Photography: Too Many #%*#$ Rules!

katleyn-on-the-docks-smI was talking with a couple of photographers this week and we were discussing their output… or lack thereof, and I was commiserating a bit with them. I have been mired deep to the elbows in stuff that doesn’t involve cameras for the last six weeks. Very little shooting, lots of other stuff that HAD to be done.

I realized after I had spoken with them that what we were all talking about were the rules we have put on ourselves for the creation of our work. We couldn’t just pick up a camera and make images… nooooo, we have rules in place that dictate exactly when, and how, and with what that should happen.

We have rules that say we only shoot on road trips, or that there is too much going on, or that there is not enough time or not enough access to models or we don’t have the newest camera so our pictures will only have 18MP instead of 24MP so they will automatically suck the suck out of suck.

We need to follow all the rules before we shoot anything.

“I would love to make a photograph today, but I am unable to find the model I need to make the photograph so I will not make a photograph, but instead go on FB and make light of the situation all the while NOT making any photographs.”

There’s this ‘rule’, you see.

The rule of ‘if what we plan doesn’t pan out, we stop doing ANYTHING AT ALL. Because… err… well… uhh”

“I wanted to do some photographs this weekend, but my trip to Payson was put on hold for a week so I am unable to venture up there with my camera. So – I know – I will just mope around and kick rocks off the driveway because… because… rule! I can only be creative when on road trips to places I want to go to because… Tuesday.”

Rules are a form of self talk… self smack-talk that is. We have set up some litany of bullshit bullet points that must be met in order for us to, you know, be creative.

That’s like scheduling “Spontaneous Thursdays – from 9am – 10:30am, all middle managers must attend” meetings in the culture of cubicles.

Rules are resistance at work. Rules are insidious forms of resistance – and what makes them even more vile and disgusting is that we made them up.

We made them up from nothing other than a desire to not perform at the moment. So we let resistance form itself into some sort of limiting rule. Of course that is redundant… all rules are by nature, limiting.

We begin to let the rules live inside our heads for a just a little while, and they begin to make themselves right at home – rearranging the furniture of our mind until it is theirs and then they stop paying rent. They squat there in our brains, forcing themselves into our minds like drunken bikers at an open bar. And every time we think about doing something creative, they begin tearing up the place and bashing stuff with cue sticks and bar chairs.

I would love to make some photographs today, but:

“My camera is too old.”
“I don’t have lights.”
“I don’t have time for a road trip.”
“Not enough time to do a 10 course meal shoot.”
“If I had the props I wanted, it would be better.”
“No time to find a model, so what is the point?”

Each are examples of ‘the rule’.

THE rule.

“If things are not optimal, there is no reason to attempt anything at all.”

One rule to, err… rule them all. (sorry)

If things are not perfect, ducks lined up like a North Korean military band, there really will not be any reason to attempt anything at all. It is all so much simpler when we follow the rules.

Rules, resistance, excuses… whatever we want to call them, force themselves into even the most creative amongst us.

We call it writer’s block, or photographer’s block, or “in a rut-ism”.. or a dozen other names for the fact that we have a rule in place that is stopping us from doing something we want to do…

And the worst part, the absolute worst part of this whole thing?

We created that sonuvabitch ourselves. We made the rules that are now keeping us from what we want to do. We crafted and molded and polished and finessed them tlll they were custom-made just for us and fit like a glove.

Good move, us.

Of course those of you who know me a bit know that I don’t get along well with rules. I hate them… telling me there is a rule is like waving a red flag in front of bull named “Widow Maker”. I will always try to find a way around the so called ‘rule’ and create almost in direct opposition to it… because rules are generally made for breaking.

(And don’t get me started on the ‘rules’ of photography itself… that would be a six-pack plus of me blustering on about how they are fabricated by statists and such… nawww… we’ll go there another time.)

I hate rules.

However, I will confess to you guys that I have succumbed to the rules in my head as well. I am now in the midst of spring cleaning and calling the Sheriff to get them evicted – and the Sheriff in my county is one bad mutha. I work on it first thing every morning. I listen to my brain tell me what I cannot do because of whatever and I methodically work to get rid of those ideas. I force them into the open and then force them to disappear.

How?

Action. Taking action will always make the rules fade into the background.

