Luminous Landscape Forum
Equipment & Techniques => Pro Business Discussion => Topic started by: fredjeang on October 13, 2010, 07:49:20 pm
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I know...
I should just be positive, spread the forum with good vibes and go to Oprah.
But I'm afraid that is not what is going to happen in this topic.
Today I felt honestly moody, I had the blues.
I saw for the zillionth time a top photographer been gently replaced by some point-and-shooters-fashionists. It just happens too much in the recent years to be only a coincidence.
In short, a long time guy's client, big client, great works...today I came to visit him and while we where looking in the internet to a recent campaign, the man discovered in front of me that the latest client's pictures where from an unknown team and he was not advised. When we started to take a look, the pics where horrible: bad models, bad lightning, bad retouching, bad make-up, bad stylism or no stylism at all, bad everything...a complete disaster.
Big silence...looked at his face...let him talk:
"How much does it cost? That's the only thing they want to know today"...
It's not the first time that I see the global economy situation happily mining the profession, but it is the first time I realise how bad things can be when they reach the point that they don't even care for a minimum quality.
Doing more for less, yes, that is what the gurus are telling me all the time now: be preapared to do more for less. But this is a non-sense jungle.
How-much-does-it-cost resonated in my head during the rest of the day. I admit, I came back home with a weired feeling.
1) Is professional photography really dying?
2) How to escape all that bullshit???
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Fred,
Are the clients being that much different than a lot of members on this forum that say things like;
"I would never pay $XXX for that"
"Save your $$ and make a DIY lens alignment tool"
"I don't want any dealer support, just give me the lowest price"
It is indeed a sad situation.
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The question should be how much is it going to cost them?
A little while back an architect decided to hire me to do a job and wanted to get the contractor involved to help save on the cost. It is common for more then one party wanting use and as long as they tell me this before I invoice the job, I will charge an extra 30% per party, then split the bill. Kind of a win win. The contractor was on the fence, so I told the architect that I would give him images with my name across to send to the contractor when the images were done and he would have a couple days to make a decision. I sent the images and within a few hour the contractor was on board. I followed up a few months later with the contractor. They attribute the fact that they got a couple big jobs (5000+ residential projects, not that common in this market) to them using my images and already have a couple other projects in mind for me.
So it is just about getting the word out and waiting for people to come around, and the economy to come around. I am sure it will.
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Hi all,
i have been reading this forum for years, seriously, but anyway, this is my first post. HI!
1) Is professional photography really dying?
In someway i think so, at least as we knew it, the business now is in a situation that lots of factors enter to play: the economic shock is the first to come to mind, anyone want to cut costs anywhere; the position that some superstar photographers took few years back asking horrendous mounts of cash to shoot is now only justify just for few holdings; the huge amount of new photographers that digital era has bring is now pushing things quite hard aswell, some are really good and working for nothing.
So, i think that before if a company wanted to have the job done have few options, spend much or spend much more, there wasn't any option C. Now there is that option and you must to look at them with pedestrian eyes, they are enough! just enough! but they have the minimum quality to get the job done. I think that combined with furious chairman knowing nothing about advertising but demanding cutting the costs is the perfect cocktail for the bad work now. Sure there is much more stuff involved but that's firt come to mind.
2) How to escape all that bullshit???
as Joe said, i would try to keep the good work and waiting for the right time.
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1) Is professional photography really dying?
In someway i think so, at least as we knew it,
Yes, as we knew it. The industry has changed, we have changed, it's a new playing field and people need to adjust to new ways of doing business. That's life.
And what is a professional anyway? It used to be easy to define, it was the guy with the Blad at the wedding or the guy from the local paper etc. Now it ranges from the consumate professional who has no interest in photography as such, just in the business ( and I know people like this) to the enthusiast who sells a couple of prints on the internet. Where do you draw the line.
Personally I am keeping myself informed and adjusting my business accordingly. There are still lots of opportunities in the world of imaging.
