via Seth’s Blog

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Tag-teaming with TV crews on ad shoots

Our producer Jess Dudley recently quoted a job for one of our photographers to shoot a number of environmental portraits of real people, for a major New York ad agency and their pharmaceutical client. Each of the subjects was a patient using the drug made by the client. The pictures were going to be used in print ads and collateral material, to help illustrate the improvement in the patients’ quality of life since starting the drug regimen. This project was different from most because the ad agency wanted to shoot TV commercials (with a separate video crew) on the same day, using the same location, models, stylists, wardrobe and props. Shooting print and video simultaneously offers a number of efficiencies for the client. It certainly makes some parts of the photographer’s job easier, and it helps create continuity between the two final products. But it adds some estimating and logistical challenges as well. In the end, our photographer was awarded the job, and Jess also served as on-site producer and digital tech.

Jess explains how he approached the initial estimate:

Request For Bid

Since the client had a lot of experience commissioning photo shoots, they were able to express pretty clearly what they wanted to accomplish, and what their expectations were (though there were still a lot of unknowns). The art buyer sent us a letter (known as a “request for bid”) with many of the details that we would need in order to put together a proper cost estimate. Then, I followed up with questions.

When you’re working with less experienced clients, you’ll need to be more proactive about getting all the information you need. We use this cheat sheet to prompt us for all the items we’ll need to consider.

Here’s what the client asked us to bid on in the RFB:

• 6 portraits of real people
• On location at a suburban home (near the photographer)
• You’ll have to schedule the still photographs around the video shoot
• The video crew will find the location and dress the set (you may need additional props)
• You’ll be able to share some of the wardrobe, stylists and catering with the video crew (and you may need to share part of those costs)
• We’ll want unlimited use of the pictures for a year (mostly for consumer ads and print collateral)

The Fee

At the most basic level, I think about the total cost of any job as a function of time, materials and licensing.

Lumped in with “time” is not only the actual time needed to prepare for and execute the shoot, but also the difficulty, level of skill, and rareness of skill required. If it’s a job that hundreds of other photographers could do and want to do, it’s not worth as much as a job that only three people in the world could do or would want to do (either by virtue of special skill or unique style).

“Materials” broadly refers to all of the production items that you have to pull together to add to the photographer’s vision, in order to pull off the shoot. These might include: assistants, digital techs, retouchers, location scouts, locations, permits, insurance, studio rentals, hair & make-up stylists, prop stylists, props, wardrobe stylists, wardrobe, vehicles, travel, meals, catering, models, casting, equipment rental, set construction, etc.

“Licensing” describes how the client is going to be able to use the picture(s). Broad usage for a long period of time is worth more than narrow usage for a brief time. Advertising use is normally worth more than collateral use. Collateral use is usually worth more than publicity use. And publicity use is usually worth more than editorial use.

I normally bundle the “time” and “licensing” into one “creative fee,” taking all the factors I can think of into account. The client had already produced a similar project before, and I was able to see the results of that, which they seemed to be happy with. The approach they were looking for was relatively low-tech, simple, flattering portraits, with naturalistic lighting, showing the patients in a warm and friendly way. What they valued most was having a photographer who could bring out the personality of the patients.

My normal rule of thumb for unlimited use of one image for one year, for a major brand, is that it’s worth about $10-20k. In this case, the pharmaceutical company was a major player but the drug itself was no blockbuster. For advertising use especially, I will normally charge by the picture rather than by the day. Even in cases where I’m quoting by the day, I’ll put a cap on the number of images we’re including for that fee. In this case, I felt that the first image held most of the value and each additional image was worth much less. Since they were very similar portraits, just with different people, each additional image merely complimented the first, rather than providing unique material.

The fact that the actual time, difficulty, and technical/creative demands would be relatively modest put some downward pressure on the price. The fact that it was a client with global reach, and they needed unlimited use (including the potential of national advertising) certainly put some upward pressure on the fee, and the one-year duration was a limiting factor. The fact that the location, props and models were going to be provided for us put downward pressure on the price. The fact that the project was local to the photographer put downward pressure on the price. The fact that the photographer had to work around the video crew was basically neutral. It just required that the photographer have patience and a manageable ego.

As a point of reference, I’ll sometimes check Getty or Fotoquote to see what a similar stock photo would fetch. But in the end, you just have to consider the totality of all the information you have, and use your intuition to determine the price. For this one, I decided to quote $14k for unlimited use of six images for a year.

The Production Costs

The art buyer wasn’t sure, at the time of the initial estimate, which production items were going to be paid for out of the video budget and which were going to be paid for out of the still budget. So to play it safe, I assumed that we were going to have to pay for everything we were going to need (or at least our fair share):

• 1 digital tech: so the client could see the results as we went along
• 2 assistants: to help move the equipment around, and stand in for the subjects
• 2 hours of retouching per image: should be more than enough for non-supermodels
• 1 production day: for me to pull together all of the production items
• 1 scout day: for the photographer to walk through the location and map out a plan with the line producer
• 1 location fee: we don’t have to find it, but we’ll need to help pay for it
• 2.5 wardrobe stylist days (1 to pull, 1 to shoot, .5 to return) and some wardrobe: we were only going to need to augment what the video crew was already providing
• Hair/make-up stylist: you might think that a makeup stylist could work on both sets, but because the stills and video were happening at the same time, on a hot day (requiring constant powdering), and sometimes hundreds of feet apart, I decided that we’d need our own dedicated person
• Props: unlikely, knowing how thorough video prop stylists are
• Travel, misc.: minimal for local shoot
• Catering: breakfast and lunch for our crew of 4
• Equipment: also minimal, so I chose not to charge separately for it
• Sales tax: some situations require the client to pay sales tax, but rather than speculating on it, I just say, “plus applicable sales tax”

Here’s the proposal (estimate and terms & conditions) I sent to the art buyer:

Later, more details came in so I had to revise the estimate. The project changed from 6 people to 5, and they also wanted to license a head shot of each subject, which they would simply crop out of each environmental portrait. To me, it was a wash. It was 10 images instead of 6. But the head shots weren’t really adding a ton of value for the client, and shooting 5 subjects instead of 6 was less work for the photographer. So I left the fee at $14k.

The art buyer also decided that she would determine our share of the location fee, wardrobe, and catering, and she would just tell us the number after the shoot, to add as a line item on the invoice. We would quote our other production items in the usual way.

That all settled, she signed off on the estimate, and sent me a check for $13.5k to cover expenses.

We had a pre-production phone call with about 20 people to iron out how the day was going to go. Then we did a walk-through of the location the day before the shoot, along with the video director, prop stylist, and line producer.

The shoot went really smoothly. The video crew shot their thing, then sent the subjects to us to do our bit. We made adjustments here and there to the wardrobe and grooming. But otherwise, it all went off without a hitch.

A couple things (in general) to remember about price quotes:

• A proposal should include at least a cover letter, estimate page, and terms & conditions page. This job was relatively straight-forward, so it doesn’t need much explanation. More cosmplex projects will require a more extensive description of how you’ll approach the shoot and how you’ll solve the technical and creative problems it presents. You’ll have to convince the client that you know what you’re doing, and that you’ll be able to deliver the final product.
• Be clear about whether you’re offering an estimate (where the expenses are detailed, and will vary somewhat in the final invoice), or a bid (where you’re offering one lump price, and as long as the client doesn’t change the parameters of the job, that will be the exact cost).
• Be clear about who you are contracting with (normally the ad agency).
• Be clear about who you are conveying the image license to (normally the client).
• If the client (or anyone else) is going to provide some normal production item (like catering or props), acknowledge it on the estimate so there’s no confusion about it.
• Be clear in cases where the client is paying for any of the production items directly, rather than through you. If you are going to be on the hook for a lot of expenses, you’ll want to make sure that you either get the expense money up front, or that the creative fee, production fees, and/or mark-up justifies the risk.
• Avoid having your payment be contingent on the ad agency being paid by their client. It’s very hard to collect money from someone with whom you do not have an agreement.
• In the same way, be clear with your subcontractors. Normally, it’s the photographer’s obligation to pay subcontractors in a timely fashion regardless of whether they have been paid by their client. If you want your subs to share in your risk, the golden rule dictates that you have to tell them that at the time of the booking.

