How to start a photography business - the Startup Series

Here's a compiled list of links to the full Part Time Photographer Startup Series:

Part 1: How to make money as a part time portrait photographer

Part 2: What you need to start a part time photography business

Part 3: The legalities of starting a part time photography business

Part 4: What does a successful part time photographer look like?

These articles get you prepared to launch your new venture as a part time professional photographer. My writing centers around portrait photography, which I feel is the easiest, least expensive, and most rewarding way to get your photography business launched. I hope this series gives you the tools you need to answer the question, "How do I start a photography business?"

No matter what your level of art or experience, of photography or business acumen, you can start making money with part time photography today. With some time and TLC, you can grow your photography business as large as you want it, earn as much as your market will provide, rise head and shoulders above the competition, differentiate as an artist and business, and enjoy the fun, financial freedom, and flexibility that professional photography provides.

The best time to start was yesterday - but the second best time is to start today.

Learn something new.

Act on it.

Sow.

Reap.

Next Steps

  • When in doubt, make a list! Read through the above articles and make a list of To-Do's to get your career started as a part time professional photographer. Start at the top and work your way down, one step at a time. Take one step an hour - or day - or week, but take steps with consistency. Don't lose your momentum. Before you know it, your business will be off the ground and bringing in paying clients.
  • Brainstorm session: Why do you want to be a part time photographer? Write down your basic reasons, then delve a bit deeper, and really explore the benefits of taking action and making this happen. File this in your Brainstorms folder.
  • My writing at PartTimePhoto.com exists to serve your needs as an amateur photographer making the transition to paid professional. I appreciate and welcome your readership, and invite you to click the free “Subscribe” link at the top of any page of this site.
  • What will be the greatest reward you'll enjoy in your life from starting your part time photography business? Leave a comment below, e-mail me, or call or text me at 830-688-1564.

by Outlaw Photographer James Michael Taylor

You're going to get screwed doing part time photography

...but that's a true statement about any service business.

There's always going to be that occasional mooch looking for a free ride. You're going to lovingly shoot them with no session fee, ask no minimum order, you're going to begrudgingly post their photos to an online album because they desperately <insert weak excuse here>, then they're gonna straight jack your proofs (watermark and all - maybe they’ll even cut it off in MS Paint!) and never spend a penny with you.

You know what?

Let it go.

One of the most common questions I get from new photographers is:

"How do I protect my photos from being stolen?"

This leads to discussions on proofing, watermarking, tracking, right-click disabling, copyright infringement, intellectual property law, and the real beneficiaries of such debate...lawyers.

The question is certainly valid, but the overwhelming concern - and the resultant long-winded opining from other photographers - is decidedly inverse to the real life problem and what it means to a portrait photographer.

Commercial photogs have something worth worrying about. Their images are carefully crafted, hugely expensive to produce, and they make their money through exclusivity and licensing. God bless'em, Copyright 101 is a required course for them.

But for us portrait photogs? You've got to get over yourself if you think you're going to end up taking Jane Doe and her family to court for right-clicking on the proofs you posted online from y’alls photo shoot.

It's fun to discuss the topic of copyright, to fantasize out loud to a frothing audience of fellow photogs about cease and desist letters, law suits, and reparations. We get to throw around words like infringement and punitive damages! You will even hear precious, rare stories from other photogs of successful copyright lawsuits. But for your everyday real life portrait photog, for example a part-timer like you or I, it's just blustery self-important power-tripping horsesh*t.

Marketing guru Chris Garrett goes so far as to describe this mentality as exactly "How to Kill Your Brand in One Easy Step." Popular Digger rsm33 sums it up nicely in reference to the RIAA's attitude toward music lovers: "When you treat your customers like thieves, don't be surprised if they stop buying things from you."

Here's what you really need to know:

Educate your client

Education (proactive) trumps persecution (reactive) every time.

Don't stress out seeking every possible safeguard to put in place for protecting yourself from being taken advantage of.

It's going to happen either way - you stand to lose more by wasting your time and treating clients like criminals than from any nefarious deed your occasional bad-seed clients come up with.

Most folks steal copyrighted digital works - MP3s, movies, your photos - A) because they can, and B) because they don't liken it to stealing something In Real Life.

A good friend of mine, an educated, mature professional, asked me a few months ago where she could go online to "download movies." I said iTunes. She said she wasn't going to pay to download something from the Internet - the very idea was preposterous to her. I said that's against the law. She didn't believe me, so I showed her.

She had no idea.

Mates, if this woman didn't "know better," there's a billion folks out there just like her.

Netizens like you and I are more wise to these truths than Mr. and Mrs. John Doe out there in the real world. Don't let the curse of knowledge make you think otherwise. And don't write your market off as slobbering boobs either, barbarians from which to protect your art - there are plenty of clients out there ready and able to drop hundreds to thousands of dollars on portrait photography who know little more about the Internet than where to find their e-mail and that skateboarding dog.

Here are some tips:

  • The unequaled best way to prevent portraiture clients from stealing your proofs is to not put them online. You're more likely to attract bargain hunters and right-click-savers at the entry-level end of the market, so if at all possible, do in-person proofing in your home, studio, or on a laptop at the cafe. You'll retain complete control of your images at all times.
  • If you must or prefer to do online proofing, get a retainer. I like to ask about half of my per-client average sale. This will ward off the worst clients, those who have no intention of spending money with you at all.
  • If you proof online, disable the freakin’ right-click protection and warning javascript. It's annoying, it's insulting, and it just engages your client's curiosity to solve the "problem" of subverting your safeguard - which will take about 10 seconds on Google. If someone wants to steal your proofs, it's going to happen. Don't treat your entire client base like criminals over a few potential thieves.
  • Educate your client. When you're talking about your digital file offerings, chat them up about how the files come with an "unlimited license for personal use" so they can legally share or print the files anywhere and any way they want. Telling them what they can do should clue them in to what they can’t do.
  • If they ask about online proofs, let them know your retainer policy. "I've had problems with some folks stealing the online proofs and never buying anything at all. I know you guys wouldn't do something like that, but instead of not doing online proofs at all for anyone, the retainer lets folks get online proofs if they want them. You get the full amount of the retainer in print and file credits, so it doesn't actually cost anything." It takes about 15 seconds to clearly explain this to a client, likely better than I’ve written it here - commit the line to memory and practice it until it flows as casually as regular conversation.
  • If they scoff at paying a retainer, remind them they're welcome to do an in-person proofing session, which of course requires no retainer. This is yet another advantage and tool in-person proofing gives you if you can do it.
  • If they press the issue, listen to your gut. If you feel the client would still make a worthwhile buy if you put the photos online without a retainer, hey, you're the business owner - exercise flexibility where you want. But if you feel the client may be trying to game you, don't hesitate to say "No." If they walk away, as I've said here before, you probably didn't want them as a client anyway. Never be afraid to refuse a client or refer them out.

Set expectations

I've been doing professional photography here in Bandera County for over a decade. Between this and my position with the newspaper, most folks know me and I enjoy a solid reputation in the community. Also, being in a rural Texas market, most of the clients I deal with are right honest folk.

My market and my position within that market allow me to be casual with my business policies. I charge no session fee, have no minimum order, and if I feel good about a client, I'll even break down and do online proofs without a retainer - but only if I feel very confident.

A few years ago I discovered that no session fee + no minimum order + automatic, 'free' online proofs = dismal sales, even in my normally friendly market.

Even I have to admit you can only be so casual about your policies before you're not doing business anymore. Unless this part time photography business is just fun and games for you, there should be a gentleman’s understanding between you and your client that money will indeed exchange hands at some point.

You don’t have to be blatant, like forcing a minimum order, but subtle cues can build expectations with your client.

Try this:

  • During your very first chat with a client, as you're discussing their needs, be sure to ask questions that touch on the end product they want to walk away with. "Were you looking to end up with some digital files to print from and share on Facebook?" "What about a wall hanging, something to add a conversational centerpiece for your home?" "Wallets are a great choice for high school seniors because they can share them with all their friends, write little personal notes on the back, that sort of thing - and they come eight to a sheet!" You don't have to be pushy about this; in fact, they don't even have to know what they want. Having a casual chat on the topic at least plants the seed in their mind that an end product of some kind is the goal of the shoot.
  • While you're shooting, talk about potential end products for certain images while you're making them. If I'm doing a full-length shot of a posed family, I'm going to comment that that image would make a nice portrait for the wall. If I'm doing goofy headshots of a high school senior, I'll say something like "That's hilarious, your friends are going to love these. They’d be perfect as wallet prints or digital files for posting on your Facebook!" Get the buzz started long before the sales session. As always, you're not trying to manipulate them into buying something they don't want; as their professional photographer, you're guiding their buying experience and helping expose them to good uses for the photos they might not have otherwise considered. You should always be working to maximize the value your clients get from their experience and purchase with you.
  • Chimp away during your shoot, and show your clients what you're getting together. Here and there, mention a good use for a given image. Digital file, wall portrait, Facebook slideshow, collage, 8x10's for grandparents, whatever would truly be a good end product for what you're showing them.
  • If you can subtly chat clients up about potential end products during the shoot, you'll have an easier time during the sales session. You'll have given them some ideas to think about, and when they sit down with you and you're proofing the images with them, you can refer back to the suggestions you made during the shoot. "Here's that group shot I said would be great for a wall portrait. Great expressions on this one, everyone looks sharp. You may like a different one out of the set, but that's my favorite." You're not being arrogant or forceful, you're guiding their experience. Again, you're the professional - your client will appreciate your opinion and enthusiasm.
  • If you’re proofing online, you have to build expectations and offer your sales advice by e-mail. When you send the gallery link to your client, include some comments about what images or sets of images you like for certain products, expose your client to interesting alternative products (like groupings, gallery wraps, collages, digital slideshows, whatever creative offerings you may have), and continue to create the expectation of a sale. I like to remind my client of the prices of my offerings, and let them know exactly how they can go about placing their order and the timeline for delivery of prints or a CD.