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And what is a professional anyway? It used to be easy to define, it was the guy with the Blad at the wedding or the guy from the local paper etc. Now it ranges from the consumate professional who has no interest in photography as such, just in the business ( and I know people like this) to the enthusiast who sells a couple of prints on the internet. Where do you draw the line.
Interesting; the examples you quote represent the parts of photography that, in my era, where thought to be fringe players in the industry. The only one that did fall into the concept of 'professional' in your list is the entrepreneur who ran a studio but seldom clicked a shutter. As for internet sellers, they didn't exist, and their influence, apart from the microstock murders disaster, is still irrelevant to professional shooters; Chanel doesn't go to twitter and choose a guy for the next campaign any more than does Ford, GM or Mercedes, Heinz, Rolling Stone or Vogue. The real threat is the new guy with no business sense who thinks he will make it by cutting the throat of the established fellow. He will not make it; he will just fade away, leaving behind him the graves of those he killed in his dumb attempt to buy success.
Rob C
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Fred
It isn't just in fashion, either. When we decided to base our operation in Spain, it was because we had a lot of calendar work and I was with Tony Stone for stock, as big as it got in Britain and, probably, anywhere. The reason to be here was the locations. The calendar work was very seasonal - much of the time the clients didn't need to see me at all, so I filled it with work for travel brochures etc.
For those brochures, I quoted a per hotel or apartment charge, based on the fact that I could then choose the day depending on weather and occupation of properties - you can't/won't shoot with clients in residence! I worked for Thomson and several other such companies. It was interesting; the first year or two it was as per my quoted price, and then, I would get requests to cut down the charge. I usually refused and lost the contact. And that was as far back as the 80s!
One company, for whom I had shot several whole brochures, went down just after their brochure went on display in the travel agencies; I did not get a penny. To my surprise, the same brochure reappeared with no changes other than with a new name over my cover. I immediately got in touch with them and sent in a copy of my invoice. I got a 'phone call in return, suggesting they owed me nothing, that they had NOT bought over the dead company but simply taken their hotel allocations. I asked them if they had any idea about copyright, and they said of course they did; I evetually got between half and three-quarters of my fee and the next couple of shoots.
Then, I was contacted again and told that my per/location fee was not acceptable any more, and that they wanted me to do it on a basis of a week's shoot. I replied that I lived on the spot, had perfect communication with their manager here, that I could judge the right time of day to get the best shots and also was on the spot when the properties were briefly between clients. It didn't matter; they wanted a package. I refused. Ciao.
So yes, there is such a thing as an ignorant client too. I have no idea who or what replaced me. But it is nice to have earned your fuck off money.
Rob C
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Yes there are plenty of young photographers out there trying to make it in the profession, like me. But not all of them have bad business skills. I know how much I have to charge to make a profit, pay myself, and pay my business, and for those that do not, they will not be business much longer. They will either wise up to it and start charging more, or go back to there old job thinking photography is nothing about luck, telling everyone that in order to make it you need to be in the right place at the right time with the ... Just like everyone else who started a business and did not take the time to figure it out and learn from others in the industry.
But that is the nature of every service industry, no matter what you do. There will always be someone else who is willing to undercut you, no matter what you price is, to get the job. It does not matter if you are a photographer, or a housekeeper, or a environmental consultant, or an architect, or whatever. I know this because I talk to a lot of people and they all fell the same about it. But the ones doing the best (which is not that good right now) dont think about it and they do not lower their price because of it. They sell on satisfying the clients needs.
People will see a need for quality; they will see the business they are loosing or the name base that is not as strong because of the lousy images they are using and hire good photographers again. We just need to wait it out and not do anything that will degrade our reputations, like low balling.
PS The funny thing is that I run into these hack photographers sometimes telling me that they are more competitive by charging $150/200 for a day shooting while meeting all kinds of new people. But what I know is that at that amount, with what I charge, I shoot two days a month, I will have already made more if they shoot every day they can that month. And all the new people that they have met and made connection with are not people that will respect the work and ever pay a fair wage. And last, without even looking at the work, I know the quality will suck, because lets face it, at $200/day, you have no room left to bring anything besides a camera.
