Wow! With all the pre Super Bowl build up regarding the advertising spots for this year’s Super Bowl, I expected to see some really great stuff. Was it just me or were the majority of the Super Bowl ads just plain boring? I watched this year’s Super Bowl commercials with anticipation, wanting to see what was built up as the “Best of what Madison Avenue” had to offer. With an audience of over 90 million people and an average cost of 2.6 million for a 30 second spot, I thought we would really see something spectacular. Although, some of the advertisers definitely had some winners: Snickers, Coke, and, one of the better spots in my opinion, the amateur Doritos campaign, the others were a bit too safe or just lacked creativity altogether. What was the most memorable Super Bowl ad? For me, it still is a 22 year old ad by Apple computers entitled “1984”.
To view the commercial and info on the man who created it:
http://www.ciadvertising.org/SA/fall_02/adv382j/qwkag/assign2/master.htm
For additional info regarding the making of this commercial:
http://en.wikipedia.org/wiki/1984_(television_commercial)
Am I missing the true genius of the advertising Giants? Or, are the big agencies losing touch with the consumer? With the internet constantly bombarding us with unwanted ads, are we just becoming numb to advertising? What are your thoughts?
Monday, February 05, 2007
Wednesday, January 10, 2007
Advertising: The Home Grown Way
In a recent article in Media Post Publications entitled “Marketing Model Shift Challenges Agencies” by Jack Loechner, Anthony J. Hopp, chairman of the Association of American Advertising Agencies states “The agencies that will succeed are the ones… that can find the new ways to engage and connect with consumers. If you’re not doing that, you’re not going to be in business.”
Though it’s hard to argue with Mr. Hopp’s thoughts, we need to take a good look at the advertising industry as a whole.
Traditionally advertising agencies communicate by using television, print, radio and now the far-reaching web. These agencies market to consumers’ wants, needs and perceived needs, attempting to motivate them to purchase a product or service using guilt, lust, greed and envy. New technologies have emerged giving birth to a new form of communicating. Call these “Home Grown” websites, built for people to connect. Among these are: MySpace, Facebook, Blogs, Craigslist, YouTube and a host of others that are reaching millions of people. With the growth of these venues, the advertising industry is trying to capitalize on their success by looking to find faster less expensive ways to reach their targeted audiences. Today as I write this blog, ad agencies are asking consumers to create a Super Bowl ad- the most expensive, anticipated and watched ads during the television season. When I was a working advertising professional, Super Bowl ads were the most sought after ads that a commercial film director could have on their reel. It was a sign in the industry that you were the best at your craft. Just having one on your reel almost guaranteed you work for the next couple of years. Advertisers see the opportunity in this little or no cost forum and are trying to tap into this vast new market. Generating interest amongst consumers is key, if they like the product they will be sure to tell their friends, family, coworkers and anyone else who will listen about their great find. The consumer will link to it, point to it, copy it… MARKET IT, all for FREE! The advertiser gets the buzz out to the people and the consumer gives exposure to even more people, letting them hear about the product from a trusted source. The classic win/win!
The advertising waters are warm and the agencies are testing them, getting ready to jump in and, like a tidal wave, pull the consumer along for years to come. During the last 10 years, advertisers have developed new marketing vehicles: Product placement in film and television, cable and television hosting infomercials, web banners, emails, spam…the list goes on and on. These innovative opportunities for marketing didn’t exist when David Ogilvy started Ogilvy & Mather Advertising in 1948. “Engage and connect with consumers.” Wow! I feel like I’ve been hit over the head with a hammer and this is only the beginning. As technology develops so will our way to reach the consumer…
Give me yours thoughts. Where do you think the advertising industry is going? Click on the comment link below.
Though it’s hard to argue with Mr. Hopp’s thoughts, we need to take a good look at the advertising industry as a whole.