It can take some time and practice to become perfectly comfortable interlacing sales talk like this with casual conversation, but I guarantee you it does get easier the more you do it. It's also very effective. I am blessed with great clients, but it's no accident that certain expectations are made clear from the very first conversation or e-mail. Any potential mooches know I mean business from the start. And I've never had to be an ass about it to create that clarity.

Scaling your safeguards to fit your market

Chris Garrett views the issue this way:

1. Most people are honest, and your customers should not be treated otherwise unless there is a good reason.
2. When mitigating risks you should use appropriate, reasonable measures that do not put extra burden on brand new customers. This is a poor first impression.
3. A potential loss of a missed payment could be a better option than a severely disappointed potential advocate telling anyone who will listen their story.

Especially at the entry level, you may face some real challenges while you try to break into a target market that will both respect your work and have the innate expectation of spending money with you.

Triple these challenges if you're doing business in a big city. I'm not trying to stereotype, but consistently I hear from photogs in the big cities who get overrun with cheap, pushy, needy bargain hunters at the first mention of having no session fee.

I suggest you start off as flexible and customer-friendly as you can, and introduce more stringent safeguards as absolutely necessary to protect your time investment. A flood of cheap clients early on does give you good practice at both your art and business, but you always deserve fair compensation for your time. As your client base grows, and as you start to earn buzz in better circles of clients, the bargain hunters will find someone else to haggle with.

Let's play a little ‘if-then’ here:

  • If you're completely unknown as a photographer, have no paying clients, and no exposure in your market...then leave yourself wide open to being taken advantage of. No session fees, no minimum orders, no retainers, no ordering deadlines, and prices that err on the side of budget-friendly. Continue to guide your clients' expectations, but chalk up the bad clients to portfolio building. The good clients? Shower them with love, get them on your newsletter e-mail list, get them on your Facebook friends list, and earn referrals to their friends. Focus your time this way and you'll eventually be booked solid with only the best referrals of your best clients (file this under ‘Real Secrets of Success as a Part Time Photographer’.).
  • If you're getting lots of requests for online albums, and sales are dismal or non-existent after the shoot...then introduce a retainer for posting online proofs. Make it about half your per-client average sale. If you have no sales yet, make it something affordable but not Wal-Mart cheap - say, $40 or $50. If you're keeping your per-client time investment down around four hours (pre-shoot, shoot, post processing, sales and follow-up), you're at least guaranteeing yourself paperboy money. Don't worry - keep shooting, improving your art, and growing your customer base, and you'll step up to a better market and better averages in time.
  • If you're having problems with no-show clients (as in a one-in-two problem, not a one-in-10 problem)...then ask for a credit card number to reserve the booking. Let them know you won't charge anything to the card - unless they don't show up, in which case a cancellation fee will be charged. Even 10 or 20 bucks is enough to ward off the truly appointment-averse. You can even tell them they'll get the cancellation fee back in print credits when they reschedule. I have luckily never needed a policy like this, but if I was getting stood up by half my clients, I wouldn't hesitate to take steps to protect my time.
  • If clients are avoiding a commitment to buy, saying they need to consult with their significant other, asking how long you keep the images on file so they can “buy a few now and get the rest later,” or any similar wavering…then introduce a deadline to purchase. When I set up an in-person viewing, I let the client know that after that viewing, I don’t guarantee to keep the images on file because of having to make room for current shoots. With online proofs, I like to give clients a week - certainly no less time than I asked for to process and post the images after the shoot. A gentler version of this is to introduce an archival fee to pull the images off DVD after a certain period.
  • If your per-client sales averages are disappointing...then keep shooting. Only the very blessed fall bass ackwards into their ideal client base as an unknown photographer. If you can create luck like this, don't let my words stop you. However, just about everything I write about here on PartTimePhoto.com assumes you're starting from the beginning and working your way up the food chain. Exceptional art and exceptional marketing can catapult you right into a lucrative market, but both are skills learned over time. If you've already got either, you're not waiting for my permission to get rich.
  • If you're in a brutal market that eats generous, customer-friendly photographers for breakfast...then go ahead and start charging a session fee. Have a minimum required order. You're not running a charity, so if you're straight up getting screwed by your market, take the necessary measures to ensure you aren't donating your time to the benefit of unscrupulous clients. This is a worst-case scenario, a last stand against a barbaric enemy; you're going to have to quickly and greatly step up your art and marketing to attract the kinds of clients who have no fear of session fees or minimum orders. Make no mistake, though: you can do it. It won't be easy, but thousands of other photographers have done it this way, and so can you. Once you do break into that market and secure a foothold, you can again relax your policies and pack your schedule with good, profitable clients.

Nothing personal...but it could just be you

Don't take this the wrong way...but if you're consistently getting crappy clients, the problem may be that you're marketing to the wrong people...or marketing the wrong things.

I had a horrible run on MySpace around 2006. This was when I was doing online proofing with no retainer, no session fee, no minimum order. Hell, I even threw my wife's make-up artist services in for free!

Oh, I was busy as hell - I was downright popular, with my proofs adorning dozens of people's MySpace profiles - but I wasn't even making milk money.

This is when I learned my lesson about setting expectations with clients. This is when I learned that, when everything you do and say and market screams "I'M CHEAP AND DESPERATE," you're actively marketing yourself to the worst possible clients.

When you're starting out, you really have to take your chances and take whatever clients you can get. Warm bodies in front of your camera at least give you the chance of making a sale and earning good repeat customers.

But if you're overwhelmed with bad clients, start being more choosy in who you market to and how. This is tricky, but the idea is to gradually shift the focus of your proposition (what you have to offer as a photographer) away from your no-risk policies (no session fee, no minimum order, low prices) and toward the value of your art and experience.

If your web site design and content, for example, screams no session fee/no minimum order/no risk, but whispers about the quality of your art, you're actively marketing to folks who are the least likely to have the expectation of spending good money with you. Makes sense, right?

As your client base grows and you get a good number of shoots under your belt, as your portfolio grows and your artistic talents develop, you can start tipping the scales of your marketing more in favor of the value of your art rather than the attractiveness of your policies. Less we-finance-anyone used car lot, more Mercedes dealership. Both business models work, but you’ll likely have to start at one end of the scale and work your way across to the other.

Trust your gut; trust your numbers as you compare per-client average sales to per-client time invested; trust your intuition as you judge your busy-ness versus your business… Adjust your marketing - its content, its voice, its target, its unique selling proposition - when you feel the time is right. Make small, gradual changes, and take time to measure the results. Then change again, measure again. Rinse and repeat.

You’ll know you're top drawer when your marketing says, "If you have to ask, you can't afford me," and you're still booked solid.

Until then, be flexible, show respect and love for your clients, but always maintain your self respect and self worth. If you don't, you'll burn out of the photography business before you have the chance to bring your art to the folks who would most appreciate and enjoy it.

Next Steps

  • Get yourself a little text file going, or if you’re that kind, an Excel spreadsheet. Start keeping track of your clients and a few simple details: who are they, where did they find out about you, why did they choose you for their photos, how much did you profit from their purchase, how much time did you personally dedicate to that client from first contact to sale/delivery/follow-up. As this database grows, you’ll start to have enough information to see trends: maybe you’re getting your worst clients from MySpace, but your best clients from Facebook; maybe your most profitable per-hour-invested clients are coming from Craigslist of all places. This simple act of measurement will give you all the data you need to make intelligent, effective decisions about who your best clients are, where you’re getting them from, and how. Now go out there and get more just like them.
  • Think of your Top 3 best clients this month. They can be your best because you had fun with them, or because they spent good money with you (it doesn’t always have to be about profit, ya know). Open up your e-mail and send them a heartfelt thank-you note right this moment. Just let them know how much you truly appreciate their business. Let them know you’re always happy to serve their photography needs; let them know you welcome the business of their friends and family, also, if any are in the market for good photos. Plant the referral seed and watch it grow.
  • Are those Top 3 recent clients on your e-mail newsletter list? Are they fans of your Facebook page? If not, get them there. Ask permission to add them to your list. Invite them to visit your Facebook page and become a fan. Are your photos posted to their Facebook album? If not, send them watermarked proofs of their favorite images to share on Facebook if they like.
  • Brainstorm session: Take a deep breath, clear your mind, and try to forgive the wrongs your bad clients may have done to you. Relax. Let go. With this calm clarity, really evaluate: How have you been wronged by clients in the past? Stolen proofs? Pitiful purchases? Wasted time? How many of these bad clients have you had versus how many good clients? What’s the ratio? Are you dealing with so many of these bad clients as to hurt your enjoyment overall of being a part time photographer? Are they notably hurting your per-client average sales? What of the above-discussed safeguards and marketing changes could you gradually implement to ward off these bad clients? File this in your Brainstorms folder (and if you feel ready, make a change today!).
  • I’ll be honest with you: I do not have an exceptional knowledge of copyright law, at least beyond the basics as it relates to independent photographers, and even that I don’t make use of unless I’m calling out a client for blatantly stealing from me when I know they know better (or if I’m licensing images to a commercial client, which is just a small part of my business). I’m all about education however, so if you want to know more about copyright law as it applies to photographers part time and otherwise, just Google it. Some great resources can be found from Kodak, Editorial Photographers, and PhotoLaw.net.
  • My writing at PartTimePhoto.com exists to serve your needs as an amateur photographer making the transition to paid professional. I appreciate and welcome your readership, and invite you to click the free “Subscribe” link at the top of any page of this site.
  • What’s the most egregious act of thievery a client has committed against you? What actions have you taken to keep bad clients from getting in front of your camera in the first place? Leave a comment below, e-mail me, or call or text me at 830-688-1564.

by Outlaw Photographer James Michael Taylor

Open your eyes and make beautiful photos where you are now

It's bluebonnet time here in Texas. Wide open fields of beautiful blue flowers can be found all around the state, and photographers are out in force recording the sweet scenery.