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We need a french revolution.
i'm afraid you will not see any french revolution in Spain, i'm spanish myself and i know how things are doing down there, and i'm quite sure they stay the same as before i leave.
The problem in Spain is the same as everywhere plus it has a little scene, there are few clients, few magazines and everyone know each other. That means a hard place for anyone who has something different to say and a hard place to work if you don't follow their rules. I know great photographers that were top few years back and now they don't want to follow the new rules so they are out, there is no alternative, there is not any other scene; the same for newcomers, people with brilliant ideas that doesn't follow the rules are kicked out and one kick out in spain is that you don't have a second chance. So at the end of the day all they want is, someone who press the shutter, say yes to everything and don't bill for much.
Your example of chinese stores in Spain say it all for me, that's the hard reality that Spain have. No credit to quality at bargain price and with someone telling you: "si, si, si, si".
I think that the blame must go to the people who pay, but then, maybe it's the final consumer who we must blame to... They are not consuming enough, companies struggle, companies have fear, that fear goes to editors and ad agencies, those don't want to risk their asses so they dont risk with new ideas, new people, or fair budgets, anyone dont want to take the credit just in case things go wrong with the pictures, but if it cost nothing then it will be a great work anyhow the quality. So at the end we have the same cheap bullshit because anyone want to push boundaries because of fear from the final consumer that will stop consuming. In a country without tradition for quality that's what you have.
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i'm afraid you will not see any french revolution in Spain, i'm spanish myself and i know how things are doing down there, and i'm quite sure they stay the same as before i leave.
The problem in Spain is the same as everywhere plus it has a little scene, there are few clients, few magazines and everyone know each other. That means a hard place for anyone who has something different to say and a hard place to work if you don't follow their rules. I know great photographers that were top few years back and now they don't want to follow the new rules so they are out, there is no alternative, there is not any other scene; the same for newcomers, people with brilliant ideas that doesn't follow the rules are kicked out and one kick out in spain is that you don't have a second chance. So at the end of the day all they want is, someone who press the shutter, say yes to everything and don't bill for much.
Your example of chinese stores in Spain say it all for me, that's the hard reality that Spain have. No credit to quality at bargain price and with someone telling you: "si, si, si, si".
I think that the blame must go to the people who pay, but then, maybe it's the final consumer who we must blame to... They are not consuming enough, companies struggle, companies have fear, that fear goes to editors and ad agencies, those don't want to risk their asses so they dont risk with new ideas, new people, or fair budgets, anyone dont want to take the credit just in case things go wrong with the pictures, but if it cost nothing then it will be a great work anyhow the quality. So at the end we have the same cheap bullshit because anyone want to push boundaries because of fear from the final consumer that will stop consuming. In a country without tradition for quality that's what you have.
Mingus, your description about Spain matches with mine. I agree 100%.
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Disclaimer: I'm not a pro ...
What I hear from people I know here (Germany) is:
Consultants in advertising industry working 60+ hours a week and earning less than a room cleaner working 40 hours.
"What does it cost" question everywhere and all the time and quality seems to matter less and less ...
Marketing / advertising budget in the company of someone else I know shortened from 4.000.000 € down to 1.800.000 € within one year (2009).
I also hear, that people in agencies and other customers don't pay like before and get amateurs and low-end pros doing jobs, because these people seem not be able to see the difference in the results.
So - what I ask myself is: How could pros doing good photography justify their price if the customers simply don't see the differences?
Why do theatres, classical music, high quality books and such sell worse than cinemas, pop music and bad magazines? Quality requires some education on the side of the consumer.
I believe if I were a pro, I'd run a blog or something and show the differences. What is quality photography and what is crap photography, knowing this wouldn't change too much in the end.
Educate your consumers and pray ....
Just my € 0.02 ...
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Consultants in advertising industry working 60+ hours a week and earning less than a room cleaner working 40 hours.
"What does it cost" question everywhere and all the time and quality seems to matter less and less ...
Marketing / advertising budget in the company of someone else I know shortened from 4.000.000 € down to 1.800.000 € within one year (2009).
