We sat outside at a little cafe on Coronado Island.
It was one of those simply awesome days with temps in the high 70’s, and a soft breeze off the ocean.
To my left was the grand old Coronado Hotel.
To the right a huge expanse of sand with surprisingly few people spread out on their towels and chairs.
A few colorful umbrellas dotted the view and I knew it wouldn’t be long till I joined them.
Our umbrella was green and yellow, and the wife had planted it in her ‘perfect spot’.
I could never figure out how she knew it was a perfect spot. Always seemed like a random spot to me.
But she knew perfect sand when she saw it.
And who was I to complain?
I couldn’t even see a perfect spot when it was in front of me apparently.
The photographer across from me had asked me for some time to view his portfolio.
Since I was going to be in the area, it seemed a no-brainer to set up a meeting near the sand and waves that I would soon be enjoying.
There were photographs all over the table.
With forks and spoons and salt shakers to keep the breeze from rearranging them across the restaurant deck.
The work was good.
Very good.
And it was bland too.
A good photograph that looked like a thousand other good photographs like it we see every day.
“Good work”, I said.
He smiled.
“Clean, sharp, and, unfortunately, very safe”. I said.
He didn’t smile.
“What do you mean by safe”, he asked?
I took a sip of my coffee and asked him what the agencies were saying about his work?
“Everyone seems to like it,” he was still wondering about safe, “but I never get called back”.
Another sip of coffee… I knew the next question was going to be difficult.
“Why do you think they should call you back”?
I could see the confusion as he hesitated and tried to find the words.
“I’m not trying to trick you here, and I am not dissing your work, I honestly want to know why you think that they should call you back for work.”
He looked at the images, and said “I don’t know what you are asking.”
We sat for a few seconds in silence.
“If you do not know why they should hire you, perhaps they don’t know either.”
With a smile to let him know I was on his side.
I reached over and grabbed an image that was well done, sharp, color correct, and lit well.
It was a photograph of a sandwich.
“When you show an agency this photograph, what are you trying to show them”, I asked.
“That I can shoot food,” he answered with a little bit of frustration in his voice.
“OK, but they have a lot of photographers that can shoot a safe sandwich on a plate on a white background. Why would they want you to do it for them”?
I saw it then.
A glimmer… a spark of understanding.
“I don’t know”, he smiled, “I hadn’t even thought of it that way.”
We started to get to the meat of the problem right there.
Was his work sharp? Yes.
Was it composed well (by the rules)? Yes.
Was it correct in color and hue? Yes.
Was it exposed correctly? Yep.
Did it show anything special?
Did it kindle any sort of interest?
Did it have anything unique about it?
Nope.
See, that’s the thing. You have to show something that is not ubiquitous.
Sharp, clean, composed, well exposed – those things are a given.
Every photographer has to be able to do that.
You have to show something that piques their interest. Grabs their attention. Makes their hair stand on end. Gives them goosebumps.
Look at it this way.
Would you call an agency and ask the art director if you could swing by and show your work.
“I have a portfolio of images you have seen a million times, done the same way everybody else does them, and don’t worry, they won’t knock your socks off or anything. They’re just sort of normal shots.”
I’m going with ‘that is not a winning strategy’, right?
If you can shoot a sandwich like everybody else, how do you shoot one like YOU shoot one?
And NO, I am not saying you reinvent the wheel on sandwich shots.
I am saying that your work should reflect you, not everyone else.
Everyone else doesn’t matter.
YOU matter.
Find a way.
Push the shot.
Shoot it again.
Shoot it again, but different.
Find a way.
Your way.
And then you will have the answer to the question “why should they hire you for the gig”.
“My style and aesthetic are just what they need to set their clients work in a new light… one that sells more sandwiches.”
He seemed very excited about what we discussed. I told him that with his obviously solid grasp of technique he should be able to up the game with his approach and style.
We shook hands, and he left saying he was anxious to get back to the studio and begin reassessing his approach.
I had one more cup of coffee and sat in the quiet breeze for a few minutes before heading off across the sand to the little green and yellow umbrella.
It was in the most perfect spot ever.
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After working with literally hundreds of photographers and helping them build their business, I have started taking on a few one-on-one mentorships and coaching situations. I have kept the price quite low, and will only be accepting a few students at a time. If you are interested In an intensive mentorship, one that will prepare you for working professionally, please use my contact page and get in touch. I would love to chat and there is absolutely no sales pressure. You know if you need my help or not.