How to Play “The Numbers” Game Part Two

PDF Version: Numbers Game Part Two

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

How many of you:

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

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

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

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

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

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

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

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

“Only 2% of sales occur at a first meeting

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

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

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

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

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

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

There is NO work that day for us.

So why go?

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

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

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

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

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

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

That rarely happens. Really rarely.

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

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

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

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

Hey… it happens.

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

Entering phase two:

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

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

Read more:

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

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

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

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

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

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

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

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

Consider what you think of as being too much.

Yeah… don’t do that.

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

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

So let’s get real here for a moment.

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

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

Numbers. Then…

Call for an appointment to show the new work.

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

You are making new work, right?

Right?

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

Riiiiigggghhhttt… ?

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

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

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

Pathetic.

Be the 8%… it’s a numbers game.

PDF for Download: Your System for Finding Work

I was recently asked how to find clients by a new photographer making the leap into professional work during this crazed pandemic. It’s tough any time, but at this time it is even harder.

Here is what I told her expanded for those of you trying to get going in these weird and strange times:

Finding clients has always been one of the hardest things to do as a freelance artist, in fact, I have written and produced an entire course on just that process.

And no, I am not going to send you that link and I am not going to try to sell it to you. You asked for advice, not a sales letter so here we go.

To start out, I will say congratulations to you for being brave enough to enter this crazy field. There are more than a few nay-sayers out there that will lecture you for your recklessness, and berate you with stories of failure, impossibilities, and challenges no mere mortal could possibly overcome.

That’s them. They have already decided that the path is too hard and they don’t want you to head up and make them feel bad for not trying. Forget ‘em.

As a coach, I will often ask photographers who they are shooting for, or where would the get their clients and they shrug and say they don’t know. I ask them who would use their work, and again they have no answer.

We’re going to fix that.

Finding clients is a sort of a process, a deliberate and never-ending adventure that can be as difficult or as easy as you want it to be. Depends on work ethic, good decisions, and your appetite for pain. (Just kidding… sorta.)

What you must do is embrace the process, keep focused on working the plan, and never ever compare where you are to anyone else or – even worse – where you THINK you should be. Expectations can become like giant anchors tied around feet, dragging you slowly into the deep and murky abyss of self … sorry, my bad.

Leave expectations in the dust and just do the work.

I am going to give you a basic outline to build upon to find clients in your area.

First we must define your work with your portfolio. It’s not just a bunch of pretty photographs, it is YOU; your style, your aesthetic, your purpose. A collection of images won’t cut it, you want to have a “body of work”. What that means is that the work you show defines your vision, your aesthetic, and your visual approach and has congruity and cohesion in those areas. A random collection of images is just that, where a portfolio – a body of work – shows the artist’s output in a more refined way.

Make sure the work is up to the best technical and creative standards. Ask yourself about each and every image:

Could anyone, I mean “anyone” have taken the shot you are about to take? I mean, your neighbor got a cool entry level DSLR for their birthday last week and they are standing right next to you and getting ready to make the same shot. Can they make it?

If the answer is yes, you got some work to do. Nobody wants to see the same ol’ same ol’ stuff that complete newbies can do.

You have to infuse your work with YOU. Your POV, your aesthetic, your attention to detail, your push for the absolute highest production values possible. You are putting yourself into the middle of an industry that has incredible talent with incredible passions and you got to bring it. Bring it hard!

Your subject matter matters. What do you shoot?

The subject matter you choose is one of the most important criteria for finding out who may be potential clients for your work.

Are you shooting food, or still life? Are you shooting portraits or ‘fashion’? Do you spend time on the road making travel photographs and capturing the lifestyles of people all over the world? Do you trek through the wilderness carrying a heavy view camera searching for a tiny sliver of magic (hey Ben J)

The next question, and it is a logical one, is what do the clients want to see? Unfortunately, it is NOT the correct question.

The correct question is how do I make images that other people want to see? What do I bring to the process, the image, the presentation that would set my work apart and make it something that would inspire, surprise, or entertain the viewer… no matter who the viewer is.

