Here’s a shout out for Cindy Hicks. A gem in our industry is now available for freelance.

After a long career at The Martin Agency, Cindy Hicks is now on the freelance road.   Lucky for all of you hiring that she is now available and looking for projects.  When I heard the news, I thought it would be helpful to respost the interview Alison McCreery did for our blog with Cindy.  If you are at all considering an art producer freelancer, this is a must read.  Cindy is truly one of a kind.

To reach Cindy, you can visit her Linkedin profile – I am sure she would love to hear from you.

Click here for the interview posted on May 8,2012

Remember Dear Art Buyer?

 

©Richard Schultz -www.rschultz.com

The lazy days of summer are winding down so we thought we would take a break from posting this week and concentrate on writing a few new things to share in the coming weeks.  We thought it would be fun to share one of our most popular posts ever, the one that got a lot of people talking.  Whether you already read it or not, the ideas still hold true.  Enjoy.

 

Link here to read Dear Art Buyer. An open letter from a photographer’s rep, originally written in March of 2011.

Char Eisner: Old School & Still Cool!

I remember when I first started as an agent (a very long time ago!), thinking that if I could encourage Char Eisner to review  the work in our group, then I would have made it.  She was that name on the list that was the one to meet.  She worked on such big name clients that I knew if she called, I had done something right.  Well, one day she did call and today I feel fortunate enough to call her a friend.

Char’s title is Production Consultant at Leo Burnett in Chicago but she has worn many hats there.  It is no wonder that her experience is  widely known in the industry and other industry people seek out her opinion.  Char is not only professional and top rate, but she is funny, endearing and very caring.  She is right when she describes herself as a “work mom” to so many at Leo Burnett.  They are very lucky to have her.

In keeping with the Art Buyer Insider series tradition, we asked Char questions that help us learn more about her as a person, not just an art producer.  Her answers offer great insight into why working with her is such a special experience.  Leo Burnett is lucky to have her.

And, thank you Alison McCreery of POP Blog for conducting the interview on our behalf.  You always encourage people to share the most interesting things!

What did you “want to be when you grew up?”  Are you surprised where you ended up?

I wanted to get married and have kids! And guess what……I got married @19, had a baby boy @20 and had another baby boy @22!!  You bet I’m surprised where I ended up. From where I started…..suburban housewife/mom…..to where I ended up….high profile ad agency…..is staggering!

I have a smile on my face just thinking about the journey.

 What was that first moment of inspiration when you knew you would work in a creative position?

My mister, George Eisner, is my inspiration. I met him in 1967. I just turned sixteen.  He was a really funny, interesting guy who wore wing tip shoes…..talk about the suavity factor!  PLUS he was an artist!! He introduced me to all things art and arty. He was a marvelous influence on me and still is.

When our oldest boy entered Junior High, the mister told me his rep was looking for an assistant and I should interview for the job. I got hired and have been in the ad business ever since.

What roles have you held at Leo Burnett?

I’ve been an Art Buyer, Art Producer, Department Head and am currently an Art Production Consultant, a true hybrid position. As many Clients have external cost consultants, Leo Burnett tapped a group of Agency people of various backgrounds and created their own internal version. I learned to take the best of Char from my earlier roles and pair it with the watchful eye of a cost consultant. It took a bit of getting used to but I’m very comfortable with the role now.

How do you work with clients as an internal cost consultant?

Let’s say I’m working on a Miller-Coors project. At the very onset I meet with my Producer and Business Manager. Project specs are created and sent out to the Vendors to quote. As soon as the estimate comes in, I red line anything glaring and/or make production notes on best places, if any,  to trim.  Then I meet with the team to discuss my findings.  If there is justification for a line item in question, I won’t force the issue, as, for me, it’s all about maintaining the caliber of the work.

The estimate then goes to the Client’s cost consultant for another look/see. By this time there should be very little, if any, additional budget slashing. That means I’ve done a good job!

How do you not compromise creativity while finding a workable budget?

There is ALWAYS a way to solve the problem without compromising the integrity of the work. A large part of my job is to help provide viable solutions because at the end of the day the goal is to put together an ad that everyone attached to can be proud of.

Did you always love photography?