We delivered the pictures. The client was thrilled. Here’s the final invoice:

A little less than a year later, the art buyer contacted me for a quote on extending the licensing on all 10 images for an additional 2 years.

When a client relicenses a picture, I normally discount the rate on that use. As the pictures age, they tend to (though not always) decrease in value. In this case, I figured the second year was worth about 3/4 of the first. And the third year was worth about 3/4 of the second. So I sent her a quote for $18k, which she accepted.

You can contact Carolyn Tucker to find out more about Wonderful Machine at 610.260.0200 or carolyn@wonderfulmachine.com.

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Fashion’s Raunchiest Photog – The Daily Beast

Fashion’s bad boy perv goes too far – Salon

Everyone in Fashion Knows Terry Richardson Messes Around With the Girls He Photographs – NY Magazine

Model Jamie Peck: ‘Perv’ Terry Richardson ‘Waggled’ His Privates Around – Huffington Post

It all started when model Rie Rasmussen called him out. “for exploiting and degrading young women through the power of his lens” in the NYPost (here) and then that story in Jezebel where a model recounted several encounters with Terry that has now left everyone a little disgusted and alarmed with his behavior. In a few of those stories fashion insiders are defending his behavior as common for “…an industry filled with crazy people and big personalities.”

I guess I always assumed that Terry kept two separate worlds going, one in which he shot fashion, portraits and covers of high profile models, celebrities and politicians and one in which he fed and documented his sexual appetite. But, I guess I should have figured that line would be impossible to maintain and certainly even harder the more vigorous the ego stroking by the art, fashion and media communities. Of course we’ve seen photographers taken through the wringer online before and they never seem much worse for wear on the outside but who knows what potential jobs are spiked because of it.

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I’m really excited about this presentation because I’ve been working on a “white paper” about this subject for awhile now. Not because I want to go around the country lecturing to photographers–this blog is enough for me–but because I want to present my ideas to corporations and media companies. The public demand for professionally produced content is going to explode and companies need to know how they can use photographers, writers and filmmakers to help them feed that appetite.

I’m going to spend the first hour on traditional marketing because I don’t think it’s a good idea to get into social media marketing without that foundation in place. I realize that may be boring for some of you so just skip the first hour. The rest will be social media and the future of media with lots of case studies and examples. Then I will end with a short demonstration on how to use all the tools and how to incorporate it into your daily workflow.

If you can’t make that event I will be giving a condensed version at the Telluride Photography Festival Friday September 24th and/or Saturday September 25th (times TBD, more here). And, of course the material will eventually be presented here as well.

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– Bill Hunt

via Conscientious Extended

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There is a known phenomena where people seem to rip their clothes off when you point a camera at them. Seems to have happened to Rielle. I don’t think the photographer is to blame.

Author Lisa DePaulo (wrote the piece in GQ) on hardball with Chris Matthews: When Matthews questioned the spread, DePaulo cracked, “This is GQ, not Newsweek.” (source)

And now the standard BTS video:

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NOTE: I pulled the names off this post because I feared that these up-and-coming photographers might get some backlash for openly discussing their struggle with $200 assignments. Most of the veteran photographers I’ve talked with had the same problems starting out, so I know it’s not anything new to the industry. The key seems to be getting over it as quickly as possible. In fact the 1st photographer wrote this several months ago and is already in a much better position, on his way to building a nice list of recurring higher paying clients and was relieved to know he would not be forever associated with his early struggles.

Consider this a snapshot into the minds of up-and-coming photographers in this industry and the kind of impact one influential person can have on their thinking.

Up-and-coming Photographer 1 (NY):
Those of us that attended the most recent Eddie Adams Workshop quickly came to see that it was a rare opportunity not only to show our work and meet the newest generation of image-makers, but to get advice from many of the best editors and photographers in the world.

The guest speakers were the highlight of the workshop. They gave us insight into recently completed projects, practical advice on how to handle story subjects, and how to begin and manage a career. This year we heard from people such as Nick Nichols, Platon, Jimmy Colton, John Moore, Bill Epperidge, and many others.

This year, of course, the workshop took place during a difficult time in our industry. There were just as many cautionary tales about earning a living as a photographer as the stories of adventure. Everyone of course was eager to do great work, but we all kept asking the same question: where are our fees going to come from, and will we be able to earn enough to make a career as an image maker?

On the second to last night, there was a panel that I had hoped would really address this issue. Moderated by MaryAnne Golon, it consisted of Santiago Lyon of the AP, Nat Geo photographer Gary Knight, James Wellford of Newsweek, and David Griffin of National Geographic. They covered a number of topics, but it wasn’t until a student stood up and asked a question about how we, as the next generation of photographers, were supposed to survive financially in this new photo world, that my interest became particularly peaked.

Each panel member had different bits of advice to give, some I had heard before, some not. Then Brian Storm, sitting near the panel, got up and turned to the students and said something that has stuck with me and many attendees that I’ve talked to since the workshop ended a few months ago.

Brian said that photographers should, “stop accepting the $200 gigs,” because those low-fee jobs, along with those who are working for free, are bringing down the collective value of our industry and are encouraging our clients to expect more for less. He also pointed out that MediaStorm turns away well over half of the jobs that come to them, so there’s obviously a demand for original, creative content, and we all needed to figure out how to tap into this new multimedia friendly market.

At first, I was surprised by Brian’s remarks. Like many of my colleagues I struggle to make ends meet as a photographer. Even with a prestigious internship to my credit, and with several clips from the biggest newspapers and magazines in the industry in my portfolio, I have to spend most of my days hustling and marketing myself to land assignments and clients. Since I’ve been working full-time as a photographer, I have turned down perhaps half a dozen assignments because the pay was so low it just wasn’t worth leaving the house.

But, if I hadn’t accepted other low-paying assignments, some of the kind Brian was talking about, I would be writing this story from the basement in my parents’ house in New Jersey, not from my East Harlem apartment.

I simply cannot afford to turn down the $200 gigs and continue to work as a professional. I’d have to leave New York, which as we all know, is the center of the photo world. I’ve invested a lot of time in the city as a subject. I’ve also invested a lot of time visiting various photo editors in NY, trying to establish a network of contacts. Finally, I stay in NY because, for me, it’s the best place for a shooter. Some of the low-paying gigs I accepted also led to other work and other contacts, and gave me great tearsheets.

The irony is, I agree with Brian’s comments. Nothing upsets my professional equilibrium more than when I think my services or my craft or my industry in general is being undervalued by a customer or client. I never accept a client’s first budget; I always—always—try to negotiate a higher fee. But if I had not accepted some of those low paying assignments, assignments for money that Brian says fall below current industry standard rates, my career would have been hamstrung. Those jobs have allowed me to build a portfolio, and those jobs have helped give me a small bit of revenue that has allowed me to keep my head above water.