The 'kid sitting in a field of bluebonnets' photo session is as cliche as they come here in Texas. You can't drive very far without seeing a parent pulled over to the side of the road trying to get their kid to stop squinting at the sun while traffic whizzes by.

Most photographers around here have entire seasonal promotions built around the "bluebonnet sessions." It's predictable, the imagery is always the same, but photogs sell it and parents buy it by the pound.

First question: What seasonal outdoor shoots could you promote in your area?

Just here in the Texas Hill Country we have springtime bluebonnets, summers at the river, autumn leaves at the state natural areas, and since there's no snow as far south in Texas as my studio is, there's plenty of craggy, leafless trees in the winter which make a dramatic backdrop for artsy model-style photos.

Look at the work of nature and landscape photographers in your area. Attend one of their guild meetings each quarter and see what they're preparing to shoot. They can tip you off to some of the most beautiful locations and moments to capture the unique scenery of your area. Figure out how to stick a kid or a family or a high school senior in that scene, and you'll throw down some very salable images with Mother Nature providing the stage.

Second question: How can you differentiate?

Odds are the obvious natural scenery shots in your area have been done to death. Even if you just rinse and repeat, you'll probably move plenty of sales.

But as always, you want to look at what "everybody" is doing, and find a way to do it differently or the entire opposite. Let your imagination run and see what ways you can dream up to turn the cliche seasonal shots into something unique and special.

I had done good, solid, dependable, typical Team & Individual shots for a local youth flag football league for years before I saw the work of a very imaginative photographer down in Corpus Christi while I was on vacation at the coast. I had always looked at T&I photos as rinse and repeat - so long as I did the same thing each year, they'd keep hiring me.

But the work I saw posted at a restaurant in Corpus opened my mind to a new way of shooting that type of photo. This photog treated T&I shoots like a corporate or environmental portrait. Location, but with strobes and dramatic lighting, strong wide angles, and exciting complimentary elements like reflections in golf club heads, baseball bats extending deep into the image, and a shower of tennis balls around a stoic high school athlete. Really unique, interesting stuff.

You think this guy's annual contract was secure with the teams he shot? Think he could charge more (maybe a lot more) for his prints and packages than the other photogs doing rinse and repeat?

No doubt.

Apply the same level of imagination and execution to your seasonal scenery portraits and you'll differentiate in a way that will bring your clients back year after year, checkbooks in hand.

As with any business endeavor, the more time and layers of depth, complexity, and attention to detail you apply to a project, the harder you make it for your competition to copycat.

How can you take your outdoor portraits over the top? Rent a bucket truck to give you an angle nobody else is getting, bring a bag of strobes and shoot at night, lightpaint your subject and scene, climb trees, hike away from the roadside, go urban instead of natural, get low and shoot up or get up and shoot down, bring in props and juxtaposing elements (how pretty would a nice park bench or a couch look in that field of flowers? How about a classic pickup truck with a candy paint job?), if everyone shoots in white button-ups and jeans then get your clients to wear dress suits or swimsuits, if everyone is shooting beside the river put your client in it...

Options are limitless with some imagination and the courage to do something brave and different, something outside the box or never done before - at least in your market. Your competition will be jealous and your clients will be thrilled.

Break the mold = break the bank.

Widening your network to widen your wallet

The best portrait photographers will tell you that success in our industry is a great deal influenced by relationships - making real connections with your clients, through great service and great art.

For our seasonal scenery portraits, let's take that idea to the back end work - relationships with proprietors of choice properties can give you access to scenery that no other photographer can touch.

Here in Texas, there are lots of big acreage landowners. Mostly ranchers, some farmers, some folks who just like to own a thousand acres here and there.

Just as I like to have a good relationship with local clergy for my wedding work and business owners for my urban senior work, I like to seek out and make friends with my area ranchers and landowners whose private property is a wonderland of outdoor portrait delights.

Babbling brooks. Waterfalls. Long-stretching white fence lines. Rolling fields of tall grass and wildflowers. Dense, lush, green forests. Big red barns! Hay bales! Cows!

If you see a spot from the road that would make the perfect location for one of your shoots, don't be shy - seek out that property owner and work on getting their permission to book shoots there. Most are flattered and happy to let you shoot there for free, or for the price of a nice print for their wall, or even a small rental fee.

Whatever the cost, odds are that unique access will give you images that no photographer in your area can get, and each location you add to your list will be one more way you differentiate from your competition.

Landowners here in Texas are as protective of their land as they are proud. I don't for a moment condone trespassing on private property as a smart way to expand your portfolio. I unintentionally ended up shooting without permission at a private pond one time, and I was met by two men with rifles and stern words shortly after I arrived. I may not have gotten shot, but I did ruin an opportunity to land access to a really beautiful location.

Be mindful, and be respectful. It takes one knock on the door or phone call to get permission and do things the right way.

Next Steps

  • Hit up Google and research your area for its resources of natural beauty. What unique scenery pops up in your area in each season? What do the nature and landscape photographers in your area shoot and post on their web sites? Where are your parks, big and small? Where are your water features? Where are your farms and fields of crops?
  • Call up a few of those nature photographers and ask for ideas on what to shoot and where. They may even offer to give you a tour of some of their favorite spots.
  • Visit your local visitor's bureau or Chamber of Commerce and ask what seasonal events exist related to the local scenery. Strawberry festivals, watermelons festivals, wildflower tours, birding and nature walks, state natural area fall foliage reports, etc. What kinds of specials could you run in concert with these events?
  • Get in the car, or better yet on the cycle, and explore the highways and backroads in your county. Where's the pretty scenery at? Any public or private locations that would make for incredible photo shoots? Take notes and reach out to whoever you need to in order to gain permission and invaluable access.
  • Brainstorm session: Close your eyes and get an image in your head of the most obvious seasonal nature portraits for your area. Now, turn your imagination up to 11, and write down a bunch of creative, fun, unique ways of shooting these scenes with an attention-grabbing twist. Furniture, props, vehicles, dissonant wardrobe, different times of day and night, different angles and lenses. Jot these down and file in your Brainstorms folder.
  • What are some of your best landscape and natural discoveries during your explorations? What does nature provide your area during each season that is unique and ripe for profitable portraiture? Leave a comment below, e-mail me, or call or text me at 830-688-1564.

by Outlaw Photographer James Michael Taylor

Top 15 Internet Marketing methods, from least to most effective, from Darketing to Arketing

Outlaw Photographer James Taylor's list of Internet Marketing methods, from least to most effective:

Darketing - Marketing without information, a target, or a plan - completely in the dark. Least effective, and by far most common, marketing method used by businesses today.

Larketing - See 'Darketing' - Marketing by whim without plan or purpose.

Parketing - Hanging the shingle and assuming that, by mere fact of existence, the world will beat a path to your product.

Quarketing - Invisible marketing, most often employed by those lacking any confidence at all in their own product.

Barketing - Making a lot of noise, generally annoying the hell out of everyone. Filed under, 'Local Car Dealers.'

Starketing - Grabbing attention at any cost to your budget or brand image. See Outpost.com Superbowl Ad, http://www.youtube.com/watch?v=fzbMcsrK-tw.

Sharketing - Always moving, always looking for opportunities for attention, but never stopping to check results. Most lethal form of marketing - big spending, no measurement.

Tarketing - Using research to aim your marketing at a good target market, your ideal customer. Here's where we make the turn to good marketing methods.

Farketing - Marketing your brand by staying in the news with good PR. See Apple Inc., Ford Motor Company; not Kanye West, Tiger Woods.

RARketing - Sometimes it's far more profitable and easy to market your way into being Second Best.

Snarketing - Sometimes it's also more profitable to be divisive instead of mass-market. Being the bad boy underdog can earn fierce loyalty among customers.

Embarketing - Staying fresh and exciting by frequently having something new to share with your market. A sense of adventure keeps folks tuned in.

Harketing - Marketing by listening. Social media has given your customers a voice louder than any ad campaign. Pay attention, and be responsive.

Remarketing - Strive to make your product or service completely remark-able by customers. Then let the world know what you did. Seth Godin-style, Purple Cow marketing.

Arketing - Visionary. Have the only umbrella kiosk in a rainstorm, or the only boat in a flood. Beat the game by staying three steps ahead of the other players. See Facebook, Twitter, PartTimePhoto.com.

:-)

Cross-posted with love from a comment I made at Jeff Walker's Internet Marketing blog.

Next Steps

  • Brainstorm session: On the above scale, what best fits the marketing you're doing now? What can you change to move up the scale of effectiveness? Touch on each point from Tarketing to Arketing to answer the question, "What could I do to act on this marketing method?" File this in your Brainstorms folder.
  • Aren't you proud of me? I managed to write a post less than 3,000 words - less than five hundred, in fact! If you like what you’re reading here, feel free to click on the “Subscribe” link at the top of any page of this web site.
  • What marketing traps have you fallen into that left you with sub-par results? Leave a comment below, e-mail me, or call or text me at 830-688-1564.

by Outlaw Photographer James Michael Taylor

How to earn lifetime photography customers with the perfect follow-up – Your First Customer Series, Part 10

(Click here to visit the summary post for the Your First Customer Series!)

