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It looks like yesterday’s post struck a chord (or hit a nerve) with quite a few people.  I do appreciate the comments and discussion and I urge you to keep the feedback coming.

I want to talk a little more about working with vendors and other businesses.  For awhile in the industry I kept hearing about these strategic partnerships. Newborn photographers were getting their work into OB-GYN offices.  Photographers that focused on kids were putting their work into children’s clothing stores.  Expensive photographers were throwing their stuff up on the wall of expensive places.  It seemed like a good idea at the time, but before long it seemed like every place in town had 10 photographer’s work on the walls.

As a wedding photographer it seems there is massive pressure for us to provide images to every vendor under the sun.  The problem with this is it went from a nice thing to do to build a relationship to an expected thing that vendors would be upset not to receive in a timely fashion.  I think in some ways the whole vendor relationship thing kind of jumped the shark.  When it becomes an expected thing instead of an appreciated thing it really becomes a burden to us and less of a benefit.  Beyond that, working together with other vendors wasn’t the specific goal anyway – the goal was to build a relationship, create mutual value, and get on the same page to see if you were part of the same tribe.  Somewhere along the line we lost sight of the goal and just focused on the giving and the free.

I gave images to tons of vendors.  Over the last 3 years I think I booked exactly zero weddings from all that “exposure.”  Eventually I met a wedding coordinator that I felt completely in synch with.  They worked how I worked, thought how I thought, manage disaster the way I like to manage it, etc.  We are on the same page, in the same tribe.  No matter who gives them images, or how long they have known someone, I’m probably getting the referrals that they can’t afford to go wrong.  The point with this vendor relationship was that it was focused on the core of believing the same things about the way we ought to work.

As I said before – I don’t care who knows my name.  In fact, I probably am guilty of putting myself out there less than any other professional photographer that I know of.  That’s not necessarily a good thing, and I don’t really think you ought to use me as your example for this, but I’ve found that getting the referral is about someone believing in you.  You can force it, you can’t buy it, you can’t incentify them to give a referral for you unless they totally believe in you.  Just like you have to attract the perfect clients, you have to attract the perfect partners.  I was trying to make vendors like me enough to hire me.  Problem was, they already liked other photographers more than me.  No amount of gift showering, message spamming or number of images provided was going to change that.  What I needed to focus on was helping them understand who I was perfect for.  If they didn’t care, then we weren’t meant to work together anyway.

As with most things we discuss here I’m interested in being purposeful.  Exposure is fine, but to what end do you want to be exposed?  To whom?  What do you want that exposure to say about you?  One person who believes in you can create your whole network of other believers.  A nation of people who aren’t behind you won’t provide a damn thing.

– trr

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Photographers keep asking me for advice on “getting their name out there.”  I don’t have a ton.  The reason for that is that I don’t think “getting your name out there” is a very purposeful goal.  Depending on your brand it might be a very bad thing to just have your presence known.

I don’t know why you got into photography.  It might be true that you want to put work out into the world to be noticed or validated in some way.  On an artistic level I can’t dispute that – it isn’t even my business to comment on your artistic goals.  But on a business level, on a branding level most of all, if you aren’t acting with more purpose you might be making it harder for you to be hired if your true goal is just to let people know that you exist.

See, it doesn’t matter who knows you, or how many people know you.  At all.  What matter intensely is what people believe about you.

I don’t want to rain on your parade, but the world doesn’t need another photographer.  I can’t imagine a client out there that isn’t currently in the market for photography because there just isn’t a photographer in their field of vision.  As you know, there are metric tons of photographers on every street corner, photographing in every back alley/abandoned building/empty field, hawking their work in every doctor’s office/clothing store/mall display, etc.  We are out there and access to a photographer is no longer a problem.

What is a problem is that we are all out there.  The photography market today is like the discount DVD bin at Wal-mart.  It starts at the floor, comes up to your chest, is organized haphazardly, and despite the fact that you are sure you might find that unappreciated gem if you search long enough everything starts to look the same.  Now, if your photography is the cinematic equivalent of yet another Steven-Seagal-straight-to-video-tour-de-average then by all means, throw your name onto the pile.  But I suspect you’ve got more going on than that.  I’d imagine that you want your work to matter more than that, right?

It isn’t enough to seek out ways to let people know that you are John Q. Shutterfinger and that you take photos.  This information is irrelevant to a potential client that probably already has 10 photographers in the family.  It won’t matter to that vendor that you want to refer you either, they already have a list of clamoring sycophants falling all over themselves in order to curry favor.  It won’t impress that magazine or blog you want to be featured on, because thousands of photographers are throwing their work at them for free.  In my opinion the majority of photographers are out there begging for work and throwing away their value in order to “be known.”  You’re smarter than that.