I also hear, that people in agencies and other customers don't pay like before and get amateurs and low-end pros doing jobs, because these people seem not be able to see the difference in the results.
So - what I ask myself is: How could pros doing good photography justify their price if the customers simply don't see the differences?
Why do theatres, classical music, high quality books and such sell worse than cinemas, pop music and bad magazines? Quality requires some education on the side of the consumer.
I believe if I were a pro, I'd run a blog or something and show the differences. What is quality photography and what is crap photography, knowing this wouldn't change too much in the end.
Educate your consumers and pray ....
Just my € 0.02 ...
That is absolutly true! Exactly the same here. My building keeper used to earn more/mouth that any super skilled retoucher or stylist now.
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I was thinking about you guys as I was sitting in the local bar having lunch today. I had their copy of the newspaper Ultima Hora and came across this article on a beauty competition to be held in Madrid. You might be able to raise it on the internet.
The contest is called Dama de España, the girl interviewed is from Mallorca, and she is called Laura Navarro. She is asked about modelling here and about what she can expect to earn. Her reply: "You can't live off fashion in Mallorca. Agencies pay €65 per day and the insurance gets paid by the agent," She also has "worked for €50 a day and €90 per day for German film makers here."
Go figure.
The interesting thing is this: a local agency also shows pix of German girls who work here at times - I wonder if they are on the same pay level or just pick up stuff if here on holiday or whatever? Some friggin' industry.
It seems to me that the whole thing is like the Titanic.
Rob C
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As for internet sellers, they didn't exist, and their influence, apart from the microstock murders disaster, is still irrelevant to professional shooters; Chanel doesn't go to twitter and choose a guy for the next campaign any more than does Ford, GM or Mercedes, Heinz, Rolling Stone or Vogue. The real threat is the new guy with no business sense who thinks he will make it by cutting the throat of the established fellow. He will not make it; he will just fade away, leaving behind him the graves of those he killed in his dumb attempt to buy success.
I'm no pro, but I'd imagine when you bring up photographers who shoot for Vogue or Mercedes in a general pro photography discussion is like talking about Shaquille O'Neal in a pro sports discussion - relevant, but not indicative of what the vast majority of pros experience.
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I posted this a couple of days ago in another thread, but it seems more relevant here.
An acquaintance of mine, Richard Blair, was working as a full time professional commercial photographer in San Francisco with a $3000 day rate. A few years ago after over three decades in the business he lost his corporate clients almost overnight to young "talent" willing to work for $500 day rate. Currently he is surviving at least in part from sales of self published books on California and the Bay Area.
From gear point of view, in the film days he used to shoot with 8x10 Sinar and Hasselblad V, but digital work is all Canon. I asked him about it recently, and he feels that MFDB would not help him sell more books or prints.
The trend to cut costs is in almost all sectors world wide. I work in healthcare and see insurance companies telling physicians what to do and when to do it. Some healthcare organizations insist that doctors
follow a flow chart for a particular diagnosis and financially reward them for saving money by withholding needed tests or treatments. Sorry for the digression.
Yes, Fred I agree that there is need for a French style revolution. The robber barons will not easily give up their stranglehold of the working classes.
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Maybe that's a very naive post, but why not a sort of sindicate, something like in film industry to control all abuses worldwide?
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I'm no pro, but I'd imagine when you bring up photographers who shoot for Vogue or Mercedes in a general pro photography discussion is like talking about Shaquille O'Neal in a pro sports discussion - relevant, but not indicative of what the vast majority of pros experience.
feppe, I shot for Vogue; I'm here, chatting with the rest of us. I shot for Teacher's Whisky, Glayva Liqueur, Tennent's Lager, the International Wool Secretariat (IWS) and so what? That was then and this is now, and the fear is that soon there will be only those sipping the edges of the cream jug (jugs again!) and for the same pennies that are now thrown into the business like confetti at a poor wedding, followed by those paying for the work they get so they can look good...
Sport is a whole other basket of madness. But it is popular, the anaesthetic of the masses; of course the money will always be found.
