Author: A Photo Editor

Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease have agreed to take anonymous questions from photographers and not only give their expert advice but put it out to a wide range of photographers, reps and art buyers to gather a variety of opinions. The goal with this column is to solicit honest questions and answers through anonymity.

Amanda and Suzanne– Rob presented us with questions that everyone had asked awhile back when he put out a request on the blog and we were honored to sit down with Kat Dalager, Manager of Print Production at Campbell Mithun in Minneapolis, and review these with her. We thought sitting down with someone who is in the trenches and who is so giving to our industry was the best way to address these. Not only were her answers truly authentic, but so insightful. ENJOY. Thank you Kat!

Who really holds the balance of power in deciding on a photographer –the creatives, the client or the art buyer? (I want to know how much influence the AB has on the decision making process, and how often the client vetoes an Agency’s recommendation — my hunch is that Art Directors have their opinion on who they want to work with and then they push to get that photog approved, but sometimes the client will opt for a “safer” or “cheaper” option)

Overall, the differences in the advertising world over even just a few years ago is the compression that’s happening because of the economy. Art Buyers are often the first to be let go from an agency, which means ADs have to do that work on top of doing the work of the other ADs who have been let go. Time crunches are a big issue, so convenience and efficiency are huge determining factors. On the other hand, slashed budgets also mean that with fewer original shoots taking place, so it’s important for ADs to produce work that can replenish their portfolio.

“Integrated productions” are becoming the norm. The ability to capture “assets,” both still and moving, in the course of one shoot is increasingly important. That doesn’t necessarily mean that the photographer has to capture both still and moving themselves, but at the very least, they must think beyond the traditional print mediums when approaching a shoot. At times they may have to shoot side-by-side or concurrently with a TV production.

The long answer is: it all depends.

There are some ADs who insist on using either someone they know or someone they’ve always wanted to work with, whether or not they are right for the project. It’s quick, it’s easy.

Others absolutely rely on the ABs to do the legwork and bring possible shooters to their attention. More often, it’s a collaborative process, which is what I prefer.

I find that if legwork is done up front and if the photographer meets the budget, then AEs and clients don’t have issues with the photographer selection.

How do ABs really decide on who gets to bid on a job — is there much thought and hunting and researching to find the “right” photographers or (due to time constraints and busy workloads) is it mostly just going back to who they already know (be it the photographer or a Photo Agency)?

There is safety and convenience going with known commodities, but I still spend a LOT of time researching new photographers and new ways to approach shoots in order to fulfull the creative vision as well as the budget. Other factors that influence photographer selection:

* Photographer or agent willingness to work with the AB in finding solutions to tight budgets
* Having capable producers
* Ability to adapt to constantly changing shoot parameters
* Skill set: do they shoot motion as well as still? Can they work side-by-side with a TV crew?

How often does an AB get to recommend photographers to the creative team vs the creative team telling the AB who they like? (Just curious to know how much Art Directors have their finger on the pulse of photographers and illustrators these days as they used to respect these crafts and love working with talented artists as opposed to just bringing in a supplier.)

see first answer above.

At a national level, it’s seldom about just bringing in a supplier. No one wants to come away with shots that aren’t portfolio-worthy, and with fewer opportunities to expand portfolios, no one wants to take that risk with even simple shots. The price of entry is that the photographer is capable of taking decent photographs, otherwise they won’t even be considered.

Again, it all depends on the individual AD. Some are great at knowing who’s out there, others simply rely on the ABs for resources. Sometimes it’s a photographer or agent simply being at the right place at the right time.

In choosing photographers, how often do they encounter the “red car” scenario? (ie trying to find a photographer that has shot the almost exact same layout before — not just any car, but a red car — to reassure or please the client).

I was fortunate that I never worked with creatives that didn’t have vision.

I have heard of this and it surprises me.

I just witnessed this the other day. I swear that the AD chose the photographer based on the number of images that looked the most like her layouts. I certainly don’t know that it was conscious, but it took place nonetheless. It doesn’t happen often, and I have to say that it happens most with less creative ADs.

Who makes final decisions most about photography at your agency?