Never ask yourself what “they” want to see because there is no ‘they’… only individuals. One art director may gush over your portrait work, while another simply yawns. An editor at one publication thinks your approach to minimalism works perfectly for their publication where another editor at a different publication will not even be interested enough to open your emails.

There is no “they” think. There is no ‘right way’ to get a client to love your work. There is only YOUR WORK. It must be authentic and bring something unexpected and new, or at least be interesting enough to garner attention. Not from everyone, but from someone.

Shoot what you love, shoot what matters to you. Shoot YOUR portfolio, not theirs. Of course you must be aware of what is happening in the industry, trends, fashions and such, but that can only have a small bearing on what YOU want to make.

Make sure you have a well designed website. I prefer to use WordPress, but then I have been a code tinkerer for 30+ years. If you do not want to mess with the plugins, updates and the other things that come with WordPress, grab a website from Fotofolio, Square Space, or Format and upload your images.

Just make sure you show those images big.

Choose a design that is clean, modern and without a bunch of frilly stuff. The goal is to show the images to the prospective buyer. If the site is clean, easy to navigate, and full of EXCELLENT photos, you make your statement.

Once you have it loaded up get other eyes on your portfolio.

Edit your portfolio savagely. Take no prisoners and do not let the ‘baggage’ of what you went through to shoot it influence whether or not it is exactly the shot you want to show. If you do, you let in images that need explanation, context, and even spin. Great if you are there to discuss it, sucks when you are not there, and bottom line… no one gives a damn.

The portfolio must represent your best work, with the highest possible production quality you can deliver. Don’t worry if it is not as high as someone else’s, we all have to start somewhere and constantly work on it. As long as the highest possible is your goal, you’re good.

Look, I get it. Other photographers are the easiest people to get to look at your portfolio. Other photographers are the LAST people I would get a critique from. For oh, so many reasons.

Find an art director, creative director, or portfolio coach and PAY them for a complete review. That may run between a few hundred bucks to a grand, but it is absolutely worth it. A sharp (non-competing) eye can help discover where you need help, what may be tripping you up, and how you can create work to fill the gaps that may exist.

Other photographers see photographs, AD’s, CD’s, editors, and consultants see results and possibilities, not thinking about how they would have made that shot. Ya know.

Advertising agencies have focus groups. CEO’s have consultants. Be professional and get some help from people who have only your best interest at heart.

Your portfolio should now show what you want to do, and how you want to do it.

Now we have to identify who in the world would want the work you are putting out.

We must focus on those potential clients who could or would possibly use your work. Think traditionally, and think outside the box. Far outside in some situations.

Let’s say you have a portfolio of food, foodie lifestyle, and interior design. (I am only interested in three categories and you should be too. If you have more, you look like you are either desperate or not very focused. Neither is going to make you a great hire, are they?

Let’s use the example of food.

We begin to identify what I call channels, you can call them what you want.

Channels who use food photography:

• Restaurants
• Restaurant supply companies
• Restaurant remodelers
• Health practitioners
• Hospitals
• Nutritionists
• Food Importers
• Farms (farm to table)
• Cooks (cookbooks/blogs)
• Food Wholesalers
• Magazines (food, lifestyle, home, health, adventure)
• Graphic Designers (they can have multiple clients drawn from the above list as well)

I am sure you can come up with another half dozen if you put your mind to it.

Stop now and write down two more. Think way outside of the box if you wish.

These are the kinds of companies, businesses, and clients who would use food photography.

Already we have some clarity… we can see a list of possible clients.

But we gotta get real nitty-gritty now. Of course these channels make sense, but we do not sell to channels, we sell to individuals.

Finding the individual clients.

Go to Google Maps and put your company or studio in the middle and make the map cover about a 20 mile radius. Or your town in quarters… whatever manageable area you want to work with.

Enter “graphic designer” in the search. (You will eventually do all of your channels, so this is just an example of one.)

