As in the design and writing sections of the Designers Working With Series, the photography part of the series has shared a wealth of information. Below you’ll find a short review, but honestly, much more has been shared so it’d be a shame if you didn’t read the whole series.

To find out more about the photographers contributing to this section, go to Introducing the Photographers of the DWW Series.

To review: seven questions put to photographers:

1. What are the main points that you’d expect / want designers to know before contacting you about a project?
2. When working with designers, what do you see as the top problem areas?
3. How do you work?
4. How should a company or individual in your profession be chosen?
5. At what point should your profession be brought into a project?
6. How do you charge?
7. How can a designer improve their skills in your industry?

Designers As Clients

The Question: What are the main points that you’d expect / want designers to know before contacting you about a project?

• Bill Wisser: … articulate the specifics of what they need: the number of shots, a description of them, the feeling or ambience they would like the shots to create, the deadline, the planned usage and so on.
• Bruce DeBoer: Copyrights needed and budget target are necessary if you want an accurate estimate of price and scope.
• Damian Counsell: Do you want JPGs, PNGs, transparencies or prints? What size, resolution, colour? When will you need them? What kind of look are you after? What kind of effect are you after? What kind of image does your work already have? What do you want to achieve? Are you trying to sell something? Are you trying to illustrate something?
• Jeffrey Jacobs: … how the image will be used, and what audience the image needs to appeal too. Is it interior, exterior, will I need a studio or is it a location set?
• Jon Boyes: … a full brief including a shot list etc (if known) … details of the campaign’s proposed uses of the images are crucial … mockups, artwork or art direction is also of benefit to see how involved the job is, what style is required, what sort of retouching is needed, location scouting/permits required, models, crew? etc etc.. … approximate number of FINAL retouched images to be delivered is also of huge benefit. … a rough guide to the budget available would be good.
• Patrick Chuprina: … have a relatively clear idea of what they hope to accomplish and an idea of what they want the finished images to look like. … have an idea of a layout, knowledge of the product, if the product is to be close cropped, and/or a rough image sizing … have knowledge of any overlaying type … come equipped with a relatively fair timeline.
• Rochelle Dahl: The key points are budget, deadline, and expectations.
• Tom Smalling: … the final specifications for what is required before the job starts. Do you need a single photo, or a series of photos, room for copy, landscape, portrait, overall colors, etc.
• Will Williams: The target audience of their project.

The Problem Areas

Again, photographers had a difficult time with this question as most do not have any major problems with designers.

The Question: When working with designers, what do you see as the top problem areas?

• Bill Wisser: No major problems! However, sometimes a designer or art director will say something like: “well, this will only take you half-a-day” — while I know it will take longer.
• Bruce DeBoer: I love them all but many of my best designer clients are very fastidious about the finest detail which can detract from the emotion of a photograph and can even add needless tension to the set.
• Damian Counsell: I imagine the most likely source of trouble would be if the client was unclear about his or her goals. It’s harder to score a bullseye if you don’t know where the target is.
• Jeffrey Jacobs: … designers need to know what they want or don’t want. If a designer doesn’t know what they want that’s fine… really, it’s just they have to be honest about it.
• Jon Boyes: Many a time a call has ended with “that includes the copyright doesn’t it”? I’m afraid it doesn’t!
• Patrick Chuprina: Designers/clients who do not take the time to give final approval of an important large image before the set has been struck and upon reviewing the image at a later date decide they would like to make adjustments.
• Rochelle Dahl: Designers need to provide adequate direction as to the photography that they are looking for.
• Tom Smalling: Be sure to talk to the photographer about the intent/purpose of the project and allow them a chance to offer their experience on what they can bring to the project.
• Will Williams: Lack of focus on one problem at a time, some designers will bounce between projects and problems. While multi-tasking is essential, having a predefined work flow can make a project run smoother.

How Photographers Work

The Question: How do you work?

• Bill Wisser: The exact workflow varies widely with the circumstances: some deals are done completely over the phone or by e-mail; in other cases, I visit and consult with the client at their offices; or sometimes they come visit me at my studio. … I prefer to be contacted at least three weeks before the planned shoot … I always send clients a written proposal (even if we discussed everything verbally); and upon my acceptance of an assignment, I generally require a 50% advance up front; and in connection with that I send the client a detailed invoice with terms and conditions, which also serves as a contract. For certain large projects I’ll also send a formal contract that both parties sign.
• Bruce DeBoer: These days I use very little auxiliary lighting since digital captures allow me to use post production to enhance the file … I’m exclusively digital since the workflow is so dramatically different that it was with film.
• Jeffrey Jacobs: I often walk the site with the designer and gain a real understanding of their visual ideas and together we explore the most flattering views to explain the design, although I am often asked to “go do your thing”.
• Jon Boyes: I work to a photography brief normally, this can be loose or pretty descriptive.
• Patrick Chuprina: I’ve always worked very closely with my stylist/assistant.
• Rochelle Dah: I mostly rely on email and phone to communicate, but I enjoy face to face meetings as well.
• Tom Smalling: At first contact I try to gauge how far along in the creative process the client is. Sometimes they have clear expectations, other times I try to work them through their creative process to determine what they need.
• Will Williams: This varies greatly, depending on the client and project. If I have an existing relationship with a client face to face meetings and contracts are often waived. Unfortunately budget also plays a critical part in my working method. If the budget allows it, I’m more than happy to do those extras.

How to Choose a Photographer

The Question: How should a company or individual in your profession be chosen?