I think it is easier than ever to let the rules get implanted and ingrained. Social media, websites, the idolatry of the celebrity, the overwhelming amount of ‘information’ that simply couches more and more rules. We begin to believe that we truly cannot do _______ because we currently do not have _______ and our work will simply suck because ______.

Nope.

It is all BS.

I taught workshops with a Rebel. I used my Rebel on the first CreativeLIVE I did. Why? Because of the ‘rule’ that you had to use a ‘professional’ camera to make good images. I never wanted my students to think that gear had anything at all to do with lighting and creating photographs that speak to the viewer. I wanted to show by example that those rules are simply marketing and bluster and elitism marching in lockstep.

I ‘broke’ that rule pretty well.

Now let me ask you something.

What ‘rules’ are manifesting inside your head and keeping you from doing something you want to do. And be careful when identifying them… they are not all based in photography.

“Too old to do something?” BS rule.
“Not enough time to do something?” BS rule.
“Wrong time to start something?” BS rule.
“Not enough ____ to be successful at _____?” BS rule.

Take action against them. Look for the examples where the rule was broken, then take the same or similar action yourself. (NOTE: There are examples of people breaking those rules and being successful all around you.)

It is not easy, but it is also not THAT hard.

It simply requires some action.

What action will you take today?

New Directions, Multiple Channels

New Directions, Multiple Channels

A few things have caught my attention lately. I mean really caught my attention. One was the great chat we had with my friend Rosh Sillars on how to price a gig in the new economy, and the other was his discussion we had off mic about photographers being able to do more than just a still image.

Now before anyone gets their feathers all ruffled out of place and sheds them all over the carpet, let me explain that I love and worship at the sanctity of the still image. I think it is my favorite form of art. And I will continue to develop my skills toward that end, hoping to become pretty good at it someday.

But just as changes in the way jobs are billed is becoming something to think about, so is the offering we make to our clients. Possibly this is something for you to think about as well.

Channels of creative output. Plural… ChannelS…

I have always been afflicted with a high degree of ADD (thank the Lord) and it keeps me looking for things to do and creativity to work with. I am a designer and a writer as well as a photographer. I play the drums (once good enough to be in a band or three… these days I simply scare the cats) and am learning how to play ‘standards’ with a jazz groove on the Tenor Sax.

I make money from photography, designing and writing. The other stuff is for fun, but I practice pretty hard. Ask the cats.

We all know that video is now a staple of the digital DSLR, the Mirrorless cameras, P&S and phones as well. Video is the newest channel to offer itself up for our additional channel of creativity.

A lot of us do not want to get into video for variety of reasons… some good. Some rather stupid. Mine have been on the ‘rather stupid’ column for too long. I need to add motion to my work, and the more I see of this new intersection of stills/video/writing the more I see how I must integrate it into what I do.

Do I want to make movies? Nope. Nor do I want to do commercials… but… still shots that move… yeah, that kind of has me intrigued.

And that intrigue took a big dose this week when I stumbled upon “Hollow” a Documentary about a single county in West Virginia. Once the richest county in America it now rates as one of the poorest counties.

A group of writers, photographers, audio techs, videographers, cinematographers and producers descended onto this unique place in the universe and produced a fascinating look into the places and lives that make up this small, rural, extremely poor county.

Through the use of the medium of a website, the power of ‘scrolling’ and visuals that ensnare the sensibilities, this ‘experience’ piece simply knocked me into a new mindset.

I must learn more about the video/motion side of things. This type of thing is one of the directions I would like to go… story telling. Rich, fantastic, sensory story telling.

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A rich blend of audio, video and still photography, Hollow is the new direction for long form story telling.

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Using Parallax scrolling the images move vertically and horizontally and slowly reveal more and more content to the viewer.

See more at Hollow Documentary. (Be prepared to spend some time.)

Another example of this deep story telling is found on the (now famous) NYT website. It is called “Snowfall” and tells the story of an avalanche in Washington that killed several snowboarders. The in-depth reporting, character studies, charts, graphs, video and stills bring life to a long content text piece. Where Photojournalism is going, I believe.

Take a look at this one about a shipwrecked boat and the Geopolitical importance of it. “A Game of Shark and Minnow” mixes journalism, blogging, photography and video into an in-depth look at this very interesting, and possibly explosive area of the world.

While “Snowfall” was one of the first of this type of presentation, and represented hundreds of hours of work, we can now do them rather quickly and with less effort with WordPress and the many different plugins available.

