Summer Reading List

[by Jay Kinghorn]

There’s no doubt that the business landscape is tough for photographers right now. Still, every day, green shoots are appearing in the publishing and advertising industries that will allow well-positioned and technologically savvy photographers to make and impact (and a good living) as the recession subsides.

Here are a few books I’ve found valuable in thinking about my business, assessing the services I provide clients and getting through my to-do list.

Blue Ocean Strategy: How to Create Uncontested Market Space and Make Competition Irrelevant by W. Chan Kim and Renee Mauborgne. I find new insight from this book every time I read it. Blue Ocean Strategy offers clear guidance to rethink one’s business to focus on untapped markets and new opportunities.

The Innovator’s Dilemma: The Revolutionary Book That Will Change The Way You Do Business by Clayton M. Christensen. In researching the panel questions for the ASMP Copyright and The New Economy symposium this spring, I kept coming across references to this book citing it as an influential source for understanding why well-managed companies, who fail to change to meet new technological needs and client demands, fail. Sure enough, Clayton M. Christensen delivers, offering strategic insights for managing any business through periods of rapid change like we’re experiencing today and giving us both the strategy and the courage to make the leap from our current business model to the new model that will carry us into tomorrow.

Getting Things Done: The Art of Stress-Free Productivity: This is a book I find more valuable with each read. Allen’s GTD method is well proven and will help you focus on addressing both day-to-day tasks and your big-picture business goals.

Our Data, Our Selves

[by Judy Herrmann]

Earlier this year, ASMP President, Richard Kelly, suggested I read Ken Auletta’s book, Googled: The End of the World as We Know It.   Thought-provoking and packed with facts, quotes and well-researched information – I actually pulled out a highlighter pen for the first time in years – it is so well-written and organized that it’s an easy and inviting read.

Auletta, who has written the “Annals of Communications” column for The New Yorker since 1992, uses the rise of Google as the basis for a much broader thesis on the impact of the internet and searchability on business, communications, advertising and the creation, distribution and publishing of content.  He clearly outlines the struggle between old and new Media and his interviews with moguls on both sides of the line provide fascinating insights into the role of content in these vast distribution networks.  My new understanding of the data collected about consumers and how it’s being used to monetize the internet has completely altered my views of the future and how our industry and my business need to evolve to take advantage of these rapidly growing data mines.

We’ve all been Googled in one way or another.  We owe it to ourselves to understand a little more about what that means.

Judy Herrmann, photographer, business consultant and former ASMP national president volunteers on ASMP’s Strategic Research and Web Oversight committees. Learn more about her at www.HSstudio.com

Big Changes can Happen while Reading on Long Summer Days

[by Carolyn Potts]

Instead of a best-selling mystery or a trashy summer novel, pack one of these into your beach bag and you’ll have more than a tan when you’re done.

You’ll end up with some different perspectives regarding where business is headed–and how you fit in.

I think it’s essential for any small business owner to get a  macro-economic business perspective. Reading outside your industry niche gives you the business equivalent of a liberal arts education vs. trade school education. Both kinds of education are very valuable. But added together, the whole is greater than the sum of the parts.

In the same way, maintaining a well-rounded and broad business perspective can generate new insights about marketing your photography. So in between reading the CS5 manuals, check out a couple of these.

The first few books will give you a wonderful dose of confidence about being in a creative industry.

A Whole New Mind: Why Right-Brainers Will Rule the Future by Daniel Pink

Linchpin: Are You Indispensable? by Seth Godin

These two best-sellers by Malcolm Gladwell really make you think.

The Tipping Point: How Little Things Can Make a Big Difference
and
Outliers: The Story of Success

Here are two of my favorite big-picture guides–one for a perspective on the global economy:
The World Is Flat [Updated and Expanded]: A Brief History of the Twenty-first Century by Thomas Friedman

and one to help you manage day-to-day priorities.
The 7 Habits of Highly Effective People by Steven Covey

And finally, for a different perspective on what might be really holding you back, have some fun examining your foundational beliefs with this help of this book:
Loving What Is: Four Questions That Can Change Your Life by Byron Katie & Stephen Mitchell

Have fun in the summer sun!

