2011 Posts

Don’t Let Your “Joes” Hold You Back

22 09 , 2011 5 Comments

Most emerging photographers consider themselves generalists if for no other reason than that they want to work and any paying job coming their way sounds like a good one. But if this is where you’re at in your career, you’ll need to at some point do two things: first, become more of a specialist and second, be willing to let go of those early, low-paying clients. In this essay I’ll talk about the low-paying clients.

Let’s imagine the owner of the muffler shop on the corner of Main Street calls you to shoot some pictures of his shop for an ad he is running in the local weekly newspaper. We’ll call him Joe. He’s only willing to pay a small fee and you’ve done all you can to show him your value, why you’re better than everyone else, and most important, you’re convinced you’ve negotiated as far as you can with him on price. You do the shoot, he’s very satisfied, and he wants you to do more work. The fact remains though, he’s a low budget client.

I’m convinced there are two ways to make more money in any service business, including photography: work more or get better clients. I’ve taken the road of working to get better clients. More sophisticated clients understand copyright, understand licensing, and are in general much easier to work with. They are used to working with professionals in every aspect of their business.

Joe on the other hand sells a muffler and his customer owns it. Forever. The very concept of copyright is possibly foreign to him. He thinks since he’s paid you to take the photograph, he owns it. Licensing? That’s at the Department of Motor Vehicles!

As you begin to gain better clients, don’t be afraid to let go of Joe… ask me how I know. What happened to me will happen to you, guaranteed. You’ll have a day booked with low-paying Joe, and that great client you’ve been after for some time now, calls you asking you to shoot that very same day.

Don’t let Joe hold you back. At some point it’s no longer worth it to work for him. Instead, use that time working on your website, your physical portfolio, your other marketing efforts, tweaking your LinkedIn profile, or making a few phone calls or sending samples to prospective clients.

To move forward, you need to let go of whatever it is that’s holding you back. Even if it’s a client. The one exception, at least for me, is the low-paying client who is a rich referral source. To this day, I have one client who, even though I’ve not raised my rates for over ten years, consistently gives me quality referrals. She knows to keep my ten-year-old pricing “our little secret” and in fact pre-sells me as “one of the more expensive photographers in town, but definitely the best!”

I’ll be presenting my sales and networking program “No More Grumbling – Get Out There” in Dallas tonight, September 22nd, and in New Orleans on Tuesday, September 27th.

Book Excerpt: “The Art and Business of Photography”

08 08 , 2011 7 Comments

Susan Carr is the Education Director of ASMP, the American Society of Media Photographers. Her latest book, The Art and Business of Photography, has received critical praise from both photographers and scholars for its candid look at the changing photography industry. It’s quickly become required reading in many university photography curriculums and I consider it an essential read for both emerging and established photographers.

Susan spoke yesterday to a standing-room only crowd at B&H in New York and answered questions from the audience. If you want to purchase a copy for yourself, it’s available at Amazon. I have it on my Kindle and I refer to it frequently. Her publisher, Allworth Press, has graciously permitted me to publish an excerpt from the book. I’ve chosen a few paragraphs from chapter four, “Where Are the Clients?”

– – –

Chris Anderson’s controversial book Free: The Future of a Radical Price created quite a buzz in the professional photographic community when it was released in 2009. The gut reaction by many photographers was negativesurmising that Anderson was pitting free against paid to the detriment of the professional in any field. Anderson actually does a masterful job of outlining a history of how businesses have used the “free economy” to build products and services people will pay for. Anderson writes, “The way to compete with Free is to move past the abundance to find the adjacent scarcity. If software is free, sell support. If phone calls are free, sell distant labor and talent that can be reached by those free calls (the Indian outsourcing model in a nutshell). If your skills are being turned into a commodity that can be done by software (hello, travel agents, stockbrokers, and realtors), then move upstream to more complicated problems that still require the human touch. Not only can you compete with free in that instance, but the people who need http://purchasepropecia.net these custom solutions are often the ones most willing to pay highly for them.”

Like it or not, the photographs licensed every day and, in many cases, even the service of photography are now commodities. Generic photographic subject matter will no longer produce substantial financial rewards nor will it be possible to build a career taking corporate headshots. I return to [Seth] Godin who always seems to concisely hit the nail on the head. “Your organization is based on exploiting scarcity. Create and sell something scarce and you can earn a profit. But when scarce things become common, and common things become scarce, you need to alter what you do all day.” Godin further offers that spare time, trust, and attention are things that used to be abundant and are now scarce. Remember these when formulating your business strategy; potential clients do not have extra time, have trouble giving things attention, and are skeptical as a default. Turn those challenges into assets by saving clients time, being easy to do business with and building trust through quality and professionalism.

Photographs in general are definitely not scarce. We cannot compete on price when seemingly endless images are available for free or nearly free. We cannot compete with mediocre imagery when there are loads of one-click options for obtaining mediocre photographs. Photographers must define what they can bring to the table that is rare and that brings us back to creativity. A specific vision, style, or point of view directed towards a particular passion or interest is our one true unique offering. As a photographer, you need to develop a vision in your imagery, but that same creative thinking needs to be applied to how you run your business. Make it a package, so that all components speak to the same
core message of genuine quality and value.

