Monday Q+A

Q:

Does a rep evaluate whether a certain project is actually RIGHT for that photographer’s aesthetic before agreeing to bid on that project?

A:

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.

Q:

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.

A:

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.

Q:

Can a photographer be represented by more than one rep, in different locations?

A:

Reasons photographers may want more than one rep:

1. Think of reps/agents as “market-focused,” as we have our brand clients, and if you have two types of careers happening, you may want a rep covering a different market focus.
2. Reps can offer full-time or temp-rep style representation where you can get to know many reps and how we work.
3. Location can affect your rep choices depending on whether your type of work is region-focused.

Q:

In building my portfolio, I test often with many models as a trade deal. The problem with this is when I send the model the raw images, they ask for all of them. I don’t want my name associated with all the images, so how can I set this boundary to only share the best images? 

A:

All photographers – make every term on your test or job estimate form clearly agreed upon BEFORE the job begins.

Term topics to cover:

1. A certain amount of final images to be shared.

2. Retouched/finished images are to be used only and cannot be edited in use.

3. Usage rights permitted for the model and photographer need to be clearly stated and agreed upon in an official talent release form.

4. Payment to models must occur on the same shoot day.

4. Copyright is the photographer’s, and the photographer must agree upon any other usage by the model in perpetuity.

Q:

What does “re-use” mean?

A:

Re-use is when an image is purchased to be used beyond its original licensing agreement. For any new, not yet agreed upon licensing in the original bid contract, the client must pay an additional fee to use the image. Of course, there is so much more info about this as clients often aren’t keeping track of what usage rights they have or for how long. We have to keep an eye on this, which is not an easy situation.

Q:

I plan to visit the Palm Springs Photo Festival for a portfolio review – please share some insights on what kind of portfolios are still going on – the good old print or digital portfolios. Or mini photo books as leave-behind prints for marketing materials?

A:

Recently, I had the privilege of seeing a room of well-branded reps and how we all had different methods of showing off our talent’s work to potential clients. We each had a unique mix of screens, iPads, and printed portfolios on our own stylized table setup. We all had our own “take home” swag that resembled the feel of our rep agencies. What stands out to me most about this portfolio show was how we mostly had it all in our own memorable style – printed materials/books and motion screens, which sums up the state of our industry.

Q:

How do I follow up with someone who appears to have opened my newsletter repeatedly, but I don’t have any relationship with them, and their agency doesn’t appear to do work that aligns with mine? This makes it hard even to know what to send as a follow-up. It’s hard to know how to open the conversation without the incredibly creepy “I see you’ve been opening my newsletter a lot this week.”

A:

SUCCESSFUL MARKETING = ENGAGEMENT

Our long-term marketing efforts are the goal, as we know how creatives move around rapidly from one client to another. While you have the correct landing info for the ones who open your promos – USE IT! Get on LinkedIn, Instagram, or their personal website, or email them and connect so you can take advantage of this rare (and expensive) opportunity. 

Q:

I want to brand myself as a high-profile portrait photographer. How and where can I market myself? Who would be my major potential client? How should I reach them?

A:

As with all industries in the commercial world, the path to success is somewhat similar. Educate yourself about other high-profile portrait photographers and analyze their clients and marketing methods. Research everywhere their work can be found and what tools they are utilizing. 

Q:

When approaching a big ad agency, who should I connect with? I usually hit up a mid-level art director, but should I be approaching producers? I tend to send expensive DM pieces, so I can’t ship to everyone!

A:

The decision-makers at big ad agencies include the Creative Director, Art Director, and Producers. All three are involved with different roles, but the AD usually chooses which photographer will be the “recommend” to the client for the final decision. My method is to contact all of them and see who responds, giving me better odds of a more personalized, well-received marketing piece.

Q:

Do you have to turn jobs away because of low budgets, or do you make it work? If you photographers are in a slow period, does that make you more open to taking on these jobs?

A:

I do have to turn jobs away regularly because of low budgets. 

My checklist to consider these lower-budget projects:

1. Can this lead to future larger-paying jobs with this client or others?
2. Is this a paid test that will benefit my photographer’s portfolio?
3. Will the usage rights be controlled to match the budget?
4. Would this be a regularly reoccurring client where fees add up as a regular gig?
5. Does adding the client name to your client list help?
6. Is there any chance of the low budget restricting the job quality, and if so, this is a definite NO WAY.