Commentary: Photography in a Funky Economy
To paraphrase Charles Dickens, “These are the best of times, these are the worst of times.”
It’s all a matter of perspective.
Looking at the bright side, the tools we have available for use as professional photographers have never been better or more competitively priced.
Looking at the dark side, as with all businesses, professional photographers are working in a market marked by fear and confusion. To make matters worse, the images we produce are often seen as the frosting, not the cake – something that is nice to have but not essential.
Looking down the middle – the world is what it is and until it changes we must do what it takes to make our businesses both survive and thrive.
Like all businesses in a depressed competitive market:
1. We Have to Be the Best At What We Do
Even before the economy started to tank, professional photographers were complaining that their competition was not just the mall stores but also their neighbors and friends who were running around with “professional” level cameras – who were doing the same work for free.
The bottom line is this: If my kid or neighbor can do the “same” work that I can do, why would he or she pay me to do it?
The key is to be better, in every way – to provide a better product and a better experience.
The key is to be different – to do work that not everyone can do – to use posing lighting, post production and special effects to create images that no amateur, no matter how good the eye or camera, can duplicate.
The key is to get past the false dichotomy of “getting it right in the camera” v. “being creative in post production”; we must be both. There are very few digital images, no matter how perfectly composed and captured in the camera, that cannot be improved in post production. A lot of differentiation is the product of post-production creative manipulation.
And, because there is a learning curve and some difficulty associated with using post-production programs like Photoshop, Lightroom, and NX2, this is an area where we can step away from the crowd of those who own great cameras but do little more than push the shutter button.
Those who say “I am a photographer, not a computer jockey” and who don’t hire “computer jockeys to maximize their images, are competing with a dangerously thin tool box. Don’t think the computer is a critical part of a tool box? By definition, it has to be, we work in a digital medium.
And, if you think the world of photography is different – take a look at the tools used in auto racing, be it Formula 1, Indy Car, or NASCAR. Next to all of those big, red Snap-On tool boxes, what do you see? Computers.
Mechanics can’t compete without computers and neither can we.
To borrow a line from Seinfeld, to be the best at what we do, we have to be the “masters of our domains”. And, the domain is dynamic and expanding.
2. We Can Never Stop Learning
My Nikon D3 has more computing power than the first desktop computer I owned. My 4 year old G5 Mac desktop has more computing power than the 2,000 square foot, temperature controlled editing suite in which I pulled together my first television productions. The software I use is more sophisticated than that used by the first TV station on which I appeared.
All this power comes with a price. We have to learn how to use it.
The same can be said for the traditional, yet evolving challenges photographers have faced, forever – lighting and posing.
Fortunately, we live in a time when there is an abundance of high quality learning material out there. I love seminars and things like Photoshop World (the best all around learning experience I’ve had).
And, fortunately, there are alternatives that don’t require plane tickets and hotel rooms.
The world of DVD and online learning materials is exploding. It’s unbelievable what’s out there.
In my quest to lose my Michelin Man/Pillsbury Dough Boy fat, I’ve hit the treadmill, hard, every morning. To keep me engaged I’ve chosen to watch training DVD’s. Calories down, knowledge up – what a cool deal.
A while back, Dave Newman, in a Texas School lighting class, told us that he studied lighting by going to the museum and looking at how the old masters painted light. A couple of days ago, I went to Houston’s Museum of Fine Arts for a “refresher course” in classic portrait lighting. Free, easy, fun.
I also study lighting in the checkout lines at the market. By looking at the eyes of the stars on the tabloid covers, by looking at the shape and placement of the catchlights, I can often figure out the lighting patterns the photographers used. I’ve actually learned a lot that way – and it’s helped me to overcome my incredible impatience with waiting in line for anything.
3. We Have to Market Like We Mean It
Truth be told, most of us see ourselves as “artists” and not “business people”. Once more, that’s a false dichotomy. In this world, unless one has a patron or large inheritance, one cannot be an artist without marketing.
And, while we are at it, we have to set a fair price for our work. That’s a lot easier to do when our work is better and different. Different and better keep us away from “price competition”. If our clients can’t see the difference between what we do and what everyone else does, they will use price to make their buying decisions. The only way to win a price war is to lose money.
Too many photographers don’t charge enough for their work – many because they don’t value it, themselves. If they don’t believe they are worth it, their customers won’t.
Marketing is a learned skill – one we have to study and master. There’s a ton of material out there, DVD’s, classes, online webinars – all aimed at teaching us how to drum up business and make sales.
One comment about marketing. Of course, innovation in any field is good. But, I must admit that I am somewhat skeptical about the trendy move toward marketing on places like Facebook and Twitter.