Carolyn Potts, perpetual photo evangelist; international consultant & speaker; and former rep, shows seasoned & proactive photographers how to get more work. Find her at www.cpotts.com , http://bit.ly/FaceBookPottsConsulting and http://carolynpotts.net/

Writing Effective Licenses

[by Judy Herrmann]

Like it or not, if you’re earning money with your photographs, you’re in the licensing business.  No matter what kinds of clients you’re working with – commercial, editorial, or retail (personal portrait, weddings, fine art print sales) – your paperwork needs to include a written license.

A lot of the licenses I’ve seen photographers draft are much more convoluted than they need to be.  So convoluted, that I often can’t even figure out what they’re trying to say!

Licenses don’t have to be complicated.  They don’t need to include a lot of wherefore’s, whereby’s or other legalese.   What they need to do is to outline – clearly, simply and in plain English – what the client can and can’t do with your images.

Most importantly, licenses don’t have to be in sentence or paragraph form.  Both the ASMP and the Picture License Universal System (PLUS) recommend writing your licenses as a series of bullet points.  You’ll find a comprehensive list of points to cover in the “How to write a License” section of ASMP’s licensing guide.

Licenses can cover a wide range of rights.  You can license extremely limited use (e.g. one time insertion at a specific size in a specific edition of a specific magazine on a specific date).   You can license extremely broad use (e.g. unlimited usage in any and all media throughout the Universe in perpetuity).  You can also license anything in between those two extremes.  You’ll find some common licensing bundles in the PlusPacks section of the PLUS website.

Be sure to include any conditions you want fulfilled in exchange for licensing your work.  Not granting rights until our invoice has been paid in full is one of the conditions my studio always applies.  You should also address whether or not the client can sub-license the images to third parties and if so under what conditions.

Providing vague, confusing or, worse yet, no written license at all, can lead to huge conflicts.  Conflicts that will damage your relationship and may even land you in a lawsuit.  Instead, try to write licenses that work as an effective communications tool.  One that helps both you and your client protect your respective interests.

Acclaimed advertising & editorial photographer Judy Herrmann conducts seminars and one-on-one consultations that help people grow their businesses and build more satisfying careers. Judy@HSstudio.com

What I Learned on my Way to the Commons

[by Richard Kelly]

It is my perspective that the role of copyright is to promote publication. Copyright is the engine that allows professionals to grant permission and collect money for the use of their work, that permission is a license. I see no reason for this to change. The fundamental change is how our images are published and what publishing really means in a world wide searchable channel like the Internet.

As commercial photographers our client relationships are primarily creating photographs on assignment or licensing existing images as stock to satisfy a need to sell an idea or to tell a story. Many of us routinely work for the same handful of clients for years. In this regard much of our business practice will not change. But with a new world of image buyers at their browsers, how do we engage them?

As professional photographers in the 21st century we need these things, universal image search with a licensing component, simple and easy to understand industry usage licenses with representative icons and a searchable images and license registry.

These are all possible now.

One model that is worth looking at very closely is Creative Commons. Built on top of Copyright law, this non-profit has built a series of iconic easy to read licenses that explain to the user what permissions they have when using a particular photograph. The image may be embedded with the license and with attribution which is a primary part of all the CC licenses. The simple language icon is built on top of a legal license that a lawyer could only love but one that is translatable in most languages around the globe. I wonder how many of my licenses are universally readable? Many photographers mistakenly assume that Creative Commons is just free pictures, which is just part of the story but not the only story, I suggest reading this.

If the standard copyright is ALL RIGHTS RESERVED, think of Creative Commons as SOME RIGHTS RESERVED.

For most professionals the CC licenses may not be part of your business plan, but some photographers have built their businesses around a hybrid model. This is something each photographer has to establish on their own, but what is interesting is the CC+ option, this model built around the Creative Commons Non-Commercial licenses, but with a component to license commercial rights. Yes, to make M-O-N-E-Y. Read about it here.

By the way, for you first timers, if users of Creative Commons Licenses fail to follow the license, they are infringing the copyright like any other infringer and all courses of legal remedies are available. Registration Counts and your photographs should be registered with the Copyright Office to protect your investment.

Creative Commons licenses are not for all photographers, but we can learn a number of important lessons,

•    Make licensing iconic and simple to understand in all languages.

•    Make attribution a basic requirement of all licenses.

•    Make it searchable and embeddable.

Richard Kelly is a photographer and educator living in Pittsburgh. As President of ASMP,  he is a progressive advocate for copyright and professionalism. Learn more about Richard here.