If you've completed the previous nine parts of this series, I commend you – you've read a small book's worth of articles meant to help you get on your feet with your first customers.

As they say, the hardest moment in any journey is taking that first step. If you've read and followed along with this series, I hope that you've gained equal parts knowledge and confidence.

Here we come upon the final article in the Your First Customer Series. I'll discuss what you can do beyond the art and experience of your photo shoot to keep clients coming back for more while referring their friends and family with reckless abandon.

A word about touchpoints

Waco, Texas, marketing guru Jay Ehret first turned me on to the concept of touchpoints – all the moments where we have an exposure to or interaction with our clients. All of these little touchpoints, from your advertising to your web site to your e-mails, phone calls, consultations, and follow-up contacts, are rich opportunities to add another layer of awesome sauce to your customers' experience.

In any touchpoint, you can do what is expected – which often translates to mediocrity. Where the opportunity lies is in breaking expectations and giving clients something remark-able to experience.

Just as you want to answer your phone with a smile and be warm and encouraging during your photo shoot, you want your follow-up activities to reinforce your client's great experience with your company. Continue to show your client appreciation and respect after they've already given you their money; it shows character, which is sorely lacking in most consumers' buying lives these days.

Quality assurance = repeat business and referrals

Pick up the phone (or voice activate your Bluetooth, to be with the times) and give your client a jingle a few days after they've received their order.

Know your delivery times and methods. Know that if you place a print order with your lab on Tuesday at 2:45 p.m., your client will receive their print order sometime Thursday via FedEx Overnight shipping. Know that if you place that order at 3:15 p.m., your client's order will most likely be delivered Friday. Pay attention and be aware, both so you can share this with your clients and so you know when to make that first follow-up contact.

When you call your client, your goal is the same as it has been all throughout your time with them: understand their needs and meet them to the best of your ability, with your best art and the best experience you can provide.

Here's your checklist for the follow-up phone call:

“How are you enjoying your photos?” - Ask a few relevant and specific questions based on what your client ordered and what they talked about during your sales session. If a client buys a 20x30 piece of wall art, ask if they've had the chance to hang it; if so, ask where they went for framing and if they're happy with that vendor. If a client buys a CD of digital images, ask if they've shared them with family yet, or ordered prints from their lab. Show an interest in how your clients are using your art.

“Did your order arrive on time and in good condition?” - Make sure the shipping times you are quoting clients match what's being delivered by your lab or through the mail.

“All of the prints came out to your satisfaction?” - Give your client the opportunity to share concerns or problems with you. Don't market a satisfaction guarantee if you aren't willing to stand boldly behind it. Don't beat your clients until they find something to complain about, but if they have a real concern, be sure they understand you are receptive to hearing it.

Those are your quality assurance questions. Be prepared for clients who may express dissatisfaction with some part of their order. Be ready to explain why an image looks different in print than on your laptop (ink vs. LCD), why their prints don't have the same colors as what they see on their monitors (color calibration), why the print they ordered is “cut off” (cropping, image ratio vs. print size), why one print looks grainy and one looks clear (ISO noise, outdoor/studio lit vs. indoor/low light), etc.

Answer your client's questions honestly and clearly. Most clients just need a bit of education and they're satisfied. Be ready to stand by your guarantee, though – if a client is still not happy, offer to fix the problem if you can, or offer to refund that part of the order...

“Sure, I understand what you're talking about. Because of the lighting, those indoor images do have more noise or grain in them. If I didn't bump up the sensitivity of the camera once we moved inside, though, the images would have come out really dark.”

“I understand why you're not happy with that print. If you're not happy with it, I would be glad to do some Photoshop work on it and get a replacement print sent out from the lab. Would that work for you?”

“I understand why you're not happy with that print. Because of the poor light, I'm afraid there isn't anything I could do to fix that in Photoshop. If you're not happy with it, I would be glad to refund your money for that print and you're also welcome to keep it. Would that work for you?”

If you're working with decent folks, and most clients are, they won't ask for a refund or replacement if you explain why a print or image didn't turn out the way they expected. If they ask anyway, you have to assume they are truly dissatisfied with that part of their order, and your best long-term choice is to cheerfully fulfill their wishes. Deal with the situation in a way that, if you were on the other end, would make you tell a friend, "I had a problem with one of my prints, but they took care of it, and quickly. No hassle. I'm very happy with them."

If, for whatever reason within your market, you see too many requests for refunds or replacements (to the point that you're losing an unacceptable amount of money), you may have to be less accommodating in order to run a profitable and enjoyable business.

“I understand why you're not happy with that print. I would be happy to refund or replace the print for you, but I would need you to return the bad print. Is that alright?”

Some folks just like to complain. Some folks are happiest when they get something for nothing. By the time they get their order and complain, you probably saw it coming. But when you ask that kind of client to put in some time or effort to get their 'freebie' (as little effort as putting a 5x7 print in the mail to you), they'll often just pass to avoid the bother. While I advocate above-and-beyond customer service, in no way do I suggest you should hurt your business to satisfy unreasonable clients.

A future article will address firing your worst clients, but in short, don't be afraid to lose the business of a bad customer. And don't fear losing their potential referrals – birds of a feather flock together; do you really want more clients just out to rob you blind?

That said, be realistic when evaluating how much damage your worst clients do. You don't want to change a policy which hurts all of your clients, good and bad, when only one in 20 clients causes real trouble. Don't overreact if one client now and then takes you for a ride. The many, many other good clients more than make up for that one loss.

But if your current market is overrun with foxes, don't be afraid to guard the henhouse. Within a few months to a year, your client base will probably have upgraded by a level or two, and your ratio of BS to good business will have improved commensurate. Reevaluate your policies then.

Building long-term relationships

After the first half of your follow-up phone call where you ensure satisfaction, next work on the future of your relationship with the client.

“I'd like to stay in touch with you guys if I may. We have a fan page on Facebook and we send out a monthly e-mail newsletter with our latest specials, events, coupons and tips for clients to get the most from their purchase. Would it be okay if I add you to our list?”

If you haven't already made this request during the sales session, make it now. Give yourself every opportunity to maintain a relationship and presence in your clients' lives. When they or anyone they know are in need of a photographer, you want to be the first thought in their head – you want to be 'top of mind.'

If they approve, befriend (befan?) them on Facebook (or MySpace, or Twitter, or whatever you use) and add their e-mail address to your newsletter list.

The referral engine – planting the seed

The referral engine, the processes you use to turn existing clients into your best marketing tool, has many small parts that make up the whole.

The first step is to simply plant the seed of referral in their minds:

“I like to ask all my clients, do you happen to know anyone who might be interested in our photography services?”

Referral incentive programs are worthy of their own set of articles, so I won't go into them here, but if you have one, mention the benefits at this point.

You just want to expose your client to the idea of sending their friends and family your way. If they had an exceptional experience, they will likely do this anyway, but it doesn't hurt to pose the question and help the wheels start turning.

Depending upon your sales methods (harder or softer), when a client does have someone in mind, you can either ask for that person's contact information and permission to namedrop the referring client when you call, or you can simply offer to send your client a special e-mail to forward on to interested friends and family. Again, if you have a referral incentive program, mention the benefits.

Either way, let your client know that you'll drop them a couple of follow-up e-mails in the next two weeks to make sure they get the most from their purchase.

The survey and the referral

Next up are a pair of e-mails to send to your client: a survey and a referral reminder.

I'm a big fan of the two-question survey:

“How would you rate your experience with our company and products on a scale of 1 to 10, 10 being a perfect experience?”

“If less than a 10, what could we have done better to make your experience a 10?”

Shut up and get out of the way. Don't obsess over controlling the direction of your client's response with loaded questions meant to elicit specific responses about specific areas of your business. Let clients tell you, in their own words, exactly what comes to their mind that would make your business a better one.

You'll be surprised how much difference there is between what your clients think about and what you think they think about. Give their thoughts the consideration they deserve. Often, it's the little things that count.

Send out your survey e-mail one week after you talk with your client by phone. Begin and close it with some copy reminding your client that you're always available to answer any questions they may have, and that you hope they're enjoying their purchase.

Your next e-mail will provide your client with all the info they need to easily refer their contacts to you.

Send out this second follow-up one week after your survey goes out.

In this e-mail, provide in brief your marketing message, and ask your client to forward the information on to any of their friends, family, or others who may be interested. This is a nice, soft way to ask clients for a referral. It also educates them to your business' talking points - the best reasons why clients choose you over the competition. Let them know what to talk about and they'll be ready to share when the opportunity arises.

Staying top of mind

A good e-mail newsletter is a wildly powerful thing. It is so easy to collect opt-in e-mail addresses from clients, and then for pennies, send them newsletters packed with great marketing - news, offers, coupons, contests, etc.

Facebook and other social media provide you another, more personal and interactive way to stay top of mind with your clients. Here you can keep up with clients’ lives while sharing your own professional life for fans to read about. Once a person or family becomes a paying customer, they become a part of your client community. Treat them as you would a neighbor - chat over the fence with them. Be yourself.

To be exceptional as a one-to-one marketer, which I feel is far more effective and lucrative than mass media for doing business as a part time photographer, you want to cultivate a very thoughtful, individual relationship with each client.

Should you dive into their personal lives? Share your own personal life with them? Unless you are one of those rare people who can pull off that kind of involvement and interest without creeping people out, I’d say again, treat clients warmly, but as a neighbor or professional contact.

Consider the ol’ Clip-and-Share.

Assuming you keep a handy customer database (as simple as a text file with a lot of notes about your clients; ages, birthdays, anniversaries, pets, jobs, hobbies, interests, what photo art and products they like or don’t like…), you can maintain a certain level of awareness about your clients’ needs and interests outside of photography.

