I want to keep this very simple. So I’ll dedicate this slot on the home page to “Pay It Forward”.

Here’s how it will work:

If you need help — post a reply to this comment. Make it as specific as possible — date, time, place and skills needed.  If you want to help, post a comment or a reply to a previous request for help. Either way, make sure there is a way to contact you — like through your website or an email address. You may want to monitor this section to see what new messages have been posted.

A quick reminder about “Pay It Forward”. The basic concept is that we do a good deed for someone who, in turn, does a good deed for another. The deed gets passed around and if you believe in Karma, it ultimately comes back to us. (Of course, more often than not, doing the good deed is its own best reward. Whether we just feel good about what we’ve done, or we meet a new person, or we learn a new technique, there are many reasons for doing good deeds.) This is not the place to get inexpensive help, or to find a way not to pay assistants. This is the place to turn to, occasionally, when a job just overwhelms us and we need an extra set of hands to complete it — hands that we cannot afford, at this time. (BTW — the mailings for this site go to a large international audience. No matter where you are, don’t hesitate to post.)

Finally, and obviously, this is simply a place to contact fellow photographers. Because I do not vet the people who post here, I take absolutely no responsibility for them in any way. Please, figure out a way to get to know each other before you work together. Talk on the phone. Share examples of your work. Develop a comfort level with each other BEFORE you work together.

If enough people find value in this section, I’ll make it a permanent fixture of the site. If not, I’ll use the space some other way.

(Copyright: PrairieFire Productions/Stephen J. Herzberg — 2010)

Few of us — in this economy — have the ability to “crew up” for our ordinary shoots.

I’ve been thinking, a lot, about a possible solution — and I think it comes from the concept of “Pay it Forward”. Many of us know the basic idea from the movie — we do someone a good deed, they in turn do it for another, and the good deed gets paid forward making life easier for countless people.

Interestingly, the concept can be seen in a letter Benjamin Franklin sent to a friend, Benjamin Webb on April 22, 1784.

I RECEIVED  yours of the 15th instant and the memorial it inclosed. (sic) The account they give of your situation grieves me. I send you herewith a bill for ten louis d’ors. I do not pretend to give such a sum; I only lend it to you. When you shall return to your country with a good character, you cannot fail of getting into some business that will in time enable you to pay all your debts. In that case, when you meet with another honest man in similar distress you must pay me by lending this sum to him; enjoining him to discharge the debt by a like operation when he shall meet with such another opportunity. I hope it may thus go through many hands before it meets with a knave that will stop its progress. (Autobiography of Benjamin Franklin p. 241)

So what does this have to do with us?

If there is enough support from those of you who read this site, I’m thinking about putting up a section where we can ask for or offer help — on a pay it forward basis. Let others know what we need or what we can do for them.

I actually think the benefits of working with others transcend just getting jobs done more easily. I see this as a chance to meet new people, expose myself to new challenges, and learn new things.

What do you think? Is this a “pie in the sky” idea? Or, can it work? Would you be interested in participating? Do you have ideas on how to structure it? Post a comment. Let me know. If there is enough support, I’ll give it a trial run.

(Copyright: PrairieFire Productions/Stephen J. Herzberg — 2010)

But, first, a few thoughts.

I don’t do weddings — I’ve done a couple and understand the hard work and technical challenges that wedding photographers face. But, because I don’t market in that area, I’ve never really focused on how competitive it is.

There are a lot of people doing weddings. Photographers, both new and old, work that market. Why? Well, as Hanson once told me — because there are a lot of weddings. People continue to get married. And, they want pictures of the event.

So, that’s the upside. There are a lot of potential clients out there.

The downside? There are a lot of potential photographers out there.

And, how they choose to compete sets the tone of the marketplace.

Last weekend I got an up front, in your face example of how tough that marketplace is. I did some lighting for a friend, Todd Ramos,  who was producing a fashion show at Houston’s Bridal Extravaganza. (More on that later — when I write a piece on “guerilla lighting”). Todd was late. So there I was, all alone, a stranger in a strange land, overwhelmed by all things wedding. As I wandered around, aimlessly, I had but one thought — when the time comes, I’m going to pay my daughter to run off to get married. I don’t think I can go through something like this for real.

With nothing better to do, I wandered up and down the aisles of exhibitors. There were  cakes and caterers, resorts and rooms, tux’s and tours, limo’s and lima beans — it was all there.

And, so were the photographers. Lots of them. I didn’t count but I’d bet that close to 25% of the exhibitors were photographers — and I’d bet there were at least 75 of them there. Always the academic, I tried to analyze their marketing strategies.