Please arrange the following in order from those who make the most decisions to those who make the least:

Managing Art Buyer, Art Buyer, Group Creative Director, Creative Director, Senior Art Director, Art Director, Graphic Designer, Print Production

In my experiences, several people are involved in the final decision. In order of “pull”:

Group Creative Director
Creative Director
Art Director (any level)
Art Buyer
Account Service

How much does the Beauty Contest Conference Call play into who gets awarded the job? You call each of the three, and let each estimating photographer walk you through how he/she would approach/plan/tackle the job?

It’s HUGE. Just like director’s treatments, this call defines a photographer’s approach to a project. It’s not all about money, but about how they can make it happen (see above bullet pointed list). The conversation can quickly reveal if a photographer can put together a great website and/or portfolio, but doesn’t have the chops to pull together the shoot.

Why do some ABs not like to share who else is being considered for a job? Do they understand why it’s something we like to know? Personally I have never understood this but have found when they won’t divulge the information it is because the playing field is not even.

Because it can come back to bite us because there are many unprofessional professional photographers out there. I’ve heard of several instances where the rep or photographer actually called the other photographer and reamed them out for undercutting them or to dig for information. In turn, that creates bad feelings with the photographer which can impact the shoot. As you know, much about shooting is psychological and putting a photographer in a bad place before even clicking the shutter can be extremely detrimental.

There are also some ABs who feel these conversations between photographers can lead to price fixing behind the scenes. (Note: I personally don’t feel this way, but if I ever heard that one of the bidding photographers contacted the winning photographer and gave them a hard time, I would never bid with them again.)

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?

1- This is true because reputation in this business is key. On big campaigns there is a lot of money riding on the photographer and the studio so production is so crucial. So when a photographer has a great reputation with that, buyers will want to work with them.

2- I have heard of big names offering lower fees these days.

I think it would be in the order you have it.

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.

Dear God, if photographers think that taking two weeks away from my family to live out of a suitcase in a hotel room, work 20 hour days and miss the school play for the third time in a row is desirable, then I don’t know how to answer this.

Not to say that there are some people who are not good at their jobs and do not function very well during shoots, but exactly as you describe, each person serves a role. I can’t help with the production if I am taking care of the client. Would the photographer prefer that there’s no one there to keep the client occupied and away from looking over their shoulder? Any art producer worth their weight is an essential liaison between the photographer’s team and the agency’s team.

Where do they most often look to find talent for assignments? Workbook, WB online, At-edge, At-edge online, Photo Serve, Archive, CA, PDN? PDN online, Blackbook, Altpick, etc?

I save links. We look everywhere. Workbook, photoserve and still some print. Award shows are good, and many are international and don’t apply to us.

What’s the best way to gain your trust?

Be totally honest!!

What are some red flags that someone is not being professional or trustworthy (credibility and ethics).

When someone tells me they can do something that they can’t or have never – it will hurt my credibility.

More answers from a casual conversation of questions:

Photographers are always complaining about right and usage, what do you have to say?

It makes me laugh when a photographers says that they don’t give away rights – but let’s be honest – I have seen many photographers bragging what they don’t do – but I have negotiated many photographers to a rate that goes against what one’s preach.

How much does region influence your decision to hire a photographer?

Doesn’t have anything to do with us. When you are at that National level. If you are regional client is can matter. We shoot out of the country a lot (opposite seasons) – and we are taking a lot of American photographers out of the country.

Talent pools – are there good talent pools outside of this country (example South Africa).

AMAZING.

Is being bilingual important.

It helps, but if you are not, be sure your producer is.

Who negotiates Video – Broadcast or Art Buying ?

I work together with Broadcast producer to blend numbers (but if falls under broadcast to follow procedure like unions) – blending consolidates costs – so it’s efficient.

Is print dead?

We don’t call it print anymore. We call it still imagery (used in interactive, printed media, etc…) and motion.

Are you using still from motion?

Shooting with a red camera – drag stills from it. A recent job I was able to blow up a still from a red camera at 1,000% and it held up beautifully (in store size). Red camera is a very high def video camera.

Virtual Electronic portfolios – how do you feel about them?

People love that personal attention. Use the subject line wisely – example “Shoe Photographer” so it connects.

Portfolios on a iPad?

I have not seen it but I can’t wait. Customization of the cover will be able to be branded which will allow your presentation to wow.