Yes, I have always loved photography. The mister introduced me to classic black and white photography when we first met and it all spiraled from there. I have a “fun with photos” file at home that I use to create cards by swapping out peoples heads and writing weird copy.

Growing up, what were your creative interests?

I used to draw cartoon strips in grade school and they almost always had something to do with nuns!  That’s what happens when you go to Catholic school!  Then about twenty years ago I did a self portrait that the mister turned into a rubber stamp (see image at the top of the page). I still look like it too.

How have your life experiences influenced your job choice?

I’ve been married for 40+ years. I have a very happy home life and am a very contented person. Consequently I bring a sense of stability which, in the crazy pace of advertising life is a definite asset.

Being a parent…especially raising boys….also prepped me for the role I play here at Burnett.

I allowed my boys a lot of freedom but reined them in when they needed it. I feel creative people need lots of space but also a responsible adult who can keep them in check. I am work mom to a lot of people over here.

I was also very involved with the local PTA when my boys were little. I had a knack for creating fun ways to generate money for the school as well as producing community events that required staying in budget.

Have you always loved photography and how do you keep the same level of inspiration you had when you started your job?

Yes I have always loved photography. And as far as keeping the level of inspiration up, I host the weekly Agency Portfolio Review Tuesday. It’s a two hour window for Creatives and Producers to pop in and see what’s new and cool in the world of photography and illustration. The events are very well attended. I get great feedback from the Creatives plus the Agents are thrilled to have such a lively venue to show off their work. Heather Elder even wrote a blog post about it last year! I was honored!

I’m also very fond of At Edge and The Workbook, two terrific Industry resources.

What one word describes your working style?  Is it different than when you first started?

The word is “direct”. Let’s cut to the chase. You might not like hearing what I have to say, but at least you know where you stand. Lucky for me most people find this approach engaging and refreshing.

I’ve always been this way so no difference from when I first started.

How do you describe your job to your mother or someone not in our industry?

To most non-ad people I suggest they walk into any McDonalds and check out all the posters and signage. I tell them I help in the selection of photographers and guide my Producers in negotiating the estimates to ensure the Client feels like he is getting a bargain and the shooter feels he is being fairly compensated.

As far as my 92 year old mom Rosie goes, she came to the office once with an Uncle who was in from San Francisco. He was beyond impressed by the size of my office at the time and totally enamored with what I did for a living. Rosie, on the other hand could have cared less, her main concern being where we would be going for lunch! Rosie is the reason I am so grounded in reality. Thanks Ma!

What do you think is important to do in your personal time to keep you inspired at work?

I spend a lot of time with family and good friends. This makes me happy and this keeps me centered. My personal life is very different from my work life and I need that balance to be effectively inspired.

What do you love about your job?

I love collaborating with my Producers and Creatives. They trust my opinion and look to me for guidance and direction. Our working relationship is based on mutual trust and genuine respect. I feel very fortunate.

I also love mentoring the interns and new hires. I recognize core qualities and life skills that will help them in their blossoming careers and I nurture them accordingly.  Besides learning the specifics of the job, they also need to learn how to interact with the people they will be working with.

And for the record, my interns fare very well…..the only one not hired by Leo Burnett ended up at Google San Francisco. They all have made me very proud.

What about the industry/your job is exciting right now?

Social media as a selling tool. I attended a training series that was all about social media and the role that it plays in advertising. There is a whole new world out there that’s only just starting to be explored.  The opinions people post can make or break a Client’s product . Everyone has a voice these days and people are not shy about expressing themselves. The silent majority is officially dead.

Favorite way to spend a Sunday?

I love playing in my gardens especially if the mister and the Chicago boy come out and play too.  Actually anytime I can spend with family is great! I love them!

One thing people reading this would find surprising about you?

I think what people find most surprising is how old I really am. I don’t mind saying I turned 60 last year. Although I’m a well seasoned geezerette, I don’t look like one and I sure don’t act like one either!  One of my business managers once gave me the compliment, “you are old school but you are still cool”.  I really like that! Although this can be a hard business for older people, I’m still bringing something relevant to the party.  And I will continue to do that as long as I am here.

How do you stay relevant?

