I’m interviewing several Art Buyer/Producers from a couple of the top advertising agencies in the country as a continuation of my thread on advertising photography. I wanted to give readers an opportunity to ask any questions they many have. Anonymously of course. Either email them to me or leave them in the comments. No silver bullet questions please (e.g. what was the promo/email/book/lighting you saw that made you want to hire that photographer?).

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  1. Are there any trends you see coming out of the recession and is video going to dominate new work on the web?

  2. Question for Art Buyer:
    As someone who shoots mostly Editorial, I’m curious as to how photographers make the crossover into shooting Advertising. What advice would you give to a photographer who’s preparing to present to this different market?

    • @E.S.,

      I second this question. I’d really like to know some thoughts on this.

  3. Promos: do you have time to look at them? Fancy booklet or simple postcard? E-card or physical postcard? How many e-mails from photogs do you get on an average day, do you EVER remember them by the next day?

    Bottom line: best way to stay on your radar?

    i know APE that you addressed this back in your anonymous days, and had that video of all of the pieces that came across your desk… it seems almost impossible to break through…

  4. With the convergence of stills and motion, how do you anticipate that fee structures will be affected? How do you then determine an adequate fee structure from numbers formally split between a director/dp, and a still photographer?
    Thank you.

  5. Do art buyers EVER consider young photographers without REPS, or is it the domain of older, tried and true, established photogs?

    • @mike,
      Yeah, this is sort of a perennial question and the answer always seems to be “yes, we hire photographers with out reps” so maybe I need to ask it differently.

      Maybe something along the lines of “what kinds of things scare you away from photographer who don’t have reps?” or “What are the clues that tell you a photographer who’s not a ‘vet’ can handle the job?”

      • @A Photo Editor,

        I would absolutely love it if you could ask those 2 questions. I’m an emerging photographer trying to break into the advertising world (and in a time of recession too… yikes…). Also, as an emerging photographer, should I advertise myself as that, or keep it under the radar to try and “fit in”, if you will? Are there any art buyers that might actually be interested in new/green photographers? That is, could it be a selling point (that I’m emerging)?

        thanks.

  6. How Can we Get you, the art buyer on the phone to set up an appointment to show our Porttfolio?

  7. how critical is it for you to be seeing photographers that are shooting video? Even just the behind the scenes videos- is that helping/ doesn’t matter?

  8. How can I get previously shot documentary work used in ads? Join Gallery Stock? Do I have to have a rep though to do this or can I try approaching individual ad agencies?

  9. Since motion is becoming bigger. What is the best way for you to view a reel? A link to a site? Would a still that showcases part reel make you more incline to click on the link?

  10. I know ambush phones calls are tacky, but what is the best way to find who is working on the print side and video side of an account?

  11. Wow, so many questions about Motion and still converging more and more. I second all those questions. Would be great to have a better understanding what the buyers are thinking about this.

  12. For those seeking us to grow a third arm and shoot video alongside stills you are going to double the budget aren’t you? Aren’t you?

  13. As someone who works as photo editor/producer with publishers but thinks about switching to art buying, what would be your advise?

    • @NLB, Yes! I’d love some advice on this too.

    • @NLB, @lauren

      ditto. producer for still life photog. dreams of art production/buying with an agency!

  14. Do you see the effect of amateur photographers trying to market themselves to you at your level? Is there an increased level of static that you have to wade through in the age of accessible digital imagery? And what is the best way for a serious professional photographer to cut through the noise?

    • @TunaCan, I also wonder if even a “top agency” buyer feels this downward pressure to free/cheap/amateur work–and how that’s manifested. Even if amateurs aren’t marketing, they can certainly be found quite easily. How do we stay ahead of that curve?

      • @bill, “Even if amateurs aren’t marketing, they can certainly be found quite easily. How do we stay ahead of that curve?”

        I would guess the answer is to maintain and increase professional standards and be better than the amateur.

        just my guess.

        • @Tim, “be better.” Yes, of course. But what I wonder more specifically is what are the things that drive buyers to these new amateur avenues, or keep them from them. Is it solely and exclusively budget (meaning that when/if they have a budget they will pay for “better” work?) Or are there other factors at work can impact the choice? It may very well be only a matter of dollars. And I hope so. But if not, I’d like to know.

  15. What role do you see Crowdsourcing play in the next year or two? How about Social Media?

  16. What are the most current trends in CGI replacing photography, and how do you see it progressing?

  17. What is the single most important quality or approach you look for when hiring a photographer?

  18. Hello,

    I tend to think that most photogs on the market (or, say, who are still in business and have been so for more than a couple of years) are good ones. As far as advertising is concerned shots are usually pretty well planed ahead, and a good photographer is basically someone who will be able to come up with the picture he or she has been asked for. At this point, it seems logical to assert that talent is obviously not the only criteria. Others could be:
    1- security (you hire that studio because you know them, have worked with them before, or they are renowned, so a) you know the job will be done in full respect of time and budget and b) if not, no one will ask you ‘why the hell did you hire them?’)
    2- money (they are good and not too expensive)
    3- additional services (large studio just around the corner, e-capabilities such as real time ftp posting or high class capabilities in formatting, retouching, and digitally enhancing the pictures)

    Do you agree with this point of view? If so, can you order this list?