How do you feel about the idea of an Universal Estimate form?

I wouldn’t mind that at all. I have always encouraged it – the ASMP form is a wonderful form. I love BlinkBid too.

What looks are popular, dying and what looks would you avoid?

really punchy is dying

I wouldn’t avoid anything else

The NON produced look is a classic

Funny will be classic as well – as long as the context fits.

Other trends you see?

Total Library buyouts are very popular these days.

How often are you buying stock?

Sometimes- the reason I would use it would be because of lack of access to a specific location.

Are willing to take a chance on someone fresh?

Yes. If I believe in the photographer – I am happy to educate them on our usage or what we need.

Social Networks?

I use Facebook and Twitter. A lot!

Retouching?

We do it in house – but we might use the photographer depending on their skills and the project.

Digital capture vs. RAW?

We don’t use raw…we use cleaned up images. If we do a library we expect no clean up.

What’s an experience with working with a young or fresh talent?

I was once working with the photographer on an estimate and after talking I knew he was not as skilled in production and was not ready just yet for that level. I was honest with their newly signed rep.

Favorite type of e-promo?

File size is small. I don’t want to scroll down and I won’t. Remember I am on a laptop.

Website – if a site takes 20 seconds to upload?

I will bail – I don’t have time – be smart.

How do you feel about template sites?

Template sites like aphotofolio, livebooks and neonsky are perfect. Some flash sites that are difficult to navigate or slow to load don’t work for me.

Portfolio showings?

You need to have a NAME to get portfolio showings (meaning – a large showing with more than one person). I can’t book individual meetings often, because – this is what I am looking forward to an iPad. PDF portfolios – one thing about that I want to note – on a website I can click on what I want to see…when you have a controlled electronic portfolio other than a website a thumbnail view on the First page should be thumbnails of what is in the book – so I can see what I am about to view – because if the first 6 pages isn’t what I want to see – I know something is in there, because I saw it on the thumbnail page first.

To Summarize: After spending time with Kat, we agreed, you can never stop learning (as we learned new things today as well) and you have to be open to hear and absorb how quickly the market changes from day to day.

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.”

Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease have agreed to take anonymous questions from photographers and not only give their expert advice but put it out to a wide range of photographers, reps and art buyers to gather a variety of opinions. The goal with this column is to solicit honest questions and answers through anonymity.

Question 1: Editorial Late Fee

Is it possible to add late fee’s to editorial invoices? If so, what is considered standard or even acceptable? Would this even persuade them to pay within 30 days? It seems now, more than ever, that more and more magazines are dragging out payments 60+ days.. a few, even 90+ days. What can change this insane way of doing business?

Answers:

Established Editorial Photography Team:

We’ve had very few problems with our editorial clients. Every once in a while payment gets dragged out, but it’s usually because the editors are so short-handed that they forget to submit something or it bounces back from accounting for some insane reason and they’re not around to deal with it immediately. God forbid anyone from accounts payable email us directly if they need a W9 or something ;)

I guess we’ve been lucky. We have not resorted to forcing our editorial clients to agree to payment terms. We don’t think it would be very enforceable. We already feel like we’re walking a tightrope with these jobs. The photo editors who we are trying to build relationships with have no control over the other parts of their magazine. New clients get assumptions from us that things will go smoothly. If they are slow to pay or drag things out, we won’t accept future assignments from them. Simple as that.

We did an editorial assignment through Aurora back in November. We’re not represented by them, but we covered the job for a friend….kind of a last minute emergency. We just got paid today. We were about to send them to collections….it was getting really ugly.

SVP – Finance Major Editorial/Publishing Company:

Very few large companies will ever pay late fees on anything.

A better approach is to offer a slight discount for fast payment (i.e. – 2% if paid within 20 days). In effect, that becomes a positive incentive.

Amanda and Suzanne:

Read the terms and payment agreement of the company who is hiring you. Ask the questions about payment upfront and know what you are getting involved. Invoice the project immediately. Unfortunately it’s a leap of faith with a new publisher, you do not know what you are getting into until you do the shoot and wait for the check to be cut. But don’t be afraid to call up accounting and find out where your check is after 30 days.