Creative Commons Licenses are Unnecessary and Dangerous

[by Leslie Burns]

I hear lots of people say how CC makes “sharing” possible and promotes the “democratization” of creative culture. Really, it is the emperor’s new clothes of IP licensing–false, dangerous, and unneeded.

For centuries (there is specific references to licensing in docs dating as far back as 1474!), traditional licensing has permitted creators and users to work together to develop new innovations, new art, new technologies. As the text book we used in my Licensing class in law school puts it (Licensing Intellectual Property: Law and Application pp. 3-4, emphasis added):
[...] it enables creators of information, technology, and intellectual property to do the sharing and collaboration that lead to the creation of new information products, from the production of an epic motion picture to the development of complex software. In other words, licensing underlies technological and creative innovation. [...] licensing enables parties of all sizes and from all sectors to bring information products to market in a multitude of ways. In other words, licensing also underlies business model innovation.”

Think about all the innovations of the 20th century alone, these were all done under the traditional system of licensing. No creativity or innovation was suppressed. The internet was created and grew, very successfully, under traditional licensing!

Moreover, the ability to share (free) has always been inherent in the traditional licensing system. If someone took IP from a creator and the creator didn’t have a problem with it, the creator simply did not pursue the user. An implied license could be said to exist. No problem.

So, I urge all creative professionals not to get sucked into the rhetoric of “remixing” and “democratization of culture” etc. that is promulgated by CC. Did you know that if you license a work using CC, you can never revoke that license later? And that each user under that license can sublicense your work (same terms)? It’s like a virus-license! You lose all control, forever.

You have all the tools you need under the traditional licensing system. You can give and share on your own terms, but you can protect and monetize efficiently as well. The language of the CC is seductive and sounds ever so good, especially to the creative mind that loves collaboration and working with others, but its a siren’s call to your professional doom.

_____________________
Leslie Burns is a creative/marketing consultant and not a lawyer (yet). She is taking the summer off from law school to work on a 2nd ed. of her photo biz book. Follow her at burnsautoparts.com/blog, facebook.com/burnsautoparts, and twitter.com/LeslieBAP.

Creative Commons, Friend or Foe?

[by Jim Cavanaugh]

Ask most photographers about Creative Commons and they will likely respond that it is just a tool for people to use images without having to pay for them. At first glance this may seem true. Creative Commons allows people to use photographs and other intellectual property created by others in several broad categories of use. These are broad licenses where creators receive no compensation. This is the part that most photographers see as a devaluation of copyright or “giving images away for free”.

But is it? Creative Commons does offer licenses. They may not be the kind of licenses we want to grant for our work, but they are licenses none the less. What do they do? The facilitate licensing. They provide a mechanism for a copyright owner and an end user to negotiate specific uses and operate with respect for current copyright laws. In essence, the end user obtains a proper license that the copyright owner grants for the use of their work. As long as the user abides by the limitations granted in the Creative Commons license, they may use the image without fear of infringing the copyright owner’s copyrights.

While the current range of licenses available through Creative Commons does not address the licensing needs of most transactions between professional photographers and their clients, it does offer a model to build on. The strength of the model is that it is fast, easy, available and widely recognized. The traditional process of obtaining licenses from photographers tends to be slow, complicated and without standards. However,  the PLUS Coalition has done tremendous work in trying to bring standardization to this process.

Technology has changed the expectations of how users expect to obtain content. Creative Commons may not meet our commercial needs and is geared to specific markets. However it is an important first step in solving the issues on how users of content can easily and quickly obtain legal rights to utilize that content.

Can Creative Commons model be a guide for us to build or utilize new infrastructure to license our work?

This License is Non Transferable

[by Steve Whittaker]

Once in a while I will meet a marketing person who demands the right to allow property owners, contractors and other entities unrestricted use of our images without additional fees. Some have expressed their right to resell photographer’s images to recover their firm’s cost from an assignment or worse, make a profit from our intellectual property, the images we create.

They may have been influenced in the past by photographers who allow unlimited and unrestricted usage to any third party firms such as contractors, vendors or manufacturers who want them as part of a package and this is a dangerous trend.

There are some photographers who have been shooting for years and didn’t care about the long-term issues or the loss of potential revenue, not to mention the potential damage they are causing to our industry. These photographers are giving away potential income but worse, they have created a culture or a norm by allowing their clients to walk all over them.