Traditionally advertising agencies communicate by using television, print, radio and now the far-reaching web. These agencies market to consumers’ wants, needs and perceived needs, attempting to motivate them to purchase a product or service using guilt, lust, greed and envy. New technologies have emerged giving birth to a new form of communicating. Call these “Home Grown” websites, built for people to connect. Among these are: MySpace, Facebook, Blogs, Craigslist, YouTube and a host of others that are reaching millions of people. With the growth of these venues, the advertising industry is trying to capitalize on their success by looking to find faster less expensive ways to reach their targeted audiences. Today as I write this blog, ad agencies are asking consumers to create a Super Bowl ad- the most expensive, anticipated and watched ads during the television season. When I was a working advertising professional, Super Bowl ads were the most sought after ads that a commercial film director could have on their reel. It was a sign in the industry that you were the best at your craft. Just having one on your reel almost guaranteed you work for the next couple of years. Advertisers see the opportunity in this little or no cost forum and are trying to tap into this vast new market. Generating interest amongst consumers is key, if they like the product they will be sure to tell their friends, family, coworkers and anyone else who will listen about their great find. The consumer will link to it, point to it, copy it… MARKET IT, all for FREE! The advertiser gets the buzz out to the people and the consumer gives exposure to even more people, letting them hear about the product from a trusted source. The classic win/win!
The advertising waters are warm and the agencies are testing them, getting ready to jump in and, like a tidal wave, pull the consumer along for years to come. During the last 10 years, advertisers have developed new marketing vehicles: Product placement in film and television, cable and television hosting infomercials, web banners, emails, spam…the list goes on and on. These innovative opportunities for marketing didn’t exist when David Ogilvy started Ogilvy & Mather Advertising in 1948. “Engage and connect with consumers.” Wow! I feel like I’ve been hit over the head with a hammer and this is only the beginning. As technology develops so will our way to reach the consumer…
Give me yours thoughts. Where do you think the advertising industry is going? Click on the comment link below.
Wednesday, December 20, 2006
Why ‘Good’ Isn’t ‘Good Enough’
I’ve been told by several of our artists that our acceptance rate for photos and illustrations isn’t as high as our competitors’. My answer is simple: we are not interested in images just to fill up the space on our servers. We are interested in high quality, ‘usable’ images. When our customers are looking for specific images we do our best to provide them with what they are looking for. This is done by allowing our customers to send in their requests to suggestions@photospin.com and reviewing those requests daily. We also review our statistics on images not found as well as our daily download logs.
Never wanting to become complacent, we have been working hard on improving our website and expect a new site to go live in Q1 2007. One of the several ways we are hoping to enhance the features of our site is by adding a content server. This will allow our contributing artists to go directly to our servers and upload their content. In addition, they will be able to add keywords, name the location and create a brief description for their images. Once their content is uploaded, we will review, edit and go live with new images daily. This will allow PhotoSpin to offer a wider range of images faster and give our contributing artists quicker access to the upload process. Forever standing by the quality of our images, we still demand the best. If all you want to hear is that your images are good then show them to your mother, you can always count on her for telling you just how great your work is. If you want a great company that believes in quality to represent your work then go ahead and post it to our server and journey through our review process. If your work is good, and we mean really good, it will go live to our customers. I’m not interested in hearing how other companies think that your work is good, I’m interested in seeing good work. Show me!
Here’s what we are looking for:
Composition- How is the image designed? What is in the foreground, middle, and background of the image? Is there room for copy? What is behind your subject- are branches growing out of someone’s head like a pair or antlers on Rudolf? I know it’s the Christmas Season but come on!
Lighting – Is the lighting flat, too much contrast, unable to reproduce?
Usability- How can a customer use your photo and for what?
File size- Size really does matter! Does your image meet our file specs? The BIGGER the better!
Uniqueness- How is your photo different? Are you just recording an image or did you truly capture it?
Style- Don’t try to be a clone of what is already out there! A little uniqueness never hurt anybody:-)
Location- Where is the location? If it’s a tourist destination then capture the landmarks.