I look to the Industry publications, the email links to websites and of course the weekly portfolio review. I listen to what my Producers and Creatives want/need and research accordingly which is a great way to learn new things. And I hang tight with the young ones who are a million times more technologically savvy that I am!

If you weren’t a production consultant, what would you do?

I would love to be Food Stylist. Not only am I comfortable in the kitchen but am very into how to make prepped food look pretty on a plate. I think I could be a decent Prop Stylist too.

What at the moment do you see happening in the culture that you find inspiring or interesting?

Social Media inspiring relevant social change. All the political turmoil in Egypt, Tunisia and Libya was directly a result of social media. Facebook and Twitter made it happen. It’s scary and cool all at the same time. 

If you could change one thing in the creative industry right now, what would that be?

Too many emails! The human touch is so where it’s at. People crave it. There are only so many hours in a day that you can stare at your computer before your eyes cross and your head explodes! I’m very face time/hands on with my people and they respond very well to it. That sense of humanity brings out the best in people.

If you could tell photographers one thing, what would it be?

Dare to be different. Either in your subject matter, the approach taken to get the shot or even camera choice. Figure out what separates you out from the pack and run with it.

Do you have a favorite photo of yourself that you are willing to share?  Can you tell us about it?

The leopard shirt photo was taken last September on my 60th birthday. The dawn of a new decade is a big deal especially since the following day I had surgery that took me out for 6 weeks and involved months of rehab! Yikes! But I was mentally prepared and very well taken care of by the mister, family and my many friends so I made it through and life is great again.

And, here’s an illustration by the late great George Toomer that I found in Workbook some years ago that looks just like me! When I came upon it, I simply had to call him and give him a hard time about unauthorized usage of my likeness! Poor guy. He was so happy to hear I was just kidding he sent me a huge poster of the art and signed it “to my new best friend Char Eisner”.

Creative hobbies or practices?

I love gardening. I’m a terrific cook and baker.  I’m also a garage /estate sale junkie. I collect  vintage things like grandma tablecloths and retro kitchenware.

Latest discovery?

Mad TV on the Cartoon Network.  I grew up reading Mad Magazine and to see it in motion is really great fun.

I recently rediscovered The Kinks, a totally underrated 60s rock band. Check out “Superman” if you get a chance.

And last but not least…..honey bees! My Chicago boy recently installed a beehive in our back yard.

It’s way cool to observe if you’ve never been around one before. There’s a reason why they are called busy bees! Thankfully no stings so far.

On your home office walls?

Whoops…..I don’t have a home office but at work I have several screened pieces of art done by my NYC boy, my own self portrait, the 2012 Men of Movember calendar featuring Agency people with cheesy mustaches and a pair of ruby slipper earrings my mom gave me so I will always know there’s no place like home.

If you enjoyed this post, please do consider subscribing to our blog at the top right hand corner of the site.  You can be the first to read our next interview.  Any ideas on whom to feature?  Email me, we would love to consider your suggestion.

The People Burn Project – An artist works 8 months to create a sculpture just so it can be set on fire.

People Burn Project - Kevin Twomey, paper sculpture

© Kevin Twomey – http://www.kevintwomey.com

Kevin Twomey recently worked on a project that was unlike any other he had experienced in his career.  It was called “The People Burn Project.”  A project created by Fitzgerald + Co. for Bulwark, a company that make flame-resistant clothing.  Their message is powerful, “Because people aren’t fireproof.”

A mere description of the project could never do it justice so be sure to link to the Bulwark site to watch the 8 month time-lapse video, review the  stills from the day of the burn and to watch the video about the project.

Here is what Kevin had to say about the project:

“In April I went to Los Angeles to photograph a paper sculpture, 16’ in diameter, built by Jeff Nishinaka, an incredibly talented, world-renown artist. Taller than me by a couple of feet and as long a van, the structure took 8 months to build, 2 days to piece together, 2 days to photograph in the studio,  but only minutes to burn.

The project was part of a campaign, created by Fitzgerald + Co. for the company Bulwark who makes flame-resistant apparel. The message was wonderfully simple: paper is no less fragile than life.

With a very tight schedule, needing to photograph numerous angles in a day, we decided we would turn the set into a giant 16′ lazy susan and spin it around until we got the right lighting and camera position. It was a perfect and simple solution.