    Thank you

  19. a question to the buyers: what feedback and conversations are they hearing coming to them from the professional photographers that they have worked with in the past several years? They have their eyes and ears to the industry and it would interesting to hear their thoughts on how their roles will shift in the coming years and the role of the professional photographer?

  20. Is it me, or does it seem like the Ryan McGinley campaign for Levi’s seems like someone just wrote graffiti on a fine art print?

  21. Where do retouch artists fit in their scheme of things. Are art buyers looking for photographers to bring in a retouch artist, or do they want to choose the retouch artist themselves. Do they think of the retoucher at the beginning of the project or once it has been shot.

    Thanks

  22. How much does region influence your decision to hire a photographer? For example, do you defer to the major markets of NY and LA or do you see more of an opportunity arising in the near future to photographers not in either of those two cities. Aside from travel costs, do you find that reaching further afield for a photographer can make for a better or worse experience/shoot/final images? I know that in a perfect world we are all hired on our skill and merit but unfortunately that is not the case.

    So, do I change my cell to a NYC or LA number…..

  23. love all the questions about still/video convergence. we’ve been wondering if art buyers are now looking for photographers to shoot short simple video for use on the web as well as the stills. will you/do you expect photographers to know how to handle the union rules that apply to video shoots?

    also, what do you think about photographers using behind-the-scenes imagery from shoots to promote themselves on social media? not just the final image
    chosen for the campaign, but also things like before and after retouching shots, short videos about the retouching was done, behind-the-scenes videos showing the photographer at work, etc?

  24. Oh, and finally, are you reaching out to amateur photographers whose work you find on Flickr and elsewhere, getting model releases, and using that kind of imagery in campaigns?

    • @Oliver,
      yes, they do. More and more.
      Just ask any stock photographer.
      Y not ?

      Photographers use Hasselblad MF mega equipment, pro-models, Muas, studio stuff, etc, etc , put it on Micro-Stock-Agencies and are happy to get as low as 5 cts per RF-image (together with all releases)…

      I have no idea why photographers do it – but it’s a fact.

      As an art buyer/producer/client/whatever, would you take those offers ?

      Best of all, no risc included. The result (the image) is already on your screen. Just merge in your brand name, logo, product …

      Cheers, Reini

  25. How does the “you get what you pay for” credo translate to the big-time clients (like Nike, Mercedes, Cover Girl, Apple, etc.)?
    Will the lowball bid often get thrown out?
    Will they often pay for an extravagant bid because the photographer appears to know what they’re doing a bit more than those bidding lower?
    What are some itemized costs that are typically seen as red flags? Are there any itemized costs that are essential that aren’t seen enough?
    Also, how often, if ever, are photographers expected to conceptualize the ad campaigns?

  26. How much wood could a woodchuck chuck if a woodchuck could chuck wood?

  27. Why do art buyers worry more about having eight people from the agency on a shoot that only requires an art director and an account executive? Why so much focus on saving money on the creative but blowing up the budget making it a vacation for the agency people.

    • @Cam,
      Excellent question. I was looking for a few of these.

  28. Rather a mundane question concerning the best way to present photos to Art Buyers, either bidden or unbidden. pdf contact sheets, jpegs, file sizes, resolution, watermarked or not, identifying file name?

    Essentially, I am interested in what is the best way to send photos to you that makes your life easiest.

    Sorry it isn’t sexier than that.

  29. Maybe you could all the art buyers and producers you plan to interview let establish a wishlist what shall be included (and what NOT) in a photog’s email-promo.

    Thereafter, on a rainy weekend, you could make a standardized blank.
    Call it AAABPPPF #0815 (American Association of Art Buyers and Producers Photographers Promotion Form) .
    Free download HERE http://plain-glass.flywheelsites.com/AAABPPPF#0815.pdf (with a ‘lil donate button for all the effort)

    And with a footnote: best time to send – e.g. Tuesday, 10:00 AM, local (art buyer’s) time :-)

    Cheers, Reini

  30. Quick questions:

    Are you any less likely to give a job to a young photographer?

    If you’re about to hire a new photographer, how important is it that they have a rep, especially if they are younger? Or does is it more attractive to not have a rep and you can forgo the additional rep fee (if not just taken out of the photographer’s fee)?

    Thanks!

    • @Christine Blackburne, sorry, just read though the questions and I see this has already been asked.

  31. How about this:

    How do you feel about ad base and constant contact type email promos?

