You want to tell a story?

Every photographer says that they just want to tell a story.  It didn’t occur to me until last week that this is a big problem.  Are we all just telling stories?  If that is the case then we’re all selling something pretty similar, no?

OK, we’ve got to figure this out because if we’re all just telling stories then we don’t have anything distinct to sell.  So if that’s what we’re going to do we’ve got to find some way of providing distinction to what our stories look like.  What kind of story do you tell?  What parts of the story do you leave out?  What perspective do you tell the story from?  What format does the story take?  How does it unfold?  And most importantly how does the client understand what your version of a story is like?

The way you tell a story ought to be distinct and discernable compared to how someone else tells a story.  Let me make an argument as to why you ought to explicitly say something about your method of storytelling instead of just letting (hoping?) that the work itself does the job.

Think about filmmakers.  Take one script and pick any 4 directors.  Speilberg, Tarantino, Fincher, Burton, whoever you like – each one is going to tell that story differently.  Each one is going to have a different tone.  Each one is going to hit different emotions.  Each movie is going to feel different, even in the subject matter is the same.

Filmmakers have an opportunity to build a filmography and reputation.  There are interviews on Letterman and special features on the home release and critical analyses that tell you what the tone is like.  There is a script and a musical score that does some of the heavy lifting.  Everyone knows what those filmmakers do and how it is going to feel to watch one of their movies.

We creative entrepreneurs rarely have that reach.  We don’t have that sort of cultural relevance.  We don’t get reviewed and interviewed.  The type of story we tell isn’t well-established and preceding us in the market.  So be willing to make some statements about it, because the client isn’t going to live with us, they are going to look for us when they need us.  We’ve got to be willing to do the heavy lifting for them.

Hardly any successful artist actually leaves the work itself to do all the communication, why should you?

- trr

 

 

Douchebag Roundup

We had a pretty big week here on AMTF.  The podcast with Fer is on the way to being our most listened-to episode ever so thanks to those of you who checked it out and shared it.  Listen now if you haven’t already.  Plus, this week’s “Join the Douchbag club” got a ton of feedback including this comment from Jennifer:

The way you put it, it’s okay that the A&F company is providing their mass produced product to a specific, exclusive market – BUT it’s unprofessional and unacceptable to provide a service to a specific, exclusive market. This seems to not only contradict itself, but also contradict past posts where you’ve stated that you cater to the high end wedding market, specifically target $100,000+ ballroom weddings, and chose your target market that you work with because it fits you best.

Wouldn’t you say that mass-producing a product, and allowing a client who falls outside of your target market to purchase it, is easier for a company to do than for a self employed business owner to give their precious time away to a client who falls outside of their target market? I’m missing how it’s recommend for the already over-worked photographer to accept every job they’re offered. If anything, I recommend only giving your time away to those who appreciate your work and identify with your brand. The wedding photographer usually spends an entire year communicating, planning, and advising their wedding client. For the sake of both parties, it should be a favorable “union” between the bride and her photographer. Not just one that works because the payment terms are agreeable. To me, my time is too precious to sell to just anyone, and I prefer to choose how I send it. You recently made a statement that by being selective with the jobs we take, we’re adopting a level of entitlement or arrogance. Isn’t being selective with your time the goal of being a self-employed professional? I want to shoot the events that best reflect my work, and inspire me the most. If I don’t feel like I’m the best fit for a particular event, I’d rather let the client find their perfect photographer, and I’ll enjoy a day off with my kids. In my eyes, that’s a win, win.

And when I let Jennifer know that I was going to break her comment out into a whole new post she sent this:

Okay. I understand the jobs you are requested to take are widely impacted by your price point and the brand you’ve established. I just think that it’s easier for you to say you should take every job you’re given because of the price point you are in – most of your audience is probably not in that upper tier. So it’s not so easy for us to apply the advice you’re giving, because I would expect the jobs you are offered are rarely undesirable. Thankfully, my brand and price point does filter out most mis-matched clients, and I also screen the type of event first to further filter. But to tell the wedding industry as a whole that they are being arrogant or entitled to select their jobs, I think is unfair while you are still establishing your brand and working your way up. Just my thoughts

OK, so I need to do some clarification.  As I tried to express in the previous article I don’t see it as the client “offering” the job – when we hang out a shingle and set up a business we’re the ones who are doing the offering.  I feel that if you view your time as too precious then it is dubious to offer a service to a client that you may not be willing to go through with.  After all, as business owners we aren’t “giving away” our time – we’re selling it by definition.