Artist Jeff Nishinaka had created such wonderful detail and character in the figures that the lighting approach for these figures was obvious:  bring these figures to life by bringing out as much detail and dimensionality as possible.

After the still shots of the sculpture were complete it was dismantled and reassembled in a quarry outside of LA. The final step to this project was filming it while it burned into nothing. Watching this was quite extraordinary. As it was burning I glanced over at the artist. I figured he would be sad to watch so many hours of his work go up in smoke but I was surprised to see that he was enjoying the process from beginning to end.”

Kevin Twomey - People Burn project - Paper sculpture

© Kevin Twomey – http://www.kevintwomey.com

Kevin Twomey - People Burn project - Paper sculpture

© Kevin Twomey – http://www.kevintwomey.com

Kevin Twomey - People Burn project - Paper sculpture

© Kevin Twomey – http://www.kevintwomey.com

Kevin Twomey - People Burn project - Paper sculpture

© Kevin Twomey – http://www.kevintwomey.com

Click here for Time Lapse Video of Paper Sculpture Creation

Click here for Video Interview with artist and information about the project

What is the story behind those Animal Mask images Ron Berg?

Ron Berg recently shared with us a series of images that are getting some attention.  When we were at Le Book Connections in NY, the images were a big hit and everyone kept asking what the story was behind them.  When we got back, we asked Ron to share with us what his inspiration.  Here is what he had to say:

“Over the last couple of years, I traveled some in in France, Italy, and Croatia and it was in those magical places that the root of the idea began.  Like most typical photographers I love to seek out areas that are not the norm and strive to find the areas were the locals hang out.  I occasionally venture out on my own or wander off from my wife.  She would say that I “get lost,” but really I am just exploring the sights and sounds of the local culture and go wherever my instinct takes me.

During these particular travels there were these string of occurrences where I kept seeing someone in a mask. Of course this never happened when I was near my wife and it always happened so quickly that I would never be able to document it.  She thought I was crazy or seeing things. And who knows, she could have been right.  Who knows if I was.  Sometimes those local libations have a somewhat unusual effect!

Needless to say, between the masks and the architecture (and local flavors!); I was inspired.

As far as the meaning of the images, I honestly don’t know.   I just know they were in my mind and I had to photograph them.  Maybe they will inspire others to make up a story to go with them.  As Shakespeare wrote for Hamlet, “God hath given you one face, and you make yourself another…”

© Ron Berg

© Ron Berg

© Ron Berg

Following Trends without Sacrificing Self

Our latest contribution to Agency Access’  blog The Lab  just posted.  It offers advise for photographers on whether or not to follow trends in photography and branding.   Be sure to link to the blog directly to read answers from industry experts on many more questions.

QUESTION

I have an established look. How can I attract new business without totally changing to meet the trends of the marketplace?

As a creative professional, it is important to have your finger on the pulse of what’s going on with trends in your industry.

Undoubtedly, these trends will influence and inspire your photographic style and brand identity. But before changing your look to meet these trends, keep these two points in mind:

1)       You must stay true to your vision, which is more genuine than chasing a trend

2)       You might consider an evolution of your photography or brand, rather than a complete overhaul

Influence, yes … imitation, no

When we consult with photographers, it’s not uncommon for them to point out photography that they like and admire. They often ask if we think they should change their photographic style to adopt these new techniques.

Our answer is always the same: Change in your style or look needs to come from within and be part of the vision you have for how your work is evolving. Photographers who chase trends are often disappointed, and it’s our experience that once it becomes a trend it’s too late to jump on board anyway.

We do understand, though, that it is logical for a photographer to become inspired by peers’ work he or she has been seeing and, understandably, be influenced by it. Over time, those photographers find that their own style has evolved – and soon their work has crossed over into a new phase.

The evolving brand

As far as branding goes, having an established look is key to having a strong presence in the marketplace. Therefore, it is important to choose a logo and branding strategy that speaks to who you are as a photographer and a businessperson – and then commit to that strategy.

It is also important, though, that when this begins to feel stale, you take the initiative to evolve the look. Involving a designer is always a good idea, as a professional designer can help show you options that organically develop the look into the next level – rather than change it completely.

