I tend to feel guilty on non-shoot days if I’m not in the studio working on something.  Maybe I’m afraid of missing that important call or email, but then again that’s what an iPhone is for isn’t it?  On the other hand, maybe I’m missing the point if I’m not concentrating on my personal work and checking my messages all the time?  Probably.

So how can a photographer finally put time aside and forget about business for a short while?  I think it comes down to just doing it and getting used to it.  Set time aside in your schedule and try to stick to it.  If a photo shoot comes up then reschedule your personal day but don’t cancel it.  You don’t need an agenda and it doesn’t have to be related to your professional work.  Perhaps you may want to pursue another specialty or work with video?

My personal days have been about food photography yet most people know that I’m an architectural photographer.  I find it as a nice balance and different way of thinking.  It’s refreshing and keeps me in touch with my passion for the culinary arts.  What would you like to pursue as personal work?  Don’t worry if you don’t know yet because these things take time.  The important thing is starting somewhere and finding your way.

Living in this blizzard of Tweets, I have to remind myself that doing really creative work requires a certain amount of silence, even boredom. There has to be space in which things can occur, and if you are constantly talking about what you are doing, you can’t really listen, at least not as much as you need to do deep work.  (Which is maybe why my earliest work was so lose and prolific. After all no one was chasing me to do other projects then. They didn’t know I was alive. Which was more desirable than I knew at the time.)

The first question that seems to pop up around about any creative idea seems to be, How can I support/sell this? It’s a fair question, but perhaps it shouldn’t be the first question.

Although it seems a bit cloudy just now, photography is an amazing mirror, and it can reflect the most subtle and broad phenomena. It still amazes me when a single still image, resonates it a way that takes one into other lives, other worlds, atmospheres, things that can’t be said any other way. Take a look at Roy deCarava’s Hallway. Try to say something about it. The closest I got was when I tried to write a poem about it, but believe me it wasn’t as powerful as the picture. It is a kind of photograph that I think can you can only get to by first being quiet. That’s how it works on the viewer too.

There’s a time to show, to promote, to “monetize”, but it’s not all the time, and it’s not the creative time.
Think of that old Zen koan. It may be that if a tree falls in the forest it makes no sound, but the tree sure knows things have changed.

The “business” of video production encompasses a lot of things – one being good paperwork.  From the initial estimate on a job, through the final invoice along with obtaining the necessary releases – good paperwork is essential for a profitable business.

I keep a database of past SOWs (Statement of Work) to use as references. While every job is different, I use these archived SOWs as a starting point. Another great starting point when putting together an estimate is to use the estimating form online at the AICP (American Independent Commercial Producers) website.

In addition to estimating the costs of crew, equipment, location needs, pre-production and post-production, I include clearly payment and licensing terms as well as a schedule of workflow and completion dates.

Terms – Here is where I state rights and  “usage” of the finished product – where will it be used and for how long.  I also clearly spell out payment terms, cancellations and provide an accurate description of exactly what I’m going to deliver.

For Example:

• 5 minute web video.
• One day shoot on location at………….includes 2 interviews and b-roll.
• Post production – edit will include x amount of still images, voiceover narrative track and music. Logos and graphics to be provided by client.
• Payment – one third upon signed SOW (Statement of Work)  – one third after shoot –balance due upon delivery of final product.
• Cancellation terms and change fees.
• One rough cut and final cut included. Additional changes are billed hourly at $………
• Licensing and usage terms. Web usage for 2 years. No Broadcast rights.
• Schedule – This is extremely important in video production – a schedule where the client signs off on each phase of the project. This is critical so if the client delays things on their end – it’s clearly understood that the rest of the schedule gets extended in terms of deadline dates.  Otherwise if your client’s boss has an unexpected out of town trip come up and you need to wait for his/her approval – you won’t be left with half the time you need on your end to deliver the final product.

ASMP has a new online resource designed for the still photographer who is moving into motion.  Gail Mooney is chair of the newly formed Motion/Video Committee and she embraced this role with the same gusto she uses in her own work. Gail interviewed fourteen members who have successfully incorporated video into their businesses. The results of this work are now available as the first step of ASMP’s new tutorial on video.

