:

Any advice on how to set up portfolio showings?

A:

Showing portfolios in person is not as commonplace as it used to be, especially since all your work is available online. So, let’s be honest, do they work on projects that relate to your style? Do you have some cool physical portfolio presentations they need to see? What’s the catch for them? Will you be paying for lunch or bringing in something yummy? The simplest way could be a Zoom or a paid portfolio showing event. The human-to-human level does have a purpose, but each client needs a reason, so think of this from their perspective.

Q:

Is it ok to add people to your mailing list without asking, or should you only contact people who have given you their email address directly?

A:

People can always unsubscribe from your mailing list, so ensure there’s an option. Just make sure the work is applicable to the people you’re including. The key is to do your LinkedIn upkeep, ensuring your target clients fit your specialty. 

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. 

Q:

I’m in the middle of negotiating a contract for a job I really want. The contract gives me no right to use the images for self-promotion, and effectively states that I could be sued for doing so. 

Should I take the money and work on building the relationship, or should I fight for my rights at the risk of losing the gig?

A:

I would talk to your contact at the company and gauge their flexibility. Explain why you need to show this work in order to secure future opportunities. 

Hopefully, they’ll be receptive to your concerns and willing to work with you on terms that are fair to all parties. At the very least, do your best to advocate what’s fair. 

Our industry also benefits when we stand together on issues like this. I understand why you wouldn’t want to walk away from the job over this, but asking for what you need (in a respectful way) shouldn’t cost you the job.

Q:

Have you found a way to justify licensing images for social media platforms for small restaurants? Is this even a thing for businesses notorious for thin margins?

A:

Licensing images is needed for any usage, regardless of the budget or size of the business. What if that restaurant grows, or what if they share their images with other restaurants? Always make sure the contract is clear, and specifically show them how they can use the images only on social media (paid or owned platforms). We never know what will happen in the future, so it’s important to always protect yourself.

Q:

Is “authentic” becoming synonymous with “cheap” or “low production,” i.e., not wanting to pay as much?

A:

“Authentic” means believable, so the term itself doesn’t necessarily imply cheaper photography. Many photo and broadcast shoots aim for a genuine style and use stylists to achieve that authentic look. However, social media content often has an authentic aesthetic and tends to come with lower budgets.

Q:

This may either be controversial or a matter of semantics, but what are your thoughts on photographers being ‘content creators’? It’s always made me feel cheapened, but maybe I’m just being stubborn?

A:

Personally, I see this issue as a financial one. If a client is paying appropriately for quality images you are proud to put your name on, that answers the question for me. “Content” is what most clients need these days, so not wanting to be a part of that could really limit your job opportunities. I’m curious to hear others’ opinions on this in the comments. What do you think?

Q:

What is the highest-yield genre of work right now?

A:

There are too many genres to name, ranging from fitness, pharma, food, lifestyle, and more. I wouldn’t recommend going for the popular industries because it’s really all about putting who you are into your images. 

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.

Q:

Other than consistently sharing their work, what are the best ways photographers can use Instagram?

A:

Instagram can be the best marketing tool available to us, but we need to use it correctly to make it work. Find your clients and engage with them. Be consistent with posts and Stories, and bring your authentic self to this marketing platform.