Lifestyles- Families, couples, gay, straight, multi-racial. All ethnic groups in real life situations.
Business- Current business products and attire.
Medical- Real life settings of medical situations.
Seasonal–All holidays, back to school and special occasions.
You get the picture. If you don’t, then don’t bother sending us your photos. But, if you think your good, then join us. We always have room for great artists.
Never wanting to become complacent, we have been working hard on improving our website and expect a new site to go live in Q1 2007. One of the several ways we are hoping to enhance the features of our site is by adding a content server. This will allow our contributing artists to go directly to our servers and upload their content. In addition, they will be able to add keywords, name the location and create a brief description for their images. Once their content is uploaded, we will review, edit and go live with new images daily. This will allow PhotoSpin to offer a wider range of images faster and give our contributing artists quicker access to the upload process. Forever standing by the quality of our images, we still demand the best. If all you want to hear is that your images are good then show them to your mother, you can always count on her for telling you just how great your work is. If you want a great company that believes in quality to represent your work then go ahead and post it to our server and journey through our review process. If your work is good, and we mean really good, it will go live to our customers. I’m not interested in hearing how other companies think that your work is good, I’m interested in seeing good work. Show me!
Here’s what we are looking for:
Composition- How is the image designed? What is in the foreground, middle, and background of the image? Is there room for copy? What is behind your subject- are branches growing out of someone’s head like a pair or antlers on Rudolf? I know it’s the Christmas Season but come on!
Lighting – Is the lighting flat, too much contrast, unable to reproduce?
Usability- How can a customer use your photo and for what?
File size- Size really does matter! Does your image meet our file specs? The BIGGER the better!
Uniqueness- How is your photo different? Are you just recording an image or did you truly capture it?
Style- Don’t try to be a clone of what is already out there! A little uniqueness never hurt anybody:-)
Location- Where is the location? If it’s a tourist destination then capture the landmarks.
Lifestyles- Families, couples, gay, straight, multi-racial. All ethnic groups in real life situations.
Business- Current business products and attire.
Medical- Real life settings of medical situations.
Seasonal–All holidays, back to school and special occasions.
You get the picture. If you don’t, then don’t bother sending us your photos. But, if you think your good, then join us. We always have room for great artists.
Tuesday, December 05, 2006
Double Vision
In her recent article published in the Wall Street Journal entitled “When Marketers See Double”, Emily Steel shows us examples of how the identical Royalty Free image appears in competitors’ ads and marketing pieces.
Designers beware: you will need to inform your clients that when using Royalty Free Images this is certainly a possibility and, the lower the cost per image, the greater the risk of that image singing the praises of one of your competitor’s products. These low cost images are becoming more available as micropayment sites are popping up almost daily with both professional and amateur photographers submitting their work. With the ability to purchase an image for as low as one dollar, the end-user runs the risk of that same image appearing on the front of his grandmother’s family greeting card.
I found the following suggestions helpful in discussing this subject with your clients as well as give you, the designer, something to think about:
Cost vs. Risk
Is your client using the image to create his/her company’s brand identity or is he/she simply trying to convey an idea? If it’s a brand identity piece, I recommend either purchasing a traditional stock image where you can review the image’s history or having an image created specifically for that particular client. It might be more costly, but by doing so, you’re ‘purchasing’ less risk of that image showing up in your client’s competitor’s ads. It is really important to make your client aware of the fact that the image he/she chooses for a marketing piece might appear on the next page in a competitor’s ad. I have seen this happen and a little communication goes a long way.
Budget / Pro Bono
Obviously, the lower the budget, the more difficult it is to produce an original piece. However, if the project is exciting enough or has great portfolio appeal then you might just find an artist willing to do a pro-bono piece. One of the best campaigns I was involved in as a photographer was one where I was asked to do a pro-bono shoot for MADD ( Mother ’s Against Drunk Driving). It was a simple two page ad that spoke a profound message. On the first page was the following copy: “ John Doe got 3 years probation for hit and run drunk driving”. The next page drove that message home with a photo of a little boy in a wheel chair. Above the photo it read “Johnny got the chair”. Sometimes it doesn’t hurt to ask.