What comes back is a lot of designers in your area. To be sure, these are not ALL the designers in your area, just the ones registered with Google. You will have some more digging to do at the library, your business news like “the book of lists” and others. We are only looking at one research arena.

Click on each designer’s link and visit their website. Do they use photography or are they mostly logos? If they use photography, you have just found a possible client.

Hit their contact page:

Address for direct mail.
Email for sending them an emailer (usually).
Phone number for calling them for a meet.

Many times companies will list their staff and you can get the names of art directors, editors, creative directors, directors of marketing and more. (BTW, do not hesitate to call them and ask who to send your mailers to. They are always looking for new talent.)

You can take their names over to Linkedin and Facebook and find out more about their company, what they are personally interested in and lots more.

From not knowing who would buy your work to a name of a person who would.

Empowering?

You betcha.

Do this with every channel.

It isn’t always easy, and it isn’t always fun. In fact it is rarely fun, but it is necessary.

Build your marketing list with your blood, sweat, and tears so you can appreciate the work that goes into creating a dynamic small business.

(Hey Don… dude, I can buy a list. Why would I do this much work when for only a few bucks I can have access to a ton of names?)

Good question, squints.

Yes you can buy a list.

Anybody can buy a list. That list gets hit a lot.

A lot lot.

You are just another emailer from the list company slamming them with stuff.

When you build your list, and compare it to the ones you can buy you may find (will find) that you have a heck of a lot more names on yours in your area than does the purchased list.

There is nothing wrong with buying a list, but just beware that thousands of photographers have access to those same names.

I am not saying to not, I am telling you some facts so you can make up your mind which way may make more sense for you starting out.

Once you have your list – at least 30 names – you can begin to market out your work.

E-mailers:
One per month at the most, one per quarter at the least.
One to three images per email. A ‘tag line’ and a ‘call to action’ as well as all contact info.
You want to drive them to your website.

Direct mail:
postcards, brochures, cool little visual items: Once per quarter.
Double sided, 2 – 4 images total.
Packaging (envelope) can be the difference between being seen and being tossed.
Tag line, call to action, contact info (website/email/phone)

Direct mail:
big piece – 24 page magazine and such: One per year.

You must have a theme or something to connect the images. Random ‘portfolio’ shots do not get as much play or interest. “Portraits of Commuters” gets more interest than random shots you have done over the last 4 years.

Contextual copy, tag line, contact info. Tell them a bit about what they are looking at and then invite them to your site to see more.

You do have more, right?

Your goal is to get to about 250 to 300 good solid leads to market to. If you are in a rural area, you will probably want to have about 400 names. More of a regional reach.

You never stop building the list, but you will be pulling ones out that are not responsive and adding in new in order to keep it manageable.

Now create a campaign* and stick to it. I have a lot of information on creating a clean and easy to manage campaign here: https://www.lighting-essentials.com/email-campaigns-and-templates/

WHAT ELSE DO YOU DO?

Are you also a writer?
Designer?
Digital Artist?
Art Director?
Food Stylist?
Expert Retoucher?

Do you do motion?

(NOTE: you’d better. If you are not into motion now, make that a priority. NOW!)

Do you do anything special? If so, let them know.

Clients want to work with people who do MORE with less.

As you market deliberately (three touches per day… https://www.youtube.com/watch?v=InbNtMXn_2A&t=1s

) you will begin to track who is responding, who got what email and which mailer and how are they responding. Are they clicking through? Are they looking at your portfolio? Which images are being viewed? (Google Analytics is going to be a great friend for you as you take control of finding clients. If you do not know how to use it, take a class at Lynda (https://www.lynda.com/search?q=google+analytics) or where ever you can find a good tutorial.)

With this system, you can begin to develop a strong list of potential clients. It is not magic, it is not a secret, and it is not something that no one has ever done before.

But it sure as heck works.

Additionally, here are a few additional ideas to build your business fast.

