Best Business Practices for Photographers [236]
Wear a tuxedo when everyone else is and a business suit when everyone else is. Blend in and don't stand out, especially when the client is at the shoot. So many times I have seen photographers who were inappropriately attired covering events.
I could go on and on about the manner of appearance and comportment, but suffice to say— dress for the station in life you want to be in, not the station in life in which you are currently stuck.
Do Something Unexpected, Something Value-Added
Before you do something unexpected, it is imperative that you begin your client relationship understanding just what the client expects from the assignment. Ask questions: Is this a brand awareness campaign or are you selling a particular product or service? Who is the audience—consumer or business-to-business? Are the images being produced as part of an ongoing campaign, or is this a one-off production? These questions and numerous others help you define what will be defined by the client (and hence you) as success.
Sometimes when I am working with an editorial client for the first time, I will get to the assignment, set up, and do assistant stand-in tests. Firing up the digital workstation (a.k.a. laptop), I will hop online (for editorial clients) and e-mail low-rez images. A note is included about stand-ins and how I see this image fitting into the client's request. I then call to follow up as the assistant is resetting the equipment cases so that they are not all over the place, and we present a professional and organized appearance when the subject arrives. Often there is a "Wow, that looks great," and every so often there is a suggested change, which I accommodate. This creates buy-in with the client, and they can often use the image as a comp for the layout while we are preparing the final files for review and delivery once back at the office. Further, this can be a value-added service that will cause you to be remembered by the photo editor or art director in the future. In addition, if this is your first time working for this client, it immediately gives them peace of mind that they made the right choice in selecting you.
Other times, especially if there is an art director or photo editor onsite, I will make an effort to do a group photo of the subject(s) with the crew and client. It's usually a fun photo, and it almost always signifies the end of the shoot. When I'm home and the initial images have been delivered, I will make a point of making prints for the crew, but more importantly, a print for the client and AD/PE. I send those prints along with a note thanking the client for the opportunity to work together and telling them that I look forward to working with them again. Not only do they almost always post the photo on their wall or in an easily viewable location, which reminds them of the shoot (and me), but it is a conversation starter with their colleagues, who say, "Oh, that looks like a fun/cool/interesting shoot," which usually ends up with the AD/PE saying complimentary things about my easygoing style of work and such, causing more word-of-mouth marketing. Solomon again devotes a chapter of his book to the notion that "Great Work Wins Business; A Great Relationship Keeps It." In the chapter, he's not talking about the lunching kind of relationship, but the kind in which there is trust and collaboration, and your counsel is not only sought but valued.
U.S. News & World Report published an article—"What Springsteen Can Teach CEOs" (October19, 2007)—about Bruce Springsteen's ability to remain relevant and popular, unlike so many other acts of his era. This piece is a good jumping-off point to translate into how it applies to photographers. The first point was to always keep your clients