Author: Leslie

Yesterday, I learned about the death of Paula Lerner, and my heart broke a little. She was so young and such a defender of photographer’s rights. I knew, liked, and respected her.

I learned that news after hearing from a very close friend that one of her other best friends has cancer, again–a woman who just got her divorce papers on Sunday. Divorce and a really bad form of cancer. Ugh.

All this bad news got me to thinking: why am I complaining about anything in my life right now, especially work stuff? Why are any of us?

Business is hard. To paraphrase a favorite movie, anyone who says otherwise is selling something. Business is work and doing the stuff you don’t want to do. Business is hiring accountants and lawyers and making pitches to potential clients and doing research and paperwork and making trips to Costco.

Oh, and making your art, too.

It’s sacrifice and frustration. It’s making tough choices like to take what may be a hit now for the possibility of a long-term gain (the subject of my latest Manual that subscribers & app owners got yesterday). It means having to say “no” to a lot more than you ever imagined, like to buying you or your kids stuff because you need to pay your over-priced health insurance.

It means having to smile to clients who are driving you nuts.

But it’s life, and you chose this path.
Stop and think just how great that is. You are Here, as the sign says.

No matter how tough it gets, no matter how much you struggle in your business and to make your art, you are here and doing it. No matter how psychotic the client demands, how long the hours, how much you miss your life partner because you’ve been locked in post for the past week, or how frustrating the airlines are being about your gear, it beats the hell out of the Alternative, as my 86-year-old father puts it.

I hope we all take a moment to remember those who have inspired us, like Paula, and then honor them by recognizing that we’re all here temporarily and need to embrace the fantastic opportunity that presents. Play your music a little louder, do the drudge work with a better attitude, and push your art more.

And stop complaining about any of it.

 

That headline is not to shock, it is to make a point.

True story: a man I know who works at a very well known ad agency got a LinkedIn “Let’s connect” email from a photographer. The man doesn’t know the photographer from Adam and, like what I hear from most buyers and other creatives who may influence photo buying, finds such approaches on LinkedIn particularly icky. I’ve mentioned this before to you fine readers, and I mean it. It’s bad form and pisses people off.

Feeling more than a little frustrated with this sort of thing and rather than respond directly to the photographer, my friend tweets the following–tweets it, mind you, and never mentions anyone in particular:
Dear Photographers: If I don’t know you, I’m not going to connect with you on linkedin. Think it through next time.

Next thing he knows, he gets an email again from the original photographer. It reads:
You don’t have to be an [sic] prick about it. Think it through next time.

This photographer has just slit his professional throat.

I don’t care how bad your day is going, I don’t care if someone actually acts like a total asshat (and, btw, I don’t think my friend did anything out of line), you never, ever call someone who is/was a target a prick. Or anything else, for that matter. Why? Because like all people, people in advertising talk and your reputation is vital. Your work can be the hand of god photography, but if you are a jerk, you will not get the gig.

 

Today there is a fascinating post on DuetsBlog.com (“creativity & the law”). It explores the recent re-branding of JCPenney and the attempt to force them to drop Ellen DeGeneres. It teaches all of us a big lesson: your brand is not your logo, it is who you are in the world.

This is why you can’t bullshit your targets. You can’t pretend to be visionary or to care about art and design and creativity and the work you make. You had better eat, sleep, and breathe your passion for what you do, because your targets will suss out a fake faster than you can say Nikon.

Make your work.

Show your work.

Live your brand.

 

There are a gazillion sources for information about how to market your work today. I can’t possibly keep up with them all. One thing that rings true on every one of the best sites? Make your OWN work. Specialize–that is, have your own vision and make (and show) your own work.

I’ve been saying this for a while, but really, that is all you have left.

Technology? Hell, anyone can make a decent image these days. They can do it on their friggin’ iPhones. Work that would have been technically better than about half the photographers I knew back when I got into this industry can be done on an iPhone. Easily.

But that doesn’t mean you’re out of a job. Nope. instead you are now fully liberated to make your art and to make it by your art.

Scary?
You bet your ass.

You can’t fake it any more. You had better be making something you are completely passionate about or your targets are going to know you are a fake in no time flat.

But when you make your own work and put that out to the world, passionately and with the full confidence of “this is mine–that I do–who I am creatively” then people are drawn to it.