Going into the workshop, I had one camera, one lens, one flash, and rent due. Since then I’ve gotten gigs that include advertising and corporate work (weddings too) and I can now be more discriminating when it comes to deciding what assignments to accept and what assignments simply aren’t worth it. I still wake up every day happy to be a photographer. It’s my career; it’s my life.

Now, I know that my experiences as an up-and-comer in NYC would be very different from those of my fellow workshoppers, so I asked a few of them to react to what Brian said, as well as give their two cents about accepting low paying gigs:

Up-and-coming Photographer 2 (CA):
I personally agree with Brian on the subject of turning down jobs of $200 work. I feel that as the saturation of photographers in the industry is increasing, everyone wants a bite and so photographers cut each other off to get a gig. I don’t think it’s fair for the work put in and for the industry itself. I believe it’s bad business management and it’s not the fault of the photographers. No one educates photographers on how much to charge and established photographers are reluctant to share their rate cards or share how much they charge for services. I believe that needs to change. I figure, photographers should be communicating with each other some more and keep the reputation of a high quality service. I compare this to gasoline, restaurants or other retail businesses, where a new business will open with very similar but competitive pricing to an established business. A hamburger at one restaurant will be $5.00 and at another place will be $4.75, and at another at $4.50, all with the same quality burger. It should be the same with photography.

I have turned down jobs that are $200 or less. I have been offered two hour shooting gigs for $100 and I have to turn them down. I don’t see a shoot every only taking two hours, because afterward I’m spending perhaps another hour on the computer editing and color-correcting images, and another 15-20 minutes burning a disc. So my time working has increased from two hours to maybe three or four. I feel worse when I have to turn down weddings or other long hour day shoots if they ask me to shoot it for $200, because it feels as if the client is devaluing the work. The worst part of all this, equipment prices get higher and higher every year, or new and better equipment comes out every other month now, and to stay on top of the game, you need state-of-the-art equipment so that it at least can push out two to three years of life from it. So I believe photographers need to agree more on charging and balancing costs and value, so that this industry can continue to strive and keep its prestige. In the end, it’s not just a hobby, it becomes a business, and it takes just as much vision in having a business as in having a vision for a photo project.

Up-and-coming Photographer 3 (NY):
I definitely agree with what Brian Storm had to say at Eddie Adams. I think its great to hear that there is such a demand for quality multimedia, but I think one of the major problems right now is that it’s hard for qualified multimedia journalists to find clients that understand the value in good multimedia journalism and are willing to give them the time and money for quality work. During a panel discussion at Eddie Adams this past year Brian Storm mentioned that Media Storm is turning away half the jobs that come to them, and many of us young journalists in the audience jokingly called out “can you pass them our way!” It’s a transitional time in our industry where less of us are working for traditional news organizations and only a few production houses such as Media Storm have been established, so until we find our niche in the world of journalism, we freelance. There are many advantages to working solo, but one of the biggest challenges is connecting with clients that are willing to pay more than $200 for a job. Many of us are trying to keep up with the bills and pay off student loans, so certain months it’s hard to turn down that $200 job. I think for young journalists to survive in this current climate we need to work together so we don’t feel pressured to compromise our integrity. I don’t know what the future in digital reporting will be, but I feel like one thing we can plan for is to make ourselves visible and accessible to future clients. Production houses like Media Storm, collectives like Luceo Images and photo agencies such as Redux Pictures all seem to be going strong. I think the next step might be to have more Multimedia agencies vs. still photo agencies, that feature qualified multimedia journalists and connect them with clients. At this period in my career, I could use the middle man.

Up-and-coming Photographer 4 (CA):
I feel like young professionals like myself are in this weird state of flux, like a catch-22. I’ve grown in my young career through the teachings some really talented, established photographers and have tried to maintain the industry standards of charging appropriately for content. Yet I’ve quickly found that these “high morals” (which I agree with) have yet to be fruitful. We are all trying to start up a lucrative, sustaining business in photography when the industry as a whole, journalism especially, lies in this uncertain state of a new media Renaissance. I always thought I would be a newspaper photojournalist, now the game has changed. It isn’t anything new. The playing fields are getting smaller and have a lot more players eager to stand out. I don’t have the long standing portfolios of contributing to the New York Times. Those client decorations seem to help define you as a pro and justify to clients that you are worth paying pro fees to. For unestablished, young pro photographers, this seems like a huge hurdle to get over. When so much of this business is based on word of mouth, how are young photographers supposed to get their names out there when they are trying to charge the prices of established photographers? The same great mentors/photo editors that are telling us all to maintain good pricing standards are the same people we seek out for jobs and are low balling us because of the flailing market. At some point a young photographer needs to get his/her feet wet and make a sale. After all rent is due.

Up-and-coming Photographer 5 (CT):
Brian Storm made a very strong point when he spoke at the Eddie Adams Workshop this year but I would argue that the issue is a little more complex then was perhaps discussed. I strongly agree with his thoughts on maintaining a level of commitment to the value of what we produce as photographers. This will help to avoid driving the market value down and consequently out pricing one another to the point where it is simply not viable to make a living as a freelancer. When we have some level of control over the fee negotiations on a particular job, it becomes essential for us to charge the appropriate amount for the work. Doing work for free undermines the amount of time, effort, and creativity that others put in on similar jobs and cannot be an option when we, as a community, are trying to regain control over price point.

The challenge, however lies in the work we do for clients who are large enough and unfortunately prestigious enough that they can set their price point with the understanding that we need the exposure they offer to build a reputation. This is especially applicable for photojournalists in this current market where even the ‘top tier’ news clients sometimes only offer day rates that hover around the $200 mark. As we move forward in this time of transition, it will become even more important to strike a balance between excepting work we feel strongly about for slightly less than we would have hoped and also demanding we are paid fair value for work we are in control of.

Up-and-coming Photographer 6 (TX):
As far as I’m concerned, while I fully understand what Brian was saying, I don’t know if I agree 100%. I also don’t really think this is about $200, but more about taking the crappy pay so many clients think they can get away with, which perpetuates the trend of paying us very little for work that is worth substantially more.

As a full-time freelance photographer fairly early in my career, I take a lot of pride in pricing correctly and practicing proper business practices. I know way too many incredible photographers without any business sense and it kills me. Understanding your market and the proper way to run a business is paramount, especially for a freelancer and especially in the “$200″ market Brian speaks of.

Since I don’t have a super niche market and do a lot of different kinds of work for a lot of different clients with a lot of different budgets, generalizing my “gigs” isn’t the best way to summarize my experience, but I quote, estimate, bid and price very similarly to other colleagues in my market (hopefully). As far as I know I’m the youngest active member of my ASMP chapter and take a lot of pride in the work that I do. In saying that, I also want to price it accordingly. When I have a pricing issue, a negotiation issue or a general business issue I have several colleagues, mentors and friends at the ready that will gladly steer me in the right direction. Sure they may be competitors in a sense, as well as friends, but none of us benefit from a photographer coming into our market and undercutting our business.

With that said, we can only do so much to educate ourselves and other working professionals in our market, but not only is it extremely difficult to regulate pricing as US anti-trust laws specifically prohibit it, but it is extremely difficult to eradicate the “$200″ market when so many photographers, hobbyists and the like are willing to do it for free.

Sure, there are tons of jobs that a hobbyist wouldn’t be able to match, but for every client that respects the photographer and his art/craft, and is willing to pay for it, there’s a client with swindling budget calling you up, leaving you a voicemail asking if it’s ok to use some of your photos and telling you that they cannot pay for them, but offering “exposure” instead (trust me I’ve had 2 this week already).

