I sent a tweet out the other day asking, “What do people think about portfolio reviews that cost £250?”
I couldn’t fit it all within Twitter’s 140 character limit, but I was specifically referring to an event where photographers could have their books reviewed in 20 minute meetings with three different photography agents.
Fourth in a series.
In this series, we are exploring the creation of a marketing plan for photographers. We have already covered the executive summary and mission statement. In this installment, we discuss the importance of setting goals, and how they relate to marketing.
It’s been a long time since I was a teenager, and I don’t know how teenagers decorate their bedrooms these days. But back in the 1960s, we had a pretty universal style: cover the walls with as many black-light posters as you could afford and beg your parents to buy you a black light for your birthday.
Many people want to erect a firewall between art and commerce, between creative acts and financial transactions. The implication is that people who create art are somehow debased by being forced to sell their art in order to survive (and make more art). If you are a creative professional, I’m willing to bet that selling is the least favorite part of your business.
Third in a series.
Now that you have completed an initial draft of your executive summary, your next step in developing your photography marketing plan is to craft a mission statement. The mission statement is the single most important piece of information about your company. It answers a deceptively simple question: What do you promise to be as a business?
David Weintraub’s most recent Black Star Rising column, “Notes from the VisCom Classroom: Teaching Software,” laid out a list of 18 different software products currently taught to visual communications students at his university, ranging from Photoshop to GarageBand.
Second in a series.
Although the executive summary is the first section of your photography marketing plan, you could make an argument that it’s the last part you should write. The executive summary answers the basic questions about your photography business; if you haven’t given these a lot of thought, staring at a blank piece of paper (or a mercilessly blinking cursor) can be a little overwhelming.
The working professional and the weekend hobbyist are both affected by the recession. Most of the photographers I know are spending more time evaluating their needs and comparison shopping than ever before. It’s important to ensure your money is wisely spent.
In this month’s “Ask the Photo Business Coach,” I answer the following question submitted by a Black Star Rising reader: “If you were starting from scratch, how would you find your first five photography clients?”
In June 2009, Canon unveiled the first legitimate HD DSLR for video when they released the manual control firmware update for the Canon 5D Mark II. This manual exposure, manual control video camera had a sensor that was larger than 35mm film, recorded at a 35+ mb/s bit rate, and used some of the best lenses ever made. It promised to open a new world for professional video capture.
Other than the 50-year Canon vs. Nikon holy war, nothing incenses opposing factions in photography circles like the debate over RAW vs. JPEG recording formats.
Why does this topic provide such great fodder for argument? As with most barstool discussions, it’s because there’s no right answer. Neither format is inherently superior to the other; it’s all a matter of how you work and how involved you want to be with image editing.
Every year, it seems to get harder and harder to make a living as a photographer. And yet every year, more and more people purchase DSLRs with the intention of doing just that.
So I figured it might be helpful to provide a reality check for those who are wondering when the big money is going to start rolling in.
First in a series.
There is no shortage of marketing guidance for photographers on the Web today. “How to Use Social Media.” “How to Use SEO.” “How to Use Trade Shows.” “How to Use Business Cards.” “How to Write ‘How to’ Posts.” The list is endless.
I’ve been thinking a lot lately about software — specifically, about how much software we are currently teaching our students.
At the end of last semester, I sent around an e-mail asking about software in our curriculum to the other faculty members in the Visual Communications sequence here at the University of South Carolina’s School of Journalism and Mass Communications. And just last week, the issue of teaching software came up at a meeting of the entire journalism and mass communications faculty, which had been called to discuss revamping our curriculum.
When I go out in public to shoot, people often approach me and ask questions. Many times the initial query is about my camera or lens. From there, however, the conversation can go anywhere and, invariably, the individual will share a personal anecdote or pose a question based on their own experiences.
Anyone with a DSLR and a Web site can present themselves as a professional photographer today. So how can you, as a prospective photography client, separate the contenders from the pretenders?
Here are eight questions to ask yourself before hiring a photographer for an assignment — be it a corporate shoot, an editorial assignment, a portrait, a wedding or other event.
As I looked through my viewfinder to shoot a group of railway passengers at China’s Guangzhou Railway Station, I suddenly felt a cold splash of water on my neck.
Rain! Where was my umbrella — and the photographer/assistant who was supposed to be holding it over me and my gear?
One of the leading explanations for the disappearance of the Neanderthals was that they could not adapt their tools to the new conditions surrounding them. They stubbornly (or stupidly, considering their limited brain capacity) continued to use the ones they had. Then, they vanished.
In a previous Black Star Rising post, I discussed overcoming self-doubt in client negotiations by tapping into a reservoir of confidence — the one you have earned by developing your talents as a photographer.
Many photographers start out with lofty goals. The budding artist wants to be an original — to immortalize something unique with his or her camera.
These beginners soon learn that there are very few “secret” locations that have not been captured in photographs (particularly now that a camera is part of most everyone’s mobile phone). For some, this realization makes them not want to step outside or hold a camera up to their eye, because everything they see has been photographed so many times before.
In today’s world of Internet publishing and streaming media, photographers are increasingly expected to practice multiple disciplines — namely, to provide both still and moving images from an event. Of course, I understand the desire for video, and I appreciate that it has its place.
Whenever I buy a new camera, I have a tendency to leave it sealed in the box and eye it warily for a few days — or even a few weeks — before I take it out to play.
Even though I’ve owned dozens of cameras in my life, I still find myself somewhat intimidated when there’s a new addition. As familiar as I am with what most camera features do and the new surprises I can expect to find, there’s still that awkward “new gizmo” hump I have to get over.
If you remember buying your first DSLR, you probably can also recall your thoughts and the research you did. You can graze the Internet, find most anything about any camera and read reviews before making a decision.
Black Star Rising reader Richard Cave sent us the following question:
Being a U.K. freelancer, if I as a U.K. resident put my pictures on the Web, do I need to register my images with the U.S. Copyright Office? The reason I ask is that we are no longer local, but now global.
In my previous two columns on financial planning, I discussed three tools that should be part of any business plan — the break-even analysis, the profit/loss forecast and the cash-flow projection. Now it’s time to consider a fourth essential tool: the capital spending plan.