Here is a post on one of my favorite blogs, Elegant Themes, about the new forms of Storytelling using WordPress.

And here is a plugin for WordPress that facilitates this type of technology… for free. The “Aesop” story engine allows nearly anyone with a WordPress website to produce a content/media rich story. And that can be a game changer for some of us.

So how does this impact us still shooters?

Well, it does give us some new channels for creating imagery. It allows us to show our story telling abilities if that is something we want to do.

And it gives us a unique way to show a portfolio, to show our work as a ‘story’ instead of a group of disparate images.

A food shooter may choose to do a ‘story’ on a fictional (or non-fictional) area and illustrate it with wonderful still shots, some video of pouring wine or cheese tray fun… add some audio recorded on his iPhone with RODE mics and we have something different, something more robust… for simply showing the still shots.

A fashion shooter could have a ‘documentary’ of the prep of the shoot (and not a cheesy BTS video of the makeup artist painting lip liner… give it a rest, will ya…) along with audio and text… then show the images that were created much in the same way a portfolio would be shown now.

Introducing a product / portrait portfolio with some audio, some BTS, a few shots of the photographer at work, some video of the careful placement of props… then the still shots. Or intersperse them with video intros of preparing the shoot.

CAVEAT: We are not talking about videos that exist to show other photographers how to use a boom or the 10 smart ways to make a white background ‘pop’… we are showing clients what it is like to work with us, our attention to detail, our commitment to excellence while still having a fun and relaxed environment.

The stuff that beginners and CL shooters don’t do. We set ourselves apart with the way we present our work.

(And we subtly introduce the idea that we do motion into the mind of the buyer… heh. See what I did there?)

Look, I don’t want to tell you what to do. I only want to introduce you to my ideas and things that I think could really work out for creating something new, something different and possibly more interesting than what we are doing now.

I suggest you develop better writing skills, video (motion) skills and think about the different ways you can present your work… tell a story, even about telling the story.

Until next time… make photos.

Hey, They Want You In the Arena… Are You Ready?

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Would it surprise you that what we think is more powerful than reality? That mere thoughts can be as powerfully uplifting or critically damaging as what we actually do?

“I don’t think I am ready to get out there and show my book” he said to me.

It didn’t matter that he was indeed ready to get out there. He did have a good book to show. Hell, it wasn’t perfect, but it didn’t have to be. It had to be as good as it could be for the place he was in his life.

And it was.

But he had convinced himself that it had to be as good as some of the photographers on his list… the ones that are shooting every week. The ones that were ‘ready’ ten years ago. Or twenty. Or five.

He wanted to ‘catch up’ to them before going out with his wonderful work. Catch up is not possible, as there is no race involved. No comparison between his work and any number of others was valuable in any way.

Except to convince himself that he wasn’t ‘ready’. And not being ready means we have nothing to fear. We can never lose if we never try. We can never face the pressure to succeed if we choose not to bother succeeding.

Choosing not to be involved can be rationalized a lot of other ways as well. We have heard them all, haven’t we?

“Terrible time to start a business…”
“Economy sucks.”
“Photography is dead.”
“Everyone is shooting for free, so there is no hope for me.”

I am so tired of reading about the death of photography I could bang my head against the wall. While I guess the theme serves a purpose for link-bait posts on PetaPixel and DSLRLounge and other online publications, the reality is that photography is growing in leaps and bounds.

Unfortunately it is not growing as fast as the excuses, reasons, fabricated mythologies and link-bait articles about impossible success is are.

You know there is an entire industry out there devoted to keeping my friend from thinking he IS ready? No, they don’t have an association or annual meetings, but the reality is that they coordinate in insidious ways. And we can see those in action if we look closely.

From “pop-culture” to the news organizations to the specialized media that we tune into because we THINK they have our back.

And they may have our back on occasion, but there is no guarantee that they will be there when we are in need. They are not in business to help us succeed, they are in business to sell advertising and advertising likes big reach and nothing gets big reach like whining about failing.

The ones who have succeeded are turned into pop-stars. Bigger than life celbrities that are really succeeding because – well, they’re special. Special people make it. Special people get to be celebrities and have groupies and you…

… You are not special.