Some photographers, eager to change their branding look, do so completely – leaving behind the equity they built in the previous look. You don’t want your new brand strategy to appear as though you are a totally new photographer. Instead, consider a forward step that incorporates elements of your previous look, and your prior brand.

If you found this post helpful, please do consider sharing it via social media.  And, consider subscribing to our blog as well (top right hand corner) – we would love to add you to our list so you can receive the posts via email as soon as they are live.

Now you too can know what is so great about Suzee Barrabee of Goodby Silverstein & Partners

For those of you know Suzee Barabee, you will know what I mean when I say Suzee is one of the most professional, knowledgeable and creative art producers out there.  It is no wonder she is Director of Print and Art Production at Goodby Silverstein and Partners.  

Suzee was one of the first art producers I met when I moved to San Francisco and I always admired her style, approach to her job and connection to photography.  It was on a Polaroid campaign with Hunter Freeman that I got to know her better.  I will always remember that shoot because the team had to construct a house set for  an alligator to live under (a real one!) and teach a dog to poop on command.  The production was crazy and the concepts were hysterical.  Suzee was so excited about the campaign and knew that they images would be amazing.  She worked hard to make sure everyone had what they needed all along the way – which was a lot.  She was of course professional and detailed.  Mostly though she was fun to be around.  She kept everyone on track and stayed true to the vision.  It is no surprise then that these images are iconic and still live on Hunter’s archive pages.

While our paths didn’t always cross, we stayed in touch and often reached out to each other for advice.  I always appreciated that Suzee would return my calls and offer insight for a challenge that wasn’t her own.  I also enjoyed sitting on panels with her thoughtout the years and listening to her points of view.  I respect so much what she has done with her career and feel fortunate to call her my friend. I was so happy when she agreed to be interviewed by Alison McCreery for our Art Buyer Insider series.

Enjoy…

What did you “want to be when you grew up?”  Are you surprised where you ended up?

I come from a family of attorneys and studied economics in college. I took an interest and aptitude test after college and it suggested I’d be a good librarian. I thought that would be so interesting to be in this great world of books, but wasn’t quite as interested in the idea of being a librarian.

But I never had a clear idea of what I wanted to be. When I was growing up, it was always ballerina or actress. Never a real, practical path. I didn’t know what was out there. My brother knew he wanted to be a lawyer and my sister was very mathematical and scientific. I wanted to be artistic, but I wasn’t inherently artistic. I can’t draw or paint, the traditional silos of art. There’s a whole world out there, but as a kid things are so defined and have labels. I didn’t know that there were jobs that exist that encompass art and business and that are not so clearly defined or labeled.

What was that first moment of inspiration when you knew you would work in a creative position?

I don’t know if I had that first moment of inspiration. I fell into my job in art producing. I was picking an industry and work environment that I thought would suit me and was lucky enough to fall into print and art production and learned and developed a real love for the field.

What was your path to becoming at an art producer?

The first agency I worked at was a small local ad agency that did the advertising for the local McDonald’s and Northern California Toyota dealers. I was the assistant to the CD and he left shortly after I started. I was then adopted by the production department. I had a wonderful boss and vendors who were very patient and I managed to learn on the job about print production.

From there I went to another agency and was laid off after three months. In the time I was there I met a woman who ended up working at Goodby and recommended me to Max Fallon who was the head of print production and art buying. (Most agencies have separate departments, but Max felt very strongly that these two disciplines should be together and we have continued that tradition.)

It was a department of two people and his only employee was going on maternity leave. Max asked me if I could do “paste-up” just in case I needed to rush an ad mechanical out. I sort of stretched the truth and said “YES”. He then asked me if I could do art buying and well, again, I said “YES” in the hope that I could figure it out as I went along. So I was hired as a freelance print producer and art buyer. And I got lucky that the woman on leave decided to take the opportunity to stay at home with her child. And 24 years later, I run the print and art production department.

Growing up, what were your creative interests?

I was more athletic than artistic. I did gymnastics for a long time. I didn’t have a strong, creative-centric background—I came to it later in life. I grew up thinking creativity was judged by being able to paint and draw and to paint it right. It wasn’t looked at as a state of mind.