First and foremost, I learned that these shows are important. Some of the photographers got 20% or more of their annual business from this one show. So it was incumbent upon all competing there to market like it mattered — because it did.

A fly on the wall, with big eyes and elephant ears, I watched and listened.

What stood out most? How little differentiation there was in the presentations.

I’d say 80% of the booths looked the same. A variety of prints on the walls, a brochure/handout and a price sheet.

Among the sameness a couple of things grabbed my attention — one very good, and one very bad.

The best marketers? The photographers who made their sales pitches very personal. Who found ways to interact with their potential clients in a relaxed, yet professional way.

One of my friends, had a small booth. But, she has a very big personality. With her bright smile and energy, she was up front. Stop to look at her photo’s and she very comfortably and casually started a conversation. She was very effective.

My favorite booth at the show? A large multi-walled, very cool looking structure, black plexi-glass with the name of the studio in big while letters — and NO PICTURES ON THE WALLS. Inside the booth there were 6 “stations” — a wedding album at each and each manned by a photographer in a tuxedo. Each gave the prospective client a personal “tour” of the studio’s work.

What did these two approaches have in common? They were selling the relationship, selling the experience. They were showing their potential clients who they were. People want to be around people they like. People they trust. People who make them comfortable. It’s all about the relationship. That’s what sells. And, pictures on the wall and brochures don’t sell it.

Hanson talks about that in the interview.

But, before going there, I’d be remiss if I didn’t mention another form of marketing that was prevalent at the show — price competition. Perhaps the best example was a large sign in one of the booths offering “Two Photographers Unlimited Time” at a very low rate. Others were not so blatant. I heard many a conversation where photographers started to back away from the prices in their brochures when confronted with brochures with lower prices from competitors.

How do you compete when someone says, “The guy down there will do my wedding for $500.00. Can you beat that?”

Fortunately, I had asked Hanson that very question. Here’s his interview. I’ll be back to write a few closing thoughts at the end of the post.

www.youtube.com/watch?v=PEzNZZIsBSE

Hanson — The Subtle Salesman

So what do we take away from this? I think some very substantial, though understated sales techniques.

Let’s start with Hanson’s  premise that “everyone wants to look good”. Although that’s a no brainer, Hanson uses it, expressly, throughout his sales presentation.

The unstated theme is “This may cost you a little more, but I will make you look good.” The theme is used in several areas as a way of countering the pressure to enter price competition.

First, Hanson introduces the concept of “enhancement” — enhancement, a very positive way of talking about post production or “re-touching”.

Experience has taught me to never tell someone that I will retouch his or her image. Even when I do post production work, I don’t boast about removing blemishes or wrinkles. The most I will say is that “No digital image comes out of the camera right. Of course, I will have to do some post production work on it. If you want it to look good.”

We can differentiate our work from that of others by selling our post-production abilities AND by charging for them. I particularly like Hanson’s approach. He holds up two copies of the same image — usually a face — one that has been “enhanced” and one that hasn’t, and asks — “Which would you rather have.” And, then he explains how much more he charges for the enhanced version. (Almost all faces need something — even those of high end models with carefully applied make-up. This is a strong technique.)

One thing stands out: if you are not charging for your post-production work, you are shortchanging yourself. Post production skills differentiate us from those who, though they may have the same camera, don’t have the same skill set. We deserve to be paid more than they do. And, we will be, if we sell our skills not just our images. As Hanson says, people have to understand that they are “paying for our talent”.

And, by selling the added value of post production we sell away from the “I’ll give you 1,000 images on a CD photographers”; as Hanson points out, there may be one or two great images amongst the 1,000, but most of them will need enhancement.

Second, Hanson deals with the “price shopper” with firm resolve and a sense of humor. He will not drop his prices. He has several gentle ways to overcome the “will you do it for less?” inquiry.

In the wedding context, Hanson obliquely introduces the “fear factor”. “You only have once to get this right. Do you really want to take a chance on someone without the experience and equipment to capture it as it happens?” I like his line “Do you want it done right or do you just want to get by?” And, then, the humorous punch line “You know, if you really want to save money, you might want to do it yourself.”

Finally, Hanson sells the relationship, the experience. Hanson is charming and fun — the kind of person you like to just hang with. And, he makes sure people see that part of him — both during a sales pitch and while shooting. No hiding behind the camera from Hanson. His personality fills the room. And, it is his personality that sells.

