What are some things to keep in mind when designing a website, as a photographer?
A: Your website should look professionally designed and be easy to navigate. The site should immediately entice your visitor.
Think of who your audience is and use a professional web template to speak their language.
Do you find that cost consultants have a realistic grasp of the time and costs needed for a job, so the negotiation isn’t a “difficult” process?
The facts on cost consultants:
1. Their job is to find ways to minimize our costs. They must find areas to lower by comparing the other bids and their past experience.
2. We don’t have to agree to every minimizing request as long as we explain our pricing reasoning.
3. They will be experienced with a realistic grasp of the job’s timing and costs if this client repeatedly does the same type of job.
4. Sometimes, the cost consultant is helping lower our budget if we are the #1 pick for the job.
What is considered a standard “book” for somebody seeking representation…
Is it a website? A physical book? Something else?
The standard book question does not have an absolute answer, but it is good to have a website, an active Instagram presence, and a printed book. An iPad can be your portfolio, although printed books are the hot item.
What is the secret to being successful as a creative?
It is to be open to listening instead of being so busy with everything you already know.
What is the key to having an amazing creative call? What will make you stand out above the other photographers running for that job?
The Creative Call is usually the primary place you will win or lose the job you are bidding on. “Communication Mirroring” is a way to make the other feel heard. Creatives want to know you hear their concepts and will achieve their goals with your technical tools. It’s that simple. Show them who you will be on set by speaking up with your ideas.
What would you say are the pros and cons of being represented?
While some photographers don’t need or want a rep as they feel they can handle it better on their own, I of course believe that us REPS can be the all-encompassing teammate elevating the photographer’s brand. The key to this is to have the RIGHT REP, as we are all different in our approach and which clients we focus on. Instagram and other platforms make it easier for photographers to build their brand, so it depends if you have the qualities to do it better yourself.
Do you think it’s important for a photographer to spend time assisting professional photographers before launching their own career? And if so, what kind of photographer should someone assist?
This really depends on the photographer and what they need to learn. Some photographers never assist and end up wildly successful. However, assisting can be extremely informative and build your confidence. If a photographer needs to learn what an editorial or commercial advertising job is like, then they can assist any type of photographer in that market. If they need to learn more about the technicalities of cars or people projects, then they should assist a photographer who does that kind of work. Figure out what you need to learn and assist in that. Or jump right in to build your own education. There is no absolute right answer here.
How do I find an a-la-carte rep (e.g., I imagine not every rep offers these services), and is there a ballpark of how much commission they’d need to make to rep you for said job? I imagine a job where the photographer makes $ 1,000 wouldn’t qualify.
Most reps do “a-la-carte” repping; others, like consultants, producers, and Wonderful Machine, do this for a commission or hourly rate. A $1,000 fee does not sound worth “a-la-carte repping” for anyone, including you unless this client carries a long-term high value for your branding.
Does a rep evaluate whether a certain project is actually RIGHT for that photographer’s aesthetic before agreeing to bid on that project?
Yes, reps help shape the work that may be helpful (or not) to a photographer’s career. Reps are the managerial presence to keep the focus on track. I’ve seen time wasted and directions sway by taking on off-path time-consuming projects. Consultants are also a good source of these short-term or long-term considerations; photographers should carefully readjust with focal goals.
I have been working with a start-up fashion magazine, and the chief editor agreed for me to photograph her arranged fashion shoots for experience and portfolio work. However, the problem is that when I turn in my edited photos to her, she often retouches them over my finished edits. She then posts this and tags me in the photos. I hate this and don’t know how to get her to stop.
I’ve heard all types of photographers get upset about this topic where clients change the final retouched images. In my business, we cannot control clients from retouching images as they like. We may demand that we do the retouching in-house, but all of this must be agreed upon before the job estimate is approved. We can control whether we grant permission for the client to tag the photographer’s name or not.