NOTE: Have you ever seen a sitcom or movie or play where the actors have to play the part of a ‘regular’ person who has to appear in some sort of ‘acting role’? The part calls for the ‘regular person’ to appear on TV or in a play… and the actor portrays them as fumbling, moronic, stupid and absolutely incapable of that ‘small part’ they are asked to play. Do you think that is by accident? Or could it be that they want you to think that acting is such a demanding, incredible, nearly impossible art that regular people are simply incapable of even attempting the smallest of parts.

Because ‘regular people’ are not special.

Bullshit.

You are as special as anyone, as capable as anyone – all you may lack is the PR department.

But this fear of being thought of as not ‘special enough’ can keep us cozy in the knowledge that we probably wouldn’t have been good enough anyway, so trying to would just have proven it and why prove it if it is just the way it is… – even better in the voice of Eyore.

We choose not to play in the arena. We choose not to engage. We choose not to flex our creativity but instead to hide it, bury it, and ignore it. For fear of being found not special enough to have it.

Brene Brown told Chase Jarvis something in his interview with her that stuck with me like glue. “Unused creativity becomes toxic.”

Think about that… unused creativity becomes toxic.

Hiding behind that wall of uncertainty, failing to enter the arena of challenges, and staying cozy in the warm blankets of ‘status quo’ can actually be dangerous and poison the mind.

“Hold on there, Don… what if we truly are NOT ready…?”

Oh that can certainly be the case. Beginners are not ready. The ones that open their ‘studio’ after shooting for 11 months on auto and have no idea at all about how the world of photography works are not ready. (They will be featured on one of the online forums of an example of why you shouldn’t think YOU are special and try it because they did and they failed and if they can fail you most assuredly will too. Because Craigslist!

Getting ready to enter the arena means knowing what you can do, and how to do it. It means being open to learning – and learning quickly. It means giving up things that may not be of value to you as you engage. It means understanding what I mean by that.

We are all as ready or as unready as we prepare ourselves to be and tell ourselves we are.

And let’s be really honest. We KNOW when we are ready. It is not rocket science. It is not mystical… and it is not something that only ‘special’ people know. The folks I am talking to here are the ones that know all they need to know, and find excuses to somehow ‘need’ more… the never ending, all encompassing “I’m not ready…”

Is my friend ready from a photographic standpoint? Yes. Is he ready from a business perspective? Yes. Is he capable… of course.

But what is stopping him is not those areas, it is the fear of being found wanting. The fear of failing publicly. The fear of being branded… a loser.

I just read something interesting. In Silicon Valley there is a group of venture capitalists looking to invest in the next big thing. Criteria to get in front of them… you must have failed TWICE at a business and lost more than a million dollars in each. They wanted someone who had risked it all, lost it all, RISKED IT AGAIN and LOST IT AGAIN… they wanted a fighter, a scrapper, a dreamer with some hard won STEEL in their gut. Someone they would feel confident was ready to enter the ring with the scars and broken bones of failure.

We may not be that guy, but we can enter the same arena. Rocky didn’t win. They went a bridge too far. The Ronin saved the reputation of their master.

Let’s gear up. The arena of life calls.

(Watch this video of Chase Jarvis and Brene Brown having a discussion about vulnerability, critics and putting yourself in the ring… consider it homework for the soul.)

It’s A Numbers Game: Part Two

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“The Numbers”: Part Two

It’s a numbers game… part two of our series.

Find Part One here.

Last time we discussed the numbers of getting people to see your work, and how that is so important to build a business. It’s been two weeks since that post.

How many of you:

1. Made the minimum commitment to getting to 6 people per day for three days (Tue/Wed/Thurs)?

2. Exceeded the minimum commitment and got to more than 18 people in those three days. Which means you have contacted 36+ people about your work at this point.

3. Found excuses and other things more pressing to get done.

No judgement here, only asking you to face resistance in the eye and either kick its damned ass or continue being acquiescent to it.

Resistance is NOT your friend… and if you found every reason under the sun not to do the minimum of 3 emails and 3 calls over 3 days, then you know what you have to work on.

Today’s discussion is on the numbers of contacts you make to individuals who you want to work with. We need a number of people to see our work, but we also need to touch those people more than once to get that work.

It is a process. A journey. A vision quest.

OK, so it may not be a vision quest, but it is still a process.

“Only 2% of sales occur at a first meeting

People in business often hope and expect to do business the first time they meet a prospect. Yet studies reveal that only 2% of sales occur when two parties meet for the first time.