Why am I skeptical? Because I believe in the words of the great philosopher Willy Sutton – yes, that Willy Sutton, the guy who used to rob banks.
When he was finally caught, a reporter asked him “Willy, why do you rob banks?”
His answer, “Because that’s where they keep the money.”
What does that have to do with the trendy emphasis on marketing on Facebook and Twitter?
Everything. We should do our marketing where our clients are.
I have a dear friend who is one of America’s great commercial photographers. His business is dominated by work for art directors. When he moved heavily toward Facebook and proudly told me that he was up to 300 friends, I asked him “How many of them are art directors – the people who hire you and buy your work?”
In all fairness, the book on Facebook/Twitter marketing has yet to be written. I may be way off. But, until I see some empirical data supporting that marketing model, I’ll be a bit skeptical.
And, until someone shows me that my clients are on Twitter and Facebook, I’ll spend my marketing resources elsewhere.
5. We Have to Spend Our Money Wisely
In times like this, when money is tough, I turn to another great philosopher who has had a major impact on my life, Mick Jagger, and follow his words: “You can’t always get what you want. But, if you try some time, you just might find, you get what you need.”
I like to be on the cutting edge of technology. I see great value in all kinds of cool equipment. I like toys and tools. I want a lot of things.
But, in times like this, I have to remember that the smart path is not to get the things that I want but, instead, to concentrate on getting the things that I need.
And, I try to buy smart.
I read reviews and do lots of research before I buy anything. I check out the spec’s and call friends who are using the product.
One of the things I’ve learned, the hard way, is that it is better to get less high quality stuff – stuff that works and lasts – than it is to buy lots of less expensive stuff that does not.
For example, I’d rather have 2 high quality lights and a reflector than 4 lower quality lights that may not be color or duration consistent. I’ve learned the hard way to buy fewer high quality lenses than more lenses that don’t match the capabilities of my cameras. I won’t cut corners on compact flash cards; running the risk of a field failure is not worth the small price difference between the best and the mediocre.
I’ve learned not to buy niche things – things with a very limited function that I might not use more than once. A lot of this stuff is very cool – but it does me no good sitting in a closet. If I need a niche product, like a use-it-once-a-year lens, I’ll rent it.
“My name is Steve and I’m a software junkie.” There, I’ve said it, and it’s true. I love software – all software, and I’ve got a lot. But, I try not to buy things that I won’t use or that I can create on my own. I know people who buy action set after action set – many of which are things they could record themselves in very little time. Most of the software I use I bought after trying it during a free trial period. If I am still using it after the 30 or 60 day trial period is over, if it is doing what it is supposed to do, I will buy it.
Buying smart does not always mean buying at the lowest price. Sometimes buying smart means buying from a vendor who will support the product long after the sale. I think it’s worth a few dollars extra to buy from people who I know will take my phone calls and help me out in my moments of need or panic.
Yes, I still get things that I want rather than need but, Mick, I’m trying.
Tying it All Together: Mission Statement
So, what’s this have to do with my new website – why this editorial, now?
Because, I see part of my mission to be helping us to get through these difficult times.
I am strong in my commitment to teaching and writing and passionate about supporting my friends, readers and students.
I’m going to try to make this website a place where we can gather to learn and grow. I’ll write tutorials, product reviews and philosophical pieces. When I don’t know an answer, I’ll go look for it. I’ll call on my friends to fill the gaps. I’ll try to publish the stuff we all need to make smart decisions and to move our photography forward.
Until I master this site, I’ll go slowly.
Once I feel secure with the technology, I’ll let it grow. Soon, I hope to add an interactive blogging community.
I’m excited by the potential and hope you will join me for the ride.
(Copyright: PrairieFire Productions/Stephen J. Herzberg — 2009)
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11 Responsesto “Commentary: Photography in a Funky Economy”
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foo
great article. it’s nice to read sound reasonings for good marketing instead of jumping on the facebook bandwagon because others do. I couldn’t agree with you more. thanks.
Mitch,
Funny you should raise the “Facebook/Twitter” trend. I’ve been struggling with a yet to be made decision about using both to draw some readers to this Blog. I am AMBIVALENT — can’t make up my mind.
Both probably have their place — but the key is defining the place and understanding what they can do and what they cannot.
I’ve got some other thoughts about marketing on Facebook that I may write, later.
My perspective may be different — I have a 17 year old daughter who feels strongly that Facebook is the place of kids not grown ups, and feels about vendors the way many feel about door-to-door salesmen or phone solicitors. And, as a parent, I have some concerns about grown ups who market to kids instead of their parents.