Have I personally turned down $200 gigs before? Sure. Have I personally said, “no thanks,” to a client that doesn’t want to pay me close to what I should be getting paid? All the time. Do I regret it? No.

I’m a struggling freelance photographer just like many out there, I’m sure. I’m not widely known, nor have I been in the industry for decades with a client list that stretches for miles, but I know the sooner I learn to value my own work and the sooner I learn to value the industry in which I work, the better my business will be, and the sooner those big jobs will start rolling in.

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– New York attorney Alan Koral

via PDN.

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via, Forbes.com.

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Here’s Casey explaining the piece:

I worked closely with Suzanne and my assistant, Rob Jefferson, starting the middle of last year to get the ball rolling. After a successful 2008 and beginning of 2009, I realized my work came mostly from word of mouth and I hadn’t done any marketing. We decided if I wanted to take my business to the next level, I needed to start marketing myself on a national level. We also knew I only had one chance to make a first impression so we had to do it right.

Rob and I met with Suzanne in her office and got a chance to see a variety of her throwback collectibles such as a Simpson’s lunch tin, figurines and print pieces which set our minds racing.

The big question was how do we fill a box with multiple items that are tied together with a common theme. Since this was going to be the first time these agencies and art buyers would have heard of me, I wanted to put in items that meant something to me and would help them to get to know me better. I started by writing a list of things I loved which could also be placed in a box.

I spent approximately $15,000 on the project between research, materials, portfolios from Lost-Luggage, assembly and shipping of the kits. A portion of this was also spent on my designer, Robb Major, that I used for every piece in the kit from the business cards to the screenprinting on the shipping box. I produced 300 promo kits and mailed 290 to a selected list of agencies, art buyers and in-house corporate groups that Suzanne and I compile using Agency Access.

The responses have been overwhelming and I am currently working on a an email blast to follow up on the delivery of the kits and start organizing meetings with various agencies that have requested to meet with me.

Here are some responses from the week they were shipped:

“As an art buyer, I get a lot of little promotional pieces. I am spoiled. BUT, yours was so well put together and well done that I stopped everything I was doing and went to your website. NOT to my suprise your work is just as thoughtful, inavative and touching as your promotional piece. I offficially have a work crush on you. Please come and see us so we can put you to work ASAP.:)”

“I just received your magic lunchbox and I gotta say it’s quite the spread. The San Cristobal just made my drive to NY tomorrow night that much better. If you’re ever in Boston for a job let me know and I’ll set you up with a portfolio review with my art producer colleagues so they can get to know you. Thank you and stay in touch.”

“Talk about getting someone’s attention. Great promo package. Fun and a great way to get your work in front of folks.”

“Thanks -for the promo package! Quite a statement. Glad you reached out. Wanted you to know that we appreciate it!”

“That was a pretty fancy promo for a recession! Thank you — and you are welcome to send email promos anytime.”

“Just received a super fun packed from you guys. Just wanted to say lots of thanks. I looked through the images in the packet, as well as your site. You guys have amazing work. Anyway, I’ll def keep you in mind for future projects, and thanks again!”

“Cool promotional box! So much so in fact that I feel compelled to use you for our next photoshoot. I have a client in ————– on March 12th. Are you available and interested? Wow, this just goes to prove the power of good advertising.”

Continued response last week:

DDB:
“This is the most amazing promo I’ve ever received in my 12 years of art buying! I truly hope to work with you soon and I hope this gets you a ton of work! Its genius!”

BBDO:
“Liked your work very much-very honest and truthful. Will def keep you in mind.”

Draft FCB:
“We want you to come and see us because this is thoughtful and your work kicks ass”

Periscope:
I LOVED the promo. I feel like I already know you, thanks!”

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via Online Journalism Blog.

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I always say if someone from the future travels back in time to tell you that your lifelong dream will fail 100%, and you still go for it anyway, it will work.

…in my experience, taking the same path someone else did results in getting close but never where you want to end up. Ignoring those paths and making up your own route leads you to where you really belong, wherever that may be.

The David Horvath Edition – SUBvertMagazine.com
via, Seth.

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APE:

A perennial here on the blog is the Rep/Agent question and it’s always good to do another take on it because it’s such an important topic for photographers.

Amanda and Suzanne:

We definitely feel like a rep can be a great asset, but you have to be willing to still do the dirty work and get out there. One of our favorite reps once said “A photographer once asked me ‘what have you done for me lately’ and I responded with ‘you should be asking me, what can I do to help you?’”

REP 1:

What do you require from your talent in order to create a successful partnership?
mutual respect

What do you look for in talent?
unique talent, business acumen, adaptable personalities

What really gets you upset with your talent (i.e. not growing and shooting, no marketing)?
not being a collaborative partner

Do you do your estimates for your talent?
Yes

Do you like your talent to market in conjunction with your marketing?
Yes

What are the biggest changes you are seeing in the industry?
the way companies are advertising is changing and that of course impacts photography
less emphasis on print portfolios, more online
cg and post production alter the entire realm of what is possible

Do you think print is dying?
not dying, but the emphasis is shifting and other media are taking precedence

ART PRODUCER 1:

Do you look for photographers who have a rep? Does it make a difference?
It doesn’t make a difference as long as I’m being appropriately serviced. That said, many photographers are not as versed as seasoned reps in who to contact. There is sometimes also a prestige associated with having a rep that may open doors faster.

Do you think that some reps can make or break a photographer?
I don’t think it’s “make or break” as much as it’s possible that a poor rep can, at best, not help the photographer, and at worst, damage a photographer’s reputation. It’s about “the company you keep” in this business. That doesn’t mean that photographers should play the victim: a rep cannot effectively service a photographer without essential tools. This includes a continuous stream of new, relevant work. No excuses. An effective photographer/rep partnership requires full engagement in and commitment to the relationship by both parties.

How do you feel with the talent accompanies a rep on a portfolio showing?
It’s fine either way. I know that some art directors like to meet the artists directly.

What are the biggest changes you are seeing in the industry?
Number one, it’s still not robust out there. New photographers are having a difficult time breaking into the business and I fear they will simply find other careers before the economy recovers. Two, the integration of still and moving imagery is becoming more and more prevalent. Three, the use of CGI is replacing extensive shoots, such as cars. I’m predicting a time in the not-too-distant future in which CGI-generated people will supplement or replace expensive models.

Do you think print is dying?
No, I think it is EVOLVING. We have to stop thinking of photography in terms of Print and instead think if IMAGES in terms of ASSETS. Those assets can be still or moving and can be used across a variety of media.

PHOTOGRAPHER 1:

I  have a rep and my relationship with them is like a partnership. They handle a big part of the business that I don’t have to deal with any more, and it’s all commissioned based. I don’t think that “having a rep” automatically gets you work, because ultimately it’s your portfolio of work that gets you paid work. A rep is like a channel that, gets your portfolio out there into the world for people to see. It’s still up to me as the photographer to create better work, and the brand that goes with that. I do think that having a rep will improve your chances when you break down being successful in this industry it comes down to making better images, and showing more people. In a sense you are the one that has to make better images, but a rep will help you show more people. More than that, a lot of times art buyers will use reps as resources to recommend a type of photographer. Another great thing is to be accompanied by a good roster of talent. If you are with a good rep who has great credible talent, that puts you in that status which in turn builds your credibility. If you’re a younger photographer in the game, that credibility (and the credibility of having a rep that’s been in the business vouching for you)is an asset into getting bigger jobs.