When you come across something that would interest one of your clients, because of its relation to their job or interests (or their spouse’s), clip it and send it to them - e-mail a link, share a tweet, snail mail a magazine article, etc.

For example, one of my clients is involved in fundraising here in Bandera for Project Graduation, a non-profit event that gives high school seniors an alcohol-free place to party on graduation night. When I come across an article that highlights a new service or innovative project for fundraising, I forward that information on to her.

I have another client whose son has Asperger syndrome. I’ve sent her items weekly at times - news articles, book finds, blog posts. Another client had to cancel a shoot because her baby went into the ER with a high fever. You bet I called her the next evening to see how that baby was feeling.

Thoughtful gestures like these are far more effective than farming your client base for birthdates, then sending out a generic, mass-produced set of “Happy Birthday!” postcards each month. My gym and insurance agent both do it. I don’t even warrant a hand-initialed note. I’m worth “Thank you for your business,” signed, “The Soandso Staff” in Times New Roman.

Yeesh. Ain’t I special.

Whether in an e-mail, hand-written note, via an e-mail newsletter or on Facebook, be attentive, thoughtful, and ready to share things with your clients that will benefit their lives. Don’t spam, don’t hard-sell and upsell, just maintain a positive presence in their lives. The word-of-mouth referrals will flow.

Be real: care, and the clients will follow

Personal attention is the new black, in photography and just about every other industry. People want to be respected and treated as individuals.

The way you handle your follow-ups with each client helps lay the foundation for a lifelong professional relationship. Become 'their' photographer. Establish loyalty when they’re a high school senior, for example, and you’ll be shooting their engagement, bridal, wedding, maternity, newborn, baby, children’s, and family photos for decades to come.

Carl Sewell in his book Customers For Life talks about how a single car sale is only worth a few thousand dollars to a salesman or dealership. But once you add in service, maintenance, repairs, swag, trade-ins, returning buyers and referrals over the course of a lifetime, any given customer is worth over a million dollars.

Take the time to treat every client like they’re worth a million bucks.

Personal attention in the form of thoughtful gestures sprinkled here and there will set you apart from your competition and give you a special place in the entire spectrum of a client’s consumer experiences.

When’s the last time someone with whom you spent $5 or $5,000 bothered to send you, you personally, a link they found for an interesting article on photography?

There lies the big opportunity, my friends.

Whether you’ve read just this final article or followed along with the entire Your First Customer Series, thank you so much for your readership. If it has proven a benefit to your entry into the world of part time professional photography, I am truly thrilled. I am blessed to have the opportunity to share my experiences with you.

I have pages and pages of notes for articles and projects I’m excited to share here on PartTimePhoto.com - these two initial series just scratch the surface of what’s to come. I hope you’ll visit again. You’re invited to bookmark the site and/or click on the handy-dandy free “Subscribe” button at the top of any page of this web site.

Next Steps

  • Whether you’ve already shot one or a hundred clients, if you don’t have a customer database going, get started now. Start with your most recent shoot and go back from there. Write down names, family member names and ages, contact information, and everything you can remember about them that could be useful later on: jobs, schools, interests, hobbies, groups and associations, charities, supported causes, etc. Add as many clients as you can remember details for, and then as you gain new clients, add their names and information to your list. Study this list once a month to keep fresh in your mind the many opportunities to share beneficial discoveries with your client base.
  • Brainstorm session: What’s the best follow-up from a business you have experienced as a consumer? How many great follow-ups can you recall? Do you see the opportunity here for your own business? File this in your Brainstorms folder.
  • We have only just begun, mates. PartTimePhoto.com will continue to grow with new articles, videos, and other great content to help you make the transition from amateur photographer to part time professional. If you like what you’re reading here, feel free to click on the “Subscribe” link at the top of any page of this web site.
  • What have you discovered is your best way to stay top of mind with clients? What have you experienced as a consumer that made you say, “Wow, that company really goes above and beyond for its customers”? Leave a comment below, e-mail me, or call or text me at 830-688-1564.

by Outlaw Photographer James Michael Taylor

Your first photo proofing and sales session - Your First Customer Series, Part 9

(Click here to visit the summary post for the Your First Customer Series!)

Home stretch folks! With this article on the photo proofing and sales session, we focus on the second-to-last article in the Your First Customer Series.

If you're an ethical and honest businessperson, trust me when I say that showing and selling your photos is far less stressful than most beginning professional photographers believe it to be.

You don't have to dress things up or make your art out to be something it's not; you don't have to hard sell or upsell or practice salesman chicanery; you don't have to do anything that makes you squirm in your seat or leaves you reaching for the Pepto-Bismol.

Your goal when proofing photos for clients and "selling" them files, prints, and products, is simple and noble: do everything within your power to help your client get the most long-term enjoyment possible while staying within their budget.

You don't have to try and convince your client to buy something they don't want, but you do want to expose them to options they may not have considered.

For example, I always tell my clients...

"I'm a crappy salesman, I'll tell you that from the start. I have no interest in selling you something you don't want. I want to make sure you end up with something you and your family can enjoy for years and years. Let me give you a few ideas to think about as you're picking out which images you want to buy..."

I then give them information on the products I really, truly feel they will get the most enjoyment from. Wall art for families, wallets for high school seniors, digital files for digital-native families, 8x10's for elderly relatives, whatever suits that client's situation.

So take a deep breath, feed the cat, stock food and drink nearby, and let's dive into the ways you can best present your photos to a buying client and turn them into lifelong customers and referral-makers.

Presentation: Online vs. Live

The vast majority of photogs present proofs to clients in one of two ways: via online galleries or in-person live viewings on a monitor, big screen TV, or projection screen.

I'll tell you right now from bitter experience: live outsells online every time.

Especially when you're starting out, you're likely to be selling to a lower-level buyer - they hired you because you were inexpensive, and they're interested in getting the most value for their dollar. These are folks who are more interested in value than convenience; they're more likely to "borrow" your online proofs, print them out regardless of quality, or just post them to their Facebook profile and never buy anything.

It's no insult to your client to simply recognize trends like these. Even when your client does something that doesn't strike you as fair (or sometimes even legal), you still want to respect them as clients and people and understand that they are coming from a different perspective than you.

There are ways to meet clients like these in the middle so they don't become timesinks with no commensurate payoff in the end, but that's a topic for another article. Today I'll relate these clients to your photo sales session.

Putting images in an online gallery and letting that gallery of photos sell to your client on their own time and turf is a perfectly valid method to move product; but let's be honest, it's not the best way to present your art, educate and help your client get the most long-term enjoyment from their purchase, or build rapport.

A live sit-down with a client gives you face time, lets you build on their overall experience with your business, and lets you play expert adviser. Clients are bound to have questions, and if you're not there to answer them or even help them know what questions they should ask, you're doing a disservice to your art and to their ultimate enjoyment of your art.

That sounds more harsh than I mean it to; I know that most likely your inclination is to use the ease and convenience of online selling to do the heavy social lifting for you. A live proofing and sales session requires that you have a location to meet at (your home, their home, Starbucks) and a method to present your art (Apple iPad, laptop, projection screen) - these technical details come on top of the pressure to impress the client and not come off as a used car salesman. Add in the struggle and inconvenience of trying to match schedules with your client so you can get together and proof images for an hour or so, and online selling takes on a shiny veneer.

You'll gain some time and take a bit of pressure off yourself, but there is a trade-off that I'm not sure balances out: no face time / experience-improving time with the client, no opportunity to educate and assist the client, and because of this, I can guarantee you will get a smaller sale from your shoot.

Clients, especially at the starter level, lean toward buying several small prints of their favorite images - a handful of 4x6's. They're cheap and because of one-hour photo labs, they're familiar to the client. Clients often don't think in terms of wall art, or groupings, or albums, or Facebook audio slideshows.

If you do find a client who buys these kinds of higher-end products from an online gallery, it's most likely because a previous photographer already educated them. If you can avoid it, don't play lackluster second fiddle to a more proactive photographer who came before you. Be that photographer who teaches their clients the value of higher-yield products - show them once, and they'll be better buyers forever.

For years I did online viewings only, simply because it was easy and convenient. But I was consistently disappointed when my clients would buy strings of 4x6 prints, destined to languish in confinement within a dusty album or wooden box, deeply-tucked on someone's bookshelf. My outlook fell to the point where I was just thankful when a client bought anything at all instead of stealing the dang proofs for their MySpace pages - forget about wall art or lay-flat coffee table books.

When I upgraded to live viewings projected on a 10-foot screen, the difference was monumental. I started moving some 16x20's and 20x30's for the first time, started feeling like I was using my expertise to help clients get real value from their buy, and most importantly for my business, revenues and profits both went way, way up.

There's something about a scheduled proofing session where a client shows up, checkbook in hand, that creates the expectation of a notable purchase. It's not as convenient as online, but that's a good thing; it puts the client in the mindset that you are putting serious time and effort into helping them make a smart buy, and they're going to reward you for that with a better purchase.

Online proofing and selling is cheap and easy; what mindset does that put your client in?

It won't bankrupt your business, but online proofing is not going to do you any favors, either. When weighing your options, just be aware of the trade-offs - if they're worth it for your situation or client base, don't hesitate for a moment to go with online. Only you know what works best for you as a person and you as a business.

There are more than plenty of successful photogs who do proofing solely online - it's by no means impossible. But I personally feel there's more to be gained from the personal touch of live proofing, especially for a newly-minted pro photog in desperate need of repeat clients and all the word-of-mouth referrals they can get.

Whatever venue you choose, let's explore how to maximize client adoration and personal profits at the same time - easily and ethically.