If you have not already done so, it would be in your best interest to add the NON TRANSFERABLE clause to third party requestors into your contracts. That offers further protection to your intellectual property.  It also will give you a stronger potential for future income. You will need to monitor and enforce that issue but clients will pay attention and you have the potential for making a better profit from your work.

Invest some time exploring the www.asmp.org web site. Start with the link to commerce and publications on business practices. Browsing through the legal resources section can empower you to move your career forward with a better understanding of how to create stronger terms and conditions, licensing, copyright registration and beyond.

Your estimate, contract and your terms and conditions need to be firm and well defined. Illustrate what the client is receiving. You also need to illustrate the limits of their license, the terms or period of use again. The information that you can down load from that site will surprise you and is well worth the time invested.

The key to making a better living in our profession is controlling the licensing of our images and protecting our future as ASMP photographers.” Empower yourself.

Make Time to Meet Someone New

[by Kevin Lock]

Unless we introduce ourselves, “they” do not know who we are. It is time to make that introduction.  Take a few days, put together a blurb book, pick up the phone, make some cold calls, set up a couple of meetings and jump in. Get out and meet someone.

Kevin Lock is a photographer based in southern California.  He is a national board member of The American Society of Media Photographers. Contact Kevin at kevin@lockphoto.com

Diversify

[by Jenna Close]

How many ways can you make your images work for you?  Boutique stock agencies, print sales for corporate offices, greeting cards, book jackets…look for opportunities to shoot once and sell often.  Additional payments from a variety of sources can help fill in the financial gaps.

Jenna Close, along with partner Jon Held, run P2 Photography.  They specialize in imagery for the alternative energy market.  You can find Jenna at www.p2photography.net.

Organizing Emails

[by Paul Barholomew]

Try organizing emails by creating folders that sort by keywords. An example is a folder setup to contain emails with the keyword “ASMP”. Reading through emails will be easier, especially if you subscribe to multiple forums. On Mac this can be setup in your mail preferences under “Rules”.

Paul S. Bartholomew is an architectural photographer based in the Philadelphia & New York region. His work can be seen at www.psbphotography.com

Photoshop CS5 with Large Files

[by Jay Kinghorn]

Are you using Photoshop CS5, on a Mac running Snow Leopard and looking to take advantage of all the RAM in your computer when working with large files? Make sure you’ve installed the DisableVMBuffering plugin in your Photoshop CS5>Plugins>folder.

The plugin is included in the Extras folder on the Photoshop installer DVD or downloaded installer disk image.

It’s Quick Tip Week …

[by Leslie Burns]

You’ve (hopefully) got an electronic “filing” system in place for your images. How about for your paperwork?

Setting Sales Goals

[by Blake Discher]

In my negotiating seminars I always make a point of letting my audience know that in order to be successful, I think we must be salespersons first and photographers second.

My sales career began when I sold franchises for a quick-print franchise.  One of the first things I learned was that all successful salespeople have clearly stated goals that they continuously work to achieve.  We’ve all heard that saying: fail to plan and you’re planning to fail.

Each month, set one important goal: how many new potential clients you’ll initiate contact with to show your work, commonly known as a cold call.  Don’t just set the goal, write it down.  Better yet, print it out the number on a letter size sheet of paper (with a large enough font size to fill the height of the paper) and tape it to the wall in front of your desk.

Don’t think for a minute that cold calling will be unsuccessful in the summer because those potential clients will only be on vacation.  In this difficult economy vacations are shorter and less frequent.

When you accomplish this month’s goal, make the next month’s goal more challenging.  You’ll find you’re making more contact with potential clients that will inevitably end up with more requests for estimates.

Setting goals helps you in three ways: they help you remain critically focused, they help you to “stay on track”, and accomplishing them help give you the necessary confidence to accomplish the next, more challenging, goal.

Your “sales pitch” will get better and better the more you practice.  You’ll get more comfortable selling yourself and develop your own style of selling.  You’ve probably heard it already,  emotion is the “secret weapon” used by successful salespeople.  People buy emotionally and justify the purchase logically.  Make your cold calls friendly and smile while your talking, the person will “hear” that smile on the other end.  And most importantly, let them know why you’re a good fit for them.  You need to always be selling!

Good luck!

Blake J. Discher is a photographer, SEO consultant, and educator. He speaks nationally on the topics of web marketing and negotiating. Visit his lifestream at www.blakedischer.com.

