Monday Q+A

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 would need to show this work in order to get more work. 

Hopefully they’ll be receptive to your concerns + work with you on tners that are fair to all parties. At least try your best to get what is 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 because of this, but asking for what you want, in a respectful way, shouldn’t lose you the job.

Q:

Should I watermark my images to prevent people from sharing my work on social media without giving proper credit?

A:

In the commercial advertising business, watermarking your images makes you look like an amateur. Never do this. If you discover  your images are being shared without credit or permission you should contact the individual or company directly.

Q:

Is it better to find a rep who has photographers with a similar style to mine? Or should I find a company where I could potentially fill a void and stand out?

A:

Don’t focus only on their roster of photographers. You should primarily be looking to find a rep who works with your dream client base. You also need to factor in if your work is of a similar standard to their photographers. If it isn’t up to that standard yet, focus on bringing up the quality of your work first so you’re better positioned to find a top tier rep.

Q:

I would like advice about laying out my portfolio. Do you have a preference on layouts? Would an art director have a different preference than a rep? One photo per page or multiple photos on each page?

A:

Printed portfolios can allow the viewer a much needed break from screens. I prefer one image per page, as it allows the image to sink in without distraction and also projects confidence. Exceptions to this could be if you’re using a designer and they are creating a specific look with multiple images per page. But I usually lean towards less is more.

Q:

Do I need to consider where a brand/agency is located before pitching them? If they’re in another state I might not be able to meet in person and I’m concerned I could lose a job over it.

A:

Communication tends to be done electronically, via online portfolio review, conference calls, video chats, etc, rarely in person. If you think the budget won’t allow for travel, you can always offer to work as a “local” once you get to the budgeting stage. Focus on the jobs you really want… that your body of work supports.

Q:

How do you figure out your style? I am working towards making my work cohesive and really struggling with this…

A:

The answer to this question can make or break your career. Familiarize yourself with photographers doing the kind of work you want to be doing, and doing it on a high level. Study them. Understand the difference between a cohesive portfolio, with a clear through line and those who have many different styles. Identify your own visual instincts and apply them every time you shoot. Learn to become objective so you can be the best judge of your own work.

Q:

Do clients want to see printed portfolios when you meet in person? Most of the work we do now is used in the digital space, so would an iPad presentation be more effective?

A:

Today’s world is indeed an all digital space and that is why a printed book can stand out even more. It’s old school for sure, but it can demonstrate your style and allows people the luxury of taking in each photograph. It can also provoke more conversation than simply clicking through a series of images. I highly recommend printed portfolios right now.

Q:

I need to draft a contract for a client. Do you have any recommendations about making sure I’m using the correct language so it doesn’t bite me in the end?

A:

APA is a great resource for contracts and estimate forms. ASMP has advice about legal language too. APhotoEditor has great contributors, including an executive producer of Wonderful Machine, and they give sample estimates. Also refer to the ASR posts about what to include in your bid under the “job description.”

Q:

I am relatively new to the world of commercial photography. I am currently employed by a marketing agency as an in-house photographer to work on clients like Dickies. I am able to execute the multi-tasking nature that is required in this job serving in the roles of producer/photographer/creative director, etc. I am basically a freelancer on a full-time payroll. I recognize that my growth potential here is limited, and ultimately I want to be pursuing commercial photography full-time. However, I’m having a hard time reaching the right clients outside of work. What would you advise?

A:

This is the type of scenario that could help you in the short term and hurt you in the long term if you don’t keep your portfolio growing. You need to do that on your own, after work. Focus your test work on showcasing the exact kind of job you want to book. Your full-time job won’t do that for you. Take advantage of the financial security of a full-time job to test as much as possible.

Q:

What would it take to get you to rep me?

A:

It would take a powerful and compelling body of work that displays a unique, but marketable, style that brands would be willing to pay for. It also comes down to personality for me, I need to trust and enjoy the daily interactions of working with a photographer and have a compatible style of communication.