Wednesday Wisdoms

Clients need to trust us if we want to create open and honest communication. One way to keep it honest is to change the bidding categories they requested on the 1st revision instead of adjusting other costs/conditions they may not notice.

I have a personal tip regarding estimating when bidding on a job. When I send a bid and the client responds with changes or questions, I sometimes feel uneasy about modifying other aspects of the bid that weren’t part of the original discussion. If I do make changes, I have to assume that the client may not read through the entire estimate again and might miss the updates, which can come off as sneaky or unprofessional.

Therefore, I believe it’s important to inform the client if any additional changes are made beyond those initially discussed. This transparency is something I find extremely valuable, and I wanted to share it with you.

You are the director, so be your own career’s director. Success requires leadership, ownership, and the ability to direct and take charge of your creative business path. 

Take that Creative Call as the opportunity to close the deal and get the job. Show up as you would in any conversation. Be present and respond by sharing your opinions/thoughts/ideas/excitement throughout the call. They are wondering who you are, and this is your opportunity to give them a sense of who you would be on set. 

The creative call is a crucial part of the process for getting a job in the commercial advertising industry. While the treatment, bidding, and portfolio are important, the creative call is when the potential client wants to interact with the photographer and see what kind of person they will be on the shoot. During the call, it is important to listen carefully to the shot list and other details, but also to be ready to jump in and express ideas or technical knowledge. Sharing personal experiences or perspectives on camera angles, fashion, coloring, lighting, and other aspects of the shoot can demonstrate creativity, passion, and professionalism. The creative call is an opportunity to showcase who the candidate will be on set and how they can contribute to the success of the project.

Take advantage of the spare time between jobs by getting all your prep work done. Be ready to pounce. Remember to distinguish off-shoot days from extra time, creating lower quality, frantic, and last-minute production stress. Get your checklist in order with all the necessary pieces like bid forms, dig tech and crew, retouchers, location scouts, stylists, producers, and TEMP REP (if needed).

NEGOTIATING TIP 101: 

Get the most information in the shortest amount of time with a good old-fashioned client Phone Call. Use the phone time wisely to get those “awkward to ask” questions about budget, first choice, competition, and lowest bid topics. It’s that one-to-one camaraderie with off-the-cuff, less self-aware personalized touch moments. 

Negotiating over the phone is more effective than doing it in person or via Zoom. In our experience, more information is shared once people warm up and get to know each other on the phone. We’re unsure why this is the case, but perhaps people may be less aware of themselves on the phone, making them more likely to share information. We recommend trying an old-fashioned chat for negotiations.

The key to getting more out of your MARKETING is to constantly add new work to your portfolio. Give your marketing plan what it needs to get you where you want to go!

The one correct business ‘roadmap’ is a myth. I notice people in our business assuming there is an ideal way we should all strive for, but that is not what’s happening out there. Trust me, each of us is doing this differently, and your ideal plan should depend more on who you are vs. any set formula we all need to keep up with or fit into.

Photographers in the business do not have a set of norms for how to conduct their business. Each photographer has their own way of running their business, what kind of clients they want to attract, and what they are aiming for. There is no one set way of doing things, and each photographer has their own unique strengths and ways of getting themselves out there. Observing photographers from all over the world, as well as the six we represent, everyone is a bit different and we should figure out how they want to do things. There is no one pattern to follow, and photographers should focus on what they are great at, what they want to test, and how they want to shape their book. It is important to know that there is no set way to do things and photographers should not try to fit into a mold just because everyone else is doing it.

I know we all want to send correct estimates, but sometimes, not knowing all of the detailed bid info, I see the opportunity to get one more round of feedback after I submit the estimate. I use it to my advantage.

Save yourself from getting trapped in bid prices without correct production tasks by naming your estimate as a BALLPARK BID. Your costs can be listed as menu options instead of included in your total. “Costs may change depending on the information provided.” All the ways to be as accurate as you can with the information you’ve been given. 

When bidding on projects with incomplete information, it is advisable to make ballpark bids to protect oneself from potential changes in costs. The use of TBD (to be determined) for uncertain details such as usage, and menuing out all possible options, can help emphasize that there may be fees associated with certain aspects of the project. It is important to make it clear that all estimates and bids are subject to change depending on new information and to avoid trapping oneself into fixed prices. The use of clear language in emails and estimates can help ensure that there are no misunderstandings or surprises later on.

Sometimes it’s best not to show your new only because it’s NEW. We always want to show how busy we are in our world of heavy-flowing content, but most importantly, the work has to stay consistent with your style.