So, just for the moment, forget about getting your name out there. It is not about who knows you exist – it is completely about what people believe about you. The only thing worth communicating to the world is what you do, why you do it, and what it means.  If you are considering a marketing opportunity ask yourself whether you are communicating this value-based message.  If not, rethink.  Don’t look for opportunities to advertise you exist, look for ways to communicate your values.  You might find out that if you get your value proposition out into the world the right people will find you instead of you having to find them.  My philosophy is to flip the expected script – stop begging for people to notice you.  Stop looking for ways to discount your work or give it away to get it in front of people who may or may not care.  Focus on helping people value what you value.  If they value what you value, they will hire you.  If you are just a photographer you’ve got a pretty difficult uphill climb into convincing them that you are worth choosing off the stack.

I’ve got a bit more to say on the subject, particularly where is comes to vendor relationships and partnering with other professionals.  Let me know what you think and be sure to come back tomorrow for part two.

– trr

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I had a great conversation with Michael from MUSEA yesterday that was recorded for posterity and should be featured on that blog soon.  I’ll post a direct link when it goes up but for now head on over and check out his blog and let us both know what you think.

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One comment that came up in our discussiion was the idea of personal work and how it drives a photographer to diversify and differentiate their paid work.  Drop me a line and let me know your thoughts on personal work – do you do it?  How do you motivate it?  What form does it take and how do you put it out there?  How has personal work informed your work-work?

– trr

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I spent last week running a garage sale trying to get rid of all the stuff from my old home and studio that wouldn’t fit into my new home.  It was a cathartic experience simply letting go of things that I had been weighed down by for years.

Garage sale nugget of wisdom #1 – sometime you have to throw things out, even if they appear to be working, in order to make room for the newer, better, more consistent stuff.

Retail is obvisouly different than the photography service industry, and hawking your junk from a garage is obviously a far cry from both.  But trying to liquidate 10 years worth of unwanted stuff in the microcosm of a garage helped me solidify something I’ve been thinking for a long time.

Garage sale nugget of wisdom #2 – Discounts won’t motivate a purchase of a product or service that the client doesn’t already want.

Dig it?  I’ve spouted off before about discounts in the pro photography world and why I generally think they are a terrible idea (read buy cheap Pregabalin online and buy Lyrica Pregabalin) but I think this point is worth beating and belaboring for all the up-and-coming photographers out there.  I’m seeing photographers constantly offering discounts for their work in order to generate business.

Let’s be clear about this.  I totally understand wanting to resort to lowering a price to get a client.  I get it, I just think it is nearly the worst way to go about doing things.  I’ve found the nugget of wisdom to hold true both in photography and in the trenches of the garage sale.  If a client doesn’t already want your work then lowering the price isn’t going to make them like it.  A limited-time discount CAN motivate taking action on a purchase of a product or service that a client is already interested in.

So, if you are relying on discounts to bring work in the door or as a marketing message you are missing the point – the client has to want your work already in order for the discount to motivate them to book you right now (or before the discount is over).  It seems to me that we ought to spend our time, effort and the limited amount of our market’s attention we are able to grab communicating the value of our brand so that they actually want our work rather than trying to immediately motivate the purchase of something that they haven’t yet been sold on.

I had an enormous big-screen tube TV to sell.  I’ve loved that damn thing.  I just didn’t have room for it in the new place.  So it had to go.  Let’s be honest, the big-screen CRT TV is a very specific, very focused solution for the perfect client (just like your photography…).  The price I put on it was almost irrelevant.  Either you were into it, had the space for it, and wanted the unique features of it, or you didn’t, and no matter how low the price you weren’t going to move on it.  I’m not exactly trying to tell you that your photography is the same as the antiquated TV that I was trying to sell, just that price is not the most important factor when it comes to triggering a “want” response in a client’s mind.

I went into the garage sale with a single goal – I was going to empty out all that stuff I didn’t have room for.  One way or the other, it was going to be someone else’s treasure (problem) after Saturday.  So I waited to find the right person to show some interest in a given item and then I was willing to drop the price if I thought that would motivate the sale in that moment.  But remember, my goal was to get rid of everything by a certain date.  I don’t really want you to think about your work in those terms.  I don’t necessarily think that approach is the best way to look at how you book your work.  Sure, in the old-timey days when a photographer was sitting in the studio burning billiable shooting hours it made complete sense to fill the docket by any means necessary.  I doubt that model is what is working for most pro photographers today.  So unless you are working on this “studio-hours” model don’t just think about doing whatever you must to book up.  Worry instead about making them want it.  You might end up finding out that if you do that part of the job correctly you don’t have to resort to discounts.

As usual, I’m interested in what you think.  how important are discounts to your work, what role do they serve, and how do they impact your need to reach a certain booking level by a certain time?

– trr