1. Once you get to 100 names on your list, set a date 6 months out. Between now and that date you are going to take every job that comes your way. With the exception of being taken advantage of, you are going to shoot small, medium, and large budgets and do them as if they were $10,000 gigs. (By the time you get to the 6 months mark you will already be doing fairly well – IF you follow the system.)
2. Be aware of trends. Visit the best rep sites and make notes. What is happening in the big markets, and what are you seeing in the way of style, subject, and treatments? I recommend workbook.com, at-edge.com, and heatherelder.com for getting a handle on the best work out there. Or at least getting a start on finding it.
3. Initiate gigs. Be proactive.Tell clients what you think they need. Pitch an Instagram library shoot, let them know you are ready to redo their corporate brochure. Show them an example of what you have in mind. STOP sitting by the phone hoping and waiting and wishing… get up and get it started.
4. Help other small business.

Being in service to someone who needs help can define us as people. There are a lot of companies and small businesses out there hurting due to the covid pandemic. If you can be helpful, create something for them that can help get them going again, I recommend you do it. With a smile and a wave.

At this point in time, we need to be as deliberate as we possibly can be. Wasted time is worse than wasted money. A true system that can help you find clients is one that makes sense, can be repeatable, and doesn’t blow through your resources like a hard wind.

I hope you take this system, tweak it a bit to work for you, and find some folks who need the work you do.

Good luck and good hunting.

Additional Resources

MINIMAL VIABLE BRAND for Photographers
This is a free workshop to help you put together the materials you must have to market yourself in any region. https://www.lighting-essentials.com/mvb-1-minimal-viable-brand-overview/

 

“In The Frame”
A weekly newsletter for emerging photographers. I try to get them out each Sunday and fill it with real, actionable information to help creatives manage their crazy.
In The Frame

 

I am a creative coach and mentor. If you are interested in jumpstarting your business, or finding out why you may have stagnated a bit, check out what I offer here.
https://dongiannatti.com/

 

I have shot in major markets on both coasts, as well as my hometown of Phoenix, AZ. In 1992 I started an ad agency and by 2000 we were the third largest agency in Arizona. After having spent a lot of time on both side of the desk – as creative director and a photographer, I bring a unique view of the business we call professional photography. I have worked with many photographers both in the USA and Europe, and have helped them build their brand and their business. I have only one goal and that is to watch them succeed beyond their expectations. I currently teach, write, and make images in the great US southwest. You may occasionally find me on a motorcycle somewhere in Wyoming.

PDF for Download: On Being Exceptional

On Being Exceptional

I want to take this time to discuss becoming exceptional. Being exceptional means you are a cut above; maybe two. Being exceptional means you do things differently, and better. Your business is better, your work is better, your relationships are better, and the clients who expect the mundane are always surprised by exceptionalism.

Unfortunately, too many of us shy away from being exceptional. We keep hearing people tell us that being that good is the same as being conceited or egocentric. The movement all across the land is to denigrate the exceptional in lieu of the mundane; no hurt feelings or trauma of having to deal with the fact that you may not be as good as that other guy — the exceptional one.

What a load of crap. The ones who make it to the top of the mountain are the exceptional ones.

Anyone can go up the mountain; they just have to put one foot in front of the other and not quit.

Not. Quit.

Never quitting is one of the prime ingredients in being exceptional.

(I feel I must state that sometimes one must withdraw, whether temporarily or for a longer time. Withdrawing to regroup for a myriad of reasons is not quitting. When we quit, we emotionally destroy any link to the goal we were chasing. And a little part of us dies in the quitting. Withdrawing can be a strategic decision that leads to a different path. Only you will know whether you are indeed quitting or withdrawing. I just implore you to be honest with yourself if you have to make that decision regarding anything that is important to you.)

Sure, some will get there in record time, and others may arrive late to the party and exhausted. So? The feeling that only ”special” people are allowed in will be one of the most debilitating thoughts we can ever have enter our mind.  And exceptional people are not conceited;, they simply know that they are good at what they do. That others may infer that they are somehow elitist cannot be helped these days. The striving for centerline mediocrity seems to be surrounding us on many fronts.  I simply believe it is a ruse to keep people from trying to do the hard work. And without the work there is no success. And without success there is no exceptionalism.  And without exceptionalism, we can all experience the fairness of lowered expectations.