Sure, we all start businesses to get to do whatever we want.  But that is kind of naive, because you have to do all kinds of shit that is not enjoyable to make the business work (who likes paying sales tax?).  You have to learn things that you maybe aren’t that excited about (bookkeeping, taxes, posing, etc).  And no one I’m aware of has had a profitable and sustainable business over any respectable period of time just playing it safe and doing the easy, fun work.

I didn’t know what my best work was until I was forced to shoot it.  I didn’t realize what I could be inspired by until I got out of my comfort zone.  Beyond that I didn’t realize that inspiration is a crutch, becoming a professional proved to me that I can do great work without having to be inspired.

I don’t really care if my service professionals are inspired to work with me. I only care about the end product.  I care about what is in it for me.  If I head out for dinner tonight I couldn’t care less if the chef isn’t inspired to make a cheeseburger tonight – he better goddamn well whip it up if it is on the menu and it ought to be as good as it was the last time he felt “inspired.”  Would we accept sub-par quality or prima-donna antics from any other professional?  Then why do we allow it for ourselves and celebrate it in our peers?

It doesn’t make much sense when we apply it to other professions does it?  Do I care how inspired my pilot feels on my next flight?  He or she could have had the worst day ever and be completely uninspired by the location and the jet stream and whatever else but they better make a picture perfect landing.  I’m not really interested if the guy changing my oil is exhilarated by the dipstick today.  I used to do theater, which I think anyone would agree is just as creative or artistic as photography.  Inspiration happened in rehearsal.  It happened while we were preparing to do our job.  When it came to showtime, in-the-mood or not, rain or shine, you got the fuck up on that stage and did exactly as well as you did the last night.  That’s what it means to be a professional.  Professionals don’t need inspiration to kill it.  

As far as my business is concerned I think I have tried to craft a specific brand that aims at a very targeted audience (as I would recommend to almost anyone).  But people outside that target inquire all the time and some of them hire me.  I don’t turn them away, after all they apparently want what I do.  I work at a price point that a lot of other people are afraid to work because the stakes are higher – playing it safe and only taking the jobs you know you can do isn’t necessarily a lucrative way to move forward.  I suppose that it is easy to assume that the inquiries I get would be “rarely undesirable” but I can say with a great degree of confidence that hardly anyone else is targeting my niche and almost no one I know wants to work the jobs I do.

If I made it seem like it was arrogant and entitled to turn clients away then I’ve succeeded halfway.  I’m not trying to be a dick, but I am trying to call that behavior into question.  I am where I am today, in a position to tailor my business as I like and help other people do the same, because I find a way to say “yes.”  I find a way to reach common ground with the client.  I’m far more concerned with qualifying people in than out.  If they want me I figure out what I put out there that attracted them and I execute on that.  I have worked with all kinds of people (and continue to) and taken all kinds of jobs that I was apprehensive about.  I’ve been forced to grow and become a better photographer and a better professional for it.  If the prevailing wisdom is that we shouldn’t have to venture outside of our comfort zones because we decided to run businesses then I have to call foul on that.  I work with people who appear to be difficult upfront.  I’m not afraid of demands and requests.  I’m not afraid of accommodating someone else’s desires.  I’ve chosen to do hard work and I can testify to the fact that I’m a much better person for it.  Too many photographers are afraid of clients these days.  They are just people, and we ought to be good enough at our business and craft to thrill them if we call ourselves professionals.

I realize that I’ve got a pretty strong opinion on what it means to be a professional.  I’ll throw it out there for discussion – am I off base?

I’m quite thankful that Jennifer asked this question.  I appreciate where she is coming from even though I don’t agree with it at all.  I’m hoping that those of you who agree with Jennifer stop and think about what it would mean to say “yes” to the work outside of your comfort zone instead of saying “no.”  Think about it and let me know if your perspective changes?  And while you’re thinking about that think about how you would feel if the vendor you thought was perfect for you would turn you aside, or if they lied to avoid working with you?

- trr

 

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Episode 26 – The …a Man to Fish… Photography Business Podcast w/ Fer Juaristi

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Fer’s becoming a major force driving wedding photography forward today.  Listen up and look at his penis.