Rob C
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The trend to cut costs is in almost all sectors world wide. I work in healthcare and see insurance companies telling physicians what to do and when to do it. Some healthcare organizations insist that doctors
follow a flow chart for a particular diagnosis and financially reward them for saving money by withholding needed tests or treatments. Sorry for the digression.
Yes, Fred I agree that there is need for a French style revolution. The robber barons will not easily give up their stranglehold of the working classes.
Your medical experience I have already encountered; certainly in private health it happens: one of my wife's oncologists mentioned its presence and how he reacted to the insurance company concerned. I've been having problems of my own with meds, and that's in the public sector - we abandoned private - where drugs are substituted without notice and downwards to generic brands; were they all the same, I would not have the odd blip that I get from the new ones that the original did not give.
But revolution? Absolutely not. What is needed is common sense laws and control, exactly what they talk about doing with finance, but seem incapable of achieving. I wonder if those in politics have too many private fingers in too many pots?
Rob C
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Rob,
Your points are well taken. I am afraid that I allowed my frustration with the working world to get the better of me. Perhaps "common sense laws and control" will prevail if political will is there. It seems that economies will improve when balance is achieved between government, business, and the working classes.
Richard
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Greed will always outdo common sense. The working classes are there to be exploited, they always have been and always will be unless there is a revolution and that won't be next week?
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Greed will always outdo common sense. The working classes are there to be exploited, they always have been and always will be unless there is a revolution and that won't be next week?
Stamper, just reread Animal Farm.
Rob C
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At the end of the day, there will always be a balance. Some clients will take advantage of higher quality photography to gain an advantage over competitors, which will force the competitors to keep up, to an extent. Where the balance lies will depend partly on the bean counters, and that's why we are suffering at the moment.
Estonia has always been about price over quality, but it keeps getting worse. Some recent examples:
1) A hotel chain which owns 70 buildings in Estonia wanted me to shoot their newest hotel building, freshly renovated. They said they appreciated the value of good photography when it came to clients selecting a hotel online etc but then tried to tell me that they could only afford $120 for the whole job. Hmm, even if they are making only 5% per annum return on the capital investment of the buildings, they have an income of $35 million or so. What a joke... I told them that they were offering less than it would cost just to hire my equipment for the day and that I would be happy to work with them another day when they were offering a realistic budget. I heard that they found a photojournalist with zero lighting gear to do it. What they did makes no sense. If higher quality photos would entice just one more group booking over the next few years, they would pay off the investment.
2) A photographer friend who does weddings pays her assistant $20 per hour to assist at the weddings. She just found out that he is offering a special deal online to shoot an entire wedding for $20. She got so mad at him for doing that - not because he's not allowed to promote his own business, but because he was committing financial suicide and dragging the whole industry down at the same time. I agree with her! He thinks he's making money but he isn't even covering the depreciation on a decent camera, never mind making a profit.
3) I was just asked to pitch for a spring/summer clothing campaign to be shot in November (usage in 6 countries) but was told the maximum budget would be $9,500, preferably lower. I tried to tell them that flying 2 top level models over to Estonia would already blow their budget, before we even started shooting, never mind flying them and a whole team to hotter weather somewhere. So I pitched an idea which was 100% over budget, which is what I thought it would take to achieve a minimum standard. I don't expect to win that one.
One poster here advised us to 'keep shooting quality and you'll win in the end'. Problem with that comes when the client budgets don't even cover a minimum standard of production.
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I don't work in the fashion industry but...
Friend of mine, shoots the music industry, very very good. Friday he told me that his assistant (whose work is appalling) was just offered one of his biggest clients next contract. Reason: cost.
PJ, the market has shifted away from pros to stringers, usually students or part timers, my mentor whose been a PJ his whole life, is published every week in two big UK national papers (Independant and Guardian) and is doing a lot of work for the BBC at present, is starting to look for a new career. At 55 years old.