Postcript:

I’ve been pleased with the commentary generated by this “Survival Stories” section of my site. Please, keep it going by posting your thoughts, reactions and ideas.

(Copyright: PrairieFire Productions/Stephen J. Herzberg — 2010)

More than 150 of you sent emails saying “yes” to my inquiry as to whether I ought to start “a survival stories” section on this web site. My web developer, Nina Sossen, who knows a lot more about web site interaction than I do,  tells me that statistically, the letters represent very strong support for the idea.

So, I’m going to do it. And, I’m going to do it now — even though I’m not sure whether the form will remain constant or whether it will morph into a separate but connected blog.

The basic idea is simple. This new area will be a place to talk about the “business” side of photography.

Those of you who have been reading my work for the last few years know that I’ve spent most of my time writing about the “artistic” and “technical” sides of the endeavor. That’s what I like to do. It’s probably what I do best. I’ll not stop doing that.

But, it’s clear to me, that in this funky economy we have to talk more about survival — and this will be the place where we do that.

We Have to Be Both Artists and Business People: We Cannot Be One Without the Other

The fence that separates “business” and “art” is artificial. There is no conflict between the two. It is a false dichotomy.

Because, without “art” there can be no business. And, as many are learning, without “business” one cannot continue to produce art.

I think that false dichotomy may be at the root of the problems many of us are facing.

We see ourselves as “artists” not “marketers” or “sales people.”. We love to create. We hate selling. We put our time into becoming better artists and ignore the need to become better business people. Why? Because we want to do what we love doing. And, most of us took up photography for the creative rush, not because we wanted to market and sell.

But, market and sell we must — especially in these tough times.

As money becomes tight, what we do is seen as “discretionary” spending. Photography gets the red pencil because it is not seen as a “necessity of life.”

Until, we need a picture of a loved one for a funeral. Or to remind us of special times. Or to brighten our homes and lives. Often, when we see the need, it is too late to create the image. Our loved ones are gone. The moments have passed. And, we realize that we really should have recorded them, for all time.

It is our job to make people understand the importance of what we do. In simple economic terms, we need to create “demand” for our products.

That’s what marketing and selling are all about.

It’s about getting ourselves in front of the right people and teaching them to value what we do. It’s about getting them to let us share and record those moments. And, it’s about selling them our work — closing the deal, getting paid, fairly, for what we have done — so that we can continue to do it.

I define marketing as the stuff we do to get customers. I see the shoot and post production as the “art” side. And, selling as the way we make sure we get paid, fairly, for what we have done. They are all one and the same thing — being a professional photographer.

We will talk about all of these things in this space.

Competing On The Right Playing Field

We will talk about how we can survive in this down market — a market which, increasingly, has spawned the worst type of competition — price competition.

As artists, we’d prefer to have decisions made by clients who compare our work to that of others — not by clients who don’t care about the quality of our work or don’t know how to evaluate it and, therefore, simply compare our rate cards to those of our competitors.

No one wins a price competition. Not the consumer who often gets a product of poor quality — because it costs more to do it right. And, not the photographers involved in the price fight who often make less on a shoot than they would if they were working at a McDonald’s.

How do we survive the black hole of price competition? Let’s talk about it here.

A Rising Tide Raises All Boats

That’s pretty much been my business philosophy for as long as I can remember.

What does that mean in this context?

It means that we are in this together. If we make the tide rise, we will all succeed. If we cannot, we will all run aground.

And, that’s why I don’t find it productive to have internal battles. There is a lot of anger out there. Hostility and jealousy. In general terms, it’s not productive.

Complaints about “moms with cameras,” in addition to being demeaning of many very good photographers who are also mothers, take us nowhere; they, too, want to work in an economic environment where they can flourish. And, where they are paid fairly.

Whether one who does not have a studio can be considered a “professional photographer” takes us nowhere. Unfortunately, in this economy many cannot carry the overhead of a studio space and are either shooting from their homes, on location, or renting studios when needed. They, too, want an environment where they can flourish.

I think the essence of these complaints is a belief that those who do the work “part time,” or don’t have the overhead that studio photographers have, are creating the price competition by offering their work for unreasonably low prices. (I have also seen the finger pointed at studio owners who, as the belief holds, desperate to hold onto a “dinosaur business model” are cutting their prices to get work to support their “bloated overhead”.) Neither set of allegations moves the ball forward.

Whether or not these allegations are true is an empirical question. I’ve not been able to find any numbers to support or deny them.

