Monday Q+A

Q:

Why can the best cinematographers serve the story and change their look for each script, depending on the requirements of the script, but if a photographer does that, they are condemned, overlooked and discarded for being a “generalist?”

A:

We get to choose two types of paths: technically savvy with a lot of variety or those who provide a more specific curated style, look and feel.  Both options can work, giving you a long-lasting accomplished career, usually depending on your situation, the size of your market, and your skillset. I’ve repped both of these and found the careers of generalists depend on the relationships they build, and the specialists get jobs for their portfolios.

Q:

Do you think it’s a photographer’s personal work that defines their style?

A:

As Amy V. Cooper would say, “This is one JUICY question!” The definition of personal work can mean two very different things. Personal could mean family dinners and travel images, or it can mean testing similar types of scenarios helping to grow even stronger. Personal testing work takes a photographer’s style to that next level. It is how the craft is freely explored and shaped with 100% focus from within creative inspiration vs. an industry trend or client’s guided brand decisions.

Q:

I photographed some products at home (self assigned). I tagged the brand, they saw my work via DM. A few months later they came out with a campaign that is almost identical to what I shot. This has happened to me 3 times with 3 different companies, so I don’t think I’ll be shooting sample things and posting them on Instagram, maybe on my portfolio but that’s it…not sure. What are your thoughts on this?

A:

It is hard to prove when a company uses your copyrighted images for their concepts, but that is one way to approach this. Before posting the images, make sure you register your copyright if you foresee going down the legal path.

My REP thought is this guidepost of encouragement showing you are right on the money with your direction instead of using this as a reason to lower viewings of your images. You have something hot happening here that may need a slight fine-tuning to strengthen the unique magic you offer. 

Q:

I was invited to bid for what developed into branding services for a white-labeling startup company. The company to whom I was “bidding” did not actually provide a specific scope, brief or RFP. Such is how it grew into a “branding” project. Their communication with me wasn’t very responsive. I interpreted it being more like an RFI, providing them with the following:

1. A list of typical deliverables.
2. A list of things not included.
3. A budget range with minimum & not-to-exceed amounts. 
4. An explanation of how scope development was needed to pinpoint the actual cost of services. 
5. Scope development was included in the minimum.

What is your opinion on my approach on the above mentioned project?

A:

This request sounds like the massive amount of undeveloped clients using social media mass photographer reachability to save them money. You’ll need to quickly assess if this is a reliable potential client or an “info for free” mass request.

They are asking you to be their creative development ad agency so you can:

1. Do that for free.
2. Give them your hourly rate for that type of branding work.
3. Tell them to contact you again when they have their shot list spec sheet prepared. 

Q:

What’s the difference between a brief and a deck? Do these usually have all the information I need to do an estimate?

A:

Before estimating a project, you should receive a PDF showing the stylized layout and mood board information called the ‘Creative Brief’ or ‘Creative Deck’ (same thing). The brief/deck will include the logistical production details unless supplied on a separate bid spec sheet. The creative element and the production details allow you to provide an accurate competitive estimate.

Q:

What do I do if I’ve developed a solid synergistic relationship with a potential dream client (who found me!) over numerous emails working out the nitty gritty of a potential project they wanted a cost on, sent the estimate, then got ghosted? I’ve already followed up once (1 week after) now it’s another week after that and not a peep. So disappointing…

A:

Business is business, and as much as clients become our close contacts, we have to remember the ultimate truth that this is their job. We work in an overworked industry where no one has a lot of time. 

1. Don’t take it personally.
2. Your contact means well, but they are busy. 
3. Set a future date where you will email a kind and lightly humble email, understanding they are busy while blaming your curiosity for checking in on what became of that project.
4. Move on to what matters and how to bring your portfolio up to a level not to get passed up for jobs because the real issue is not that they didn’t respond but that you probably didn’t get that job. 

Q:

When first contacting a potential client, should I say something like, “Here is some new work I’ve done?” Or if you don’t have new work to show, is it too blunt to say you want to work together? Is there etiquette to follow up if you don’t hear from them? I don’t want to be that person that bombards them unsolicited over and over.

A:

I always say we should talk to people as we want to be talked to. When you sense someone is “selling” to you, don’t you want to delete, hand up or walk away? Clients know you want to work with them; that’s a given. The more you can sound like yourself, mentioning the fun location or an educational equipment reference gives them something to remember you by, The real stuff never gets old.

Q:

It was mentioned on your APA-LA webinar on Estimates a range of 8K-$16 for a full buyout. I got a job inquiry for 2 days, 120 images. They demanded a full buyout. I want $10k for the usage rights, plus my day rate. I didn’t get the job because they don’t want to pay this amount for the usage rights. What do you do? Reduce the $10k or keep your position? At the end I chose to keep my position, but I do need jobs…

A:

Usage rates have no definite set amount, so it’s a bit of an educated guessing game. The other guessing game is when clients use the term “full buyout,” which means they own the copyright or unlimited usage for an unlimited duration. Bidding a job requires negotiation to make sure everyone speaks the same language to reach a mutual agreement. In this case, your $10k usage rate request for 120 images is more than reasonable.

Q:

I did a free shoot with a celebrity who has a restaurant for a magazine story. When they asked to use the image for a virtual beer tasting event, we kindly allowed them to use it for free. They took that as a blanket usage for all social media without our permission. What kind of contract can we use for approved usage terms with a zero balance? What is the best way to deal with this when we are not charging for the initial use?

A:

Assume when you are photographing in the editorial, portrait, and entertainment industry, you work with people who do not understand copyright and usage terms. Begin with the perspective that you must put everything in a signed contract no matter your fee. Every photographer must have an estimate form signed by the client BEFORE starting the job. “Freelancers” do not mean free from protecting our business. A freelancer means you create your contract with legal terminology available to us on resources like blinkbid.com.

Q:

Hello! I’m a well established Swedish commercial lifestyle and outdoor photographer. I also shoot film and direct. My wife is American, and we are planning to move to Minneapolis soon. The transition from Sweden to the US is a pretty big step. I’ve been thinking of creating a second website that I can promote in the US for SEO and content. I want to meet with reps and, of course, brands and agencies. But as I’m not familiar with the market over there, I don’t know where to begin. What would be a good place to start?

A:

Welcome to the USA! One of the best parts of being a photographer is the barometer for good work is pretty much the same across the board. Moving from one location to another does not preclude you from getting jobs unless you want to work in one type of industry but show images from another sector. A wedding photographer has a more challenging time doing commercial advertising because that shows a different visual perception and aptitude scenario. Moving places won’t hold you back; it can even be a catchy conversation tool that will interest people. Rework your website to include the new location content/SEO/vibe based on the type of work you want to be getting, as that is the true focus.