The 2% who buy at a first meeting tend to be people who have already looked into the subject matter, and already know what they’re looking for. If they meet someone who ticks all the right boxes and they get on well, then business may well be transacted. But that is far from the norm. The other 98% will only buy once a certain level of trust has been built up.

Why 8% of Sales People Get 80% of the Sales.

Read through the link above. Giving up because there is no sale is counter to what you want to achieve. Remember, the people they are discussing above are selling something the client needs or wants.

We are selling ourselves to be considered for something the client can get from a whole host of other talented competitors. We aren’t really ‘selling’ in the traditional meaning of the word, we are promoting ourselves, sharing our work, becoming acquainted with the AD/PE/CD… not ‘selling’ them toner cartridges or accounting.

We cannot really ‘sell’ our work anyway. If there is no gig at the agency that is right for us, or no gig that is requiring photography, no amount of sales techniques or tricks or secrets can get us into a purchase order.

There is NO work that day for us.

So why go?

Because we want to be top of mind when a job DOES come in to the art department. When they think of a photographer to shoot tractors, we want to be the one that comes to mind since we shoot farms and farming equipment so dang well it makes cows give more milk.

THAT is the purpose of the meeting. The touch point.

Top of mind and becoming the one they think of when the time is right.

To do that takes more than one showing of your portfolio.

(Right about now someone is sitting out there saying “Yeah, you ain’t seen MY portfolio… I will show it and get the gig.”)

Yes, you are probably taking the reigns of your unicorn and heading out over the rainbow freeway about now too.

That rarely happens. Really rarely.

Instead what happens is that there is a slow and steady courtship of sorts. You show your work, they ignore you (or seem to) and you keep on showing your work. They may keep on ignoring you… or not.

That ‘or not’ moment is the first of several milestones.

They call you in to see the book. And to size you up.

Are you fun to work with? Are you neat and orderly about your work? Are you trustworthy? Will you be on time and on budget and not insult their client or get drunk with the models and run off to Bermuda with all the cash in hand.

Hey… it happens.

So you go. Show the book. Meet the people.

Entering phase two:

Now there may be more showings in the works, some email contacts, some phone calls, coffee meetings for new work… all kinds of direct mail.

“Once a response form has been filled out, now is the time to engage in peer-to-peer discussions with the prospect. Start by building a relationship. Launching immediately into the BANT questions (Are you the purchaser? Do you have approved budget?) is a turnoff. First leverage the digitally collected information as a bridge to determine where the prospect is personally. Open-ended questions (rather than buttons on a web form) will accelerate this qualification process. What problem is the prospect trying to solve? Where does it hurt? What is going on in their world that triggered the need? What would be their perfect solution if they could describe it? Are they collecting information for a team? What’s their timeline they are working with? What information would you need from us to be considered as your solution? Great phone/social skills are a huge plus here. And for most Sales teams, the earlier your prospect is in the buying process, the better—it gives your team a chance to be consultative and influence the specs, thereby gaining the inside track. Once you have enough data to determine BANT, try to move the prospect toward meeting with a sales rep. As a result of this process, most real prospects will see the meeting as a mutual best next step, and that’s where most Sales teams want to be.

Read more:

The article above is relating to traditional sales, but there are some great points to be made in there. Read it.

Some say it takes 7-8 touches by a photographer before you get called back. Some say it takes ten or so.

I say it takes more than five and less than 1,247. (Note, if they haven’t contacted you after about a hundred, it may be time to pull them from your list and move on. But for those of you really, I mean REALLY committed, 1,247 is the magic number.)

So what counts as a ‘touch’ for a client?

  1. Portfolio review.
  2. Thank you note.
  3. Direct mail.
  4. Email.
  5. Phone call.
  6. Promotional item.

What may not count are tweets or RT’s, facebook “likes” or pinning their latest designs to your pinterest boards… seriously?

This is why making the process INTO a process makes sense. Have a way of working that allows you to think about the amount of touches you make with a prospective client. And keep them coming, as there can always be new images and things to share.

NOTE: Spamming them is as bad… no, it’s worse, than seeing them once and never going back cause you are all butthurt over not getting that $100K gig you wanted.

Consider what you think of as being too much.

Yeah… don’t do that.

Sales tools and automated sales software. I don’t use it. I still use a simple spreadsheet in Excel. And my trusty notebook. That is not to say you shouldn’t, only me confessing it takes so long to learn all the things about those software solutions that I lose interest too fast.