Changes in the industry?
More digital, more photographers, more market saturation + crashing economy = less jobs which means you have to be even more at the top of your game to play with the big boys.

Is print dying?
Maybe a slow death. I hope not though. There’s always something great about feeling a printed piece in your hands. Hopefully that’s enough to suffice and not let it die.

To Summarize:

Reps do get you work, but they alone can’t do it by themselves. You have to step up to the plate and bring your game. Also, you have to connect with the right rep, do your research. We have consulted with reps and photographers hiring reps. We asked the hard questions that no one wants to talk about. At the end of the day 3 things matter: Money, Creative ability and belief in work and Personal Skills (these answers apply to the following: getting an estimate request, getting the job, finding a rep, a rep showing interest in you, etc…).

Call To Action:

If you want a rep – Do your research when trying to find a rep. Go to the workbook and find reps whose roster of talent speaks to you the most (visually). Then ask a client (with whom you have great relations with) if they could recommend a rep to you that meshes with your style and personality.

If you want more insight from Amanda and Suzanne you can contact them directly (here and here) or tune in once a week or so for more of “Ask Anything.” Amanda and Suzanne review your comments for 2 days, and then they are off researching next week’s question.

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Hey Rob,

I hope this finds you well.

Look I have a question that might be interesting for the other photographers following your blog.

The other day I was on on 6th ave when I saw smoke coming out of a building. I pointed my G9 to it to zoom in to see better, and BOOM, big explosion which lasted about 2 seconds. I got one shot of the actual explosion.

I immediately phoned a contact at the NYTimes and they said they wanted the low res for the website + the high res for the newspaper the next day. Because I had been talking with them for a while, we agreed on me giving them exclusivity on the pics and them signing me in as freelance. This was all done 15 minutes after the explosion.

In the following minutes, many newspapers and TV stations who had seen my picture on the NYTimes website starting going through every media they could (even my husband’s facebook) to reach me to buy it. Of course I had signed with the NYTimes so I went along the lines of the exclusivity agreement.

Should I have reacted differently?

What do you do in this kind of situation when time is precious? Who do you call? Can you impose your price and non exclusivity on the NYTimes and others?

People told me I could have made an awful lot of money with this and it’s not that I regret but I’d like to know what the reality is.

Thanks,

[Redacted]

I emailed David Burnett to gather his thoughts on the situation and here’s what he had to say:

There was certainly a time when New York, with its many daily papers, and many more magazines, would have offered the enterprising photographer a reasonable sum for their photographs. As competition narrowed, so did the chances of having your picture bid up by interested parties, and reflecting a greater value for the picture.

There certainly is a chance that some major (i.e. catastrophic) event could fetch something extraordinary but these days the big money seems to be paid for celebrity coverage far more than what was once considered “news.” That said, it’s generally not a good idea to simply make a deal with one publication, as you thereby immediately close off other opportunities. The excitement and panache of that “page one on the Times” picture wears off quickly, if you have sacrificed future earning power of the photo for an exclusive deal as you mentioned. In a city like New York you should expect to be paid more for the exclusivity, and if that additional money isn’t forthcoming, there is nothing to be gained by giving up those rights.

The one exception to that would be an iron-clad deal which enabled you to let the first company syndicate the work on your behalf, and that your share of secondary sales would be at minimum, 50% of the gross of each sale (not the “net.”) Truthfully, if you are not experienced in these matters you’re better off making a deal with–-my real first recommendation–-an agency which would syndicate the work. There are fewer agencies than ever, and the overall atmosphere is far less fulsome that it once was for ’scoops’ but for the right picture at the right time, money will come in. And you need someone to guide you, or take over that work. Again, 50% or so from the gross would be reasonable. Both sides, the agency and the photographer are in the deal together at 50-50 and if there is money to be made both will have the incentive to push the work. Once other outlets see something published in a major publication (i.e. the NY Times) there would naturally be a rush to get that image for themselves.

I have been a founder/partner for 34 years with Contact Press Images, and we often take special cases like this-–scoops which essentially come in off the street. The advantage to an agency (Contact, Polaris, Redux… etc.) is that their main business is in syndicating material, and you would do better than merely getting a small check and having your material tied up. TO be sure, most pictures do not fall into the category of ’scoop’ but when you find one, do not just give it away.

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Although he declined to go in to detail about how the company plans to use the proceeds from the sale of its archive, Lubell says that some money will go toward a Web initiative that will give photographers a platform to distribute content. Funds will also be devoted to helping photographers reach field destinations for stories and see them through long-term — the kind of journalism that was once Magnum’s bread and butter. For instance, photographers will be sent to Haiti over the next 12 to 18 months to document the nation’s effort to rebuild. After the initial tragedy subsides, “everyone leaves,” Lubell says, and because the aftermath isn’t headline news, coverage of continuing crises typically aren’t “funded in traditional media circles.”

I’d heard rumors in the past that the members fully understood that if Magnum were to have a future they would have to forge it without the help of magazines and newspapers. It looks like we’re about to watch that plan unfold.

It’s interesting to contemplate how in-depth coverage came to be packaged with junk and now that people can get their junk without their depth the numbers don’t seem to support that kind of thing anymore. I like the idea that when people say stories need to be shorter Magnum could do the opposite and make them longer than ever before. That’s the kind of thinking that will lead to a solution at some point. Some of my favorite moments working at a magazine have been getting shoots back from photojournalists. No one can tell a story, capture defining moment, thrive under duress and deliver the goods like they do. I can’t imagine a world without them.

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So I came to the conclusion, middle of last year, I said, “you know what, I’m done chasing, I’m done panicking, I’m moving to a place that’s right for me and my community, for people that understand my work, and I want to inspire people to get out and freakin go see what’s out there.”

Danny Zapalac, via Too Much Chocolate.

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rob

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APE: How long ago did you move to LA?

I moved in June of last year. With my wife newborn daughter and 5 year old son.

APE: Are you a filmmaker now?

I would call myself a commercial director slash photographer slash DP.

APE: How much photography are you doing now?

I’d say 30% at most, all commercial. I’ve had 2 editorial assignments in the last 16 months. Michael Jackson’s funeral and Obama’s Inauguration.

APE: Tell me about reinventing yourself. You were a big editorial photographer, you shot the summer Olympics in China and worked for the NY Times. You got started as a newspaper photographer right?

Sure, I got my start when I was 15 working for photo agencies such as Gamma and Sigma in France then the US. Then wire services in the US and then I worked for the NY Times for 6 years. So, yes I was an editorial guy through and through until roughly 4 years ago when I decided to jump into commercial photography.

Then about a year and a half ago the Canon 5D MKII came out and I was able to get my hands on it. That was probably the most important career-changing self funded shoot that I will likely ever do.

APE: You basically chucked everything and live in Hollywood now?

Well, I live in Manhattan Beach which is a bit of a different spot than Hollywood is, and I’m not looking to become a feature film director, but I am working as a commercial director.

APE: Way back when was this a part of your career path? Was this a goal of yours?

Film was always a part of my past. My father was a set photographer and my biological father was a director who filmed Emmanuel.

APE: Ok, so it’s in your blood.

I guess you could say that it’s always been in my blood. I could have gone to film school or journalism school – I got into Tisch at NYU and USC but for some reason I chose journalism and chose to pursue a degree in print journalism at the Medill School of Journalism at Northwestern University.

APE: Because, you’re like all kids and you do the opposite of your parents.

I wanted to tell true stories and discover the world for real, that’s what the draw was and that’s why I fell into photojournalism. I saw the way people were treated in the commercial/film and that was a bit of a turnoff back then.