Proofing online? Get a retainer

I gladly offer online proofing to clients who prefer it to a live viewing. Sometimes folks just don't have the time or inclination to drive out to the studio a second time. Sometimes they're only in town for a short time and coming back to do a viewing isn't possible.

We have a lot of dude ranches around my town and I pick up many family reunion shoots from their visitors. It's not feasible to ask 12 groups from one big family to come in and view proofs when they're only in town for a weekend - online is by far the better option for all involved.

I've found a simple and fair way to make sure I get paid for my time, run off potential right-clickin' proof bandits, and give my clients an option to view their photos online at their convenience.

First, get a retainer. It's this simple:

"We prefer to bring our clients into the studio to view their proofs on our big, color-calibrated monitors, but in your situation it may make more sense to put the proofs into a private online album so you and your family can look at the images on your time and make your purchase from home.

"We do ask for a $100 retainer to put your proofs into an online album, but you get 100% of that back as print and file credits, so there's no extra charge."

Then shut up! Let the wheels turn in their heads, and they will either agree that the online album is their best choice, or they won't. If they prefer to drive back out for a live viewing, that's their prerogative. If they balk at the retainer, stand your ground - let them know that because of problems you've had in the past, if you didn't collect the retainer, you couldn't offer online proofing at all. If they still balk, and it's a deal breaker for them, let them go - odds are real good they're just looking for a free ride.

I'm a big proponent of very customer-friendly policies, but again - you are a professional and you deserve to be paid for your time. Wild and woolly online proofing combined with my suggested pricing scheme of no session fee and no minimum order just draws too many digital proof bandits.

For the retainer amount, I like 10 times the price of your smallest regular print. If you charge $10 for a 4x6, ask for a $100 retainer. If you charge $40 for anything 8x10 or smaller, ask for a $400 retainer. Scale your retainer to match your print prices and your market – a part-time photographer averaging over $1,000 per client shouldn't have the same online retainer as the startup averaging $50 or $100 per client.

A word about watermarks and copyrights

If you're going to do online proofing, you're going to get right-click proof bandits. The "it's digital therefore it's free to copy" mentality of netizens hasn't waned much, despite the fine efforts by iTunes and company to create attractive alternatives.

I for one love it when my clients "steal" their proofs. Hell, retainer in hand, I encourage it. I tell them...

"You're welcome to 'steal' any of the proofs from your album for your Facebook, MySpace, or to e-mail to friends and family. If you have any favorites that could use some touch-ups, just let me know, and I'll do some custom Photoshop work on them at no charge."

(at least a half dozen grognards just clutched their chests and reached for the Bayer aspirin...)

"The only thing I ask is that you keep my framing on the image with my logo and web address on it."

Never - I repeat, never - have I gotten into a copyright fight with a client over 'stealing' proofs with this practice. If you just take a few minutes to educate them as to what they can and can't do, then find ways to help them do what they want legally and fairly, they'll do the right thing. As always, anyone who doesn't is in the vast minority - don't stress about them.

As with my philosophy on session fees and minimum orders, don't treat your clients like criminals. They're paying clients who love your art and experience and are willing to trade their hard-earned money for it. They've trusted you to do good work - trust them to do right by you. The few who don't aren't worth worrying about to the point that you degrade the experience for all your other clients.

As for how to watermark your images, you can see at the top of any post on this site an example of how I do mine. A semi-transparent thin bar across the bottom of the image with my logo on one side and web address on the other.

I don't write PROOF in massive half-opaque lettering across the center of every image, nor do I put a massive © dead center on every proof, nor do I write DO NOT COPY all over my site and images. Do you think your clients feel respected and valued when you take every blatant precaution to guard against their stealing your photos?

If your default impression of your market is that of a bunch of thieves and criminals hell-bent on pillaging your business into bankruptcy, I'll tell you now, you're in the wrong business. Go into IT security - you'll do great, kid.

Letting my clients post their watermarked proofs on their MySpace and Facebook pages has multiplied the volume of my business. There's little better endorsement marketing you can get than a senior or family using one of your images as their default profile photo for all their hundreds of friends to see.

Educate your clients in a respectful way, then give them credit that they'll do the right thing. They'll respect the fact that you're one of the rare few photographers that doesn't treat them like bank robbers. It's an easy way to differentiate yourself from your competition.

In a future article I'll cover the wide, wide variety of venues you can use to do online proofing. You've got self-hosted, third party-hosted, full-service options and more. I use a self-hosted gallery with a shopping cart plugin. You may prefer to start off with a service like SmugMug to handle your online proofing and sales. You might use a combination of Flickr and e-mail to take orders.

Whatever you use, try to make the experience for your client as pleasant and simple as possible. Don't let the service, technology, or process get between your paying clients and the art they want to buy.

The hardware - Live Viewing and Sales Session

Want to improve your per-client average on sales? Find ways to improve their overall buying experience.

The quality of your art is the first factor in how much you'll earn per client, and what you can charge clients for your work. Second, though, is the experience your clients enjoy while working with you such as, during a proofing and sales session, how you present your art for their perusal and purchase.

Assuming you're starting at the bottom and working your way up, you may do your first in-person proofing session on a slow little laptop in the middle of Starbucks. With time, clients, revenue, and investments back into improving your clients' purchasing experience, you will eventually do live viewings in your own home or studio; on a big screen monitor, projection screen, or perhaps even in a dedicated viewing room with comfy couch, your art on the walls, and a waterfall in the corner.

Or perhaps not - you may prefer the privacy and free-spirited nature of doing location proofing sessions at the local coffee shop or in clients' own homes. I've met photogs who do well with laptops and portable projectors to show full-size proofs right on a client's wall. As they say in car sales, behind the wheel seals the deal.

From my experience, the larger you show your images, the easier it is to sell large prints. Most folks think an 8x10 is a big print, easily large enough to mount on their walls - at least until you show them how glorious their photos look as 16x20's and 20x30's.

Don't discount using prints to sell prints. Many photogs for years have printed 4x6 proofs from photo shoots to use as sales tools. An investment of $10 or $20 on a set of printed proofs, including a few of your best shots as 8x10's or larger, is a smart one.

Consider the benefits of printed proofs: equally effective for proofing on location or in your home/studio, no need for a laptop or computer monitor for display, no investment in new tech or equipment needed, tactile for clients to touch and handle, as mobile as a good laptop with no worries about dead batteries or technical issues, and probably best of all, they're immediately available to sell: consumers pay better for convenience and immediate satisfaction. You can even offer the set of proofs as a single product for a discounted price. What you don't sell you can use as examples for future clients.

However you show proofs to your clients, do so with confidence. Whether it's on a 10-inch netbook or a 10-foot projection screen, feel good about the art you've made together and share it with enthusiasm. Your attitude, as much as your proofing tools, will help you sell your art.

The software - Live Proofing and Sales Session

Any computer you use for proofing is going to come with the software you need to show your art. Windows, Mac and Linux computers all have built-in image viewers that work great for displaying your art full-screen and zoomable.

Upgraded photo viewers, like the Bridge viewer that comes with Photoshop (which is what I use), add some helpful features like being able to tag or otherwise mark images as you view them. This is vastly convenient when you're flipping through photos clients and your client says, "That's a keeper... That's a maybe... Oh, definitely no." Two stars, one star, no stars - then you can sort and segregate accordingly. Easy peasy.

Most photo viewers include a slideshow option, which combined with some nice music, is a great way to initially present a photo shoot to your client. You can do this with your basic viewer and a separate music player like Windows Media Player or iTunes. Some advanced, sometimes expensive, photo viewers can do pretty fancy things to show off your photos. They often include royalty-free stock music that eliminates the legal complexities of what you can and can't play during your presentation.

One of the most popular new photographer services is web-based Animoto, a slideshow program that makes very impressive slideshows easily - and importantly, for you to sell to your clients. A slideshow your clients can easily purchase and share with friends by e-mail or on Facebook is an attractive product that digital-friendly folks will pay well for. Animoto and similar purpose-specific software makes this an easy addition to your product offering.

For your hi-res digital file sales, you'll also want some CD burning software, and if you have a decent printer, good label-making software. I use the freeware CDBurnerXP with the SureThing CD/DVD Labeler software along with the dead easy unitasker Avery CD/DVD Label Applicator to provide impressive CDs to my clients.

I also include a little "Copyright and License.txt" file on each CD which includes my contact info and in layman's terms outlines what I ask clients to do or not do with their images. When I'm sitting with a client and burning their CD, I tell them about the file and what it's for. Again, educate your clients and they'll do right by you.

Location, location, location

There's a great deal of talk and sometimes money put into where photographers hold court for their proofing and sales sessions. Some photogs do so in their clients' homes, some do it in Starbucks on a laptop, some have beautiful and elaborate sales rooms.

While I believe in creating the most positive and memorable (as Seth Godin would say, 'remark-able') experience possible for your clients, I'm also mighty frugal. I don't think having a professionally-decorated sales room is overly beneficial if you're selling to a low-end market. Does Wal-Mart have leather couches and fountains in its bathrooms? No, but The Madonna Inn of California sure does.

Scale your presentation to your market. Most of us want to end up in the fancy sales room with the projection screen and canvas prints on the walls, but that in no way means you have to or should start there.

Wherever and however you do your proofing and sales, be confident and comfortable. Don't be ashamed if the best you can do is a set of 4x6 proofs laid out on your client's dining table. Don't be ashamed if you're showing images in Windows Photo Gallery on a 10-inch netbook. Focus your energy on helping your client get the most enjoyment from their purchase and you'll quickly bypass any imperfections in your presentation.

As an aside, I've always loved coffeehouses for client meetings. It's modern, it's artsy, it smells fantastic, the atmosphere is light and friendly, and four bucks is a great deal to 'rent' a table for a couple of hours.