Guide Them in for a Landing

[by Rosh Sillars]

Create special landing pages for your marketing activities. A landing page is designed to receive incoming advertising traffic and is generally not linked directly to the rest of your Web site.

Make sure you install Google Analytics to help track landing page activity.

Use these special Web pages for all your promotions. If you advertise in a magazine, at a trade show, by e-mail or use social media, make sure the landing page relates to your marketing effort. For example, if you advertise in a construction trade magazine, create a URL that looks like this: www.yoursite.com/construction.html

Make sure the Web page relates to the prospects you are driving to it. In other words, the example page described above should talk about construction and display construction-related images.

Make sure your landing page has a call to action and a request for e-mail or contact information.

Test and tweak your pages until you earn the performance and goals desired.

Rosh Sillars is a veteran photographer, digital marketing consultant, host of www.newmediaphotographer.com and co-author of the book Linked Photographer.

Road Trip

[by Suzanne Sease and Amanda Sosa Stone]

Summer time in an assignment world is thought of as the quietest time in the year, when in fact it could be some of the busiest. We think that since the European markets take a sabbatical, the American market does too – but we should all know better – we are Americans and we WORK ALL THE TIME. Remember June and July are spent gearing for the Back to School circulars, the automotive world is shooting the upcoming models , the Fashion world is preparing for September , the Government run programs are in a new fiscal year that starts in July, So why should you market this summer?   You should market because this is the time people are looking and working!

Emails should still be going out as your base marketing. Emails are the easy way out (meaning not much effort on your part), but we still recommend it…but here is our BIG PUSH for the SUMMER….

TAKE A ROAD TRIP – either down the street or to the closest city near you.  Get your book in for a face-to-face showing. We know these can be hard to get, but you should at least try.  It is easier to visit places out of town than your own town, so plan on a road trip.  The general rule of thumb is for every 10 calls you make, you should be able to get 1 meeting.  When you call the buyer (and most likely leave a message) make sure you tell them that you are going to send them an e-mail with designated times you would like to visit.  When you give them a few options, they are more likely to pick one.  Make sure you have their e-mail address before you call.   Do not make appointments on Fridays as a lot of agencies work half days or not at all in the summer.

So the reality is that summer time may be a time for vacations, but it is also a time for gearing up for a very busy shooting time.  Make your road trip a mini vacation – that you can WRITE OFF.

ENJOY and DRIVE SAFELY!

Amanda Sosa Stone and Suzanne Sease consult with photographers around the world assisting in marketing and presentation efforts.

Start Your Engines!

[by Carolyn Potts]

After the Memorial Day Weekend now the summer games begin! Yeah! I hope that we all got to kick back, take a break from the work stress/recession-anxiety for a moment, and enjoyed the 3-day weekend. But after you had some time to relax and refuel, I hope you don’t let your marketing head get too chilled-out.

It feels counter-intuitive, but summer is actually a great time for a photographers to market their winter-themed imagery. While many clients are engaged in up-to-the-minute current-season marketing, other companies  produce big holiday catalogs that have really long production lead times. Many companies are planning and scheduling shoots of their winter-season products in the warm summer months.

If you’ve some ideas and examples on how to shoot “Christmas in July” now’s the time to get the word out. If you have the knowledge and experience to capture a cozy, winter, hearth-huddling mood when it’s 90º outside you’d do well to target some prospective clients and show them what you can do for their winter promotions.
Let it snow!

Carolyn Potts, perpetual photo evangelist; international consultant & speaker; and former rep, shows seasoned & proactive photographers how to get more work. Find her at www.cpotts.com.

Using Video to Promote Photography

[by Gail Mooney]

Video is the hot topic these days. You’d think it was a new thing. But there’s nothing new about video – it’s been around almost as long as TV. What is new is that broadband has made online video viewing integral to the Internet experience.

In the last year alone we’ve seen an explosion of video viewing and sharing on social networking sites. Advertisers are shifting their marketing dollars to the Web and online ads are booming. Why? Because marketers know that the consumer is going online to see and hear more about the products they are thinking of buying. It’s one thing for a potential customer to see a static image accompanied by text and quite another to see a product in use and demonstrated, or to hear the story behind a company. Online Web videos can be linked and shared and are searchable, providing more possibilities for potential customers or clients to find you and what your company offers.