Time Constraints
I'm sure that most of you would agree that time is money. When you need an image now, you actually needed it yesterday. The benefit of Royalty Free Images is that they are readily available, providing that you can find the one you need, and can be purchased and downloaded, lickety split. As a designer, you can make Royalty Free images unique by adding other elements, cropping the image and changing the image placement enough so that anyone viewing the marketing piece may not recognize the image as the same one that a competitor used. As a designer you present the ideas. Altering an image may give you and your client additional comfort.
As an owner of a Royalty Free company, I must say that we are not always the right solution for your clients. Not a single stock provider can make that claim.
To me, it’s all about dialog and educating your clients. Communication is key. Ultimately, it is your client’s decision. The more information you can provide them, the better you can service the account. This builds customer loyalty and, hopefully, will give you a returning customer.
View the Wall Street Journal article
Designers beware: you will need to inform your clients that when using Royalty Free Images this is certainly a possibility and, the lower the cost per image, the greater the risk of that image singing the praises of one of your competitor’s products. These low cost images are becoming more available as micropayment sites are popping up almost daily with both professional and amateur photographers submitting their work. With the ability to purchase an image for as low as one dollar, the end-user runs the risk of that same image appearing on the front of his grandmother’s family greeting card.
I found the following suggestions helpful in discussing this subject with your clients as well as give you, the designer, something to think about:
Cost vs. Risk
Is your client using the image to create his/her company’s brand identity or is he/she simply trying to convey an idea? If it’s a brand identity piece, I recommend either purchasing a traditional stock image where you can review the image’s history or having an image created specifically for that particular client. It might be more costly, but by doing so, you’re ‘purchasing’ less risk of that image showing up in your client’s competitor’s ads. It is really important to make your client aware of the fact that the image he/she chooses for a marketing piece might appear on the next page in a competitor’s ad. I have seen this happen and a little communication goes a long way.
Budget / Pro Bono
Obviously, the lower the budget, the more difficult it is to produce an original piece. However, if the project is exciting enough or has great portfolio appeal then you might just find an artist willing to do a pro-bono piece. One of the best campaigns I was involved in as a photographer was one where I was asked to do a pro-bono shoot for MADD ( Mother ’s Against Drunk Driving). It was a simple two page ad that spoke a profound message. On the first page was the following copy: “ John Doe got 3 years probation for hit and run drunk driving”. The next page drove that message home with a photo of a little boy in a wheel chair. Above the photo it read “Johnny got the chair”. Sometimes it doesn’t hurt to ask.
Time Constraints
I'm sure that most of you would agree that time is money. When you need an image now, you actually needed it yesterday. The benefit of Royalty Free Images is that they are readily available, providing that you can find the one you need, and can be purchased and downloaded, lickety split. As a designer, you can make Royalty Free images unique by adding other elements, cropping the image and changing the image placement enough so that anyone viewing the marketing piece may not recognize the image as the same one that a competitor used. As a designer you present the ideas. Altering an image may give you and your client additional comfort.
As an owner of a Royalty Free company, I must say that we are not always the right solution for your clients. Not a single stock provider can make that claim.
To me, it’s all about dialog and educating your clients. Communication is key. Ultimately, it is your client’s decision. The more information you can provide them, the better you can service the account. This builds customer loyalty and, hopefully, will give you a returning customer.
View the Wall Street Journal article
Tuesday, November 21, 2006
Advice: Dust off your portfolio - inside and out.
Three weeks ago, I began a discussion on "How to Land a Big Account”.
Three professionals from national advertising agencies responded. Each had a slightly different take on how they hire commercial artists.