Yes, you still have to do the work of targeting and making calls and schlepping your book (and yes, a print book is still best) and sending promos and all that jazz, but if you start with your own work, the rest comes much more easily.

I know, you’ve heard it before. You know how I know? because I’m blue in the face saying it, but it’s true.

Go. Shoot. Make your art. Get excited about it. And get it out there.

 

Oh, and register it too, will ya’?

We should go dark.
Every one of us who makes “creative content” should pick a day and go dark.

Every photographer, writer, illustrator, and related support companies like reps and stock agencies should go dark.
Take our sites down. Make our content unavailable on YouTube, etc. Stock galleries, everything.
Take away everything that is driving the ad-selling machines that promote “free culture.” “Free culture” is ruining all of us.

What we do is not free, it costs each of us our lives, our souls, our efforts, our sweat, not to mention cash outlays in the form of equipment, tools, and investments in education.

The world needs to see how much value we create.

We drive this bus! Yes us, every one of us who creates! Not the parasites who are riding on our backs, getting rich because of what we make.
What YOU make.

You can get a gazillion RTs or +1s or Likes, but they will not feed your family or keep a roof over your head. You don’t need appreciation like some high school prom queen candidate–you need money. We all need money.

How long are you willing to be Google’s bitch? Or the torrents’? Or Facebook’s? Or any of the gazillion blogs, etc., that exist solely to sell ad space? Who are you creating for? For them, so they can get rich?

Take back your power.

Let’s go dark.

After years of doing the BAP Manuals bi-monthly (that is, every-other month), I am switching to making them a monthly offering. And, in the doing, they are no longer doing to be offered as a freebie. I know this is hard for some of you to read, but I’m simply unable to give away as much as I have been. Like all businesses, BAP is facing increased costs, etc., and besides, now that I am a lawyer, the Manuals can contain more valuable information than ever before.

The culture of “free” has hit all of us. I get many calls and emails asking for help (both legal and marketing) and, when I say “I can’t answer for free” I far too often get an angry reply like “What do you mean it will cost money?!” Not always, of course, but too often and more and more. Also, there are more and more “free” and “low cost” resources in the photo world offered by companies who make their livings selling other products and services (like websites and lists, etc.). I don’t fault those companies for what they are doing–they are being smart businesses, but I’m not going to try and compete with them either.

The reality is, like everyone, I have to make a living. The information I provide is my product, I’m a specialist who has devoted my professional life to photographer (and other creative pro) marketing and business issues, and I can’t afford to give it away any more.

So, here is the scoop: you can still get the Manuals for free, if you purchase the BAP2Go app ($59.99). You can get the app for the iPhone or the Android. If you purchase the app, you will not only get the Manuals, you will also get free Creative Lube podcasts and other materials. Basically, it’s a one-time cost for long-term benefits.

The other option is to subscribe to the Manuals. You can do that either monthly or annually, using the PayPal button below. Please remember to enter the email address where you wish to receive the Manual, as I know many people use a different address for PayPal.

Subscription options

Monthly : $6.00USD – monthlyAnnual : $50.00USD – yearly

Email for Manual delivery

I’m going to be speaking at APA-SD this month, on legal stuff. More info on my legal services site.

Everyone is sharing their lists of things to do or not to do in 2012. I thought I’d share mine. I’m going to warn you, though, it’s not like any other marketing/business related list out there. And I also warn you, I’m not holding back on the language. I think someone needs to bitchslap the industry and today I’m just the broad to do it.