Topics covered include – definitions of the common roles involved in video production, technical concerns, insurance and business issues and how to get started. Here are some sample questions included in this resource:

• What are the differences, advantages, and disadvantages of positioning yourself as a shooter, a director or a producer?
• What markets do you work in when shooting video?
• Do you market yourself as one “production company” or separately as a still photographer and media producer/videographer?
• What are some standards in video? What is considered the pixel threshold for HD?
• Do you edit your own material? What platform and software do you use?
• How do you copyright a body of work that is comprised of video and stills and music?

ASMP is dedicated to making sure you have the tools you need to reach new markets with your work. So, check this out and give yourself a leg up before you move into motion!

A couple of weeks ago, my partner, Mike Starke, and I finished our very first digital video project.  We made our deadline with about 15 minutes to spare and only pulled one all-nighter; two facts I take inordinate pride in.  In the process we discovered a lot that we’ll do differently the next time.  Here’s what we learned:

1) Shooting – get tight, get loose, get high, get low, go wide, go long – just mix it up!  Once we were editing the footage, we noticed that even if each segment is showing different people or activities, too many shots from the same distance with the same lens or from the same camera height get boring fast.

2) Editing – I haven’t yet figured out the organizational system that we’ll use in the future but I know we need a better one!  I can’t tell you how much time we lost searching for a particular clip that we had tagged but couldn’t remember which bin it was in.  About halfway through the project, we wound up creating an Expressions Media catalog for our clips.  There’s probably a better way but this let us use a tool we already knew really well to visually scan key stills from each clip instead of trying to remember what we’d named it and where we’d stashed it.

3) Set up – Video editing applications are monitor hogs.  You don’t just need two monitors – you need two big monitors.  We got by with a 21″ and a 23″ display hooked to our tower but would have happily used more space.

4) Time away – After watching our footage over and over and over (and over) it got really hard to figure out how long someone who’d never seen the shots before would need to see a clip before moving onto the next thing.  Every few hours, we really needed to get away from the project for a few hours so we could refine our edits with fresh eyes.  As we work out the deadlines for future projects, we’ll take this into account.

5) Rejuvenation rocks!  One really great side effect of doing this project was experiencing the excitement (and fear) of doing something we’d never done before.  We’re not just learning new software, we’re learning a new way of seeing and a new way of thinking as visual communicators. I’m feeling more excited, more creative and well, frankly, more hopeful than I have for awhile.  It’s been a good reminder of how important it is to keep pushing myself creatively.  As Miles Davis once said “If anybody wants to keep creating, they have to be about change.”  After 21 years as a still photographer, I’m ready.

Pricing a multimedia project is not unlike pricing a still photography shoot:  usage is the key factor.  As a parallel example for a stills only assignment, I would price a shoot for photo usage in a hospital brochure or a university view book quite differently than I would price a print ad shoot for a consumer product — different usage requirements fall into different pricing categories.

When writing a project proposal for multimedia, take the usage into consideration when you come up with a base price for the project.  Your Assignment Agreement should spell out what usage is included, along with specifics of how many hours of production time, how many iterations of the feature are included, out-of-pocket expenses, and so on.  Anything above or beyond that agreement incurs additional charges, and this should be discussed with the client up front.  That way if they keep sending you back to tinker with the audio or images, they know that they will incur additional costs and you will be compensated.

Keeping good time logs to track the work you do is important.  I use a simple excel spread sheet to log the total hours I’m spending, and what I spend them doing.  This serves two purposes:

1.    I have records to use to make sure I will bill the client for anything over and above the original agreement;
2.    I have good records to use to estimate the next project.

If you are doing your first project and don’t know how long things will take you, go out and produce a project on your own to get a sense of it.  Yes, there will be a learning curve and hopefully you will get faster as you get more experience (just like with stills), but at least you will have a starting point.

In addition, it is a good idea to find out what it costs in your neighborhood to job out any piece of the project.  This is basic research:  make some calls to production houses or independent producers and see what it would cost to hire someone.  This will educate you as to what the market will bear in your region, and will help you develop a network of contacts should you need help.  Whether you do the production work yourself or hire someone else to do it, you want to make sure there is enough money in your budget to cover it.

As the mobile phone begins to replace the television and personal computer as the primary screen for interfacing with the Internet, and print continues to decline in popularity, this shift will impact the way photographers create photographs. While a two-page magazine spread can contain a rich array of subtle tones and fine details, the relatively low resolution screen of a computer or a mobile device cannot. To have impact on a small screen, a photograph must be tightly composed, cleanly lit and catch the viewer’s attention immediately.

