Selling Only a Disk of Images is a Disservice to Your Clients - Part 2 of 2

So . . . why do photographers say that selling only a disk of images is a disservice to your clients?

As long as we're on the subject of selling a disk of digital images, let me tell you a true story.

A funny thing happened to me last December . . .

I had a colleague from another FB group hand me a session he couldn't cover because he was going to be out of town. He'd told the client that he'd photograph her family and "give her the files" for $300.

During the session, I mentioned to her that I could honor his original agreement, or I could walk her through the ordering process the way I normally do.

Her first question was "What do I do once you give me the disk of files?"

This wasn't a dumb woman; this was a woman who is a corporate executive. However, she doesn't have access to the labs we do, she doesn't know about mounting or finishing. She just wanted a nice family portrait on the wall.

She and her husband returned to the studio to view the images. We went through the view and order process together . . . and $1200 (yes, twelve hundred) later I had an order. A framed wall portrait, some smaller gift prints and a boatload of greeting cards later, she walked out with a huge smile and I had a happy client.
The truth is, many people simply don't know what to do! We - as professionals - are doing them a HUGE disservice to hand over a folder of files. "Edited" or not . . . they have no clue!

It would be like going to a restaurant and having the server thump a raw piece of meat and some uncooked vegetables in front of you, demanding the price of the finished meal in the process.

Operating a service-oriented professional photography business does not mean shoot and burn! It means helping your client place the order and getting them the product they really want.

If you're not willing to help them with this process, who will? If it's too much work for us to do, how will someone who does NOT have the software and knowledge be able to figure it out?

Take the time to work with your clients and help them get to their ultimate goal . . . printed photographic products they can enjoy and display for years to come! 

- David Grupa 
 

Selling Only a Disk of Images is a Disservice to Your Clients - Part 1 of 2

Photographers everywhere say that selling only a disk of images is a disservice to your clients.
 
It's a daily debate in the professional world. Do I print photographs, or do I sell images on a disk?

Personally, I feel that any photographer who only sells digital files is doing their clients a huge disservice.


People will tell you they want the digital files "so they can save them." The fact is, they remain packed away or in this case, held captive on a hard drive . . . never to be seen by anyone.

My mom died last September. In the process of cleaning out her house, we found thousands of color slides and black and white negatives. Boxes and boxes were stuffed onto shelves . . . and what did we look at? The photographs that were already printed. Why? Because they were easier to view! We didn't have to pull out a projector for the slides or try and view the negatives on a light table.

Most insurance agents will tell you that the one loss people lament the most after a fire or flood is that of their photo albums. It simply robs them of their irreplaceable memories.

So . . . think about it for a minute. How many people do you know personally (not just the ones you read about online or see on the evening news) who have lost everything due to a disaster such as this? Maybe one? None?

Now, think about all the people you know personally whose hard drives have crashed. I'm willing to bet you can think of 3-4 right off the top of your head.

When I do a bridal fair, I bring along a crashed hard drive to illustrate this point. It sits on the table with a little tent sign saying "I'm going to put these images on my hard drive so I'll have them forever." I also have a 5 1/4" floppy disk (remember those?) with a little sticker that says "What if this was the only way for you to view your parents' wedding photographs or your childhood memories?" CDs and DVDs are on their way out as well . . . they'll be history within a few years. Apple isn't even putting DVD drives in their new computers.

The point is . . . whether they are snapshots or professional portraits, your images deserve to be printed and viewed, not stuck somewhere in limbo waiting for you decide if you want to do something with them later.

Print photographs! 

- David Grupa 
 

In-Person Sales On Your iPad? Check this out . . .

When you ran out and purchased your iPad, you probably told yourself that you would use it for business. You convinced your business partner (or significant other) that you needed it because it would make selling your work so much simpler.

Well, now you're no longer telling a little white lie.

Check out Preveal, the application that turns your iPad into a bona fide sales tool. With it, you can photograph the room in which the prints will be displayed, set the room size and bring it up onto your screen.

 

Once you've done that, then select the templates for the size(s) of the images you'd like to show the client.

Insert the client's images and share!

Now you can do your in-person sales wherever you go, simply and quickly. (Imagine what this will do to your wall portrait sales; suddenly that "big 8x10" is going to look like a postage stamp!)

Preveal is scheduled to be released in the coming days, but you can check it out at the link below and sign up to be notified the minute it's available.

Get Preveal - http://launch.getpreveal.com?lrRef=Kkf9L

Have fun!