We grew up going to plays and museums, so I was around a lot of art, but it wasn’t something you were a part of. It was more for knowledge and culture than inspiration.

How have your life experiences influenced your job choice?

I realized very early in my career that I needed to be happy in my work. And to be happy meant being in a creative and unstructured type of work environment. I wanted to be able to grow in a job and keep learning new skills. I wanted to work with people who inspired me. And most of all I wanted work to be fun. I didn’t have that in my first job out of college and I realized how that affected every part of my life. I have been so very fortunate to have found that at GSP. (I keep repeating how fortunate and lucky I have been!)

What one word describes your working style?  Is it different than when you first started?

Teamwork–or to be specific–Collaboration. As producers we bring people together. That’s really the unofficial definition of a producer. Our job is to bring various resources together to make the process work.

I try to foster this in the department. I tell people this all the time – that it’s teamwork. And the more everyone is working towards the same goals the more fun it is and the more chance you have at greater success. There always has to be a defined and cohesive vision that everyone is working towards. And if you don’t have that shared vision and that defined path, then no team is going to work well together or succeed. Otherwise it can be a disaster.

The other side of that coin is that it’s important that people have a sense of ownership for their projects. It makes people proud of their work and the role they played in the success of a project.

How do you describe your job to your mother or someone not in our industry?

It’s so hard because everyone’s first reaction is ‘you make the ads?’ or ‘you shoot the photography?’ or ‘you make the illustration?’ It’s so hard to describe that you bring all the elements together and create the final product. Because my mom’s a lawyer I use words like negotiate and budget and facilitate. That’s the context she understands.

What about the industry/your job is exciting right now?

The evolution right now is interesting. It’s almost limitless what you can do with technology changing as it is. You can create and distribute anything and have your images seen in so many different environments and so many different ways. But conversely, having the infinite possibilities detracts from the tradition and the craft sometimes. I like to think that there’s room in this world for user-generated content and iPhone snapshots to beautiful platinum prints.

Top 5 jobs you would love to have?

I would love to work for a foundation and give money away. It would be my top job.

I would also like to be one of those secret hotel testers and go around the world and stay at the luxury hotels and resorts. I don’t want to be a travel writer because I don’t to have to write about it. I also wouldn’t want to have to be the mean one, so I’d be more constructive. I love travel, so really anything with travel.

Professional TV watcher (see question about guilty pleasures below)

Top 10 jobs for which you are especially unsuited?

Dental hygienist. No explanation needed (but thank goodness for the people who do that job).

Toll taker. Anywhere.

Any job at the NY department store Century 21.

Brain surgeon. Because we’re always saying ‘it’s not brain surgery.’

Do you have a personal aesthetic that comes through in the photographers whose work you are drawn to?

I think I’m very classic and simple. I’m old-fashioned and like the photojournalistic, captured moment as opposed to the forced or staged moment. And not so manipulated, honest. A lot of photographers are good at creating an environment and letting people react within the environment and have some control but let happenstance take over in that setting.

However each creative assignment has its own specific needs. And it’s one of the best parts of our job in finding the right talent for the right project. I like the discovery process of finding someone new or someone that I haven’t previously had the pleasure of seeing their work.

What at the moment do you see happening in the culture that you find inspiring or interesting?

We can belong to limitless communities and an unlimited number of different communities. It’s hard to explain. There’s a very interesting thing happening, a massive sharing of interests and ideas. We can connect with like-minded people without ever meeting them or knowing anything about them. The amount of information and inspiration is multiplying. It’s almost overwhelming. It’s a world of finding common interests and using it as a resource and inspiration.

If you could change one thing in the creative industry right now, what would that be?

I would love to change the notion that print is dead. I think that people still react to the tactile world and not everything lives on the screen. I think people still like to touch and use that sense to interact with things as opposed to just engaging sight and sound.

But, I do subscribe to magazines on both my iPad and in print and I believe there’s room for both.

If you could tell photographers one thing, what would it be?

It’s hard to narrow it down to just one thing!

Just shoot, shoot, shoot and provide lots of options.

Get it in camera versus trying to fix anything in retouching (but this is more what I tell my art directors).

We want to make them look good and highlight their talents and artwork as much as they do.