Recently, a photographer published a ”manifesto” on becoming a great photographer. It was full of ”don’t   bother learning” and ”just spray and pray” and ”sure, you’re good enough if you think you are” crap. I hardly think that the words contained within that piece were helpful. To be fair, there was some good advice mixed in with what is such a terrible hijacking of the ”becoming a professional” meme, but it was mostly overshadowed by the silly, faux-new-agey approach.

The point is, to be a stand-out in this business, you must stand out. In all ways – from your work to the way you treat your staff and even to how you follow up with those you may not have to ever follow up with.

When we establish a pattern of exceptionalism, that pattern follows us into other areas of our personal and professional lives.

I think our goal-setting exercises from the previous week’s assignment must now be tempered with some cold hard facts on how we will do those things with exceptionalism.

And the cool thing about being in the ”exceptional” mode is that it is really pretty easy, and it flows so  smoothly. I think it is because being exceptional is the normal state for us humans. The extraneous forces that push it away from us are quite powerful. From pop culture to politics to entertainment to where we get educated, to stand out and work to be better is seen as a problem. “Go along to get along” can be the prevailing process. Striving is seen as too ambitious, too ”full of themselves”, too ”arrogant” to think that they could actually do something cool.

Something big. Really big.

So, for this exercise we are going to look at being exceptional and then we can take this exercise back to our goals and further make them real in our minds. How? By envisioning each goal as being something we will achieve with exceptionalism. We will also define some exceptional tactics to help get those goals off the ground and into the air!  It’s time to fly.

For me there are three questions that I ask myself before beginning any endeavor:

1. Will this help my relationships be better?
2. Will this help my business be better?
3. Will this help my personal being be better?

If the answer is no to any or all of them, I must then rethink if what I am prepared to do is something I should be doing.

A hand in the back… yes you… a question?

“Well, what if you want to just sit around and drink a beer on a Saturday afternoon? That won’t help anything, so I shouldn’t do it?”

Hold on for a second. Let’s look at it closely.

Will it help your relationship to be better? Sure – it could. If you have had an extremely busy week and need to relax, turn the brain off, and listen to some Credence, it most certainly can help your attitude and that can affect the relationships in a good way.

Will it help your business to be better? Possibly yes. Maybe you need to turn your mind off from focusing on a problem – just for a while – and this gives you ample opportunity. You may be surprised what the brain will come up with while you are busy doing other stuff.

Will it help your personal life? Well, if the two above are true, it only stands that this one is as well. Sure – we all need to unwind in the ways that we enjoy.

There is nothing wrong with adventuring, vacationing, lazing around for a while, or taking a nap. All can be of a huge benefit to us.  But what if we want to buy that new lens on sale down at the local Camera Quickie?

Will it help our relationships? Depends on where we are financially and how things are going on that front. Could simply be a wash, or it could be a disaster. You’ll know instantly when you ask yourself the question.And, no, spending three hours trying to justify it to yourself only digs the hole a lot deeper.

Will it help the business? See above and then ask if it is something you want or something you need. If it truly is a need, then that almost answers number one above.

Will it help you personally? Only you can answer that, but I expect there are times when knowing you have the right tool for the job can help you feel more confident.

First thing in the morning, I work on me. I say some positive things about where I am and where I want to go.

And then I ask myself what can stop me from doing what I need to do that day. I want a mental picture of the people/circumstances that can get in the way of my priorities. And instantly I make a decision to not let them prevail. No one owns my day but me.

Sure, you have to take the kids to school and also that dentist appointment. (See the three questions above… heh.) All’s covered there. What do you think not taking the kids to school would do for your relationships, business, and personal life? Yeah…me too.

Understanding the challenges of the day and getting after it with a good, assertive approach will get you from where you are not moving to a track that runs pretty good. We control this track, and we do so from our feelings of whether we are deserving of a faster track or not.

I also think in order to be exceptional you must embrace the work that has to be done. Every day. No matter what, the work must be done.

