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.”
Monday, November 06, 2006
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."
Thursday, October 19, 2006
The 3Ts of Creative Success
Becoming a successful commercial artist (Illustrator, Photographer, or Designer) doesn’t happen overnight.In fact, overnight sensations are rare. As with anything, success comes only with an investment of Time, a little bit of Talent, and a whole lot of Tenacity - the three Ts. Recently, I was talking to one of our contributing artists – a relative “newbie” in the field. He wanted to know “how to land a big account?” Since I’ve been out of commercial photography for over 10 years I decided to get some advice on how today’s photographers are landing their dream jobs. Now, these people are busy people… so I will stream in their comments over the next few weeks. Glen Wexler: (Don’t know who Glen is? Do a google search… unbelievably awesome photographer) There are three primary components to landing a big account: Talent; Timing; and Trust. This applies to my current work on national and international ad campaigns, and it applied in the early stages of my career creating album covers (yes, before CD’s). Please note that my three T’s are not the same as those mentioned above.Talent is the component about your unique point of view as an artist/photographer and your ability to add this vision to the client’s marketing objectives.Timing for most of us is about creating opportunities from marketing and promotion rather than being at the right place or knowing the right person. If your talent is appropriate for a project, the art buyer needs to be thinking of you when it is time to assign the work. There are several important aspects to marketing and promotion to create awareness of your talent: portfolio, website, sourcebook and trade ads, direct mail campaigns, photo annuals, book projects and gallery exhibitions, and many photographers work with artist representatives.
Trust is the closing element needed to land the account. The client needs to feel confident that you will meet their expectations on time and on budget. They also want to look forward to an enjoyable experience.There is a lot more to be said on the subject. For those of you that will be in New York for PhotoPlus Expo I will be involved in a three seminars that will cover these topics in depth:1: 11/2: There's Always room at the Top - How to Get There and Stay There 2: 11/2: Creating New Realities: Pushing the Boundaries of Photo Illustration (Presentation) 3: 11/3: How To Be Your Own Best Rep (Panel Discussion) For more info: www.photoplusexpo.com
As Val mentions, success is typically not achieved overnight, but it certainly happens for some faster than others. At the risk of oversimplifying the matter, all three components need to be in play. The longer you are in the business your reputation becomes an increasingly important factor. The precedents you set will impact the course of your career. Your images you show will create your brand, your pricing establishes your worth, and your track record in meeting, or better yet exceeding, the client’s expectations develops confidence and loyalty. After years of developing a reputation, I am fortunate to get much of my work from word of mouth or directly from my website but it is also important to maintain an ongoing industry presence. I am also embarking on a new opportunity promoting my new book “The Secret Life of Cows”. Although, not available until early next year, I, along with my manager, have been traveling the country promoting it. Some of the images can be seen on my website, and yes Val, I’ll send you a signed copy soon.
Trust is the closing element needed to land the account. The client needs to feel confident that you will meet their expectations on time and on budget. They also want to look forward to an enjoyable experience.There is a lot more to be said on the subject. For those of you that will be in New York for PhotoPlus Expo I will be involved in a three seminars that will cover these topics in depth:1: 11/2: There's Always room at the Top - How to Get There and Stay There 2: 11/2: Creating New Realities: Pushing the Boundaries of Photo Illustration (Presentation) 3: 11/3: How To Be Your Own Best Rep (Panel Discussion) For more info: www.photoplusexpo.com
As Val mentions, success is typically not achieved overnight, but it certainly happens for some faster than others. At the risk of oversimplifying the matter, all three components need to be in play. The longer you are in the business your reputation becomes an increasingly important factor. The precedents you set will impact the course of your career. Your images you show will create your brand, your pricing establishes your worth, and your track record in meeting, or better yet exceeding, the client’s expectations develops confidence and loyalty. After years of developing a reputation, I am fortunate to get much of my work from word of mouth or directly from my website but it is also important to maintain an ongoing industry presence. I am also embarking on a new opportunity promoting my new book “The Secret Life of Cows”. Although, not available until early next year, I, along with my manager, have been traveling the country promoting it. Some of the images can be seen on my website, and yes Val, I’ll send you a signed copy soon.
Next week read Tommy Steele’s perspective. (Former Creative Director of Capital Records and currently Creative Director of Design at Team One Advertising)
Tuesday, October 10, 2006
Quit Your Belly-achin'!
Not Willing to Compete? Get Out of the Race!
I recently read this blog The Bill Gates Mystery: An Open Letter From Piño Granata. Basically. Piño is asking Bill to "step up" and do something for the art community if he's going to monopolize the creative world.I feel a strong need to comment.I’m not going to defend Bill Gates or, for that matter, the heirs of J. Paul Getty – also mentioned in the letter. These are smart investors who see a huge opportunity in the stock industry. Yes, consolidation has happened in the industry. But, that's not necessarily a bad thing. Great companies often disappear when their industry changes. I saw many companies vanish into thin air during the dot com. Remember MetaCreations? Or, how about LivePicture? Great artists disappear too! Where is Kai Krause? History has taught us that one (whether a corporation or an individual) must be willing and able to adapt to one’s new environment. This is a lesson that the U.S. auto industry has been learning for years.
