Picking up from the Part I of my interview with photography and publishing consultant Jain Lemos, we learn some of the specific ways photographers of every ilk can benefit from photography consultants, reps and/or agents.
Ethan G. Salwen: Is critiquing photographers work a big part of what you do?
Jain Lemos: Yes. I have been a judge for several competitions, including the upcoming Photolucida 2008 Critical Mass. I am also a portfolio reviewer for North American Nature Photographers Association (NANPA) conferences, among others. I write photography book reviews for About the Image and ASPP’s The Picture Professional.
I also work with individual photographers, typically looking at portfolios and providing feedback and suggestions on how to improve their presentations for an editor’s eye. Many photographers find it difficult to consider what an editor is looking for when they are presented with a portfolio or proposal. Photographers tend to include images for obscure reasons (such as the memory connected to making an image) or for no reason at all. When I ask, “Why did you select this frame?,” if the answer is not of significance in terms of what an editor or client might need, I point out reasons why it should be dropped or re-worked into the presentation.
I avoid art class-like critiquing, which is seldom needed unless I am helping inexperienced photographers. My clients are visually sophisticated and don’t need instruction about how to take good images from a technical aspect as much as they need to learn how to refine both their vision and how they present that vision. Even the best photographers struggle with editing their own work, but that is different than critiquing. I focus on asking a lot of hard questions to help photographers determine what is keeping them from meeting their commercial goals.
EGS: Can you give some examples of specific ways you have helped photographers?
JL: Selecting images for their marketing materials; introducing their work to the appropriate clients; finding them a stock agency; negotiating complicated assignment contracts; writing promotional copy for their websites (including the “About Me” section, which almost always needs work); creating special portfolio shows to present to clients; sequencing photographs into sets or bodies of work; preparing proposals for books and magazine articles; encouraging them to try new things or drop unnecessary methods; streamline their workflow and office. I could go on, but you get the idea.
EGS: All of these services sound fantastic. I’ve talked to scores of photographers who say they need help with exactly these types of things. But it seems that the more in need the photographers are, the more convinced they are that they cannot afford the help. Even if they have the resources, photographers tend to be very isolated by nature and don’t see consulting on their radar.
JL: This seems to be the nature of most photographers. They try to do most things themselves or look for someone who can help them for free, probably someone without experience in this industry. They want to grow but resist investing in that growth. The lone wolf comes out again. They spend money on tech stuff and expos instead of on the services of someone who can make them money. It’s a choice. I understand that, but it’s unfortunate when it keeps them from seeking out the affordable answers that are available.
EGS: What is your advice to photographers interested in possibly working with a consultant?
JL: Be ready to let go of control in certain areas surrounding your business. Don’t expect immediate returns. It might take a year for some. Choose a consultant who constantly challenges you and inspires you to deliver the best work of your life every day.
EGS: I think most photographers will balk at the idea of not seeing a quick turn-around on their investment.
JL: Photographers who are unknown or only starting out are going to have to pay their dues. This is all about taking someone to the next level and that rarely is going to happen overnight. The investment can be as low as a few hundred dollars. I believe that is worth it in order to gain access into a network and knowledge base such as the one I have.
EGS: Concerning the solid, pragmatic issue of making more money, can you give one piece of solid advice that you think would help the majority of professional photographers to increase revenue, improve visibility and increase professional satisfaction?
JL: Find an association between your name and your work. When I start working with a photographer, the first question I ask is, “What kind of photographer are you?” More than 90% respond with a long winded, overly apologetic or embarrassing type of answer. I suggest that we improve that answer right away—working together to find a few clear sentences that truly answers that question when it is asked. Doing this is a serious process and it often brings up issues of future hopes, past failures and limited or unrealistic expectations. All of these have to be addressed directly and honestly and considered in relation to marketplace realities.
EGS: Any last thoughts?
JL: I just can’t encourage photographers enough to at least investigate different consulting options. There are many. They are affordable. And they have an amazing impact on a photographer’s creative life.