Anyone out there want to pitch in and put up a comment that might start a discussion?
I’d like to build a community where we can exchange ideas and experiences. It all starts with a comment from one of you. All opinions are welcome and will be treated with respect.
Mitch, thanks for the kind words and starting off the thread.
sjh
Steve – Thanks for the article. My market specialty is “wedding: 2nd time arounders”. Me thinks that most of them are not Facebook, nor Twitter savvy. I’m certainly not. But I also wonder who will keep-up my postings on these media, should I embark there-on? I don’t have the time, nor frankly the inclination. Are there marketing types out there who can help?
Hi Steve,
Many of those holding their own in this economy have carved out niche markets — and I’ve not heard of any more creative than yours.
Recently, I’ve heard that the largest “emerging” audience on Facebook is adults around 50 years old. I can’t confirm this but it might change the dynamic, somewhat, if that older group chooses to use Facebook or Twitter to shop for a wedding photographer. I remain skeptical.
Eventually, I will have to use Facebook and Twitter to let people know when I’ve put more posts on this site. It was in the original plan but I’ve been dragging my feet for the same reasons you have — I just don’t want to keep up with it.
However, I do have a plan for when I do — I’ll pay my daughter, or another kid who is always up there anyway, to maintain my sites. What do you think?
On a slightly related topic, I’ve been getting a lot of private emails from people who want to explore marketing and survival stories with each other, and am thinking about dedicating some space on the site to doing so. Anyone out there interested?
I would love those stories. Very relevant!
It’s always good to share!
Steve –
Does this website have a utility that functions similar to [members-only] Yahoo-Groups? If yes, I’d be interested in joining a marketing-discussion oriented group. But would rather not post to an openly-viewable bulletin board.
Hi Steve,
great article… but when you talk about the difference in quality people will pay for I have to tell you my italian experience… after years of cheap photography (the kind of crisis you have now in USA is normal for us in the last 20 years!), also magazines started to use cheap pictures and the average people is so used to ugly pictures that lost the ability to see the difference. A research I read about years ago was explaining that you can see the colors you have the language to describe, in some cultures where people have the language to describe few colors they really distinguish just few colors, they are not able to see the little tonal differences, they see red everything going from pink to purple.
The same happen with the quality.
But I continue to be optimist and create always something new to get new clients, make my actual clients happier and reeducate the people to see the differences.
Ciao
Luigi
Diversify.
Naturally everyone has to make their own decisions on the type of work that they want to do. Some people very strongly believe in getting into a niche and staying there. Others, like myself, believe that diversification is a better method of staying afloat. Keep in mind, market size, will dictate which business model can be employed. I live in a small town in a 900 square mile county that has a population of about 30,000 with an average age that is approaching 40 years. I’ll photograph portraits of children, HS seniors, families, the elderly along with groups, and sports teams. Light commercial photography is not out of the question, nor is copy and restoration. The good thing is that I have to skilled in all of those areas.
This has been a challenging year and next year will, no doubt, be a challenge too. But, positive planning and diversification will keep us going in 2010, in our small market.
With all the home based studios (freelancers) it’s making it more and more difficult for real studios. These home based studios are selling the idea of natural portraits. As if real studios are incapable of natural sessions. They are also charging much more that real retail based studios for session fees. Most of them are charging $250 on up for a location session (because they don’t have a studio). Why are clients willing to pay more for semi pro images thet are mostly overexposed, unretouched, non directional lighting etc? One of my regular clients was telling me that the persona of these semi pro freelancers working out of their homes is that they are less expensive and more creative than real studios. In order to survive we need to educate our clients?
Agreed. It is frustrating to see potential clients being robbed or defrauded by the untrained and untalented.
The problem is that there is such a wide variety of “photographic styles” that people find acceptable. A few years ago I was more than just a bit annoyed by the “quality” of the images that were printed in an Abercrombie and Fitch catalog. The posing was bad, the lighting was terrible, and even the products looked bad but those images still made it to print.
I think the best thing to do is the best work you can and then get better like Steve wrote in his first point ( I also agree with his other points). Then we have to market to the people that appreciate higher quality work.
Clients appreciate a photographer that can portray them at their best. They will always be disappointed with the images that come from the unskilled. Some will blame themselves, saying, “I just don’t take good pictures.” Others will say nothing at all and never go back. Some won’t let themselves admit that they made a mistake. And, some others will learn from their mistake and try an established pro the next time.
We may think that choosing us (established pros) is a “no brainer” but the public doesn’t see it that way, which is why we have to have a plan and market our brains out in order to attract the right clients, the people who appreciate us, into our studios.