So, here is my list of what you should/should not do for your business in 2012…

1. If anyone talks about ROI or value propositions or anything else that smacks of weasel-in-a-suit when it comes to your marketing, run away. All that old shit is dead. Sure, you want to get the best bang for your buck, but most of the kind of marketing you do in your business is not quantifiable and the old MBA bullshit is just that… bullshit. First off, you are not selling widgets and much of that just doesn’t apply to service providers. Secondly, there are new tools every day–new ways to connect–and most don’t have any analog in the old world. Your marketing today needs to be honest, real, and a reflection of who you are. I sure as hell hope you are not a “suit.” Stay away from buzzwords–don’t use them and be skeptical of those who do.
2. Forget about old selling tools like “elevator speeches.” Look, no one gives a shit who you are or what you do when you shill. It’s totally off-putting to get the spiel–be that at a party or in an actual elevator. Car salesman-esque. Fake. Ew.
   My “elevator speech” is I’m a marketing consultant and lawyer for creative professionals. That’s it, because all I’m doing is answering the question “What do you do?” Why only this? Because I’m not pushing the sale (that is very old and disliked) and I leave space for a dialogue by NOT answering all the implied questions (see #3). I’m letting go of trying to control the interaction and in so doing get better results.
3. When meeting someone new, especially a target, after saying that you are a commercial photographer (or whatever), always follow it up with a question (or more than one) about the other person: Do you work on the Widget campaign? What other ones? Who’s your dream to work with? etc. And respond honestly to their responses and use follow-up questions: I love the Widget work–where did you find that actor? You are a hell of a lot more interesting to a potential target when you are interested in her/him, especially (in this context) his/her work (it’s good to do research on your targets ahead of time so you know enough to have questions).
4. Fuck SEO. Seriously, unless you are shooting weddings/portraits and/or your work is specifically related to your geography, fuck it (and even for those of you who do weddings, etc., don’t spend too much time at it).
   Google has 97% of search traffic and it manipulates its results something wicked (they are under investigation by the Federal Trade Commission for this). Really, it’s wasted effort. Moreover, good buyers are not using Google to find photographers. At best they may do an image search (mostly for inspiration, not to hire a photog) and then that’s going to be more about keywording your work than your site.
   Yes, we all know of someone who got a great gig from Google: and that person is the exception, not the rule. It’s like what we women do often with dating: we hear about the one friend of a friend who ended up getting happily married after the guy didn’t call forever and we think that can happen to us. We could get hit by lightening, too.
5. Stop whining. I’m tired of hearing “I can’t do that.” Yes, you can. It might be hard and it may be risky, but you can do it. I don’t care what it is, almost always you can find a way to do it. Get a set already. Business is hard and there are no guarantees. You want a guarantee, buy a blender. You want to be a creative pro? Accept that is tantamount to doing the flying trapeze, without a net. Let go and have fun with that. You chose to be an artist–stop whining about the risks.
   5.a. The answer to the question But what if someone doesn’t like it? is always Fuck ’em.
6. Shoot/make art for yourself, as often as you can. Don’t shoot/draw/create for any other reason (like to specifically make something for your portfolio) but rather shoot for the love of shooting and for making the work that excites you. Don’t worry if it’s good or right or what you should be doing, just make some damn art (see 5.a. above). That is your job and you have to do it for your business just as much as you have to pay your web hosting bill.
7. Stop doing generic promos. Your promos need to be a reflection of who you are and you are supposed to be a creative professional, right? So why the hell do you hide that? If you get a crazy idea and you love it, do it. Do it well (collaborate with a designer) and invest in your promotions, especially print or other tangible items. Yes, you can send postcards and email promos, but they are generally only better than nothing. A really original, creative, smart idea will break through the clutter. Some people won’t like it–find the ones who do (target well!) and for everyone else, see number 5.a. above.
   7.a. Do not ever call a client to follow up on a promo… I mean, don’t say “I sent you a promo, did you get it?” or “I sent you a promo, did you like it?”
8. Get out of your office/out from behind your computer and interact with people. Social media is a form of connection but it’s a weak one. You want to get work, you need to meet people in real life. Yes, that means making calls to set up meetings. It means traveling to the places where your targets are and meeting with them there. Oh, and at the end of any portfolio meeting, do NOT ask for a job on the spot. They hate that.
   Getting out also means going to events connected to your targets, like AIGA presentations or Ad Club events. Take people to lunch (or bring it with you), throw studio parties, put yourself out there. And have fun with it!
9. Register your damn copyrights. Yeah, this is me with my lawyer hat on but it’s one of the best things you can do for your business. The sooner you register, the better. It’s a long lecture as to why (statutory damages and attorneys’ fees, etc.) but trust me when I say that you don’t want to find later that someone has been using your work (and you will!) but that you can’t prove much in the way of damages and so get practically nada. That sucks.
10. I don’t care what any other consultant or photographer tells you, separate out your Usage Licensing Fee from your Creative (shoot) Fee. Better yet, make sure the License Fee is where most of the “cost” lies. As more and more work is getting ripped off you need to be able to prove the value of your license (even if you are going for statutory damages–it helps) and you cannot do that if you use a combined fee on your estimates and invoices. The other side will have a great argument that most of that number is the Creative/Shoot Fee and you get screwed a second time. Why do you think buyers say they want them combined? Because it benefits their companies, not you. They are protecting their asses–you need to look after your own.
    You can do this if you want to make sure not to piss off a buyer: on the cover/summary page of your estimate (and invoice!) you lump your numbers together into two main categories (Fees, Production Charges) so that there is a simple, one-page overview for the buyer to glance at. Inside, however, you break out every Fee and Production Charge, line item by line item, and make sure to line item the License Fee separately.
11. Yes, the list of 10 goes to 11… and the last is the most important: be yourself in everything you do. Honesty and real connections are what makes your business successful now. Steve Jobs taught us that having convictions is a good thing for your business and that’s what being honest is. And that’s what I’m demonstrating here. Sure, some people are going to be offended by my language and/or say it’s inappropriate in business, but in our businesses, being real trumps convention, every time. I swear (in multiple languages even), I’m passionate, I want y’all to succeed, and I work hard to make that happen. In 2012, I’m going to be more real and open with my thoughts and opinions, and that is going to scare off some people, but I know it will help those who stay and follow.
    For the others, well, see number 5.a., above.