Overcoming the tiredness syndrome or the apathy that can be a by-product of being tired must be dealt with daily. It is the mantra of the exceptional artist or artisan: “Get the Work Done”

An old friend of mine once told me that to be successful (and he most definitely was) one only had to work half a day. Half a day and done.  He then told me to choose which 12 hours that would be. There are 24 hours in a day, and we only need work half of them.

Yeah… kind of like that.

This can be the defining point for you as well, you know: Getting to the work. You either do or do not.

“There is no try.” (Yoda)

This can always produce a challenge, of course.

It is how you deal with that challenge that will either make you successful or transform your great intentions into anchors around your neck.

Always look for solutions. Always concentrate on the challenge as if there is a solution out there waiting to be discovered. Never think that any challenge is more than a solution waiting to be found.

Other people love solutions-oriented people. When you are constantly engaged with the possible solutions, others will feel so much more comfortable that they will begin to support you. You gain allies with positive focus on creating solutions. You merely gain hangers-on with a focus on the problems; and they will abandon you faster than rats from a sinking ship at the first opportunity.

One way I think a photographer can do this is to always be shooting, whether for clients or yourself, and always be making images that mean something to you. Whether on iPhone or DSLR or MF film camera – no one cares. Just shoot images and look at/think about solutions.

Be prompt. That is what exceptional people do. They don’t put off stuff that shouldn’t be put off. They are the first out of the gate to get things done.

Get an email query? Answer it as soon as possible.

Got a friend request for LinkedIn?  Accept it.

Return phone calls as soon as possible.

One thing I do that my clients like is “recap.” I take a moment after a business call to make some quick notes – bullets really – and email them to my client. This lets them know that I was, indeed, listening and that I am working actively on a solution.

Own up to mistakes early and often. Do not hesitate to say, “Whoops, got that wrong. Let’s try this…” People don’t see that as failure, they see it as someone who recognizes what has to be done and then gets after it.

Acknowledge others, and recognize exceptionalism wherever you experience it. Bad service at a restaurant will usually result in a dollar tip. That’s okay, though, because I will over tip for great, exceptional service.  Acknowledging the exceptionalism of others is a way of acknowledging it in yourself as well.  Because we only really want to hang out with exceptional people.

Okay, that may have gotten a few hackles up on some of you. But, well, it’s true.

If we continuously hang with and be around negative, unsuccessful people, their traits will begin to rub off on us. (Yes, I know, I sound like your mom: “Don’t let me catch you hanging with that crowd; they are a bad influence on you.”)  And, yeah, we would kick a fit and loudly proclaim that they were good, decent hoodlums and would never ever, ever be able to corrupt us or be a ”bad influence” on us be we were such great little kids.

Yeah.

Of course, those are the words of youth. To be taken with a grain of salt and a pound of baloney.  Of course hanging out with the hoodlums would be a bad influence. Of course – mom was right.

And I am right at this point as well. Be around losers – and self professed losers – for a while and the loserdom starts to weigh on you, and you may eventually choose one of two paths:

Path A: You want to save them. You see all the good and just want to help nourish them back to great creative health.

Path B: You acquiesce and start lowering your standards so that they will not have their feelings hurt. This will alleviate you of your guilt of being exceptional, which means you will have to go to the top of this document and begin reading again.

There is another path, though. The path called “I’m Outta Here” and you take your leave with neither pomp nor celebrity. It is a path that may be sad and hard, but it is the only path that will lead you to where you want to be.

This goes for forums and online social media as well. I have found that once I stopped arguing with people, my own value in myself rose. I rarely engage these days. I may pop in to offer my view, my expertise, and my opinion, but then I try to move quickly away and not engage with those who want to simply argue.

Offer suggestions, not harsh criticism. Offer solutions instead of piling on the problem. Offer a helping hand without expectation of a return. Offer your wisdom and insight.

Do not be surprised if it is ignored, nor be surprised if it is rewarded. There are others, like yourself, out there rewarding exceptionalism.