Discount Additional Image Uses Intelligently

17 06 , 2011 2 Comments

DiscountA question was asked on one of the photographer forums I read regularly:

“I recently convinced a magazine client to commission assignment photography as opposed to buying rights managed. Thus far, we have come to an understanding of fees for the assignment but they have come back asking for the rights to run the story in two other publications that they operate. These are major international publications — UK, China, Asia Pacific markets. I would very much like to keep this client and to increase my relationship with them. What would be the best approach to negotiating for the additional rights? Any insights are much appreciated.”

All sorts of suggestions were being tossed into the conversation, most of them suggesting offering a discount in the form of a percentage of the original fee, for example 25-percent of the original fee.

Creative/marketing consultant and attorney Leslie Burns, offered this excellent advice:

“First, think about it… if the original publication would be seen by (hypothetically) 10,000 people and is worth $X license fee (that is, ONLY the license fee, and not your creative fee for making the image), then a second publication which reaches 10,000 people would also be worth $X license fee. Same reach/effect = same value. Then, because they are being http://onhealthy.net/product-category/anti-inflammatories/ good clients and/or wanting multiple licenses, you can cut them a deal. Give am a discount for multiple licenses. This could be whatever you want it to be — hypothetically, you could say ‘one additional pub with 10,000 circulation = 15% discount; two additional pubs, each with 10,000 circulation = 25% discount per pub.’ Really, it’s what you can negotiate. But a low number like 25% of the original fee for such significant additional use is de-valuing your work. Always look to the actual value of the work as if it were an entirely new license first, then decide if you want to discount that fee as a bulk license or good client kind of benefit.”

I think Leslie makes a good point. I consider a 20-percent discount from any of my favorite places to shop a great deal. Think in terms of discount from the original fee instead of a percentage of the original fee. A subtle semantics change, but an important one.

Have a look at Leslie’s blog, Burns Auto Parts Super Premium Blog. She also has a brand new iPhone app: “Burns Auto Parts Consultants To Go” which is pretty slick. (She’s not in the auto parts business, honest!)

Inexperience Shouldn’t Factor into Pricing

09 06 , 2011 5 Comments

Denver Photographer Don CudneyIt’s time for another guest post and we’re fortunate to have an excellent article by Denver Photographer Don Cudney. In it Don shares his thoughts about how experience effects pricing. Don is a member of the American Society of Media Photographers (ASMP). That’s him there on the left shooting HDSLR video on a chilly night.

When it comes to bidding on a job your level of experience should mean nothing if you are just as capable of pulling off a shoot as your competitors. Seriously. Has a client ever asked you to bid less because of your lack of experience? If they did they’re cheap and not a good fit for your business.

I recently took two fellow photographers to lunch. One has been shooting for over twenty years, the other just under two years.  Days before our lunch both photographers were called and bid on the same large assignment.

The inexperienced photographer thought, “Alright, I should bid less because I have less experience.” The experienced photographer thought, “I should bid less because the other guy is going to bid less because of his lack of overhead.”

Now here’s the irony: only the photographers were having this dilemma. The client had no idea how long either of them had been in business — he was simply looking to hire a photographer, one or the other.

Remember, only you know of your inexperience — the client called you. Remember when you make your bid that they did not call me or someone else, they called you! I’ve spent 20+ years bidding against photographers with a lot more talent and experience than I had in some cases.

Photo ©2011 Bryce Boyer

“Work Cheap, More Work in Future”

07 06 , 2011 9 Comments

A play in one act.

Bob the Client: “If you can do this job cheap, we have a lot more work for you in the future.”

Me: “That sounds great, I really appreciate loyalty. Here’s what I’ll do for you Bob. Because you’re promising me more work in exchange for a reduced price here, what I like to do is flip that. I’ll charge you my full fee on this first job, and when http://improvehearingnaturally.com/Buy-Lasix.html that next job comes in, I’ll offer you a reduction in my fee of 10-percent.”

Bob: “Hmmmm, that’s interesting.”

Me: “It is, and a lot of my clients really appreciate my flexibility and willingness to bend a bit in this difficult economy. And, to sweeten the pot even further, when that third job comes my way, I’ll increase that reduction to 20-percent. And even better, I’ll discount the fourth job 30-percent. So, when can we get started on this project?”

You’ve called his bluff and the total discount across all four jobs amounts to only 15-percent.

If you don’t get the job you know three things:

First, the client was fishing for a bottom feeder and you didn’t bite… bravo! Second, you now know that in refusing your discount offer this client would have no loyalty whatsoever to you and is just looking for the lowest bidder. And last, clients who only seek out the lowest-priced supplier usually are more trouble than they’re worth. Ask me how I learned this lesson!

Negotiating: It’s Not Personal, It’s Business

20 05 , 2011 3 Comments

Jim CavanaughIt’s time for another guest post and we’re fortunate to have an excellent article by Buffalo Architectural Photographer Jim Cavanaugh. Today’s entry is excerpted from two posts Jim made as part of a conversation regarding standing up for one’s rights when negotiating with a client. Jim is currently the President of the American Society of Media Photographers (ASMP).