My corner of the industry, wedding photography. The part timers have already mostly taken over. For someone artistic and intelligent with talent all it takes is about $12,000 investment in equipment, 2 years of studying the current trends and technique and they are as good or better than anyone current. Seen it happen again and again. Lots of talented people out there. Huge pool or resources for learning the trade without moving from the computer. When you're a part timer and have your insurance, mortgage, bills already paid you can afford to undercut an industry while still making good 'bonus' money and providing a great service. Us full timers moan about the undercutting of the industry but we only need to charge more because we need it to pay for more.
My personal belief is that aside from a very few, photography in a particular genre as a full time career will be history within the decade. I'd be glad to be proven wrong but I'm not waiting as I see my business wane, looking for a part time job at present, annoyingly I find that I'm not qualified for anything other than what I've done my entire working life - photography.
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All this talk makes me think of Kodak, "just click it, and we'll do the rest." When was that, 100+ years ago?
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My personal belief is that aside from a very few, photography in a particular genre as a full time career will be history within the decade. I'd be glad to be proven wrong but I'm not waiting as I see my business wane, looking for a part time job at present, annoyingly I find that I'm not qualified for anything other than what I've done my entire working life - photography.
Part time doesn't necessarily have to be non-photography, and you can leverage your skills in peripheral activities. Many established, successful and very good photographers teach workshops and write books.
While most say how fun it is to do so, I'm pretty sure most of them would drop those activities if they could earn as much shooting. I'm sure some of them enjoy the chance of pace and variety, though.
Having a heavy hitter like Joe McNally teaching workshops is a travesty on one side - it's time away from him producing more photographs -, but at the same time I'm thrilled that I could attend a workshop from someone who's shot for NG, and has shot many AAA celebrities.
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As far as "Photography being gone in a decade as a Viable career" ?
I started my Photography business in 2003 and have steadily increased revenue every year - I came from a career in sales and I can tell you perception IS reality end of story. I have beaten out photographers I know are better than me (without question lol) and charged more...how ? By building value in what I am offering and selling excitement and vision about the project to the client. Sell on price and you will fail - I think sales skills are as valuable as photography skills if you plan on making a living at it !
If "all it takes is 2 years and $12,000 to be as good or better than current pros" then we are all screwed ...lol
I would hope to be 1/2 as good as many of the photographers on this board - some are truly outstanding ! All the money and web surfing for online tech training won't help you if you can't SEE the shot. Competition ? I say bring it.....there always have been low balling hacks and there always will be in any field - learn to sell properly and you will be unstoppable!
Stay on target...stay on target (channeling star wars) ;D ;D
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Just rediscovered this thread.
Had another look at Fred's link to Peter Lindbergh's video and the truth is staring you right in the face: without the natural talent that those girls have, nothing works very well. You can see it in the easy, probaby not even thinking, way in which she runs along the beach, pulling up the hem of her skirt a bit, pulling it down again, playing with her shoulder straps, twirling around and giving the shooter a million opportunities to catch femininity, which is the essence of it all. Some very pretty girls have none of that. I have had to use them; I had a trip to Mallorca with one such once, beautiful but dead. Guess what I thought of my pix!
And that's where the cost, but also client stupidity come into play.
I had a similar disaster to the Mallorcan one with a calendar client: the chap running the projects used to be the Marketing Director but, one fateful year, he had better to do and handed over control to the PR man. It killed me. Instead of buying the talent in London as I'd done for them for years, he decided on a stroke of great local politics by using the home-grown ones. So I travelled the world with people that should never have left the fucking airport, even on holiday.
I think it was partly down to the cost of talent, thought with that client I doubt they would have noticed - but who can ever really know? Perhaps personal fringe benefits were involved - it's a stinking business at best.
Rob C
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Just rediscovered this thread.
Had another look at Fred's link to Peter Lindbergh's video and the truth is staring you right in the face: without the natural talent that those girls have, nothing works very well. You can see it in the easy, probaby not even thinking, way in which she runs along the beach, pulling up the hem of her skirt a bit, pulling it down again, playing with her shoulder straps, twirling around and giving the shooter a million opportunities to catch femininity, which is the essence of it all. Some very pretty girls have none of that. I have had to use them; I had a trip to Mallorca with one such once, beautiful but dead. Guess what I thought of my pix!
