Reps

Q:

Is it true that you shouldn’t be looking for a rep until you’re so busy that you can’t handle the backend work yourself, or can you reach out to them when you’ve switched genres or are still growing?

A:

Rep support can cover different needs, as we are all different. I personally enjoy diving into understanding the artist and what they need to up their creative level, always growing to achieve more success. No rule on when a rep is right for you, as it may be more about meeting the right rep for your professional growth patterns.

Q:

What can I do if I’m not happy with my USA representation? I respect my agent, but it isn’t happening. Basically, nothing has come out of it after 2 years, so I’m thinking of going with another agent if I can. Am I greedy? Am I impatient? How do I handle this fragile issue to make this change?

A:

Agents and image creators have equal team-playing responsibilities to find success together, but it truly takes both sides. I’m an agent, and we do our “sales,” which, of course, depends on the sales content we are provided. Is your agent getting your work in front of the right clients? How are the others on your agent’s list doing? Do you like your agent? Does your agent’s vibe inspire you to do your best? Are they available to you? Are they active on social media? These are some of the questions I’d ask myself if I were you.

Q:

How do I get an agent when I have not booked any commercial clients, and I mostly do fine art/conceptual/corporate/family work? If I transition to a higher-end portraiture style and get some unpaid projects with AP & Reuters-type publications, will that help?

A:

 Reps basically need to see a style they can sell to their market. I am only familiar with the commercial advertising world, but I would think that if your work hits the mark for what photojournalism/editorial work looks for, you could get your foot in the door. Yes, photo needs have changed, but the bottom-line truth, in my eyes, is that talented skills keeping up with the times open doors.

If you could ask any agent what they suggest to push yourself along to great success, they will say “TEST TEST TEST.” 

That is your job, whether you are officially working or not; know that your advisor would want to see regular, continuous testing to enhance your growth potential. Simple as that.

Q:

How do you quickly evaluate a photographer’s Instagram account?

A:

My usual way to quickly “judge” a photographer’s IG account is to see when they last posted on their grid. It’s not about the number of followers that makes them a photographer to take seriously; it is how often and how active they are with their second website.

Q:

Once a photographer secures a rep, can we feel relieved knowing that the rep will secure regular work for us, maybe once a month or more? I believe this is an essential question since photography is a precarious profession, and I’m curious if representation can mitigate this. 

A:

Simple answer: NO

Think of it like this: a rep can open doors, but it’s still you and your portfolio showing up to those meetings. 

We have the contacts, and you have the goods. The real question is: what do you need in order to land the jobs? Is the answer something where a rep can help you grow your portfolio and make you more findable or credible with exposure? Figuring this out before you look for a rep may save you time and help you determine whether a rep is truly the right path for you.  

Q:

I’ve been thinking of reaching out to agencies, both local and international, to get represented. Do you have any tips on how to do this? I don’t want to make a bad first impression with a terribly worded email. 

A:

Good point! Don’t overthink the wording. If you are already represented and looking for a change, you can be honest about that. If you have never been repped and are newer to the business, keep it short because reps understand what you’re asking. It’s not always easy for us to say no, so consider emailing a thoughtful question or something relatable to start building a relationship, rather than putting pressure on a yes/no response. Reps know what you’re saying and, if we’re interested, we’ll continue the conversation.  We are happy to see a quick rundown of your situation, giving us a sense of the kind and confident person you are, but the more you say to us, the more we don’t read what you are saying. Make it easy for a rep who gets many of these emails a day. 

A bit of a personal share, as one major part of my representing world is two other reps with whom I have weekly check-in chats for many years now. I never thought I’d be able to trust others in our business, as I was warned against it. Well, I gotta say this is what gets me through. Not feeling alone in this business may be crossing a risky line, but it may be well worth the investment. 🩷 @bigleoproductions @poppycreative

Q:

Do photographers need to be repped anymore?

A:

Photographers, directors, CGI, AI, etc, do not NEED to be repped the way they used to. Years ago, we were the primary means of reaching clients, whereas now clients have a direct path to you. The decision-making question now is: what will serve you the best to secure the most jobs, maximize potential fees, have overall support and marketing outreach on your own or with an agent partner? You can now weigh the odds and see where you stand in your situation.

Q:

What are the most important things to include in a bid?

A:

Some MUST ADDS to every bid: 

1. Specifics of what the bid is based on (image count, variations, amount, and schedule of days, the deliverables, etc.)

2. Usage licensing terms and copyright rights 

3. Gear charges even when you own your equipment

4. Timelines and deadlines to clear up how many hours per day are included (pre-overtime), and when and how they will receive the final images

5. Anything you are expecting them to cover or supply

6. Advance invoice amount and date requirements