APE: Right, you wanted to find your own identity and voice. Do you have formal training as Cinematographer, Director or Producer?

I didn’t go to school for it but I’ve been managing my business and setting up shoots since I was 15 years old. I paid my way through college and have always been focused on that kind of minutia. The hardest part about going into filmmaking for me was learning the difference between cinema lighting versus photography lighting or continuous light versus strobes – many of the principles are the same – but the equipment is very different. The 4 years of commercial photography experience and the almost 20 years of editorial photography helped better prepare me for the production issues and taught me how to frame an image and work on larger productions. Had I jumped straight from editorial into film I probably would have fallen flat on my face.

APE: I ask because I think a lot of people in the news photography business may be looking to reinvent themselves and you’ve done it. You told me you’re as busy as you’ve ever been.

I’ve never been this busy – and frankly I hate saying that publicly because I think it sounds obnoxious – especially given that the economy is still recovering. That being said it’s true, I think it’s a combination of the economy starting to revive and I think there are fewer photographers out there now who’ve made it through the last year and a half. Also, being, as you said, “on the tip of the spear of this technology” likely plays a big factor as well. Many of jobs coming in are looking to maximize the benefits of this new technology. Clients are looking for new ways to pull off a high quality end product – with budgets that have of course been impacted by the economic change we just went through. The new technology is allowing us to bridge that gap.

APE: Yeah, they’re all going “ok, who can we hire to shoot the DSLR video for us?”

It’s been a very interesting few years – Shane Hurlbut (DP for Terminator Salvation), Rodney Charters (DP for 24), Phillip Bloom (Director/DP in the UK) and I have fallen to the forefront of being the pioneers for the new technology. I think we were simply the early adopters who really put a lot of time and energy into making HDDSLR filmmaking work – we’re all put a lot of time into making this new breed of cameras come close to performing the same things that one would expect from a motion picture camera.

APE: What’s the terminology someone would use if they’re looking to hire an expert with the new technology? “We need…”

They would likely say that they need someone who’s an expert in the new hybrid Canon cameras – or HDDSLRs. Or they simply refer to he Canon 5D MKII, 1D MKIV, or 7D cameras directly.

APE: And why do they need an expert in the first place?

Because these cameras are not built to do what they want them to do. I’ve spent a year and a half now with some of the top camera operators and manufacturers in Hollywood building a system around this camera that basically allows it to do what you would do with a professional cinema camera.

APE: You’ve basically turned it into a regular movie camera. And what’s the advantage of using this over a movie camera? Cost?

Compared to RED camera for example, an HDSLR production can come in at half to a third of the price. Because of the weight of the camera, it’s sensitivity to light, and the support systems– you don’t need as large of a crew and it’s also significantly faster to set up and take down (again related to weight and size). And, it can look better in certain instances. These cameras shoot on a full frame sensor and they are astonishing in low light. Nothing comes close to it in low light. Another key factor is that these cameras can better take advantage of available light like few other cameras can – this means that you don’t necessarily have to bring in cube trucks full of lighting equipment in some instances – and obviously lighting is not only a big line item in any budget – it also contributes to more than a 1/3 of production day in terms of pre-lighting etc. That being said – and this is important: there is no substitute for good lighting! These HDSLRS just allow you to get away with a LOT more.

APE: Yeah, so you’re basically nocturnal now?

(laughs) You don’t want to take these cameras out to shoot bright sunny days, that’s where the Red camera will destroy the HDSLRs. But, indoors, offices, in difficult lighting the camera excels. So much so I have a 26 year steady cam operator/DP/Director, who has shot the same location we shot with this camera on “Nocturne” with this camera as he did with a high end Hollywood productions and it looks better – it looks better because it’s real. He was literally shocked when he saw the results. With no lighting. To reiterate – if the natural light is great – you can get away with murder. If the light is bad, it’s bad period. What these cameras allow you to do is to shoot in much lower levels of light – light that you once thought was impossible to shoot in. It does not turn bad light into good light.

APE: So, the technicians are probably really buzzing about the camera and word is spreading like wildfire through the industry?

This camera is not the the be all end all of cameras. There are some clear problems with it. But, besides the problems people are still gravitating to it. I can’t tell you how many commercials I see on TV that have been shot at least partly with a 5D.

APE: Let’s talk about this contest you’re doing. The first round of winners was announced on Saturday. You’ve got an incredible group of judges. How did you get DP from Titanic and the Producer of Star Wars to be a judge in the contest?

They’re all people I’ve met in the last year and a half.

APE: That’s got to be a huge turn-on to entering the contest. So, what’s the idea behind doing the contest in 7 segments?

I didn’t want to do just another film contest. There are so many of them. I wanted to try and not only leverage the new technology but also the power of social media and creative media over the web. Having people participate across the country in creating a film that has 7 chapters with interconnecting images. Who knows where it’s going. I have no idea what the final film will be like.

APE: Yeah, that’s going to be cool. Note: Anyone who’s interested in entering there’s 6 more chapters you can enter. See and vote on 5 finalists for chapter 1 (here).

APE: How does the future look for still photographers shooting the hybrid cameras?

I think we’re all going to have a very interesting next few years as still photographers. I think there’s tremendous potential for people out there who have an open mind. Not everyone needs to be a born-filmmaker. I’m not worried about photographers making transitions into video, or their unique version of how stills can transform into video. The only thing that worries me is that publications have a lot to figure out. The time it takes to pre-produce, shoot, and edit video is easily 2 to 4 times more time consuming as a still photography shoot. The gear involved is also significantly more expensive as well. And right now I don’t know that publications are ready to help defray any of those costs. In fact it seems that they want photographers to shoot both stills and video, for the same price. And, that’s not going to be sustainable for anyone, for more than the first assignment.

Once the photographer and even the editor, sees how much work is involved, I hope they will find a way to re-adjust. This clearly won’t be easy given the economy of print… but it’s something that needs to be discussed thoroughly. While you can’t expect photographers (or want them to) produce Hollywood quality pieces, you can’t forget that the audience is used to seeing Hollywood quality work on their television, so we need to make sure that we produce something that is either unique enough or at least good enough to hold their attention. One thing that will never change: people will always gravitate towards original and/or quality content.

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A lot of lip service is paid to the value of ideas, but agencies are often primarily regarded as executioners and, in that regard, purely as suppliers. In the future, suppliers will be valued less and less and squeezed more and more. It is idea generators who will be most valued – because “ideaspeople” create the greatest value, across every industry sector, not just our own.

via scott goodson’s writings .

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It was a lucky set of circumstances that I was able to do this shoot at all. I had a slow year last year like just about everyone did and had embarked on what was for me a pretty aggressive promo campaign to try to generate some new work. I think it was the right combination of timing and subject matter of the images on the mailer that I was able to do this shoot.

The difference between the portrait of Roger and most of the other editorial stories I get to work on was the obvious level of sensitivity that was required to how Roger and his wife would feel about having cameras in their home. I had a long conversation with my editor about what Esquire was looking for in getting out of the portrait and also a long conversation with the writer. Chris [writer] had spent two days with Roger and was able to describe the layout of the house, what the rooms looked like that Roger spends most of his time in, what some of his daily work routine’s are….descriptions of things that would be possible picture ideas. It was obvious to me that Chris had a great amount of admiration and love for Roger, and had come away from meeting him a changed man himself. The best stories you get to work on do that to you. What was different about this shoot was that I got to have such an in depth conversation with the writer prior to the shoot, and the feeling of care and protection that he has for Roger, the desire that the shoot with a photographer he’s never worked with before go smoothly was palpable. I personally find that level of admiration for ones subjects infectious. I already loved Roger….I’d watched his program with Gene Siskel on TV when I was a kid….but both Chris’ and Michael’s [my editor] enthusiasm just made me want to do this better than usual.