Glen Wexler suggested it takes the Three T’s: Talent, Timing, and Trust.
Tommy Steele’s advice was to be unique, personal, and artistic.
Damian Fulton emphasized building a relationship with the art buyer and concentrating on getting your work noticed within creative circles. He also suggested being really honest with yourself about the quality of your work prior to approaching a tier one agency.
As I write this blog I’m reminded of a story about a new hotshot photographer trying to break into the industry.
Early in my career I shared a studio with a few other photographers and one of our partners would never go out and show his portfolio. He was fairly comfortable financially because he managed a few buildings and made his money off of the rents he collected. Regardless, he was frustrated at his lack of photo work so we encouraged him to get on the phone and make some appointments.
A few days later he had landed an appointment with the owner of a small agency. On the day of his interview he dressed in solid black because that’s what creatives did back then. He dusted off his portfolio case and headed out for his appointment. An hour or so later he showed up back at the studio, completely dejected. The interview was terrible.
Apparently, what had happened was the owner of the agency called in several of his art directors and they all gathered in a semicircle to review the work. Although my friend’s case was clean on the outside, when he carefully unzipped it a huge cockroach sprung out and crawled onto the desk of the President of the agency. He spent the entire interview trying to kill the cockroach. Talk about a killer career move – NOT!
After we finally quit laughing, the rest of us studio-mates made a serious mental note about preparation.
Funny, I don’t think that this was the type of “getting noticed within creative circles” that Damian had in mind, or what Tommy Steel meant when he mentioned “bringing something unique”.
Now for my two cents: establish yourself uniquely. Good is no longer good enough. It is so easy and inexpensive today to showcase your work with personalized Web sites, Internet Blogs, and showcase forums like You-tube. You’re creative! Use your creativity to get attention. Sure, you can always use the reliable source books promoting yourself – just like everyone else does. You should probably always be in the tried and true spots but don’t stop there.
Never be intrusive with spam emails. Always get permission before emailing.
Be respectful of people’s time. Be selective as to what you put in your portfolio and display on your website. Remember, you only get one chance to make a good impression. When you finally land your big interview, dust off the outside as well as the inside of the case and be careful to show work that applies to what the client is seeking. Check out their Web site prior to the interview, have an understanding of the type of accounts they hold and what their mission is as a company.
The next big question is aimed at you: are you willing to invest your time and talents and work really hard to keep the big account? It’s a vicious cycle but can be very rewarding.
Three professionals from national advertising agencies responded. Each had a slightly different take on how they hire commercial artists.
Glen Wexler suggested it takes the Three T’s: Talent, Timing, and Trust.
Tommy Steele’s advice was to be unique, personal, and artistic.
Damian Fulton emphasized building a relationship with the art buyer and concentrating on getting your work noticed within creative circles. He also suggested being really honest with yourself about the quality of your work prior to approaching a tier one agency.
As I write this blog I’m reminded of a story about a new hotshot photographer trying to break into the industry.
Early in my career I shared a studio with a few other photographers and one of our partners would never go out and show his portfolio. He was fairly comfortable financially because he managed a few buildings and made his money off of the rents he collected. Regardless, he was frustrated at his lack of photo work so we encouraged him to get on the phone and make some appointments.
A few days later he had landed an appointment with the owner of a small agency. On the day of his interview he dressed in solid black because that’s what creatives did back then. He dusted off his portfolio case and headed out for his appointment. An hour or so later he showed up back at the studio, completely dejected. The interview was terrible.
Apparently, what had happened was the owner of the agency called in several of his art directors and they all gathered in a semicircle to review the work. Although my friend’s case was clean on the outside, when he carefully unzipped it a huge cockroach sprung out and crawled onto the desk of the President of the agency. He spent the entire interview trying to kill the cockroach. Talk about a killer career move – NOT!
After we finally quit laughing, the rest of us studio-mates made a serious mental note about preparation.
