No One Cares How Hard You Worked

[MichaelWorley]

“When I showed [my] photograph to Bob Nadler . . . [h]e cut me short, saying ‘Nobody cares how hard you worked.’

“I've never forgotten that. It’s a really, really important lesson that all photographers should take to heart. If someone already likes your photograph, how hard you worked doesn't matter. If they don’t, telling them how hard you worked is not going to change their mind.”

Ctein

http://theonlinephotographer.typepad.com/the_online_photographer/2011/05/no-one-cares-how-hard-you-worked.html

A recent front-page submission on this site seems to challenge this view, adding tedious detail in fleshing out the obstacles in obtaining the headline shot.

I propose that if you’re going to embellish a shot with a story, then get after it! Don’t hold back! If there was blood, sweat, and tears, put ‘em in there, by golly! Along with any other bodily fluids that may have been involved. If there was drama, don’t hold back!

Here’s a version that I think more befits the image:


Jesus, Mary and Joseph! My card showed two frames left, batteries empty, bladder full, about to make me soak through my Depends, and the perfect Mittens view was half a mile away. It was 102 in the shade and, well, ya know what? there wasn’t any.

The blister on my left big toe popped as I resolved to hobble the last 500 yards to the precise viewpoint I knew from vast experience, hard work and intense scouting. About 100 yards from the spot, the dysentery I’d been fighting for days kicked loose, running down my legs, soaking my socks.

I hadn’t had a drink in hours. Perversely, my feet squished and my throat chafed as I dragged my body the last few yards. Hundreds of miles from the nearest Coke machine, hands trembling, eyes glazing over, I set up my gear. I’d left the remote release attached, just in case. Pro’s do that, you know. Sun setting fast, no time to analyse exposure. I let experience take over as I made one superbly intuitive shot.
 
Suddenly, the light was gone, leaving me alone with my thoughts to contemplate my greatness. I was humbled by the immensity of my achievement, the majesty of the scene, and my soggy pants.

[louoates]

In retail selling you quickly learn that if someone is interested in an item the only thing that should come out of your mouth is "cash, check, or credit card?"
 I've seen photographers at art shows start running off at the mouth about their traditional processes, no-digital processing, degrees in art they earned, etc. etc. as the customer's eyes glazed over and they walked away without buying the print they were actually holding in their hands for five minutes!
Unless they ask specific questions about your work I think that the more you talk the more they walk.

[feppe]

In retail selling you quickly learn that if someone is interested in an item the only thing that should come out of your mouth is "cash, check, or credit card?"
 I've seen photographers at art shows start running off at the mouth about their traditional processes, no-digital processing, degrees in art they earned, etc. etc. as the customer's eyes glazed over and they walked away without buying the print they were actually holding in their hands for five minutes!
Unless they ask specific questions about your work I think that the more you talk the more they walk.

Overselling and not knowing when to close are indeed rookie mistakes. A-B-C. A-Always, B-Be, C-Closing. - from a brilliant movie every salesman should watch.

[bill t.]

I have many experiences of telling somebody a backstory, then having them politely move on.  Only to show up months or years later at another show or gallery and buy the piece.  A backstory may not make the sale right then, but it does tend to make the piece stick in somebody's mind and it can also build your reputation.  And very often such seemingly impromptu "docent talks" will attract other people into your booth or corner. Have had instances where people who I never met before tell ME the backstory on one of my pieces that they heard from someone else.

Many of the people who just love your work at a show are simply not in the financial or logistical situation where they can buy, it's important to make a big enough dent in their synapses so they think of you later on.  If somebody walks away without some imprinting, you've lost them forever.

And in general a very low key telling of a backstory will open up communications with a potential buyer who would otherwise flee an overt sales pitch.  That typifies a lot of the people who buy naturey art like landscapes.

OTOH, don't hand out postcards with a URL or volunteer that you have a website!  Nothing can kill a right now sale like the idea that you have other pieces that can only be seen on a website.  But that's another story.

[MichaelWorley]

I have many experiences of telling somebody a backstory, then having them politely move on.  

There is often a delicate balance. Briot is the supreme salesman and I have not seen him use the backstory in person. But he probably would if he needed to.

In other news, I forwarded to Tony Kuyper a link to your endorsement on these boards of his actions. (I think he sells them too cheaply, but don't tell anyone I said that.)

Mike

[Kirk Gittings]

absolute dittos Bill T.!