Unfortunately, these small screens remove much of the subtlety that makes photography such a powerful medium. To bypass the limitations of the small screen, my guess is photographers will adapt to the technological limitations of mobile screens by using a series of images to tell a story, instead of relying on a single, all-encompassing photo.

Photographers who take time to rethink their compositions, lighting and visual storytelling options will be better suited to succeed in all mediums, regardless of the twists and turns technology throws at us.

Living in a house that’s undergoing major renovations has taught me a lot about professionalism.  Our contractors, José Batista and José Salamanca, take responsibility for every detail.  They’re careful about the sub-contractors they hire, they stand behind the work that’s done, they listen carefully when we explain what we want and take our concerns very seriously.   They offer suggestions to improve the project but always acknowledge that it’s our call, our choice.  They make our problems their problems.  And they solve them.  José Batista said to me the other day, “You know, every job we do, it has my name on it. My name matters to me.”

The carpenters they brought in, Milton and Antonio, sweep up every night.  They take the time to reseal the plastic sheeting between the work zone and our living space every single time they go in or out so our space stays warm and dust-free.  They bring our empty garbage cans up from the street, answer our 3-year-old’s endless questions, and work incredibly hard with amazing efficiency.  They inform us of any problems they encounter but always give us solutions and options at the same time.  They gracefully accept our input even when it means more work for them.  They treat our home with the same respect as they would their own. From big decisions to small niceties, they do the right thing, and they do it consistently.

For the first time in my life, I’m the client on a major project where I’m spending a lot of money and have a lot at stake.  In other words, I’m in the place that my clients live just about every time they hire my studio.  As I write this post, I can hear the plumbers debating the best way to run the radiant flooring to make sure that a room with 8 large windows stays warm.  The roofers are busily pounding nails, the wall guys are mixing cement and the dog’s barking wildly as yet another workman carries stuff up our front stairs.  It’s total chaos but my stress levels are well under control simply because I know my project’s in the hands of professionals.

One of the biggest problems many, many photographers face in their businesses is being and acting confident. Just today I was speaking with a client who said, essentially, that he’d rather have scalding coffee poured in his lap than have to talk about himself. That’s pretty typical.

Most photographers (and all creatives) are terribly insecure. And yet we see some who appear totally confident, if not downright proud and even egotistical! How do they do that?

For most, they are faking it.

At least at first. They’re scared someone is going to say “I don’t know how you’ve gotten this far!” or “Who do you think you are?!” or the like (we pretty much all fear that), but they just don’t show it. They act confident, regardless of how they really feel. That is the trick.

Just look up “fear” and “courage” on any of the quote sites. You’ll see that generals like Patton have said that everyone is afraid, including the most courageous. Your normal to be afraid. But you can appear confident and courageous on the outside.

When I speak to groups, people talk about how confident I am. Really, I’m scared out of my shoes, every time. But I chose early in my professional life, actively chose, to act like I was having a great time when speaking publicly and, guess what, now I have a great time. That fear has become like the thrill some people get from bungee jumping or riding roller coasters.

So, what I suggest is the well-worn advice of “fake it until you make it.” Imagine what a confident photographer would do in a similar situation and play the part of that photographer. Wear the clothes (costumes really help, so invest in some great outfits), practice things you might say when you’re alone, and next time you have a big meeting, or show your book, or whatever, fake it.

Afterwards, when your heart stops racing and you are alone, review what worked. Think about how you did it. Don’t focus on any mistakes, but instead celebrate the success. And the next time, it will be a little easier, and the next, and the next.

Most photographers spend countless hours developing and implementing marketing programs, direct mail campaigns, e-mail, web communications and social networking all designed to make clients aware of them and their work.

But clients are only part of your business. What about other key support people like your banker  or your CPA? What about your insurance agent, internet service provider, camera shop, printer, design firm and delivery service? All of these key partners play an important role in your business by providing service and advice. Are you keeping them informed? Are they on your e-mail list? Do they receive your promo pieces? Are they linked to you on social networks?

Make sure they are and let them know what your business is doing. If they understand your business, they will be better poised to advise and help you in their areas of expertise.