If you run a video production company, it’s a no-brainer that you’ll want to use video samples to promote your business. But video is also effective for promoting all types of businesses, including still photography. You can import your still images into some type of non-linear editing system like Final Cut Pro, add a narrative track and/or music and create a video promo of your work for online viewing. This promo can also be uploaded to a mobile device giving you the ability to show your work to potential clients in a quick and interesting fashion, anywhere, anytime. Better than your typical “elevator speech” when someone asks “What do you do?”

Another very effective way to market and promote your photography business is to create a behind-the-scenes video. Everyone loves a story and this is a great way to tell people about your company as well as provide more information about yourself and how you work.

Gail Mooney runs a still photography and video production company with her partner Thomas Kelly at www.kellymooney.com. Gail share more on this topic here.

Marketing Doesn’t Take a Vacation

[by Paul Bartholomew]

Where is your marketing going this summer? Is it going on a nice long vacation? When do you think it will be back? I hope it doesn’t have a vacation home somewhere in the South of France. You can, but your marketing shouldn’t.

Your marketing should be consistent. People can get caught up thinking no one is listening or receiving the message because too many prospects are out of the office during the Summer. It’s true, but they don’t all go on vacation at the same time. Your marketing will find an audience and it may be a favorable time. It may be a time when your prospects can actually meet with you. They may not have work yet but the idea is to have them thinking about you when it’s time again. You marketing effort may not get as many responses certain times of year but people are there and listening.

Do you plan on having any vacation time? Here are some ideas to keep your marketing rolling even if you’re not around. Emails can be setup long ahead of time. I usually work 2 weeks ahead but if I have projects or events happening that may interrupt, I may work earlier on my next campaign and have it scheduled during the time I’m not around.  Postcards can be done in a similar way if you’re using a mailing service. Many postcard printers offer mailing services and can schedule not just one mailing but many to go out on specified dates.

Think about working on a marketing buffer and try to be ahead by a couple mailings at all times; at least have the design work ready. This way if you change your mind later on about a marketing piece you can swap it out before going to print.

No matter what, keep to your schedule.  If you allow your marketing to take time off, you might be feeling the effects sooner than you think and have more free time for yourself than you’d planned!

Summer Marketing

[by Leslie Burns]

Often, summer means a slow-down in business. This is usually a function of client staff taking vacations and a general shift in working mentality during the warm days. The wonky economy hasn’t been too helpful either, but this year I am hearing more good news than bad from photogs across the country. Fingers-crossed, things have been picking up overall. Still, summer can mean a dip; but, that can mean opportunities for your marketing.

If you find you have some holes in your schedule, some free time, here are some things you can do to help your business for the rest of the year (and maybe beyond):

• Throw a party. Do something fun and maybe outdoors and invite targets/clients. Try a twist on the usual. Instead of a cookout, how about a toga party? Or a Great Gatsby theme? Or prom (for grown ups)? Make sure to take pics of the attendees and send them prints afterwards as follow-ups.
• Make clients a summer care pack. For a few select clients (depending on your budget) put together things like a little fan, sunscreen and/or aloe (Target has travel sizes cheap!), recipe for some yummy summer dish or drink, a squirt gun, and a list of summer festivals near their location. Put all the goodies in a little sand pail perhaps. If it fits your style, include an image that goes with the materials (maybe on the other side of the festivals list or the recipe). Hand deliver wherever possible. Follow up with calls if you don’t hand it yourself to any of your targets.
• Put together a fun sports event like a kickball or wiffle ball game for other photographers and your clients in your community. Nothing serious, just good outside (preferably goofy) play. Get people together without pressure of selling or a full-on competition.
• Show up at an agency meeting with a cooler full of popsicles. This could get messy if you show your book at the same time, but most people will be careful and respectful. Bring napkins anyway.

In summer things are more relaxed and fun–use that to your advantage in your marketing. No one wants heavy, serious, deep stuff when it’s 80º outside.

One other suggestion: take a real vacation. Photographers are notorious for not taking real vacations, but you will re-invigorate your business more by taking a week or two off than by doing almost anything else.

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Leslie Burns is a creative/marketing consultant who is taking the summer off from law school to work on a 2nd ed. of her photo biz book. Follow her at burnsautoparts.com/blog, facebook.com/burnsautoparts, and twitter.com/LeslieBAP.

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