When you choose to do things differently than most; when you put your solutions to work instead of perpetuating the problems; when you offer to be more you than the other guy wants to be him –then you are the exception to the rule when it comes to people.

We call that exceptional. Now.

Take a look at your goals and apply these thoughts to them:

1. How can I take an exceptional approach to this goal?
2. How will being exceptional help me reach this goal faster?
3. What can I do right now to become more exceptional in the pursuit of this goal?
4. Who can I help to achieve the goal I want to achieve?
5. Are there places in my list of goals that I may have to focus on with an exceptionalist point of view? Now we continue with a look at the daily questions as well:
6. What challenges are there to keep me from being exceptional today?
7. What solutions do I see for providing exceptional service/engagement to those I meet today?
8. What commitments must I make a priority to let those around me support my actions?
9. How can I help someone do something even better than they thought they could?
10. Where will I find exceptional people to meet and be a part of their community? One last thing.

Exceptional people overdeliver. Every time.

Underpromise and overdeliver.

Make it your mantra. Make it your business mission. Make it a habit in all you do. Overdeliver.

Now THAT’S exceptional.

Approaching Magazines and Designers

Let’s get started with some more research ideas for those of you who may live in very populated areas.   I know a few of you drew your first circle and thought, “Yeah, Manhattan, or downtown Boston.” Great.  And that is good. That is called density. Density can work in your favor as well as work in the favor of someone who may not be in a very dense area.

Density means the close proximity of clients.

Density means less travel and more opportunities per square mile. Density means a hell of a lot of competitors. Sorry about that last one, but seriously, who cares? All competitors tell us is that there is a lot of work available. And someone other than you is getting it.

That, as they say, has to change.

Big markets mean you have a much more specialized approach to your work. Big markets mean you can work one niche at a time to develop your cash flow. Working one area while marketing to another area is also possible if the density is high and the competition is great.

By the way, do you know who your greatest, most fearsome competitor is? I do.  He looks back at you in the mirror each morning. She stares at you from the mirror in the hall.

You. You are the biggest competitor you have. Your priorities, attention spans, efforts (or non-efforts), delaying tactics, motivations, insecurities, overconfidence, and plain old inertia control will do more damage to your business than anyone you see on a blog post or in a magazine.

And we need to work on that. The great news about working on that problem with ourselves is the fantastic job security it offers. We will be doing it every day for the rest of our lives. There is no “achieved”; there is always the pursuit.

Fun. Yeah…I know.

So let’s get to the bigger markets and what to do there as we initially start out on our journey. Big markets mean big agencies. Big clients. Big opportunities.  Big budgets. Even bigger budgets. And “I can hardly believe my eyes” budgets. Starting out…well, they are not where we want to be.

What would happen to you if you landed a gig that would require $25,000 in expenses based on client billing? Since many agencies (most) pay after 30-60 days, how are you going to pay your vendors before you get the money from the agency?

And, quite honestly, I do not suggest we even go after assignments that large. Without the benefit of a lot of completed assignments, we may not even understand how a shot like that can be produced.  And missing the billing or estimate just screams ”amateur” in a world that has very little tolerance for anything that may cause them some discomfort.

I think making an art director, editor, art buyer, creative director, designer, or public relations person choose you has as much to do with how comfortable with their choice you make them feel as the images themselves.

So, where do we start?

Magazines for one place of entry, designers for another.

Magazines may be more open to trying out new talent than ad agencies are. Their risk is much smaller, and their constant desire to find and promote new talent is a great asset to them.

Design agencies are another point of entry. The difference between an ad agency and a design agency is sometimes as simple as the way the work is handled after it is created. An ad agency usually places the ads in magazines, radio, TV, and Internet. Designers usually do the work, and it is then handled by someone at the company or passed on to their ad agency for distribution.

Graphic designers are more approachable than art directors in big agencies. It is a fact.

Choosing magazines means we must do some research into the work we want to do for them. And, by the way, this applies to all of you, whether in the big cities or the smaller suburbs, so pay attention and do the exercises.