As far as just the nuts and bolts go…a date was set with the editor. After having the conversation with Chris I had a list of specific things to look at [for example, the library, the office, the living room, etc.] when I arrived at the house. I had a brief conversation with Roger’s wife on the phone about a week before the shoot was going to happen just to address any concerns that she might have. The shoot itself was done like any other shoot I’d do. I’ll look around and put a list together that I approve with the person I’m photographing. I find the list a helpful thing to do because it serves as a map for the day everyone involved knows EXACTLY how the shoot will go. I set up a shot with my assistant standing in place, and then I’ll go and get the person who is the subject of the piece to step in front of the camera. I’m slow on the set up but fast when I actually shoot, so I find it helpful on a day where there are many set ups [I think we did 5 with Roger] to try to leave people be as much as possible so that they can get their own work done while I set up the next shot. It allows you to stay and shoot longer and not have your subjects get irritated with you.

The pictures are only as good as the elusive dance of a subjects willingness to give something intimate and meaningful of themselves, and a photographers ability to recognize that at that very moment a gift is being given to them. Roger is undoubtedly a very generous person. It’s strange to me to think about being in Chicago in December, and drinking coffee with Roger and his wife, and the snow that had started early that morning that would make us miss the flight back home that we were meant to be on that same nite. This one in particular just felt like a personal shoot, something I was working on in collaboration with Roger, Chris, and Michael. Then the story runs and it takes on a life of it’s own….Rogers fans get to hear from him again and people have opinions and it becomes much bigger than that quiet snowy afternoon. I just feel really lucky that I got to be a part of this.

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via PopPhoto.com.

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Photographer Simon Crofts has a post about it (here), where he says:

“The Government’s idea is to take control of licensing and pricing of orphan works away from copyright holders and give it instead to one or more central licensing bodies.”

Hopefully it can be stopped, but judging how things have been going for photographers over there it doesn’t appear the government cares much for photographers.

UPDATE: From a reader.
http://www.copyrightaction.com/forum/uk-gov-nationalises-orphans-and-bans-non-consensual-photography-in-public?page=1

I know it’s a bit of a long read but the salient points are that in the UK new law:

1) Enacts orphan works without any definition of a. what constitutes an orphan work and b. what a reasonable owner search is
2) Makes it a crime to photograph in public if *anyone* who appears in the image objects to their image being taken!

WOW. WTF UK.

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If a woman freelance photographer is pregnant and wants to continue working, how should she proceed? I’ve been told by many NOT to tell your clients as they will take you off the call list for a while. Either thinking that they are doing you a favor, figuring you don’t want to work, or thinking they are protecting you. A couple said it wouldn’t effect them, but it seems the majority think it’s not a good idea. In relation to this, is there a difference between editorial clients, corporate or commercial clients, private clients, etc.? It seems when the male photographer announces he is expecting, everyone is excited and wants to give him work for his family but the female photographer, because she’s the one carrying, gets the congrats, but not the work. Are there other experiences out there?

Amanda and Suzanne: So we reached out to our contacts and got their advice–we went to women art producers, women photo editors, women photographers and women reps. We started to get some great responses, but it got us thinking about a deeper topic-a life threatening illnesses. I (Suzanne) was diagnosed 7.5 years ago with breast cancer. I thought it would be good to have the support of the community, so I told everyone, but what I didn’t realize is that while folks were supportive, my consulting business dropped and it took me over a year to rebound. I did have cancer assurance, AFLAC, and that helped me pay some of my bills. But the financial strain of getting ill and having months of treatment with very little work, made me wonder, should I have told. So I reached out to friends who have faced the same thing and furthered the discussion by asking, “Should you tell clients when faced with a life threatening illness”?

Pregnancy

Amanda:

When I had my baby 9 months ago, my business slowed down, as well. My clients were very cautious to not to bother me. It took 3 months to pick up to the pace that I was used to (of course I was uncomfortable with this considering the economic climate). My advice is to be open about your situation as my clients were thrilled to be part of this exciting time for me and they were eager to get back on my calendar at the first opportunity. It is definitely easier being able to look back and see what worked best for you at that time, so listen to your gut and do what is best for you at this moment. I am an eternal optimist and believe all will work out as it should (even when it seems as though the light at the end of the tunnel is non-existent or dim).

Established Art Buyer/Producer #1

As an art buyer, past clients, creatives and I never had any hesitation hiring pregnant photogs. Perhaps if I knew someone was working a week or two before their due date, I would be a little cautious.

That being said, I would never begrudge them for not telling if they felt it would influence them negatively. As you said, some people say it’s not a good idea probably because that was their experience.

As any shoot goes, there is always a chance of some emergency. A male photog would probably not set up a shoot on his wife’s due date as well.

I think we need to hope that when you hire a professional, they will come through for you. If for some reason, something goes wrong that was their doing, I expect them to correct the mishap.

Established Art Buyer/Producer #2

This is no different than when a woman applies for a job at a company. The company is not allowed to ask if the woman is pregnant and she is not required to disclose it unless her pregnancy is a detriment to the job she will be performing. For example, if she is applying for a job at the Fed Ex loading dock and she cannot lift more than 5 pounds, she would not be able to perform the duties of her job.

Unless the pregnancy will affect how the photographer does her job, then there is no reason to disclose it.

Established Art Buyer/Producer #3

When I was working, as a Photo Editor, And I would hear a photographer was pregnant and it really wouldn’t effect my decision to hire them. If I needed them to travel then may It did a little bit only because if they were far along putting them on a plane might not be feasible. But if I wanted to hire them I would ask them rather then making the decision for them. A pregnant photographer doesn’t have anything to do with their talent! So to me, it doesn’t make a difference!!

Established Photo Rep

Several years ago, I represented a photographer through her pregnancy and there wasn’t any negative impact on her work. She was actually shooting a job for the San Francisco Opera right up to her due date.

Established Female Photographer #1

I think the relationship you have with the client matters much more than what sector of the market the client works in and the way we handled this reflects that. For long-term clients, we were very open – we knew that they would want to share in our excitement and that it wouldn’t affect our working relationship negatively. In fact, we felt that keeping the news from them for too long would do more damage – imagine working with someone closely and finding out that they kept that kind of news from you.

Now, in that initial conversation, we were very careful to stress the fact that I’d continue to shoot up until I went into labor and that we had lined up a photographer we trusted to handle any projects that might come up while we were actually in the hospital. So our clients knew that no matter what happened, continuing to assign us work wouldn’t place them at any risk.

We did not raise the issue with new clients until the third trimester as up to that point, it was really a non-issue – we didn’t have enough of a relationship for them to feel one way or another about it personally and it had no impact on our ability to get the work done. When booking projects for the latter half of the third trimester, though, we did start telling people our due date and explaining that we had a photographer lined up to step in if I went into labor. We felt that we had an ethical obligation to give people the option to go elsewhere if that made them uncomfortable. Most people didn’t seem too troubled. Our daughter was born December 28th so my last shooting day was about a week before she was born but that had more to do with the holiday than my pregnancy.

Established Female Photographer #2 (Expecting)

Ok, so I only have a few thoughts about this one … since I am not really sure what to do myself.

