Are there any new ways to give clients gifts since they aren’t in the office the way they used to be?
With so many clients no longer in their offices, I find the best gift is to bring back the personal human connection by taking them to dinner, coffee, even a phone call or whatever works. Essentially, you are bringing YOURSELF into your marketing plan with sincere long-lasting connections as a bonus to your “cold” mass promos, outreach, etc.
Do you ever find photographers or directors on Instagram?
I have definitely found image makers I want to rep on Instagram as that is the place to find them. Instagram isn’t the only way to show images; it is the platform to come alive on a more one-on-one basis and ENGAGE with more of a personal approach.
Out of curiosity: How many contacts do you have in your list?
Commercial artists often have smaller contact lists on their promo/newsletter client lists than reps do. At SternRep, we can have anywhere between 4k and 10,000 names for any promo. I usually see about 200 – 600 names on artists’ client lists. (Tell us how many you have.)
What are your thoughts on bidding on a big job for a client when your portfolio does not reflect the same exact category of work?
It’s not always black or white. I’ve had experiences where a photographer’s style and the client’s confidence in that style landed them the job. In that instance, it was Toby Pederson booking an Apple campaign that included people in the images, even though he had no people in his portfolio.
On the other hand, there are instances when I can sense the photographer’s bid is in third place because their work isn’t exactly reflective of the job’s requirements.
I would advise you to get in the mix. Your work will be on their radar and use it as an opportunity to show what you’re capable of.
What is this “YOUNG” business approach you have mentioned? Do you mean naive and accommodating, or do clients want younger people? How can we do that?
A young attitude means seeing the business as it is now, rather than comparing it to how it was in the past. It’s about having excitement for new ideas and approaching both technical and marketing efforts with fresh creativity instead of letting changes in the industry weigh us down or keep us from evolving.
What is the best way for a photographer seeking representation to get the attention of potential reps?
I’ve been asked this question in many ways over the years, but the simple answer is: a rep will look at your work and decide whether they believe they can find you work. Emailing a rep directly and sharing your website is still the most effective way to get a rep’s attention.
I have a lot of new projects that I want to show on my website, but don’t want to overwhelm potential clients when visiting my site. If I get rid of some of my older projects, where could they live online without taking up precious space on my portfolio website? A blog or Behance?
Websites must have a clean wave of memorable, fast, readable, and concise impact. We also want to show a story with a different vibe every now and then. The story can be just that, a story. Use a personal human vibe showcase with a unique descriptive platform that stands out as different but shows more of your personality to be the common thread.
How would you advise a photographer about how to get more work?
Focus specifically on the client or industry you most want to work with, and shape your portfolio around that market. Start with one area and master it. Then you can expand and grow.
We just had an odd situation, and I would love to consult with you and see what an actual cost would have looked like, knowing what I know now. It was for a big international brand for a big ad campaign, and we felt completely taken advantage of. We want to learn from this, but I’d love to consult with you! Is this something you might help me out with?
Terrible situations happen with clients across the board, and I always have the same answer: have a rep and/or a producer on your team when bidding on any new type of project. Not all image makers have the experience to know how to protect themselves from a client. An extra set of experienced eyes before the trouble begins can be worth the cost.
How do you work with a client with little to no budget? Do you work with them at all?
Budget is always the issue. Every level of photographer deals with it, and it always ties back to the overall marketing plan. Where are you in your career? Will this image benefit you? Could it solidify a future relationship or be a good image for your portfolio? The bottom line question is: will this “lack of budget” still allow you to create a quality image? If the answer to that question is no, I’d suggest turning down the job.