Funny, I don’t think that this was the type of “getting noticed within creative circles” that Damian had in mind, or what Tommy Steel meant when he mentioned “bringing something unique”.
Now for my two cents: establish yourself uniquely. Good is no longer good enough. It is so easy and inexpensive today to showcase your work with personalized Web sites, Internet Blogs, and showcase forums like You-tube. You’re creative! Use your creativity to get attention. Sure, you can always use the reliable source books promoting yourself – just like everyone else does. You should probably always be in the tried and true spots but don’t stop there.
Never be intrusive with spam emails. Always get permission before emailing.
Be respectful of people’s time. Be selective as to what you put in your portfolio and display on your website. Remember, you only get one chance to make a good impression. When you finally land your big interview, dust off the outside as well as the inside of the case and be careful to show work that applies to what the client is seeking. Check out their Web site prior to the interview, have an understanding of the type of accounts they hold and what their mission is as a company.
The next big question is aimed at you: are you willing to invest your time and talents and work really hard to keep the big account? It’s a vicious cycle but can be very rewarding.
Monday, November 06, 2006
How To Land An Account (Part III)
Again, I posed the question, “how do you land a big account?” to renaissance man, Damian Fulton. If you don’t recognize his name, I’m sure you’d recognize his work. He’s been a film director and producer, commercial illustrator (Radical Rick cartoon) as well as a fine artist. Recently, his “surf art” premiered at a local gallery in El Segundo, California and completely sold out. He’s been the Senior Art Director, Creative Director, and Senior Partner at Ogilvy Mather Advertising World Wide in Los Angeles, California. He’s also produced or directed hundreds of television commercials, has been involved in the creation of major advertising campaigns for the past 25 years, and continues to sell original fine art through various galleries and via his website http://www.damianfulton.com/
Here’s what Damian had to say:
“Wow! How to start-as a commercial artist? I would attempt to get as much information from the client as possible then select a portfolio that was specific to their needs. I’d be very careful to not want waste their time at all. Then, there are three reasons for why I would accept a project: 1) Good for my book (portfolio), 2) The job paid extremely well and 3) Either the project or the people (or both) would be a lot of fun.
As a Senior Art Director there are a couple of ways I personally select a commercial artist for a specific project. First, everything starts with research. We sell our concept (to the client) by utilizing stock images and comps. This sets the tone. Then, once the idea is sold to the client, I narrow the field down by who is right for this particular job. This begins with a discussion with the art buyer about the specific project. The art buyer goes straight to the Internet, source books or directly to a Web site in search of an artist that fits the creative.
Most agency Art Directors are so over utilized. Currently, I'm working on three separate accounts and all are due today. So, time is really important. I rely heavily on the Art Buyer so I need them to have a clear understanding of what I need. She'll pull in the best photographers first. If I'm looking for a specific style for a project the Art Buyer will gather twenty or thirty portfolios. If I don't see that the work the artist shows is right for my project, in a very short time, I move on until I find the person who can bring their talent and creative style to the project. The Art Buyer negotiates the fee with either the artist or their representative and schedules the shoot dates.”
Val Gelineau: Okay – so I understand, Damian, how an established photographer gets the big account but what about the entry level artists? How does a new or less experienced artist get their first big account?
DF: “In the current market, it is rare anybody will risk a big piece of business on a new photographer. But, a second tier shooter working with smaller clients with a consistent style can also catch my eye.
Let's assume this commercial artist is already doing great work. He’s already hooked into smaller accounts but is doing something seen in creative circle as really great creative. This is almost like guilt by association. People in various creative circles are already talking about their work in creative circles and we will also begin to take notice. Call it "badge value" - being associated with a great campaign or brand will elevate you, even if it's not a national account.
Art Buyers look for talent first and budget second. ‘Reps’ will come in and wine and dine the buyers but rarely do we hire an artist immediately based on the first showing. Usually, their work shows up a few times. Remember, the Art Buyer does a lot of prep work before beginning their search. They have browsed all the source books, checked the Internet for photographers and gone through an established list of qualified photographers.