Preparing To Proof

Okay – you've got a location and method for showing proofs to your client. Let's get ready to make some money!

Regardless of where and how you present your proofs, be prepared:

  • Dress nice and smell fresh. Don't go overboard on the cologne or perfume. Remember, you're still making an impression – present yourself as professionally as you present your art.
  • If presenting on location, make sure batteries are charged and carrying case or bag is clean and organized. If you're nervous, do a run-through of the entire process before your presentation. Software should be working great, your slideshow should look and sound good, photos all where you expect them to be and looking their best.

If you're meeting a client at their house:

  • Smile a lot, accept any hospitalities your host extend (drinks, snacks, tour of the house or property). Don't take anything you don't like, but allow your clients to be gracious hosts.
  • Take control – find a great spot to present your art. A kitchen table is usually a good neutral ground where everyone can snuggle up and get a close look at the images together. Everyone should be comfortable and able to easily see the proofs.

If you're meeting a client at a middle ground like a coffeehouse:

  • Needless to say, get there first and get set up. As with an in-home sales session, find a great place to set up where clients can be comfortable and see your art. Try to find a quiet corner so everyone can be heard easily.
  • Make sure your waiter or barista knows your name and that you're meeting a business client. Let them know your client's tab is to go on your bill, no question. Show forethought and preparation – your client will be both gratified and impressed. Consider a couple cups of coffee, glass of wine, or cappuccino a very worthwhile business investment.

If you're meeting a client at your home:

  • Be set up and ready to roll when your client arrives. Make sure the room is comfortable in temperature and light, that everything is clean. tidy, and dust-free, and that you have drinks and snacks available. For adult clients, it's not inappropriate to offer a glass of wine. Having coffee brewed or brewing can also create a nice aroma and show your consideration of your client's potential needs. Spray a light air freshener if you like – as with cologne and perfume, don't overdo it.
  • Make sure distractions are limited. Turn off the phone, TV, and radio unless it's providing the soundtrack for your sales session. Have your spouse take the kids outside to play, out of earshot, and let them know not to disturb you during your session. Same with pets – a barking, jumping, scratching, whimpering dog will only annoy your client. You have control over your home, your domain – design as pleasant and delightful an experience as possible.
  • Don't forget to clean the yard and entry to your home. A great sales room only does you so much good when your client steps in dog poop or trips over your son's bicycle on their way into your home.

Presenting & Selling

This is the moment that many new photogs worry about so much – showing art to a client and taking their money for it.

But if you've done your job – listened to your client, conducted an attentive photo shoot, and prepared your images and environment for presentation – this is one of the easiest and best parts of being a professional photographer.

Be confident. Feel good about getting to share the custom art you made for your client. There’s nothing to fear, so don’t let fear bog you down with nervous thoughts like, “What if my art’s not good enough? What if they’re disappointed in my photos? What if they think my prices are too high?”

Listen – your clients already want your art. If you ethically marketed yourself, your clients knew what they were buying before they booked with you. If you took your shoot seriously, did your homework, practiced, and then performed to your best ability, you'll likely deliver art and an experience far beyond their expectations.

I like to start my proofing session with a slideshow. Often just a fade transition with some select tracks (legally licensed) playing in iTunes. It may take a few minutes, but a good slideshow with music can set the mood for your entire session.

As soon as the slideshow ends, let your clients share any comments of admiration, then be sure to compliment them on the shoot – tell them how much you enjoyed shooting with them and feel free to share an anecdote about one or two select images from the shoot. If you exude positivity and enthusiasm, so will your clients.

Here's my general process (and as always, philosophy) to help you help your client get the most out of their art purchase:

I start, as noted above, by telling my clients I'm a horrible salesman and that my intention is only to help them buy what will give them the most long-term enjoyment and personal value.

“With that said...” I tell them what kinds of products I think they would get the most enjoyment from. Depending on the buyer (senior, senior parent, newborn parent, family of four, family reunion, 50th wedding anniversary, etc.), I'll suggest different products that I feel they will enjoy. I always encourage clients toward more visible and sharable products like wall art for the home, wallet prints for friends, 8x10's for close family, digital files for Facebook profiles, etc.

I tell clients that although most folks lean toward lots of small prints like 4x6's, those tend to end up in boxes and albums that just collect dust and aren't enjoyed daily. Wall art, for example, will become a centerpiece for daily enjoyment by family and a conversation piece with friends and guests.

Clients may ask for a reminder of your prices and a pad to write notes on; have these ready.

Flip through images first to last with your client giving a Yes, No, or Maybe on each one. Let them know this process is to cull down the overall selection and show only the best images they want to consider for purchase.

Once you've primed your client with some ideas and concepts they might not have thought of, tell them to start with the bigger pieces and go down from there, whatever they want to buy. “Start with what you really want to have and enjoy for a long time, and we'll add in the rest as we go.”

After your first pass, clients will usually have cut down the selection by 50-percent or more. Keep in mind what I've said in previous articles – as your art improves, so too improves your ratio of must-have's to good shots to leftovers. As you grow as an artist, clients will have a harder time not buying more and more of your art. You'll see your per-client sales averages grow with every measure of style and experience you gain.

Separate out your No shots from your Yes and Maybe's. Move the Yes and Maybe images into a separate “Best” folder, or if you use a program like Bridge with built-in rating and sorting features, filter that way. Separate the wheat from the chaff so your client can more easily peruse and purchase.

After the initial slideshow and the culling pass, your clients should now have a pretty good idea of their favorite images and what they want to buy. Bring up their Yes and Maybe images in a thumbnail view and make those thumbnails big enough to easily tell one from another (I tend to go for 8-10 on the screen at a time). Slowly scroll through the set, and ask your client what they would like to start with.

At this point, unless your client asks for advice, get out of the way. As they peruse images, slowly scroll through their options, and let them know they can ask you to scroll up or down, or to see an image full-screen. You've primed them to make an educated purchase, so give them control here and hush – let them consider and buy what they love.

If your client does ask your advice, give your honest opinion. If you have comparisons to offer from other clients, give them. If you have a personal opinion, give it. Just be honest, don't try to upsell or be a salesman. You're not trying to make money – you're trying to help. Give advice as you would to a close friend. Treat a client as such, and they will respect you for it – and buy more because of it.

Let clients go down their mental list of what they want and need to buy. As they wind down or seem to get to the end of their list, ask if there's anything or anyone they're forgetting – desktop prints for the workplace, hi-res files for home or office computer wallpaper, prints for grandparents or extended family, prints for close friends or godparents (that's one that is often forgotten), etc. Again, you're not trying to make more money – you're trying to help. You should never have to convince a client to buy something – your role is to present, advise, and facilitate maximum enjoyment.

When your client does finish their purchase, glance at your notes (you were taking notes during your presentation and proofing, no?) to see if there's anything they mentioned wanting that they forgot to buy, then tally the purchase.

The grognards say you should never tally in front of a client. They tell you to go into a separate room to do the adding because, as the numbers climb, so will your client's blood pressure. Walk back in, hit them with the total and without pause say, “How would you like to take care of that?” Don't give them the chance to back out or have second thoughts, they say!

Here in Texas, that's called horses***. Straight-up, hard-selling chicanery. If you have to trick and trample your client into buying beyond their wants or means, your business model is flawed, to say the least.

That said, when you do give your client a total cost, shut up! Photogs new to selling and not yet confident in the worth of their art are all too ready to start offering discounts and concessions, even before the client says a word.

“Well, umh, uhh, geez, ehh, the total is $254.42, but that's a lot of money...how about $200 even? Is that okay? I can throw in some free 20x30's, would that be alright? Or I could just give it to you for half off, err, uhh, how about just $125? Is that too much? I'll throw in FedEx overnight shipping for free...”

To quote The Interwebs, “STFU!”

“Your total today is $254.42,” said with an adoring smile.

“Alright, will you take a check?”

“Certainly.”

Easy peasy.

Is that what you were so scared of?

If a client does balk at your prices or the total of their order, don't devalue your work by providing discounts and concessions; offer to help them reduce the size of their order. Never negotiate or start discounting just because a client doesn't want to pay your prices. Your art is worth what you ask, probably even more, but there's no reason you can't help a client identify where they can trim their order and still get great products to enjoy.

No matter what a client buys or how much they spend, treat them all with the same respect and enthusiasm. If a client buys one $10 digital file on CD, don't scoff or insult their purchase. If a client buys $2,000 in massive prints, don't fall out of your chair or become star-struck and gushy. Whatever the purchase may be, show humility, gratitude, and professionalism.

And don’t ever feel guilty for taking someone’s money. I’ve spoken with plenty of new pro photogs who expressed guilt for taking a hundred or so dollars from a client. Again, your art is probably worth more than what you’re asking, and it’s every bit the client’s right to buy what they want and can afford. If you sell to them ethically and honestly, you never have to feel bad for taking clients’ money. Most clients will hand you a check while thanking you for doing the work you do - it’s a good profession we are in.

Remember: just because you wouldn’t pay your own prices or couldn’t afford them, doesn’t mean your clients won’t or can’t.

Finishing Touches

Take your client’s payment and thank them for their business and the opportunity to work with them.

If you didn’t at the photo shoot, have them sign your model release right after they sign their check. Ask if you can send them your e-mail newsletter and/or add them as a friend on Facebook.

Explain what happens next; that their print order should arrive from the lab within 3-5 business days, or their CD will be available for pick-up in 15 minutes, or whatever is appropriate for their order and your delivery policies.

As soon as your client is out of sight, perform a well-articulated fist pump.

Soak it up - you’re a money-making professional photographer! Truly, from me to you, congratulations!

