Collaboration, Are You Willing to Work for It?

[by Selina Maitreya]

Ask any photographer whether they would be happier shooting to layout or collaborating with their client to define the look and feel of a shot and most would reply the latter.  Photographers live to collaborate. During the process they feel alive, excited, creative, productive, useful, valued, and, yes, loved.  The process is exciting. Brainstorming, open conversations, two minds and hearts working toward a common goal, what’s not to love?

If collaboration makes the shoot even sweeter, why are more photographers not being asked for their ideas before a project is creatively completed?  It’s simple. Photographers rarely promote their interest in collaborating.  Most clients aren’t going to propose the option unless they have already been sold on the photographer’s  interest, skill and experience as a creative partner.
If you want to collaborate you must walk the talk. You cant expect your clients to give you collaboratively oriented  projects if you don’t let them know you are interested and if you don’t give them ample opportunity to trust your ability to deliver.

It’s up to photographers to show clients their collaborating skills and then gently remind them of their interest and experience.  It’s a rare photographer that will proactively seek collaboration, even though most crave the gift it brings.

But you will be different! Start by building a vision based portfolio. Who wants to collaborate with someone who hasn’t taken the time to develop their own approach to photo? Check out the wording in your bio on your website. Is there copy there that speaks to your interest in co-creating? Consider mentioning your love of collaboration in blog posts. Stop putting off in person visits as they are a great opportunity to promote your interest in collaboration.

Are you lacking examples of your collaborating skills?
If so, approach an art director, or graphic designer you know and ascertain their interest in working with you on a visual project. If you shoot editorial or motion, identify a non profit or publication you’d like to contribute to. Create a photo project and approach the PR director, or a freelance photo editor and offer to collaborate with them.

Every one gains through joint creative  ventures. The exchange of ideas and process for those involved is huge. The end result for the viewer is one that would not have happened if the process was not in place. The reality is that if you are interested in collaborating with your clients you will need to walk your talk.
Are You ready?

Selina Maitreya is a consultant to visual creative professionals.  Go here to download a free interview where Selina shares the steps to success that you need to take.

How You and Your Best Friends Can Make $100,000 (for someone else)

[by Colleen Wainwright]

For an introvert who’s generally happiest holed up in a cave, flailing away at a keyboard, I’ve racked up a surprising number of creative collaborations–everything from a TV pilot for a major network to a comic play (with music!) about two of the world’s least sexy chronic illnesses.

Most recently, I completed a massive fundraiser that required collaboration on several fronts, including (among other things) building a website, creating prizes for giveaways, producing a video, and coordinating a massive benefit party for 150 people complete with musical entertainment, art raffle, tacos, and a head-shaving.

From what I can figure out so far, here’s what made the collaborations successful:

1. People got to do what they loved. I know I’m happiest contributing to any project when that project is utilizing my strongest skills or addressing my most pressing needs. So when I invited collaborators, I made matching project tasks to contributor interests a priority: the charismatic friend who loves wrangling crowds emceed the closing party; photographer friends documented the evening and shot the photobooth portraits, etc.

2. The boundaries were exceptionally clearly drawn. I was as clear as I could be up front about exactly what I needed, and exactly where the commitment would begin and end. And when I needed something extra, I made it clear I knew this was an additional favor, not an expectation.

3. Communication flowed freely in both directions. Most of my previous lousy collaborations had in common lousy communication: we either didn’t speak the same language, or one of us was scared to speak, period. For this all-volunteer, no-money-and-less-time effort, I was merciless about including only people I was sure I could keep the lines of communication open with.

Of course, the final words on making a collaboration work well? Always be grateful. “Thank you” goes a long way toward achieving that!

Colleen Wainwright loves working with fun people, especially the fun people at ASMP who are helping her bring her Making People Love You Madly seminar on non-sucky marketing to so many wonderful ASMP chapters.

Collaboration is Key in Video

[by Gail Mooney]

“Collaborate”.  That is my mantra and the one piece of advice I give to any still photographer who is thinking of getting into video.  Many photographers are overwhelmed at the prospect of having to learn new skills, like how to capture good audio and how to edit.  I tell them, even if they know these skill sets – they should collaborate with professionals in these areas, rather than to do it all themselves. It’s not impossible to work solo in video, depending on the job, but it’s definitely more difficult and sometimes counter productive. Simply put, a good crew will make you – and your productions look good.

Still photographers by nature are independent creatures, so the concept of working with a team is somewhat foreign.  Sure, we have all collaborated with art directors, stylists, hair and make up people and assistants, but with video the team you build becomes even more integral to the production.  These days a team can be anywhere from two people to twenty or even more.

I have always had a partner, even in my still photography business, so when I got into video I found that was an asset and an advantage. In the beginning my partner would shoot the still images on video productions and I shot the video.  On simple jobs, I would also “run sound” and do the edit.  As productions became more complex, we would hire good sound people and editors.  Some jobs needed bigger crews.  We quickly found that not only could we not “do it all” but that we shouldn’t on video productions because it was self-defeating. Many times the productions were taking longer with smaller crews.

So how does one find good sound people, grips (lighting), gaffers (electricians) and editors? There are many online resources these days – Craig’s List, Mandy’s and Production Hub to name a few.  I have also met great people at DSLR meet-ups, editing user groups and trade shows and conferences.

If a job is complex and the budget accommodates it – I hire a line producer to put a crew together for me.  That’s their job and they keep a file of good people that they draw upon on an as needed basis. I actually found the editor who worked on my film and was brilliant, by networking with an ASMP member who also works in both mediums. Personally, I think one of the biggest benefits of being a member of ASMP is the networking.

Technology has had a major impact on visual communications, which in turn has changed the way, we manage our businesses and produce jobs.  It’s more the norm these days to build crews as we need them, rather than to maintain large production teams full time. There are plenty of very good freelancers to draw from.  Not only will a good team make you and your productions look good – you’ll be learning at the same time.

Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

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