Advertising Photography : A straightforward guide to a complex history
Lou Lesko with Bobbi Lane
(2008)
Thompson Course Technology PTR
USA
Getting Started
" There are three absolutes to always remember as you break into this industry:
- Where you are now is no different than the place every other successful photographer was when he or she started out.
- There is more advice about becoming successful than there is water in the ocean. It's okay to disregard most of it, especially if it conflicts with your instincts.
- Noone will hire you unless they know you exsist. " (page one)
Where to work until you're really working
Working as a Photographer
model testing
event photography
wedding photographer
head shots
Working in a Rental House
This helps you learn about what gear is out there and gives you access to possibly use them for a shoot and to build up your portfolio. Furthermore you will be connected in future for any rentals you may need later.
Working in a Lab
Knowing the post production process work is a marketable skill to have as many photographers send off for their work to be produced for them.
Assisting
" The more complicated a shoot your assisting with, the more you're going to learn about running your own business. " (page 6)
Getting Noticed
"I learned that if you're a good person who works hard and has some talent, you're going to get booked; if your a jerk and exceptionally talented, you'll probably still get booked, but people will talk about you; and if your nice and exceptionally talented, you'll get invited to the agency Christmas parties. "
I'm No Picasso, But Do You Like It?
Art buyers and art directors receive many promos a day, many images don't make the cut and are thrown aside yet the one that make it go to a file waiting for when they are needed.
"So what makes a really great promo? The universal response is: great work." (page 9)
There is no specific design that is the best and the key to getting work, but try to create some familiarity in the promos that you send.
Promos can use a single image or a set, multiple images are a great way of showing that you can work in a full advert shoot and that you can be consistent.
I Am a Very Fabulous Photographer
Avoid using magazine covers on your promos, sometimes the director will not like the layout of the magazine this creates negative connotations surrounding your photograph.
In the industry no one will be impressed that you have done advertising before, they expect that so keep the promo about yourself.
That Sure Is a Nice Sized ...
Be careful when sizing the work because if your image is good enough then it is going to end up in a file folder.
Don't make the work too big as people can't store it or show it to anybody very easily, but don't make the work too small as prints tend to get lost or misplaced.
Emailing promos is ok however many directors have a busy schedule and prefer to look through prints than sitting on a computer opening emails, however emailing and sending prints can be a good thing because if your print is noticed then the director may want to look through your website. Many prefer prints as well because emails often gets deleted when the inbox is full and if the director leaves the company the online work will be left behind but the prints will be taken.
Remember Me?
" Art directors love to meet up-and-coming talent. If a low-budget, low-maintenance assignment comes across their desk, theres a strong possibility you'll get the job. " (page 10)
however when you are assisting mind your manners and send promos later on in your own time with a note reminding the director where you met.
Start Me Up
Having a website or some form of online portfolio is just as important as a printed portfolio.
Keep the design simple and easy to navigate. Many directors and buyers are looking through 100's of websites and do not have time to wait for the page to load and will often close the site without looking.
Apple iWeb
Realmac Software's RapidWeaver
Get somebody to test your website and see if they can navigate it easily.
" Don't forget the primary purpose of your Web presence is to get your work infront of the eyes of those who can pay you money. The site should be a major showplace for your work and only a minor extension of your personality. " (p.p. 11-12)LiveBooks
Chapter Three
The Structure of a Bid
Usage Licenses
" It is absolutely critical to associate each image that you release to anyone for whatever reason with a usage license. This is a paragraph that defines, exactly, the allowed use of the image or images. Controlling the rights of your work is at the heart of maintaining the longevity of your business. " (page 48)
The book continues on to describe many forms and documents such as location permits, insurance, bidding and estimates, terms and conditions and model release forms.
It also explains different professions that photographers will network with and the process of being hired.