So far – I have been keeping pretty quiet about the whole thing. I have been feeling pretty good during my whole pregnancy, so in that way I feel that I have been very lucky. But now, I’m at the point where when I show up for jobs and it’s pretty obvious – I just entered my third trimester. I have been telling clients (all types) after I book jobs but before the job itself, I put it out there while finalizing details of the shoot. I will also mention that being pregnant isn’t affecting my work – which is true, at least for now. That way if a client feels uncomfortable with a pregnant photographer, he or she has time to make other arrangements. The last thing I want to do is show up and have somebody worry that I can’t do the job. I also think that if I show that I’m not too worried about it, they shouldn’t be either … right?

But for the jobs where I know the I won’t see the editor or art director face-to-face …. I haven’t mentioned it at all. I figure that if it hampers my ability to do the job, then I’ll mention it. But if it isn’t really affecting my work – then it really doesn’t matter. If I had some other impairment that wouldn’t affect my ability to do a job – like a cold or my car was in the shop – I wouldn’t mention it either, but find a way to work around it. I kind of feel like this is similar.

For the most part my clients have been just fine with the whole thing. Many have been very sweet about it & encouraging. But then again – this is all new for me. And honestly – my biggest worry is taking off time after the baby is born — I know I am going to have to take time off and turn down jobs … I just hope my clients call me when I’m ready to get back to work.

Established Female Photographer #3

Sorry, my 2 kids are adopted

I can’t really weigh in. My gut says, don’t tell anyone in the bizzzzzzzzz. I never tell my clients that I am on a 5-week holiday, they don’t need to know

Established Female Photographer #4

Working while pregnant: I went ahead and told a few people early on and that news quickly spread around town. It didn’t seem to hurt too much on the front end, I did still shoot some assignments, and I even shot one assignment on location with 5 days to go. My client was concerned but hung in there with me.

And I found myself on a plane with an eight week old and an art director for an out of town shoot. People were still hiring me to do work when I was pregnant, and even shortly after the baby had been born.

I had two kids pretty quickly together and things became much more difficult for me mid-way through the pregnancy. I stopped showing my face at events and social functions, and completely backed off of my marketing efforts. At the same time my phone became ominously quiet, and did not begin to ring again until I made a very concerted effort to let people know that I was back in the game again.

That time out resulted in some of my regular clients establishing new relationships that to this day remain hard to rebuild.

My clients are primarily buyers and art directors from advertising agencies. Kids or no kids, I think my story is a testament to the fact that if you are not consistently reminding your clients that you are out there, they will forget about you and you will quickly be replaced by someone with a more aggressive marketing plan.

Life Threatening Illness With Treatments

Established Photographer #1

I wrote a letter that I sent out to loyal clients. Clients I had worked with for years. People I considered friends and trusted. I let them know what was going on and how I was doing. I was upbeat and positive and told them that I would beat this disease. I kept them updated throughout the process.

Several clients adjusted my shoots to fit my schedule around chemotherapy. Several postponed shoot until after my treatment had run its course.

I choose to not tell several clients including a national level magazine that I shoot for fairly often. I shot a major photo essay for them two days after receiving my first chemotherapy treatment and was maxed out on Prednisone. Two months later I shot a six-day story for the same magazine after finishing chemo but before starting radiation. They never knew until afterward.

The friends who faded away while I was sick and the ones who came closer surprised me. The clients who stuck by me have my loyalty till the day I die.

Established Photographer #2

Another photographer is currently dealing with this situation and has realized it is best NOT to tell anyone even their clients. As freelance people it is really scary to face not only a life threatening illness but the chance or lack of income.

Established Art Buyer/Producer #1

My answer to this question and anything similar is that a professional needs to know when they can perform a job based on their past experience and their portfolio.
Who are we to judge if a photographer is pregnant or has cancer is less able than a perfectly healthy photographer who had too much to drink (or whatever) the night before a shoot?

Established Art Buyer/Producer #2

That’s considered personal information unless it impacts the work.

Please Support One Of Our Own

Facebook – Give It Up For Loni Page

Here is her story:

“I was diagnosed on July 13, 2009 with a very rare form of cancer, and have been unable to work since then, unfortunately. But, I have a lot to say on this subject. Unlike some, I decided to fully disclose my circumstances (after debating about it for a time) to my community, including my clients. I do not regret my decision. If you’d like to talk, I can elaborate on why it was a great decision for me. Our photo community has restored my faith in humankind! …”

Loni was going to write more but the recent round of chemo has taken away a lot of her energy and required her to be admitted to the hospital. I (Suzanne) had the pleasure of interviewing her and getting some pointers to convey on this subject. She decided to trust in the generosity and support of her clients, as well as the photo community to understand her circumstances. She does not regret her decision, as the community, and especially her regular clients, have supported her beyond her wildest expectations.

As soon as she was ready to go back to work, they were there for her, with handpicked assignments that were appropriate for her energy level and physical limitations.

She truly feels that her trust in the community, gave the community an opportunity to trust her. She built her reputation over the last 25 years on honesty and never over-promising. She has been adamant about not taking assignments if she didn’t feel she would be able to deliver the job based on her high standards, as well as the standards her clients have grown to expect from her.

Because of her positive attitude, her friends and family have gone way above and beyond the call of duty to establish the “Give It Up For Loni” fundraising effort, which has produced some overwhelming results, not only financially, but more important, emotionally. The moral support has been invaluable.

Loni says, “The realization of the importance of friends, family and community caused me to begin to conceptualize about the yet-to-be-named “Foundation” which we hope to have launched by mid- summer 2010.”

Please see the web site, and especially the “Personal Message From Loni” to learn more about the idea and how it came about.

http://www.giveitupforloni.com

Many thanks,
Amanda & Suzanne

To Summarize: Coming into any personal situation like this puts you into protection mode. How can I take care of myself, my health, and business (maintaining existing clients) at the same time? We have all learned from personal experiences and from the generous insights above that you have to do what feels right for you and your clientele. To tell or not to tell, that is personal. But the number one thing we hope you take from this is to take care of yourself and your health and the rest will follow suit. But to be safe….MARKET THE HELL OUT OF YOURSELF while pregnant and during your maternity leave or while you are going through something deeply personal – so when you are ready to pick up the camera, clients will be ready for you. And the best worst case scenario – if the client calls while you are in labor, we would rather you be able to turn down the job, then not be offered it all.

Be well, happy shooting and safe deliveries

Call To Action: Please check out “Give it up for Loni” because she is not out of woods, she has a long journey ahead of her. We are all in this world together and sometimes our fellow man needs a little help.

If you want more insight from Amanda and Suzanne you can contact them directly (here and here) or tune in once a week or so for more of “Ask Anything.”

Looking to buy a new website?
A Photo Folio is a website design company created by A Photo Editor.
Have a look (here).

The answer to the publishing industry’s woes is to provide something worth paying for. For far too long we have been lured with the easy money and wicked ways of our advertising mistress. Well, in the past few years we got dumped. And it hurts. But I say we pick ourselves up out of the gutter and find our self-worth once again. Stop firing the editors and writers, and start paying for the production of excellence. There is no other choice.

via  Publishing Executive.

Looking to buy a new website?
A Photo Folio is a website design company created by A Photo Editor.
Have a look (here).

via Miroslav Tichy – NYTimes.com.

Looking to buy a new website?
A Photo Folio is a website design company created by A Photo Editor.
Have a look (here).

Looking to buy a new website?
A Photo Folio is a website design company created by A Photo Editor.
Have a look (here).

via AdWeek..

Looking to buy a new website?
A Photo Folio is a website design company created by A Photo Editor.
Have a look (here).