To quote Marlon Brando in “The Godfather”, “It’s not personal, it’s business”. Business is business. The point I wanted to make was to neither just “stand up” or “roll over”. Business is rarely that black and white unless you have a super unique style and are in a high demand, low supply, business. The question is all about the gray areas. If this, then what? Or, the proverbial, “a bird in the hand is worth two in the bush.” But is it? I doubt it.

Our goal is to make money. How best to do that should be a guiding principal. Business is often about compromise. To get to win-win, there likely needs to be a bit of lose-lose. What might you have to give up to get what you need? Take it or leave it tactics have a way of backfiring and bridges burned can last a very long time. A hard line on a philosophical issue my allow you to win this battle, but lose the war.

It’s a marathon. How do you go the distance? As we look at some of the ideas being discussed, I think we sometimes need to put aside the rhetoric and think in terms of working with someone on a personal level. Building a relationship. Being as concerned about the job next year as the one today.

Is it better to “teach a client the value of our work” or show the value by being easy to work with, reliable, professional and likable? Think about what value really is to your clients. It’s not a price tag on a photograph. Value is the entire package.

I have been in business over 35 years and have never been sued or have never sued anyone. I have never been inside a courtroom except to photograph it! But I have had my fair share of disputes over the years. On only four occasions did I even have to consult an attorney and the last time was in the mid 1980’s!

My approach is not to “roll over” and give in. My approach is to find a workable solution to whatever the business problem is. By not being bound by dogma or rhetoric and realizing that this is business and not personal, I almost always find a solution. A few times I have rolled over and walked away, because my business sense told me that to take the issue farther, based on my pride, would be a losing proposition in the long run. But there have been times when I have taken a strong stand and enforced my rights and settled matters to my satisfaction. But in each of those cases, it was clear that any further relationship with that client was over.

I believe that many photographers approach negotiations with a chip on their shoulder (due to previous encounters) and are ready for confrontation. My “being easy to work with” approach is about expecting issues to arise. It is business after all and each party is looking to get the best deal. But concentrating on our areas of agreement and mutual benefit. I don’t start the conversation with, “I own the copyright and you can’t do this…..”

Stumbling blocks arise; price, usage, third parties, etc. My reply is that we can work to find a solution. Sometimes it requires changing the scope of a project. And in some cases it requires the ability to agree to disagree and walk away from the project.

My philosophy on being easy to work with is about what ASMP SB3 Presenter Colleen Wainwright says: “Be useful, be specific, be nice.” (Have a look at Colleen’s excellent blog titled Communicatrix.)

For me, it’s about looking ahead. Finding agreement. Making it easy for clients to work with me. And finding the wisdom to know when to fight and when not to.

(Portrait of Jim Cavanaugh courtesy of Boston photographer Stephen Sherman. Photograph copyright 2011 Stephen Sherman.)

Shame on TwitPic, Kudos to Mobypicture

11 05 , 2011 9 Comments

MobypictureThe British Journal of Photography today tells us that the image sharing service TwitPic has announced and agreement with the celebrity photo agency WENN. TwitPac will have the right to sell (and profit from, without you, BTW) any images you upload to its photo sharing website. Because TwitPic is one of the largest photo sharing sites used with Twitter, this has serious ramifications for photographers.

TwitPic brags that they’ve ammended their T&C to clearly state that you own the content. But what they soft peddle is that they can sell your images, in perpetuity:

The terms and conditions now read: “You retain all ownership rights to Content uploaded to TwitPic. However, by submitting Content to TwitPic, you hereby grant TwitPic a worldwide, non-exclusive, royalty-free, sublicenseable and transferable license to use, reproduce, distribute, prepare derivative works of, display, and perform the Content in connection with the Service and TwitPic’s (and its successors’ and affiliates’) business, including without limitation for promoting and redistributing part or all of the Service (and derivative works thereof) in any media formats and through any media channels.”

Shame on TwitPic for this blatant disregard for photographer’s rights. I urge all creatives, professional and amateur alike, to halt using the TwitPic service until they amend their T&C to eliminate this corporate greed.

But where to go to upload images to Twitter and other Social Media sites? Easy: Mobypicture.

Taking their cue from the massive amounts of negative attention heaped on TwitPic today, MobyPicture very clearly ammended their T&C to be much more in line with what is fair for photographers:

“Content Ownership: All rights of uploaded content by our users remain the property of our users and can in no means be sold or used by Mobypicture or affiliated third party partners without consent from the user.”

Continuing on their website: “This means Mobypicture will NEVER sell the rights to your shared photos and videos. Your content is yours!”

Many, many kudos to Mobypicture for taking a very positive step that benefits creatives everywhere. Perhaps if enough photographers stop using TwitPic and move to Mobypicture, TwitPic will get the message loud and clear!

Effective Anchor Text for SEO

22 04 , 2011 4 Comments

This post is now hosted at my SEO-only blog, www.go-seo.tips. Clicking the headline will take you to the new blog.