• Bill Wisser: … probably the most important way photographers are being chosen is via their websites … the next step would be to phone or e-mail one or several photographers and discuss the job in detail, get feedback from the photographer(s) as to how he/she would shoot the job, and discuss a budget.
• Bruce DeBoer: Quality and passion in the work is number one followed quickly by business professionalism, and personality.
• Dave Beckerman: In general, word of mouth.
• Jeffrey Jacobs: First and foremost the creative approach, quality of work, quality of light used to create the image, professionalism, personality and reputation.
• Jon Boyes: Definitely on style and definitely not location and not on price!
• Patrick Chuprina: Although budgets are a necessary evil of today’s profession I would hope the quality of work is the most important aspect of choosing a photographer.
• Rochelle Dahl: I think having ‘vision’, adaptability and transferable skills are more important than repetitive experience doing a certain scope of projects.
• Tom Smalling: Portfolios are always a good thing to consider, as well as previous clients they may have had.
• Will Williams: Ability to deliver, and good working communications.

When to Hire a Photographer

The Question: At what point should photographers be brought into a project?

• Bill Wisser: … consulting with the photographer, at least in a preliminary way, early on can be very worthwhile.
• Bruce DeBoer: Involve me as soon as you have questions. Any questions.
• Jeffrey Jacobs: It depends on the creative needs of the project.
• Jon Boyes: When the seeds of a creative idea have blossomed into a layout and concept.
• Patrick Chuprina: I really think as early as possible into the initial conceptualization of a project.
• Rochelle Dahl: Once the direction of a project has been determined, a photographer could be consulted.
• Tom Smalling: The earlier the better, always. Once you decide a photographer is necessary, you should start shopping to see who’s style will convey your message.
• Will Williams: When a designer is in the concept talk stages with their client is probably a good stage for the photographer to come in.

How Photographers Charge

The Question: How do you charge?

• Bill Wisser: By the project. Time is only one consideration.
• Bruce DeBoer: I charge based on the scope of the project and copyright use. Production costs are as detailed as needed and the creative fee is separate from copyright fee.
• Dave Beckerman: By the piece.
• Jeffrey Jacobs: I base my fee on how the image will be used, complexity to execute and production costs.
• Jon Boyes: Like all good professionals :) I charge on usage. How the image is used, where, when and for how long.
• Patrick Chuprina: In most cases by the shot.
• Rochelle Dahl: I charge by the hour or by project for my photography and video production services.
• Tom Smalling: I have a day rate (or studio rate) which is always the base price for projects. Then I consider the usage of the pictures and their overall worth and apply that to the price. Finally, I add in the extras which are involved in the project, whether it’s time behind the computer, assistants, rental equipment, etc.
• Will Williams: I’m guilty of being an artist here. If the subject of the project appeals to me a flat rate, otherwise I provide an hourly quote.

Improve Your Photography Skills

The Question: How can a designer improve their skills in your industry?

• Bill Wisser: looking at lots of photography books is always good — and I think it’s also useful to look at the trade magazine Photo District News.
• Bruce DeBoer: Improve your skills by hiring more photographers; there is no replacement for experience.
• Jeffrey Jacobs: Look before you shoot, think about what’s in the frame, be thoughtful about the lighting and PLEASE leave the “good enough” and “I’ll fix it later” attitudes at home, you’ll be amazed at how you photographs will improve. Take your time, compose your image, be aware of how the light (natural or artificial) strikes your subject, make adjustments based on the light and capture your image. Oh and most important, have FUN!
• Jon Boyes: Most importantly, adopt a colour managed workflow.
• Patrick Chuprina: I think the best thing a designer can do to improve their skills is work closely with their photographer.
• Rochelle Dahl: I believe it’s most important to keep your mind fresh and creative.
• Tom Smalling: If you want to improve in photography, there is no other way than being behind the lens. Shoot and shoot often!

And let’s not forget the excellent article by Leslie Burns-Dell’Acqua: How to Buy Photography

Note: be sure to read what Bruce DeBoer says in the comments as it’s all good.

Coming up next in the DWW Series will be printers (and possibly prepress).

until the next
Designers WW,
cat

Promises, Promises, Promises
Of More Things to Come …

The 10 Top Marketing Missteps series

For many designers, marketing is one of those tasks that often gets put on the back burner. Worse, when folks do get around to doing something, they make typical mistakes. In this series, Neil will be addressing the top ten marketing goof ups so you don’t make the same blunders.

The Designers Working With series

When learning how to work with industries surrounding and sometimes touching on design, there are several ways to go. Books and trade publications instruct, as do classes (for some). Potentially expensive, winging it is common. An additional option is sitting at the feet of experienced pros, either at an in-house position, or under a few wings.

To start the conversation, in the past months Cat’s been interviewing to get advice, tips, hints and musings on the subject.

7 Questions went out to writers, photographers, illustrators, marketeers, programmers, printers and pre press specialists:

• What are the main points that you’d expect / want designers to know before contacting you about a project?
• When working with designers, what do you see as the top problem areas?
• How do you work?
• How should a company or individual in your profession be chosen?
• At what point should your profession be brought into a project?
• How do you charge?
• How can a designer improve their skills in your industry?

The same questions went to designers, but with changes to question 1 and 2:

• As a professional designer, what are the main points you want clients (potential and present) to know before contacting you about a project?
• When working with clients, what do you see as the top problem areas?

Those coming into the business of design, as well as seasoned business owners, just might find this series an interesting read.

If you’ve like to submit to the series, contact Cat.

And there’s more

Coming up will be talk of business plans, book reviews and interviews, podcasts, primping, playing and relieving stress.

Until then,
The BoDo Team
cat - nt - jay