Hitting the magazine stand in order to do some research can be kind of fun. You will be steeping yourself in the work of others as well as starting to get a feel for the magazines that you want to work with — and a few you maybe don’t care that much about.

List five magazines (national) you have identified as being magazines you could or should work for:

Magazine:
Style:
Why they need me:
Who will I market to?

PDF Form for Magazine Audit 

Understanding why they NEED you to work for them is easy for you to see — we only have to convince them — and that is only 50% of the equation, right?

We can do this.

Fill out form linked above on this page and make a couple of copies of it for yourself if you need to.

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Graphic Designers:

Small design studios are everywhere. One person to 20 people — they are in every city in the nation. Even a few smaller towns have graphic and information designers.

So let’s find a designer to work with: Studio Hill Design, Albuquerque.

http://studiohilldesign.com

A look at their website shows that they do a fair amount of print work.

http://studiohilldesign.com/about/print/
Some products, some people, and some architecture.

The principle is Sandy Hill, and the art director is Sean Chavez.

Facebook page:

And the Twitter feed has few followers, so it is ideal for me to start following them. Albuquerque is not that far from me. Heh.

So you now have a lot of info to use to be marketing effectively to the clients you want to reach. And you have identified them as well as know something about them and their work.

Yes, there is more to it than that, but this is the basic stuff we must have to be successful in the marketing of our work.

On Ageism in the Industry.

It exists. It is entrenched in both the industry and the society at large.

“Can’t teach an old dog new tricks.”
“Old people, old ideas.”
“Young people lead the way in creativity.”

These are also simply bullshit.

DO NOT BELIEVE OLDER MEANS LESS CREATIVE.

Article in the Business Insider.

Article in Ladders.

What does happen is we get hit over the head with this crap so often we start to believe it ourselves.

We second guess ourselves, we constantly compare, we look at younger talent, and note that we don’t see that way.

And that is the point! We DON’T see that way.

We see our way.

Here are 10 reasons why creatives in their 50s and 60s should be considered a logical choice, especially when all things are equal, or the valuable experience and professionalism of a seasoned artist is important. It ain’t all about youth culture, folks.

1. Rich Experience: Older creatives bring a wealth of experience. They’ve seen trends come and go, and understand the long-term impacts of creative decisions. This experience is invaluable in creating timeless and effective campaigns.
2. Diverse Perspectives: With age comes a different viewpoint. Older creatives can offer perspectives that resonate with a broader audience, including the significant and growing demographic of older consumers.
3. Emotional Depth: Life experiences often translate into a deeper emotional understanding. This can be a powerful tool in storytelling and creating campaigns that truly connect with people on an emotional level.
4. Problem-Solving Skills: Years in the industry mean older creatives have faced and overcome a variety of challenges. Their problem-solving skills are honed, making them adept at navigating complex projects.
5. Mentorship and Leadership: They can mentor younger team members, providing guidance and wisdom that only comes from years of experience. This helps in building stronger, more cohesive teams.
6. Stable Work Ethic: Older creatives often have a strong work ethic and are committed to seeing projects through to completion. Their reliability can be a significant asset in fast-paced environments.
7. Adaptability: Contrary to stereotypes, many older creatives have continually adapted to changing technologies and trends. Their ability to evolve is a testament to their dedication to their craft.
8. Network and Connections: Over the years, they’ve likely built an extensive network of contacts in the industry, which can be leveraged for collaborations and new opportunities.
9. Life Balance Insights: Older creatives often have a better grasp on work-life balance, leading to healthier work habits and environments. This can improve overall team morale and productivity.
10. Customer Insight: They often have a better understanding of certain market segments, especially those targeting older demographics. This insight is crucial in creating relevant and effective marketing strategies.

Flip the damned script!

Your age is an asset, not a liability. The depth and breadth of your experiences bring a unique and invaluable perspective to the creative process.

Keep pushing boundaries and showing the industry the irreplaceable value of seasoned creativity.

And stop being aware of how old you are, and focus on the art you produce.

Question: How old would you be if you didn’t know how old you were?

Just sayin’…