We’re all on the same team.

And most of all, we appreciate all the hard work and endless hours that we probably take for granted. I don’t think they hear this enough.

Favorite way to spend a Sunday?

Going for walks with my dog (she’s a Chug–part chihuahua/part pug) and going to the movies with friends. Enjoying the city and the world. Nothing special, but always something fun. Relaxing and letting my mind relax. Having no obligations. Time to relax is such a rarity.

One thing people reading this would find surprising about you?

(See Guilty Pleasures below) Beyond that, I’m kind of a clothes hound. My motto is quantity over quality. I love shopping but rarely spend a lot of money. I think people who know me know this. This is one of the reasons I couldn’t have been a dental hygienist—I could never wear a uniform every day.

 Creative hobbies or practices?

In my mind I’m a crafter and I have all these great ideas. But I’m not an executor, which is why I think I default to shopping.

 On your home office walls?

A giant map of the United States. I would have a world map too but I don’t have enough room. It is so interesting to see where things are, where I’m going and where I’ve been. I just love to travel and think it’s fascinating. I’m pretty sure there’s a Chicken, Alaska and it’s amazing to think about who lives there.

Guilty Pleasures?

I love TV because all day long I talk to people and people expect me be thoughtful and have smart answers. TV doesn’t need me to respond. My favorite show right now is AMC’s Walking Dead.

I also love shopping, especially vintage stores and the vintage clothing fairs.

Do you have a favorite photo of yourself that you are willing to share?  Can you tell us about it.

The photo above was taken when I was four. We used to get our photos taken for our holiday cards and I would always blink every time they took the photos. And they would say ‘keep your eyes open.’ So I was holding my eyes open and (ironically) I didn’t like the photographer and was scared of him. So the only way I would have the photo taken is if I could have my finger puppets on my fingers. I remember the dress I was wearing. It was blue plaid and I think it had a petticoat. I would have worn it every day.

Did you enjoy this post?  Please do consider sharing it and even subscribing to the blog (top right hand corner) so you can be the first to see the next interview.  I’ll give you a hint.  Think windy city and sweetest woman in the world.

Ron Berg talks about updating his website – it is never easy, is it?

Recently, I wrote a  post for Agency Access’  The Lab about what photographer’s should consider when redesigning their website.  I answered the question, “Do clients expect cutting-edge design from your website or are they just interested on the work being displayed? ”  Well, recently Ron Berg redesigned his website and it is not surprising that he and I talked about all those same things that I mentioned in the post before starting the project.  When I asked Ron to share with us some of his thoughts on the process, here is what he shared.

“Some of you may or may not know, but my old website had won approximately twenty awards; including being selected into Tashchen’s Book of ICONS for the Top 200 Web Design Portfolios Worldwide in 2006. Since it was not a contest or something we submitted for judgment, we were totally surprised. When we received the call from Taschen to say that we were giddy was an understatement. I still love going into a bookstore and seeing it on the shelf.

Of course, nothing can last forever.  So in 2011, when Heather Elder began representing me, we knew it was time to evolve the site.  The awards had done their job well for us but the needs of the viewer had now changed.  Our goal would no longer be that of of winning awards, but of functionality (with some nice deign added in too!).

We understood that the users wanted to be able to get in to and out of the site easily.  Navigation was key.  Also, we needed to show the images larger, add video and enable the site for sharing images via social media.  I was hesitant at first but after discussions Heather had me convinced that we were going to turn the existing award winning site on its ear and start fresh.  As we all know trends and techniques in the worldwide web change exponentially. Therefore five years had become a lifetime.

It was no surprise that the design took almost a year.  From designer, to photographer, to programmer, to rep….then back again, then back again, then back again….It almost takes a perfect storm to make it literally picture perfect in the end.

We chose LiveBooks because we liked the ease of which we could customize our look and upload images.  Livebooks‘ design allowed us to duplicate the loading feature of my previous site, (my favorite part) which we was important to us.  The rest though,  is new design that compliments our new portfolio, direct mail, emailer and source book ad templates.

While I know I won’t be seeing this site in one of Tashchen’s books, I do know the site is current with how people are utilizing websites nowadays.  The feedback we have been getting is strong so we know all the work was worth it.”