Been doing it my way for way too long… heh.

So let’s get real here for a moment.

You make a contact with an art director… this means you have a conversation with them. Whether email (OK, but not best) or a personal review (best) and then you start the count.

Show the book, leave a piece for them at the showing, send a thank you card (print?), send a follow up email (2 weeks or so) with another photograph attached. Then wait 6-8 weeks and send another email, and a direct mail piece. Repeat that until you have some new work to show. I count four ‘touches’ there… five with the follow up a few weeks out.

Numbers. Then…

Call for an appointment to show the new work.

Show new work. Send thank you card, follow up email… you know the drill now.

You are making new work, right?

Right?

Especially you guys who didn’t make the lousy 18 touches per week… it is because you were heavily shooting… right?

Riiiiigggghhhttt… :-)

Look, this is not the easiest profession you have chosen to go down. Not sure what that would be unless you like delivering pizza in your Nissan, but this one will wrap you up, chew you to a nub and spit you out in the time it takes that pizza to get cold enough to deliver free.

The winners fight for it. The winners put in the hard, droll, and sometimes messy work of doing what others don’t.

92% of sales people quit after the first ‘no-sale’ show.

Pathetic.

Be the 8%… it’s a numbers game.

It’s a Numbers Game, Part One

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How to Play “The Numbers” Game Part One

We have all heard the words, “It’s a numbers game” before. And most of us know what it means. In order to get to a certain level, more attempts than successes must be used.

Selling door to door is a numbers game. The more people a sales person talks to, the more they sell. It may take 10 “No’s” to get to one yes. So the goal is to get through those ten as fast as you can to get to the one yes. Knocking on ten doors a day nets one sale. Knocking on 50 doors nets 10 sales.

A ‘numbers game’.

Not much difference in photography, you know.

The more art directors you show your work to, the more chances you have of closing an assignment. The more times you interact with a specific art director, the higher the probability that a gig is forthcoming. The more gigs you complete with excellence, the more excellent gigs you get.

And yet…

I chat with photographers who do none of the above.

They don’t show their work. They don’t ever go back to someone who didn’t immediately hire them. They don’t get enough gigs to make delivering excellence count.

It is… a numbers game.

Of course there are a few givens.

Your work must be top notch. This is a given. All the door knocking and emailing in the world will not work as fast as good work will.

(Now this is where it gets crazy a bit. I think a mediocre photographer who has mad skills at marketing will do better than an ultra-talented photographer who sits in the studio waiting for the phone to ring.)

Why?

It. Is. A. Numbers. Game.

If your work is good, it all falls on you to do the work to get it in front of people who would buy it.

A lot.

Of people, that is.

We have discussed the ways we can find clients before, and how to think about marketing, but in this dispatch, I want to play with numbers.

I recently read where fewer than 80% of photographers spend more than an hour per week marketing. And only a few percent spend more than 15 hours a week marketing.

If we apply the 80-20 rule (20% of the businesses in a niche make 80% of the money) we can see that there may be, just may be a connection between not marketing and losing out on the bulk of the revenue.

We know this stuff works, and yet few of us can ‘find the time’ or ‘get ready’ or ‘bite the bullet’ or fight off whatever last minute resistance pops into our heads that prevents us from moving on this magnificent factoid: it’s a numbers game.

Let’s stop procrastinating and get to it.

The book is as good as it is gonna be for next week. The site is done, and the images up there are up there. Changes can be made tomorrow, but it is what it is and we move forward. If this is too fast for you, set a date. April 1? June 15th?

It doesn’t matter… set a date and keep that date.

We are going to begin by making three contacts per day, and sending out three emails per day. Three days a week.

We can pass on Mondays and Fridays as these are not traditionally good days for marketing. People are either planning for the weekend or recovering from it. Let’s give them some air.

Tuesday, Wednesday, Thursday.

Three contacts and three emails.

Six contacts per day x 3 days equals 18 contacts per week, 72 contacts per month, over 950 contacts per year. To see how that may affect your current status, figure out how many potential clients you contacted last year. Chances are it is less than 950… substantially less.

And yet we can do that with minimum effort. Three emails per day and three contacts per day is cake! It will take less than an hour – a lot less.

So what happens if we double that?

Six Contacts per day, and six emails. Just imagine.