My recommendation for a new shooter - Get to the art buyers, pick 2 or 3 agencies that your established style and book are already suited for and make sure they see your work. So, for example, if your are not already a car photographer do not try to get a car account. You have wasted your first impression. Then, when you do get a project assigned to you, make sure you do the job on time and within budget and plan something extra to meet and exceed the client’s expectations.
Some photographers give away the farm to get a foot in the door at a major agency. The key for them is to get in the door. Be realistic with the quality of your work and make sure you are ready to make a great impression because you do not want to get a reputation of wasting time. Be sure your work is at a tier one level before you pursue an agency.
I'm always excited to award the job to an artist because I personally know what they’ve gone through to ensure they get the project.”
Here’s what Damian had to say:
“Wow! How to start-as a commercial artist? I would attempt to get as much information from the client as possible then select a portfolio that was specific to their needs. I’d be very careful to not want waste their time at all. Then, there are three reasons for why I would accept a project: 1) Good for my book (portfolio), 2) The job paid extremely well and 3) Either the project or the people (or both) would be a lot of fun.
As a Senior Art Director there are a couple of ways I personally select a commercial artist for a specific project. First, everything starts with research. We sell our concept (to the client) by utilizing stock images and comps. This sets the tone. Then, once the idea is sold to the client, I narrow the field down by who is right for this particular job. This begins with a discussion with the art buyer about the specific project. The art buyer goes straight to the Internet, source books or directly to a Web site in search of an artist that fits the creative.
Most agency Art Directors are so over utilized. Currently, I'm working on three separate accounts and all are due today. So, time is really important. I rely heavily on the Art Buyer so I need them to have a clear understanding of what I need. She'll pull in the best photographers first. If I'm looking for a specific style for a project the Art Buyer will gather twenty or thirty portfolios. If I don't see that the work the artist shows is right for my project, in a very short time, I move on until I find the person who can bring their talent and creative style to the project. The Art Buyer negotiates the fee with either the artist or their representative and schedules the shoot dates.”
Val Gelineau: Okay – so I understand, Damian, how an established photographer gets the big account but what about the entry level artists? How does a new or less experienced artist get their first big account?
DF: “In the current market, it is rare anybody will risk a big piece of business on a new photographer. But, a second tier shooter working with smaller clients with a consistent style can also catch my eye.
Let's assume this commercial artist is already doing great work. He’s already hooked into smaller accounts but is doing something seen in creative circle as really great creative. This is almost like guilt by association. People in various creative circles are already talking about their work in creative circles and we will also begin to take notice. Call it "badge value" - being associated with a great campaign or brand will elevate you, even if it's not a national account.
Art Buyers look for talent first and budget second. ‘Reps’ will come in and wine and dine the buyers but rarely do we hire an artist immediately based on the first showing. Usually, their work shows up a few times. Remember, the Art Buyer does a lot of prep work before beginning their search. They have browsed all the source books, checked the Internet for photographers and gone through an established list of qualified photographers.
My recommendation for a new shooter - Get to the art buyers, pick 2 or 3 agencies that your established style and book are already suited for and make sure they see your work. So, for example, if your are not already a car photographer do not try to get a car account. You have wasted your first impression. Then, when you do get a project assigned to you, make sure you do the job on time and within budget and plan something extra to meet and exceed the client’s expectations.
Some photographers give away the farm to get a foot in the door at a major agency. The key for them is to get in the door. Be realistic with the quality of your work and make sure you are ready to make a great impression because you do not want to get a reputation of wasting time. Be sure your work is at a tier one level before you pursue an agency.
I'm always excited to award the job to an artist because I personally know what they’ve gone through to ensure they get the project.”