Question 2: Marketing

Next month I’m sending the first in what will be a series of postcard promos, a first for me. I’ve done email promos in the past, and I have a sense for what industry standard open and click through rates are in the email world, but I don’t really have a sense for what response rates postcards generally yield. Clearly it’s easier to track response rates with opens and click through, but my plan is to include a trackable ‘call to action’ on the back of the postcard (visit this URL, give me a call, etc.) that will give me something to track. In Amanda & Suzanne’s experience, what would they recommend in terms of a system for tracking the success of a postcard campaign? Is there an accepted response rate range that would be considered the average for me to measure my success against, assuming that I’ll be sending a postcard every 1-2 months for the next year?

I ask because my photo industry mentors are on one of my shoulders these days, saying What you need is consistency, with postcards and emails and portal presence and portfolio showings; and on the other shoulder are my MBA-type business mentors, questioning my marketing budgets and asking me questions that I can’t answer, like What’s your expected return on investment for your postcard campaign?

Answer:

Amanda and Suzanne:

The first question we want to ask is how fabulous do your mailers look (feel free to send to us)? The mailers have to be dynamic, but of course you know this already. So assuming they are amazing you should see about 1% results of your contacts to your website. If you can send out consistently and continue marketing for a long period of time your mass marketing will deliver results in the long run, but we would recommend expecting no return for over 1 year. Can you risk that investment and understand your return is in educating your market right now? If you get work within the first year – you have won the marketing lotto. Not putting all your eggs in one basket–be sure to do more–you will get your best results from showing your portfolio either in person or electronically and connecting personally. Ps – never ask if you call for a meeting if they remember receiving your mailers, let them tell you.

To answer your question, if you get 1% of the total number of people to your site the day it’s received, you can rate your mailing a success.

We think to reach your audience in a better way you should send personalized e-mails, pick a hand full of people you would love to work with and send them a personalized e-mail with your e-promo. E.g. Cindy Hicks, The Martin Agency- Dear Cindy, I love the work you all have done for Geico, Wal-mart and Seiko. I would love to work with you all one day. Here is a link to my website. It shows you have done your research and is also utilizing your database in the most effective way.

Question 3: Animal Shooter

I am a recent graduate, and halfway into my college career, I discovered my passion for photography through shooting animals. I’ve won a few awards for my work, and have been given very positive feedback from my peers and teachers. I feel so strong about my work with animals, that I have decided to focus solely on this very narrow niche. Now I’m done with school, and I don’t know what to do with my work, or if my work is going to pay the bills! (right now, its not!) Currently, I am trying to get work through private clients photographing their pets. I’d eventually like to work for commercial clients, but don’t know how to go about getting those clients. I’d love to work with an agent, but know this isn’t the right time in my career for one- or is it? I’ve researched photographers who also shoot animals, and it seems they also cover other genres like kids and weddings. I’d like to focus on just my animals because this is my true passion, but am afraid of having all my eggs in one basket. Also, what city might I be most successful with this?

Answer:

Amanda and Suzanne:

Are you willing to do consumer? The Consumer will balance your waiting period to make it and help you build your portfolio. We would also shoot the consumer clients and produce them as you would for an advertising client – so you can build up your portfolio. Example: Milk Bone- Have the box and give it to your dog subject and see what they do. Have them in a fabulous kitchen with a doggie door (of course location scouting is crucial). Also find some animal trainers and wranglers and get them to shoot with. From checking our your site – you have something very cool going on with creature compositions. If you look at Amanda Jones who is strictly dogs and a few cats, Jeff Moore– dogs and kids- they have done a lot of consumer portraits but have been asked to shoot advertising assignments because they are specialist in their field. And then there are photographers like Steve Grubman, Nick Vedros, Karen Morgan and Craig Perman who have diversified to other genres so they are more likely to get advertising assignments since they don’t do consumer. Also, you may want to create a “buzz” with your work like doggie Gaga (www.jessefreidlin.com) he was mentioned on so many shows like The Today Show and Live with Regis and Kelly.

Call To Action: Health insurance for freelance photographers is killing us! We have been asked to do an article on the insurance business not only for health but business insurance as well. Please send us your struggles with insurance and any advice/remedies you have found that might help others out until 2014 switchover. Send to: amanda@sosastone.com

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.”