Six contacts and six emails is 36 contacts per week, is 144 contacts per month. Nearly 1500 contacts per year.

What would that do to your business? What impact would that have on your income?

And how long would it take? Less than an hour a day for three days.

Go ahead, tell me how that won’t work for you. Go ahead and tell me that you are so busy not being busy that it is simply not possible to spend an hour a day MAKING YOUR BUSINESS successful.

I am not listening, but go ahead and try. You are only trying to convince yourself.

And really, you are the only one you must convince in order to get this change implemented.

At this point, I will sound a bit rude to some, and I really do not mean it to be rude. However, only you have the control over whether you play the numbers game or do not. Change from non-engagement to being engaged – or not. And in the end, it only affects you.

There are still lots of gigs to be commissioned. Lots of look-books to be shot. Thousands of pages of editorial and thousands of ads both local and national.

And here is another numbers game for you.

While the chances for getting a gig may be lower than they used to be due to the sheer numbers of competition, the fact is that there is a 100% probability that you will not get hired if they do not know you exist.

So here are a couple of questions for you.

Will you commit to 18 contacts per week?
Will you commit to creating an environment that will help possible clients find you?

Or will you simply let resistance take you off the grid?

I hope you never let resistance win. I really do.

Just remember…

It’s a numbers game.

DO THE MATH.

AWESOME Opportunity to be Exploited! Wow!

AWESOME Opportunity to be Exploited! Wow!

Crowdsourcing… that is the new name for spec work, but worse than spec work this involves an outlay by the ones being expected to be used for nothing.

FORMER ADVOCATE OF PROFESSIONAL PHOTOGRAPHERS, Photo District News and Rangefinder have decided it is a great idea to have people send them money.

I mean, hell yeah… I like that. I would love to have people send me money.

Oh, you have to send some of your work in too… at $20 a pop. Seriously?

You are going to pay them for the opportunity to be turned down – and of course they keep the cash.

I wonder if they would consider it a good idea to crowdsource the editors?
I wonder if they would consider it a good idea to crowdsource the art directors?
I wonder if they would consider it a good idea to crowdsource the writers?
I wonder if they would consider it a good idea to crowdsource the advertisers?
I wonder if they would consider it a good idea to crowdsource the printing?
I wonder if they would consider it a good idea to crowdsource the distribution?

Yeah, I guess those would be bad ideas for – you know – a photography magazine.

But hotdamn boyhowdy it is a SUPER IDEA to crowdsource the photography – and get PAID to do so – which is the whole fkn point of the magazine to begin with.

What does this tell us about the people at these magazines that they feel they should be paid to look at the product they promote? Shouldn’t discovering new talent BE the reason for the magazine?

Or is it simply too much work to seek it out on their own. (Hey, there’s this thing called the internet, and you can find all… oh, never mind.)

Or perhaps it is those thousands of twenty dollar bills flooding in with the images. And we KNOW the images will get looked at, right? Right?

I am saddened and angry about this. it is wrong on so many levels I can’t even believe it.

Betrayed is the word that comes to mind.

And no, I won’t link it… you wanna enter, there’s this place called google and… oh never mind.

APPENDED BELOW:

The above is snarky… yeah, I can be snarky.

But instead of criticizing without constructive ideas, let me add this.

A Photo Editor (Rob Haggard) does this every week. His wonderful “Art Producers Speak” series presents new and exciting photographers suggested by art buyers in agencies.

FLAK does it too. They take submissions for their online site here.

So does Jorge Colberg at his Conscientious site.

Many online EZines also feature work of upcoming photographers. Sites like C-Heads and LadyGunn have plenty of emerging talent on display.

Some of these magazines have submission fees as well, but nowhere near the steep ‘pay-to-play’ fees of this proposed publication.

In these days of photographers being taken for granted, downisized fees, challenging market conditions and rising costs, it is very disheartening to see one of our own go this way. PDN and Rangefinder are publications that know what it is like for photographers out there. We should be able to turn to them for support, and call on them to be an ally.

“Crowdsourcing” is simply another word for “Spec” work. Something both magazines have taken a stance against. Something which most photographers consider working for free. Or worse when expected to pay for the opportunity to even get considered.

What would happen if ad agencies asked for a submission fee? Or magazines… want to see an AD with your book? Pull out your Mastercard.

Is that what we want this business to turn into? A feeding frenzy of self annihilation?

I sure hope not… but time will tell.