Thursday, October 26, 2006
Creative Success (Part II)
How to land a BIG ACCOUNT
During my career as a professional photographer, I've been very fortunate to work with some of the industries most talented and creative people. I posed my on-going question to Tommy Steele - Former Creative Director of Capital Records, and currently, Creative Director of Design at Team One Advertising. I've altered the question slightly because a creative director's
responsibility is to the agency first and then, ultimately to the client. My question was - How do you choose an artist for a Big Account?
Here's what Tommy had to say:
"Over the past 20+ years the way I choose an artist for a specific project has changed slightly. When I first began my career, photographers, illustrators, and artist representatives would contact me directly. Since I began my career in the entertainment industry, I had to be conscious that the people hiring me were very image-oriented. The work I did had to represent them as a musical artist and as a brand. I would select a commercial artist based on the portfolio they submitted, the confidence they instilled in me, my belief they could do the work and deliver the project on time and within budget. I was looking for artists first, who just happened to be photographers, illustrators, and designers. On several projects the work was a collaborative effort with the client, designer and commercial artist. As my projects grew so did my responsibilities. At Capitol Records I had an art department/small agency working under me and our responsibilities were for all of Capitol's marketing needs as well as CD designs POP displays, posters, packaging, etc. There I hired an Art Buyer, largely in part to keep track of projects and budgets and to help negotiate rights and fees."
"Today I still review portfolios through the screening of the agency Art Buying Department. I could spend a lot of time reviewing portfolios and never get through all the books sent to our agency. I get quite a few emails/spam from artists and reps, which is a bit invasive. But I always look for that creative piece - a post card, a letter, a promo, or something that is
arresting or clever and shows me something different. I don't directly hire the artist, but my staff and I make recommendations to the client as to who we would like to work with. The Art Buyer at the agency negotiates the fees and usage in a 3 bid system. This provides the client with the best choice based on budget, artist ability and availability. In my opinion, if you want to get the big account - bring something unique, personal, and artistic to the party. Don't show me work I can already get from an established artist show me why you are worth the BIG ACCOUNT."
During my career as a professional photographer, I've been very fortunate to work with some of the industries most talented and creative people. I posed my on-going question to Tommy Steele - Former Creative Director of Capital Records, and currently, Creative Director of Design at Team One Advertising. I've altered the question slightly because a creative director's
responsibility is to the agency first and then, ultimately to the client. My question was - How do you choose an artist for a Big Account?
Here's what Tommy had to say:
"Over the past 20+ years the way I choose an artist for a specific project has changed slightly. When I first began my career, photographers, illustrators, and artist representatives would contact me directly. Since I began my career in the entertainment industry, I had to be conscious that the people hiring me were very image-oriented. The work I did had to represent them as a musical artist and as a brand. I would select a commercial artist based on the portfolio they submitted, the confidence they instilled in me, my belief they could do the work and deliver the project on time and within budget. I was looking for artists first, who just happened to be photographers, illustrators, and designers. On several projects the work was a collaborative effort with the client, designer and commercial artist. As my projects grew so did my responsibilities. At Capitol Records I had an art department/small agency working under me and our responsibilities were for all of Capitol's marketing needs as well as CD designs POP displays, posters, packaging, etc. There I hired an Art Buyer, largely in part to keep track of projects and budgets and to help negotiate rights and fees."
"Today I still review portfolios through the screening of the agency Art Buying Department. I could spend a lot of time reviewing portfolios and never get through all the books sent to our agency. I get quite a few emails/spam from artists and reps, which is a bit invasive. But I always look for that creative piece - a post card, a letter, a promo, or something that is
arresting or clever and shows me something different. I don't directly hire the artist, but my staff and I make recommendations to the client as to who we would like to work with. The Art Buyer at the agency negotiates the fees and usage in a 3 bid system. This provides the client with the best choice based on budget, artist ability and availability. In my opinion, if you want to get the big account - bring something unique, personal, and artistic to the party. Don't show me work I can already get from an established artist show me why you are worth the BIG ACCOUNT."
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