However, it is clear that the finger pointing is not productive. It does nothing to increase the demand for our work. It does nothing to make the tide rise. And, if the tide does not rise, we will all be left on high ground.

So let’s try to make the tide rise. And let’s discuss how to do it here.

In my eyes, for the tide to rise:

1. All photographers who sell their work must attain high standards of proficiency. Poor results sour the consumer base. Unfortunately, all professions suffer the stigma created by the least skilled in the trade. If our clients begin to believe that they can do better work than we do, they will not hire us. We must be noticeably better and we must differentiate our work from that achieved by consumers who own the same cameras we do. I’ve written extensively about differentiation — doing the things that our friends and neighbors cannot do — be it perfect lighting and posing or doing using tools they do not own or have not mastered, like the Lensbaby, or post-production software, like the stuff from onOne, Imagenomic, and Nik. To survive, we need to create images that don’t look like those that come out of their cameras.

2. We must educate the public to see the beauty in and appreciate good photography. If they cannot tell the difference between what we do and what they can get for free or for rock bottom prices, why will they pay more for our work?

3. We must price our work in ways that reflect our investment in time and materials; we must seek a fair return. I know it is tempting, in bad times, to cut our bids so low that we either barely make or lose money — just to get the job. But, we really have to wonder whether that job is worth getting. And, I firmly believe that we are only as good as our last quote. Once we underbid, it is hard to get back to fair pricing. After all, we are the ones who diminished the value of what we do; by cutting our prices to ridiculously low amounts, we are telling the consumers how little we value our work.

4. We must learn to adapt to the new paradigm — the one in which many consumers don’t care about “prints” and/or  have the ability to knock off our work. This is an odd time. My guess is that more people are looking at images in an electronic format than are printing and displaying them. Until we explain to people the value of prints, and the danger of “electronic” storage, we will not be selling a lot of prints. And, this is a time where, with scanners, it’s not all that hard to copy what we have done, we might question whether a model based on selling prints is viable. We may want to think about different economic models, like charging for our time as opposed to charging by the print. Either way, we have to explain the law of copyright to our clients in a non-threatening way; if they understand our rights, most will respect them. And, when they don’t, as an industry we have to enforce them.

5. We must market like it matters, because it does. Sitting back and waiting for business to come will not work, now, if it ever did.

6. And, we must sell. It does no good to book a client, do a great shoot, produce some incredible images, if we cannot get people to pay for them. Spending hours to sell a couple of 8×10′s won’t cut it.

I’ll continue to work hard on #1 in other sections of this site.

Numbers 2-6 will be the substance of “Survival Stories.”

How I Think It Will Work

I’m not sure exactly where this will go or how we will make it happen. But, for now, here’s what I’m thinking:

This will be a place where we speak to each other — through articles or comments.

I’ve already started contacting some of my friends and have been asking them if they’d write some articles on selling and marketing to stimulate discussion here.

Last week, I got an email from a reader who told me about a loan program that might be good for photographers. I’m going to follow up by interviewing her and reporting what I learn here.

If it is going to work, it has to be a dialogue. Some of you have offered to write short pieces for me to post. I know others will add depth by commenting.

In your recent emails, many of you have expressed frustration, pain and anger. I expect our dialogue here to be passionate. We are talking about things that cut to the bone — our ability to do what we love and to support ourselves doing it.

Passion is perfect. From discussions come answers. There is no “party line” or set answer here. For example, you may disagree with me about “part timers” or those without studios. That’s fine, state you point. Disagreements stimulate discussions. To move forward we have to make sure we are building on solid ground. Often, it takes some digging to find the bedrock.

There will be but one rule: Play Nice. Simply stated, if you disagree with someone, do it respectfully. That’s it. Let’s be vibrant and passionate in a respectful manner.

Let’s start the discussion with your comments on this post. Let me know whether this is what you want and where you think we should go. Have comments on what I wrote? Post them. Have ideas for future topics? Post them. Have other thoughts you want to share? Post them.  Want to add to something someone else has said? Use the “Reply” function. For this to work, it needs to be a dialogue. No one person has all the answers. The more who join in, the better this section will be.

I look forward to seeing where the discussion takes us.

Steve

P.S. The content here will probably be more dynamic than the normal substantive content. It might change on a daily basis. Some of you have figured out a way to get notifications when things here change; would someone please put up a comment teaching me, and others, how to do this?

We are going into the Holiday Season and I’ll be out of state for a while. I want to get this started now but expect it to really take off after the New Year.

(Copyright: PrairieFire Productions/Stephen J. Herzberg — 2009)