Like Artists, Stock Photo agencies also need to re-evaluate themselves. If the competition is tough, consider a change in strategy. Just like back in the day when the Stock Photo business emerged, photographers screamed "the sky is falling." The sky never fell. Then, enter royalty-free stock photos. Once again, photographers screamed "the sky is falling." I looked out my window this morning and the sky was still there. This fear needs to stop.Seriously. Technology has changed our businesses in many ways. No longer are image buyers beholden to stock houses - charging "bookoo bucks" for an image search, then having to wait for special delivery only to sift through someone elses hand chosen selections of their perception of what the buyer is looking for... In the old days, 2 - 3 days later could quite possibly result in yet another image search. Today, the same buyer jumps on the web - finds their image - downloads it and is off to the next project. Amazing! Today’s art buyer has choices and they are in charge. The web allows them to quickly search for best price, best selection, best fill-in-the-blank. They can browse collections from all around the world from the comfort of their home. Many stock agencies will even "put the word out" to their network of creatives to see if they can locate a specific image for a customer. Investors are just now learning of the stock industry. That should tell you something. Desktop publishing has opened up new opportunities for a photographer to sell images to untapped markets, to untold millions of new buyers. This industry will grow because “a picture is worth a thousand words” and to us photographers, pictures are worth thousand’s of dollars.I’m personally excited about the future of the Stock industry as both an entrepreneur and a photographer.
I recently read this blog The Bill Gates Mystery: An Open Letter From Piño Granata. Basically. Piño is asking Bill to "step up" and do something for the art community if he's going to monopolize the creative world.I feel a strong need to comment.I’m not going to defend Bill Gates or, for that matter, the heirs of J. Paul Getty – also mentioned in the letter. These are smart investors who see a huge opportunity in the stock industry. Yes, consolidation has happened in the industry. But, that's not necessarily a bad thing. Great companies often disappear when their industry changes. I saw many companies vanish into thin air during the dot com. Remember MetaCreations? Or, how about LivePicture? Great artists disappear too! Where is Kai Krause? History has taught us that one (whether a corporation or an individual) must be willing and able to adapt to one’s new environment. This is a lesson that the U.S. auto industry has been learning for years.
Like Artists, Stock Photo agencies also need to re-evaluate themselves. If the competition is tough, consider a change in strategy. Just like back in the day when the Stock Photo business emerged, photographers screamed "the sky is falling." The sky never fell. Then, enter royalty-free stock photos. Once again, photographers screamed "the sky is falling." I looked out my window this morning and the sky was still there. This fear needs to stop.Seriously. Technology has changed our businesses in many ways. No longer are image buyers beholden to stock houses - charging "bookoo bucks" for an image search, then having to wait for special delivery only to sift through someone elses hand chosen selections of their perception of what the buyer is looking for... In the old days, 2 - 3 days later could quite possibly result in yet another image search. Today, the same buyer jumps on the web - finds their image - downloads it and is off to the next project. Amazing! Today’s art buyer has choices and they are in charge. The web allows them to quickly search for best price, best selection, best fill-in-the-blank. They can browse collections from all around the world from the comfort of their home. Many stock agencies will even "put the word out" to their network of creatives to see if they can locate a specific image for a customer. Investors are just now learning of the stock industry. That should tell you something. Desktop publishing has opened up new opportunities for a photographer to sell images to untapped markets, to untold millions of new buyers. This industry will grow because “a picture is worth a thousand words” and to us photographers, pictures are worth thousand’s of dollars.I’m personally excited about the future of the Stock industry as both an entrepreneur and a photographer.
Thursday, October 05, 2006
FREE Investment Advice for Artists
By Val Gelineau, CEO and CoFounder PhotoSpin, Inc.The best investment you can make is to invest in yourself and this goes for artists just as much as anyone. I, too, was given this advice early in my career as a photographer by my long time friend and former business manager, Errol Gerson. If you attended Art Center College of Design in the 80’s and 90’s you may remember Errol as a business instructor. If you graduated from Art Center you definitely attended his class prior to graduation. He was famous for the "invest in yourself" quote. He hammered home the fact that you should constantly be investing in your portfolio by continuously creating new content and better work. If there's one thing in this industry that has not changed it is this: invest in yourself to make money in the Stock Market.Now, the Stock Market I’m referring to is the photos, illustrations and fonts Stock Market. GD:USA's recent surveys indicate art buyers are spending more of their annual budget on stock imagery. Proof that this is a great time for artists and illustrators to pursue Stock opportunities, both Rights Managed and Royalty Free.Unfortunately, I've heard many of the reasons why people do not pursue these opportunities: * No time. According to the AC Nielsen Co., the average American watches more than 4 hours of TV each day or 28 hours/week. * The market is saturated. Every agency including the Big Three (Getty, Corbis and Jupiter Images) are always looking for great work and new artists. * Fear of rejection. One of my personal favorites. Welcome to being an artist, get used to rejection. * No money. Valid but not acceptable. If you already own the equipment, digital art is simply an investment in time. This goes back to investing in yourself. Think about it as expanding your creative ability. Create your own projects. It takes time to become a great artist. One of the great things about creative work is that you can be fully employed, self employed, or simply a free lancer. Which means you can easily join the 9% of the adult working population, close to 10 million Americans - now in the process of starting their own business (Inc./Gallup survey: "Americans at Work.")Be honest with yourself. Do you really want to be a photographer, an illustrator or an artist? If you do - lose all of the excuses and do what great athletes do... Just Do It!