And that's where the cost, but also client stupidity come into play.
I had a similar disaster to the Mallorcan one with a calendar client: the chap running the projects used to be the Marketing Director but, one fateful year, he had better to do and handed over control to the PR man. It killed me. Instead of buying the talent in London as I'd done for them for years, he decided on a stroke of great local politics by using the home-grown ones. So I travelled the world with people that should never have left the fucking airport, even on holiday.
I think it was partly down to the cost of talent, thought with that client I doubt they would have noticed - but who can ever really know? Perhaps personal fringe benefits were involved - it's a stinking business at best.
Rob C
Lindberg has the bests, la crème de la crème des modèles. Yes these girls and boys are not just posing, that's another story. I had an experience with the dead model you are talking about last month. Beautifull girl, She just won a price and even the stylist who is very experienced almost lost his nerves but he transformed that wisedly into helping her. I didn't notice first that she was "dead" but Pepe immediatly yes (you can see the difference of experience there) and he said to me me "we're going to be there until the night and if we got good picture in the end we are lucky".
There is very little to do if what the model has is just beauty. No doubt that Lindberg work is not Linberg's work, it's Lindberg talent+the model's talent and experience. And this has a cost.
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It's rough out there. No doubt.
Neilson and the NY Times posted a blog entry the other day that may help us. Tracking user views and habits, generic photographs on websites are almost entirely ignored by users. Which is a good argument for custom, specific, appropriate photography. The kind we can provide.
http://bits.blogs.nytimes.com/2010/11/02/study-shows-people-ignore-generic-photos-online/?src=tptw
I don't have a solution. But I'm not giving up.
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Aint nothing new if your talking about business... Its ALWAYS changing and good business change and grow with the market. Photography is not going anywhere it is more viable than ever but there is a massive disparity in whats "accepted" vs whats actually good work these days. Its mainly due to the shift in mediums to online priorities superseding all other destinations. The problem is the content is so weak in terms of what "works" at drawing in an audience the actual quality of the creative is waaaaaay down the list of value vs the quality of destination function and/or environment. In short Facebook is the single biggest growing audience in the world right now and its not because the photography on there is produced at pristine levels its simply because the features and draw of the environment are enough to draw in droves of people at never before seen numbers.
So right now the world of Marketing is a LOT like it was in the early days of print. Its scattered, unfocused, and very difficult to predict. So getting companies to invest many thousands in creative campaigns related to still imaging that may or may not get an audience is a hard sell. This doesnt make the value of the work any less impacting its just so hard to drop in in the laps of the correct market a sure thing. Its fickle and unpredictable so its in limbo as a result.
Now I know a lot of people think that video is the future etc. but last I chekced video didnt kill the radio star nor did TV kill the print business nor will youtube kill photography. What has changed radically is how the viewer actually finds the work and for the most part its still functioning at an extremely viral level.
So why should clients pour boat loads of money into marketing if its not going to be seen by enough people to justify the work? This is a delicate order of operations to say the least. The "trend" right now is almost a gonzo style where TMZ and Paparazzi quality ( As if one can actually use quality and paparazzi in the same sentence ) is garnering enough hits to draw in the crowds of viewers but its only a trend and will not last in my opinion. Nothing is new its just history repeating itself. Think of Television shows when TV was a new thing. The content was mostly crap and the growth of market was staggering. Same thing is happening now and the intelligent brand focused companies will not turn their backs on the real talent for long. Retaining brand quality and image stature is as important as anything when it comes to the bottom line. Large scale brands like Vogue, and Gucci and TAG etc. will not render the high level stature of their status wither or they too will simply wither and a new outfit will simply take over the high end market. I could go on in this manner long enough to create a TED lecture but I think this covers enough for now.
Couple the above with the fact that we are in a Global economic meltdown based on over extensions and its no wonder the bottom line drives the game right now no one has the dough to spend! But this too wont last forever its merely the time where the tree is shaken and the half dead apples will fall away and after its all said and done the people who survive and stay fresh and focused will come out of this as busy as ever.
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For today's shooters, I hope you're right!
Rob C