Monday Q+A

Q:

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?

A:

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.

Q:

How would you advise a photographer about how to get more work?

A:

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.

Q:

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?

A:

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. 

Q:

How do you work with a client with little to no budget? Do you work with them at all?

A:

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. 

Q:

Any advice on how to set up portfolio showings?

A:

Showing portfolios in person is not as commonplace as it used to be, especially since all your work is available online. So, let’s be honest, do they work on projects that relate to your style? Do you have some cool physical portfolio presentations they need to see? What’s the catch for them? Will you be paying for lunch or bringing in something yummy? The simplest way could be a Zoom or a paid portfolio showing event. The human-to-human level does have a purpose, but each client needs a reason, so think of this from their perspective.

Q:

Is it ok to add people to your mailing list without asking, or should you only contact people who have given you their email address directly?

A:

People can always unsubscribe from your mailing list, so ensure there’s an option. Just make sure the work is applicable to the people you’re including. The key is to do your LinkedIn upkeep, ensuring your target clients fit your specialty. 

Q:

How do you navigate big corporations that are not paying advances upfront for big-budget shoots? Is it a deal breaker? Should a production company pay the upfront production expenses?

A:

Advances are extremely important but the one requirement I’d be flexible with is when we get the advance. It isn’t always before the job begins and if it’s a trusted company, I’m ok with that. If they don’t pay an advance I’d see it more as a red flag making me question if this was a trustworthy client I can rely on for payments. 

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 need to show this work in order to secure future opportunities. 

Hopefully, they’ll be receptive to your concerns and willing to work with you on terms that are fair to all parties. At the very least, do your best to advocate what’s 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 over this, but asking for what you need (in a respectful way) shouldn’t cost you the job.

Q:

Have you found a way to justify licensing images for social media platforms for small restaurants? Is this even a thing for businesses notorious for thin margins?

A:

Licensing images is needed for any usage, regardless of the budget or size of the business. What if that restaurant grows, or what if they share their images with other restaurants? Always make sure the contract is clear, and specifically show them how they can use the images only on social media (paid or owned platforms). We never know what will happen in the future, so it’s important to always protect yourself.

Q:

Is “authentic” becoming synonymous with “cheap” or “low production,” i.e., not wanting to pay as much?

A:

“Authentic” means believable, so the term itself doesn’t necessarily imply cheaper photography. Many photo and broadcast shoots aim for a genuine style and use stylists to achieve that authentic look. However, social media content often has an authentic aesthetic and tends to come with lower budgets.