You are your greatest resource! Invest in yourself.
You are your greatest resource! Invest in yourself.
Thursday, September 28, 2006
Be Willing to Change
By Val Gelineau, CEO and Cofounder, PhotoSpin, Inc.
Wow! After reading some of the email I received after the last blog I'm amazed at how many creative people are unwilling to change. Great artists throughout history have continually reexamined their creative work and pushed to create new and better forms of art. If they hadn't, all of the art in the world would still be cave and sand drawings. Think about it; first pinhole cameras; b&w film then color film; currently, digital. Great artist adapt to the medium and find ways to sell their art. Today's market is no different. I believe there are plenty of opportunities for those who are willing to venture into the new world of selling stock images for both professionals and amateurs. Is the only separation between amateurs and pros a paycheck? Many seem to think so. What about passion? Luck vs. talent? A formal education vs. self taught? The industry is changing. So what? The industry has always been changing throughout history and new and incredible things come out of it - always. Old school? New school? Whatever... Great work is still great work. Please, post your comments to the blog. Let's explore these topics together. Whether you agree or not, let others hear what you're emailing me.
Wow! After reading some of the email I received after the last blog I'm amazed at how many creative people are unwilling to change. Great artists throughout history have continually reexamined their creative work and pushed to create new and better forms of art. If they hadn't, all of the art in the world would still be cave and sand drawings. Think about it; first pinhole cameras; b&w film then color film; currently, digital. Great artist adapt to the medium and find ways to sell their art. Today's market is no different. I believe there are plenty of opportunities for those who are willing to venture into the new world of selling stock images for both professionals and amateurs. Is the only separation between amateurs and pros a paycheck? Many seem to think so. What about passion? Luck vs. talent? A formal education vs. self taught? The industry is changing. So what? The industry has always been changing throughout history and new and incredible things come out of it - always. Old school? New school? Whatever... Great work is still great work. Please, post your comments to the blog. Let's explore these topics together. Whether you agree or not, let others hear what you're emailing me.
Thursday, September 21, 2006
Photographer as Blacksmith II
Is the Professional Photographer Resembling Yesterday's Blacksmith? (Part II)
by Val Gelineau, CEO PhotoSpin, Inc.
Previously, I stated that The Professional Photographer is resembling yesterday's Blacksmith.
But, is he truly becoming obsolete?
Hardly. The professional Photographer is much like Smithy. He needs to adapt to the changes within his industry. Major corporations like Ford, Nike, and Guess Jeans will always need branded images for their advertising and marketing campaigns. So, assignment work will always be here to stay. But, photographers need to embrace the changes within the industry and view themselves as a business and consider creating unique images to sell through various venues, not just assignment work. I believe there are four opportunities available for photographers to sell their work: 1) Assignment work - Working directly with a client, advertising agency or design studio.2) Rights managed - Using one or more traditional Stock Agencies to represent your stock work. (Note: this work is not the same as "royalty free" clients. This is for clients willing to pay a premium to get an image history.)3) Royalty free- Using one or more royalty free Stock Agencies (non exclusive deals) to represent your stock work.4) Micro payment sites - Manage your own collection - Using one or more micro payment websites to upload and keyword your images.Each venue offers the photographer a unique opportunity to make money and not all of these outlets are right for everyone. With digital cameras, expenses on film and processing aren't an issue. Every stock agency has a series of images they are looking for and are willing to pay to acquire them. Here is a short list of what my company, PhotoSpin is currently looking for: back to school, holidays, inter racial families, couples, handicapped people at work, home and leisure, food, gay / lesbian couples and families.PhotoSpin, like other agencies, see great work everyday. Our approach is to allow our contributing artists build upon a theme and shoot or create pieces that interest them. This is a great opportunity to do a test shoot and get paid for it. We try not to over "art direct" a project. We believe in a collaborative effort giving the artist freedom to try new techniques. Ultimately, great work will stand on its own. I believe the industry is healthy and offers more opportunities for photographers now, than ever before, to create a sustainable income. Yes, the industry has changed and unfortunately, some photographers - like the blacksmith - are unwilling to accept change. But, for those willing to accept new challenges, like the changes within the photography industry... there are plenty of opportunities. I really think these changes are for the better.
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