There’s one more article to go in this series: The Follow-up. I’ll share with you some hints and tips to make a great impression with your clients after the sale, and how to maintain a positive presence in their lives so you get the most and best word-of-mouth marketing possible.

As a side note, thanks for sticking with this article beginning to end. Six-thousand-plus words is a beast of an article to read online (roughly equivalent in size to 17 pages in a novel), but I hope what I presented here will greatly benefit your photography business. With a pinch of confidence and a lot of respect and love for your clients, you’ll soon have to hire people to count your money.

Next Steps

  • Educate yourself on what royalty-free music is and where you can get it. Photogs don’t want people violating their copyrights, so don’t violate the copyrights of your fellow artists.
  • Brainstorm session: Unless you’ve been hanging out in Tibet all your life, you’ve probably been a pretty regular consumer of commercial goods. You buy food, cars, electronics, toys, clothes, etc. What are some of the best sales / buying experiences you remember? What made them special? What about those experiences can you emulate in your own sales sessions? File this in your Brainstorms folder.
  • From tasty tidbits to long-form journalism, I do my best with PartTimePhoto.com to share my experiences as a part time professional photographer so you can confidently make your transition from an amateur photographer to a paid professional. If you like what you’re reading here, feel free to click on the “Subscribe” link at the top of any page of this web site.
  • What was your best-ever proofing and sales session like? How about your worst? What tips have you picked up that have helped you better thrill your clients and sell your art? Leave a comment below or drop me an e-mail.

by Outlaw Photographer James Michael Taylor

Culling and post-processing your first photo shoot - Your First Customer Series, Part 8

(Click here to visit the summary post for the Your First Customer Series!)

The hardest part is truly over.

You’ve booked your first client, gone through a well-prepared and methodically-conducted photo shoot with them, and now you’ve got a few hundred images that you need to turn into a sales presentation.

Here’s where you get to admire your work and start making notes on likes and dislikes and what-to-do’s and what-not-to-do’s for next time and what to practice before your next shoot.

Assuming you’ve backed up your images to a second or external hard drive (I’m partial to Iomega and Seagate options myself), let’s start culling the shoot down to a digestible set of your most salable images and then give them some Photoshop love.

Culling your shoot

This is going to be painful. Gird yourself.

No matter how many photos you took during your shoot, no matter how many subtle nuances captured, no matter the number of seemingly equal variations, we’ve got to cull your shoot down to the very best.

How many? The number 50 has always been a good fit for me. If you primarily push large wall prints, a smaller and more purposeful set may be appropriate. For those of us in the digital age, selling digital files, 50 gives your client a good set to choose from. You’ll hope that your client asks “How much for all of them?” or that your client will cull your set down by half to around 25 and buy that many. If they buy less, they are usually on a strict budget and weren’t going to buy more anyway.

Nothing wrong with that at all - some clients buy more, some less, and 95% of the time you’ll more than have your time well paid for. When you don't, you still gained experience and additions to your portfolio.

The best way to go about culling is to do an initial run and pick all your potential keepers. If you shot 400 images, by the time you toss all the bad expressions, half-closed zombie eyes, unflattering outtakes, and of course, utterly crap and/or out-of-focus images, you will end up with around 100 shots to concern yourself with.

Here’s where we take up the sage advice of two great thinkers of modern times, Steve Krug and Blaise Pascal:

“Get rid of half the text on your page, then get rid of half of what’s left.” - Steve Krug, Don’t Make Me Think

“I would have written a shorter letter, but I did not have the time.” - Blaise Pascal, Lettres provinciales

The point being, of course, that your first edit should not be your last.

If you don’t cull your shoot down to the very best, you’ll get two results:

A) Your client will be overwhelmed with so many photos to choose from and you’ll just end up wasting your time and theirs trying to whittle down their selection. You will likely frustrate and exhaust them in the process; and,

B) You will include too many “meh” photos, too many fair-to-middlin’ shots, and your client will be less impressed with your work. I shoot often with a fellow sports photog, very talented, whom I have long criticized (to his face, so I can talk smack here) for posting sooooo many images online. Backs of heads, no action, bad expressions… I tell him, “John Doe, you take some really good shots, but nobody’s going to wade through your 400 mediocre images to find your 40 real keepers.”

Fifty. 50. That’s the number to aim for.

Don’t kill yourself to get there, and have confidence in your artistic impression. If you feel you’ve got 80 really good shots and variations, show’em. If you feel you only have 25, then show only those. Give yourself some credit for knowing your art.

Many photogs will tell you that 50 is a loose cull, that you should get it close to 20 to show. I’ve found with portraiture, often my clients will go gaga over images that I wouldn’t have shown if I went with a tighter cull.

There’s art I shoot for myself and there’s certainly art that I shoot just for my clients; my art creates my style, but always, you want to balance style with salability. There’s something to be said for old standbys that sell every time.

If you’re having trouble finding 25-50 good images from your shoot, don’t stress - you’re early on in your transition to being a paid part time professional photographer, so give yourself some leeway. Try to find at least 20-25 images and let the client choose what they feel is worth trading their money for. Maybe they’ll drop $20 with you - just maybe they’ll drop $200. Some clients will spend as much on one big print of one favorite image as others may spend buying 20 digital files. Never underestimate your art or your clients. Give them the power of choice and get out of their way. Let’em buy what they love.

Post-processing

During your initial run of post-processing on the images you’ll present to your client, you want to stick to the 80-20 rule: 80% of the results from 20% of the effort.

You want to make your images look as nice as possible in the smallest amount of time. You don’t know what your client might buy, but you want to make a nice presentation so they are more inclined to purchase. Here, in the endless exploration that is Photoshop or your chosen equivalent, is where you can waste as much time as any marathon Facebook or MySpace session.

Don't do it. Get in, make the proofs pop, and get out.

When I prep files for client proofing, I load them into Camera Raw in Photoshop CS4 (adjust my instructions to fit your digital darkroom of choice) and make universal adjustments to the entire shoot. I adjust white balance, brighten to taste, add a bit of contrast, bump the vibrancy, add a vignette if it's warranted, and add as much fill light as I want to pull detail from the shadows.

I then quickly go image-by-image and fine-tune those changes I made universally to best fit that image. Sometimes I’ll grab a group of images, such as a set shot in shade, a set shot indoors, etc., and edit them together before making image-by-image adjustments.

What you adjust and where you take your image artistically is your call; it’s your art to create.

What you do in camera is only half the battle; what you do in post is almost as important as nailing the shot in the first place.

You can’t make a silk purse out of a sow’s ear, but showing your decent-and-better images some Photoshop love (without going hog wild…ha!) will only multiply their impressiveness and salability.

Once you’ve given each image a few seconds of attention in post, go back through and pick a handful (3-5) of your very favorites to do some extra post work on and add black-and-white versions of these. Use your spot healing brush to clean up blemishes and lines, soften skin, even out skin tones, dodge and burn to make the image pop where it should, then save a color version and black-and-white copy.

These will be your marquee images that really ring with clients during your sales session. Even if a client doesn’t buy one, they will see what you’re capable of doing with their favorite picks.

I’ll go into further detail on post-processing ideas and techniques in future articles; for now, just do what you know, do your best, and make those photos look nice. Just like learning to take great portraits in camera, learning to do good post work will take time and practice. Enjoy the fact that you’re getting paid all the while!

Take notes on what to improve

Want to multiply the rate at which you improve as an artist? As I mentioned in my Your First Photo Shoot article, taking notes on what you like and don’t like from your shoot will give you some real guidelines for how to improve your work.

When you’re done culling and post processing your shoot, make another pass through the images with notepad (physical or digital) in hand and write down another set of notes:

  • What are your favorite images from the shoot? Why? Go into detail, explore your own artistic vision and preferences. Be verbose. You want to identify what to repeat next time.
  • What are your least favorite images? Why? Be detailed here also. Is it the background? Lighting? Expression? Pose? Moment? Weather? Angle? Aperture?
  • With this in mind, what are you going to do on your next shoot to create more favorites and fewer least favorites?
  • What images do you think your client will love and buy? Do they differ from your own favorites as the photographer? Why? How can you balance the two styles? Step outside your own biased perspective and look at the images as a parent, senior, or bride.
  • What resources (books, magazines, web sites, tutorials, forums, practice) can you draw on between now and your next shoot to better your best shots and bring your worst up from the trash bin? Try to identify at least one area of your art to better your knowledge in before your next shoot. Define a path to improve your photography.
  • What will you do on your next shoot to create a better experience and better set of images for your client? This is a repeat from the last article, but worth doing again to both reinforce and introduce new ideas gained after post-processing.

In Part 9 of what is turning out to be a 10-part series, I’ll walk you through your first proofing and sales session. You’ll learn how to sell ethically and easily, letting your art and business policies do the hard work for you.

Next Steps

  • If you’ve ever done a single photo shoot with anyone, for money or fun, go back over your images from that shoot and answer the note-taking questions posed above. As with your shoot, slow down and really evaluate. It doesn’t matter if you’ve done one or a thousand shoots; slow down and give yourself the opportunity to be conscious of your art and explore how you can make it better.
  • Brainstorm session: If you could improve any three things about your art, what would they be? What resources can you find online or in your town that would help? File this in your Brainstorms folder.
  • Once this series is complete, I can up the pace of my posting and expound on many of the ideas I’ve touched on throughout. I plan to leave no nuance unnoticed in my effort to help you make the smooth and exciting transition from amateur photographer to paid professional. If you like what you’re reading here, feel free to click the free "Subscribe" link at the top of any page of this web site.
  • What’s one of the best post-processing tips or methods you’ve learned to improve your images after a shoot? Leave a comment below or drop me an e-mail.

    • by Outlaw Photographer James Michael Taylor