As we come to the end of 2011 we are being hit with all the year in review stuff. Lists of best (or worst) movies, books, tv shows, fashion, you name it are being foisted on us. Photography is no exception.

I get frustrated with all of the “best of photo” lists, however. I have yet to see a list that isn’t entirely photo-journalistic. And these lists evoke comments from photographers like “This is why we do what we do!”

Most of the photographers who post comments like that are being at best disingenuous. Most of those photographers are not in photography to expose the injustices of a tyrannical regime or the sufferings of the starving. Nope. Most photographers wouldn’t have the courage to drop everything (except their camera) and run into the riots, the wars, the pestilence that the best, gutsiest photo-journalists actively seek out every day. And they shouldn’t pretend like they are because, and I know I’m going to piss off some folks but I’ll say it anyway, photo-journalists are no better than other photographers.

I’m not saying they are worse, mind you, but they are not better. PJ/non-PJ are simply alternate universes in imagery.

Photo-journalism is subject-driven. Of course there is good and bad imagery created by photo-journalists, but if you “get the shot” when the world is crumbling around you, no matter how well or poorly, it is a creation to the scene. That is, a photo-journalist (an ethical one, I mean) does not create the subject of his image (and forgive me, I am not going to his/her, s/he this piece although of course both genders do this work)–he, essentially, takes the photo. The great ones bring something more than just focus or framing to that, of course, but at its base, photo-journalism is a sort of reaction photography.

Other photographers make their photos from scratch. They create the scene, the subject, the environment… all or in part. Their starting point is not to tell the very real story of _______; it is not about capturing, about reacting to the world presented. It is about creating the image, creating that world. From shooting a CEO in his office for a sales brochure (to engender trust and show humanity in the boss, say) to full-on set building/costumed/post-production whizbangery, the only reality is what the photographer makes. This kind of photography also has its good and bad practitioners, but whatever these people do, it is production photography.

I get frustrated with photo-journalism being lauded as something better. The photographers who make images, who create their own visual reality (that includes visual reality for their clients) are not beneath those who capture the real world.

Again, I’m not maligning photo-journalists. Not at all. There are some amazing artists in that realm. But there are also some images that make these Best of lists because the photographer “got lucky” and that’s it. The subject is so profound that, as long as the image shows that subject in focus/in frame, we are moved.

But still we don’t see images created for, say, marketing on those same Best of lists. We are still moved by these images… arguably even more so because we take action. In terms of economics, the non-PJ photographers have a much greater impact in the world. They create the images that sell the products and services driving our economies. And yet those images don’t get the same glory. Seems unfair.

Why don’t we see lists of the non-PJ images that made the biggest impact in 2011? I dunno, but can you think of one such list? I can’t think of any. So I’d like to start one. What do you think? What images in advertising or marketing have you seen this year that you think particularly stand out?

(with apologies to Magritte)

Starting today, you can get my books on sale through Lulu.com. They are available in print and ebook formats and make great gifts, especially for the younger/less experienced photographer or assistant. Oh, and if you buy today (CyberMonday), Lulu has additional markdowns.

Also, if you book any of my consulting services before the end of 2011 (just book–you can actually use the service now or in 2012), you can save 20%! That’s a big deal, even if I do say so myself. Shoot me an email to get pdfs explaining my offerings and their prices.