If you like Ron Berg’s new website, please help us brag about it and share with others.

What Not To Do With Your Direct Mail

© Richard Schultz – http://www.rschultz.com

Our latest contribution to Agency Access’  blog The Lab posted Friday.  It offers advise for photographers on the “right” and “wrong” ways to approach direct marketing.   Be sure to link to the blog directly to read answers from industry experts on many more questions.

QUESTION

Are there “right” and “wrong” ways to approach direct marketing? What should I NOT do with my direct marketing campaign?

Marketing your images through direct mail can be a very effective way of reaching your target. However, it is an expensive undertaking if not done with a plan in mind, and can end up being a waste of your money and time.

Before choosing direct mail as part of your marketing plan, it is important to understand the different types of mailers you can send, the financial implications and the pitfalls you could encounter.

All Mailers Aren’t Created Equal

In our group, we have two types of mailers: the High Profile Mailer and the Reminder Mailer.  Reminder Mailers are the more frequent mailers that showcase what a photographer has been up to lately. The idea is to share a recent project or image and remind creatives that we are still out there, creating. We aim to send six to nine Reminder Mailers per year. The High Profile Mailer has a different strategy: These mailers are designed to showcase a very special body of work. They’re more expensive and more targeted, and often involve a designer. We send only one of these per year.

Regardless of how you categorize your mailing options, consider these tips before embarking on your campaign:

1) Choose a compelling image or story to share

It seems obvious, but to many it’s not. You must choose imagery for your direct mail piece that stands out when received. Do not choose an image just because it’s time to send a mailer.  Each image needs to be stronger than the next, and one that you are proud to share. Because of this, we suggest not even starting a mailer campaign until you have an inventory to choose from.

2) Be strategic with your image choice

Although the people who receive your mailers rarely file them away anymore, we still ask ourselves, “What envelope will they put this in?” before we make our selection. Is it still life? Lifestyle? Portraiture? This is an important question because if you are a lifestyle photographer, typically you should not mail a landscape image. Consistency in message is crucial.

3) Determine your plan and then STICK TO IT

The biggest mistake a photographer can make is to send out a mailer and then not send out another for a few months. Do not begin a mailer campaign if you cannot follow through with your plan. Sending one mailer rarely works. You need to create a campaign plan and stick to it.

Photographers who wait three to four months between each mailer run the risk of their imagery not getting noticed. The frequency of the mailers will help the person receiving it recognize your name and work quicker.

One trick we tell photographers is rather than plan for a year’s worth of direct mail, consider planning six months at a time. That way, you can maximize your budget over that time and then reevaluate your plans before the six months are over.

4) Recognize that FREQUENCY is more important than QUANTITY

FREQUENCY IS KEY. If budget is an issue, we prefer a photographer to send out fewer mailers more often than a higher quantity less frequently.

Translation: Send to fewer people more often. Don’t be tricked into thinking that decreasing the frequency of your mailers just so you can send them to more people is correct. It just isn’t.

5) Know your list

You can have the most compelling image to share and a strong plan to execute, but without a relevant list of contacts your campaign will fail.

Make sure to determine who your target market is before you create your list. Clients appreciate it when the mailers they receive are appropriate to their accounts.

A big part of a strong list is knowing every name on it. Yes, every name. That means doing your research and making sure each name has a purpose. Does that person work on the account you are targeting? Are they an award-winner, or perhaps work at an agency whose work you admire? At the very least, if you haven’t heard of the agency, remove it from your list. Making the effort to know the people on your list, even if you’ve never met in person, will make your connections that much more relevant.

Overall, direct mail is a very strong piece of the marketing plan. It is most powerful, however, when supplemented by other forms of communication, such as websites, email blasts, source books, PR, social media, etc. Be sure to think about all of the elements of your plan when determining how direct mail best fits.

Were you at Le Book NY 2012? Check out our photos and see who was there.

Thank you to everyone who helped make this such a successful event!  It was so wonderful to see so many friends from all over the country and to meet new ones as well!  If you have never been to one of these events, we highly recommend it.  It is a lot of fun and a great way to connect!

If you want to read about our recap of our week in Ny, link here.   Otherwise, enjoy the photos!

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