  32. Do you send any end in sight for the “15 year old with a point and shoot” look / trend?

    • @wb,
      sorry, that’s “see” any end in sight…
      typing and spelling like a 15 year old with a point and shoot…

  33. How much new work are you commissioning? What percentage of last years creative? How do the rates compare to last year? We all seem to be chasing a smaller piece of the pie.

  34. 1) With ad budgets being sliced and diced left and right, and thus print media buys being reduced, what is the ratio of photo projects being produced for web vs those still being produced for print, outdoor and newspaper?

    2) With a reduction in spending for print, costs need to be reduced as much as possible. On both sides of the camera. Thus, how important is it to hire a photographer that can achieve his/her look in camera vs those who rely heavily upon post production retouching, compositing and CGI?

    Thanks for your time.

  35. How do I as a new photog with a better book than my established competitors get the AD/AB to see that, instead of just booking the established guys out of habit?

    • @Erik,
      Do you really think they do it purely out of habit? I think a better question might be how much does the book play into the hiring decision. More specifically after you’ve crossed a certain threshold with the quality of the work does it even matter? Because, if you’re work is truly better than your competitors (many times people just think it is) and you’re not taking jobs from them then it’s something else you’re not doing right.

      • @A Photo Editor,

        For the sake of argument, and the original question, let’s assume the work actually *is* better.

        At the lower end, sure, I do think habit plays into it. But then again, what do you define as habit? Is it just lazyness? Is it knowing that you’ll have a good time working with the guy. If it’s the last, then it’s not the guy being lazy, but the guying wanting to stay safe.

        Considering your input, I’d love to rephrase/add to the original question:
        How much does the book count, and how does that factor scale relating to past experiences/word-of-mouth?

        I’d assume the book is more important for the new guy, but maybe that isn’t it, maybe references is *more*, not less, important when starting out.

        Dunno.

  36. Is it common practice to ask for estimates from photographers you have no intention of hiring, because you need three quotes to satisfy the powers that be?

  37. Last call for questions before I email them off…

  38. If you are working with an established set of photographers, what is the trigger that makes you look around for a new person to work with?

    What are the top five reasons you choose to work with a particular professional photographer?

  39. Simple question, it used to be you could call for an appointment to see a creative with your book. Now the first response is do you have a website? and then we’ll see. This tends to eliminate the personal aspect, and the impact of work in print. Any thoughts on how to actually get in to see a live person?

  40. One of the things I got out of a meeting with a TBWA Print Producer was that their recent campaigns used more text and graphics than photography. So I asked why that was, but I didn’t really get a clear answer on that. The few hints on why were things like time constraints, in-house creatives, or that graphics and text were easier things to mock-up for the pitch. The implied message was that the pitch often drove the campaign, and if it did not start with photography they would seldom include it later. I don’t know if there is a better way to ask this, but what would move agencies to use photography over graphics and text?

    • @Gordon Moat,

      tbwa on which coast exactly? got to think of their client base.

      • @jamie, West Coast, with the meeting in California, though they work on International campaigns. You can see their client base on their website – http://www.tbwa.com

      • @jamie, Check out the recent global campaigns for VISA and Pepsi. Those are examples of what I mean.

        • @Gordon Moat,

          am i missing something? i see some great still life photography, styling, comping (go techs!), heck even some sculpture and metalworking…

          • @jamie, If you were in San Diego, or Houston, I would be happy to share my notes with you, and you could see the specific projects and clients. Since you don’t put a last name or link, I don’t know if you work for TBWA. My phone number is also on my website for my office, and you are welcome to call me; it would be easier than typing so much.

            Specific clients at that TBWA/Chiat-Day office are Apple, Gatorade, Lucky Brand, Nissan, Pepsi, VISA, Pioneer, and Energizer, just to name a few. They are not a regional office, this was the office that handles global campaigns for those brands. Time and budget constraints were the main issues stated driving current solutions.

            Take a look at Gatorade and Pepsi, and they are very graphics and text heavy. Lucky Brand campaign was mostly done using older available materials. Click through the print examples for Pepsi, and none of them use photography. The images of the billboards on the TBWA websites are done by their in-house people; they are not hiring photographers to document their work for their website.

            I’m just relating what I was told, and that was in a room full of people prior to them even knowing I was a photographer. I had a fantastic one-on-one meeting later, and I have a great deal of respect for the work out of their agency.

  41. Even after years of experience and still trying to break the advertising nut, how do I get hired to shoot what I feel that I do best?

  42. An estimating question (sorry if you’re sick of it already).

    When an ad agency asks you to do an estimate, is it okay to ask them if they have a budget in mind? Can I ask if I am bidding against other photographers?

  43. Most of the times we (photographer’s agency) present our work to the art buyers, because the creatives are to busy. We would like to know if and in what way the art buyers present us to the creatives.

  44. Is there any trace of globel recession has affected the art industry ,
    I mean in selling of portrait paintings, If so could you advise some tips to overcome that dilemma.


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