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Head over to Fer’s site at let him know how you felt about the episode.  Many thanks to Sandra Costello, Seshu, Jeremy Bischoff, Shari DeAngelo, Ryan Brenizer, Liz Baughier, Kyle Hepp, Carolina Guzik, Sachin Khona, Denis Adonis, and Ashley Scobey for submitting questions.  Please know that I’m always looking for suggestions, questions, guests and topics.  I want your feedback so please nominate someone with an opinion about the industry (even yourself) to be a future guest on the podcast.  Send suggestions, comments and questions to [email protected].

Thanks to Fer and thanks to all of you for your continued support.  If you like the podcast and would like to see it continue please share it out everywhere that you can and join our subscription list for updates on future episodes as well as exclusive podcast content.

- trr

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Join the Douchebag Club!

Recently some folks got up in arms about Abercrombie and Fitch and their plus-size aversion.  Check out this article for the details:

Abercrombie & Fitch CEO Explains Why He Hates Fat Chicks

Podcast guest Chuck Anerino (get the full extended edition of the first AMTF podcast episode with Chuck by subscribing to the blog) asked for my thoughts on this subject.  So here is my opinion:

This guy is a dick, and he is totally right.  

On a business level I totally get this guy.  A&F is a lifestyle brand.  If you want this lifestyle, if you think you belong to this club, then you wear these clothes.  If you start letting people in that don’t fit the lifestyle then suddenly your value proposition is all gone.  If everyone can fit into the club then it isn’t a club.  No one gives a damn about the clothes, we care about what the clothes say about us.

For A&F to work they have to execute on exclusivity.  If everyone can have it then it isn’t worth having.  So you have to cut some people out to satisfy that value proposition.  So on a business level I totally understand the approach.

And I even understand people being up in arms about it, at least on the surface.  Sure it can sound harsh to tell people that they don’t belong but I don’t think anyone that doesn’t belong really wants to be in that club anyway.  I don’t honestly believe that the people who complain about Hooters only hiring over-developed young women really want to eat there.

So if people want to set up a little douchebag club, let them.  If you want to be a douchebag then dive into that overly-perfumed store.  If you don’t want to be a member of the club don’t lose any sleep over those who do.

As a side note there is something to be learned from this situation on a legal level.  If you refuse service that you normally provide to someone you’re probably in a shaky legal situation.  There is nothing to say that A&F needs to make clothes that fit everyone or have them on hand at all times in all stores.  Solves some of these problems for them.  If you are a service provider it is a more difficult to cut people out.

Some people approach me asking how they can turn people down if they get a client that they don’t want to work with.  I’ve heard it from so many creative professionals – “I don’t have to take every job that I’m offered.”

In my opinion you are offering a service, not being offered a job.  If you say that you’ll shoot someone’s wedding, and the client is willing to play by the rules you’ve set out then I think it is a dubious leg to stand on to try and turn them away.

It is one thing to not sell XXL clothes, it is another thing to tell the overweight person that they can’t buy the item that they’ve brought to the register.  Even if you aren’t legally in the wrong you can often lose in the court of public opinion and you have to defend yourself if suit is brought against you even if you are in the right.  Proceed accordingly.  Tell people what you stand for and what you can execute on – if the wrong people want to hire you work with them, figure out why they thought you were right, and fix it for the next time.  A little discomfort is how you grow.

- trr

COMING SOON – PODCAST EPISODE 26 with Fer Juaristi – Subscribe to be notified!

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What goes in your portfolio?

Today I’ve got questions instead of answers.  How do you decide what goes in your portfolio?  Let’s assume that “best work” is too vague.

Is it your most beautiful work?  Is beauty your primary value?

Is it your most innovative work? Is doing something that has never been seen your primary value?  Can your market tell what is innovative and what is derivative?

Are your choices motivated by content?  Do you want to limit your scope to a particular type of content?

Does your portfolio show a deep and specific focus, or a broad spectrum of abilities?  Does it show everything you can do or the most important thing you can do?

Does your portfolio make a statement?  If so, is that statement distinct from the competition?

I’m interested – Tell me, how do you decide what makes the cut?

- trr

 

P.S. – We’ll be recording a podcast with Fer Juaristi soon – send your questions and we’ll mention you on the show.  - [email protected]

 

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