- David

Showing Your Work - Just How Much is Too Much?

A question that comes up in conversation (especially among newer photographers) is "should I show my client before and after examples of their images so they can see just what I've done?"

While having examples of finished images in your marketing materials is acceptable to let the client know you will remove skin blemishes, soften lines and brighten teeth, I make it a personal habit to not show the SOOC (straight out of camera) image alongside the finshed product. Even thought the differences can be striking, I don't want the client to also see areas I've chosen to liquefy, or just how deep their wrinkles or eye bags appear without digital assistance. I just want them to love the finished product because they look beautiful. They will understand that I am a talented photographer whether or not I choose to share just how the image got to the final point.

One definite thing not to do is work the image in front of the client. I have spoken to so many photographers who have said something like "oh, just give me a minute and I can have that ready" or worse yet, actually done the Photoshop work while the client waits and watches.

Here's the reason for keeping the production aspect "behind the scenes". It completely takes the magic out of it and undermines your ability to charge for what we do. I can retouch a file in 3-4 minutes because I've gotten proficient in it after years of practice, not to mention the in-camera skills that made the file easier to finish in the first place.

There's a story about a woman who was walking through a park and she came across a man doing a painting. As she drew closer, she realized that the man was Pablo Picasso . . . and she became very excited. She walked up to him and said "Mr. Picasso, I have admired your work for so long . . . and I would love to have you paint my portrait. I will pay anything for that . . please?!?"

The man sighed, took the canvas he was working on off of his easel, replaced it with a fresh canvas and began to paint. About 20 minutes later he turned the canvas around to show her. The woman was elated! "Oh Mr. Picasso, it's beautiful! I can't believe how wonderful it is . . . and to be able to own such a personal piece of your art . . . how much do I owe you?"

Picasso calmly stated "Twenty-five thousand dollars."

The woman's tone abruptly changed. "Twenty-five thousand dollars?!?!? Why, it didn't even take you 20 minutes!"

Picasso, who had already replaced the canvas with his previous project, paused and said "On the contrary, my dear woman. It has taken me a lifetime."

Think about it . . . we didn't snap our fingers and get good. We were not overnight sensations. We've spent a long time learning, creating, perfecting. Don't devalue your work by making what we do seem "easy". Just because we've gotten good at a particular aspect of this business is no reason to make it appear that anyone with a DLSR, a computer and a mouse can be a Photoshop wiz.

And since we deserve to be well-paid for the amount of time, effort and money we've put into educating ourselves . . . please, don't give your work away.

- David Grupa

I Borrowed This Idea to Help Make a Point About Shoot-and-Burn Photographers

Every year, my local community center puts on a pretty impressive Bridal Expo, targeting area brides and inviting vendors from the wedding industry to participate. Even though I don't do a lot of these shows, I like this one because it keeps me visible in my community and the cost of the actual booth is very reasonable.

As with many Bridal Expos, there are couples who are are there to "kick the tires", as well as other couples who are pretty serious about planning an event. There are also maids-of-honor, sisters, friends, parents and of course, a few reluctant grooms. (I still think bridal fairs should have an open bar and a big screen TV just to give these poor guys something to do!)

My displays consist of finished albums and large canvas prints, with a few smaller books and some non-wedding couple and family images sprinkled in for a wider base of appeal (just in case you're the MOH or girlfriend who has a family or just wants to update their image with their "significant other".) It's always good to let prospective clients know you do more than just weddings.

There are drawing forms on the table for a series of prizes; in additional to the basic information (name, date, address, email and phone) I also add a few important check-boxes:

    - I have immediate need for your service; please call to schedule a studio visit!

    - I am still in need of a wedding photographer and would like more information.

    - I'm not interested in your services, but please let me know if I'm a winner.

    - If I'm a winner, I would prefer the cash value of the item instead.

My best prospects are going to come from #1, with some potential for those who checked #2. Obviously, I'm not going to waste time and money marketing to those who check the #3 or #4 boxes.

One of the other things you can do after you've had your drawing is send out "Second Prizes". I will often send out a $100 studio gift card to every attendee who fit into the #1 and #2 category. This gives them a little added incentive to call the studio and schedule an appointment; people hate to walk away from a gift card with any kind of substantial value.

Even though my business model is selling completed albums and printed images, I also get my share of people who say "we just want the images on a disk." Earlier this week, I saw a post come across on Facebook that was too good to pass up. It showed an old floppy disk with a CD label that said "What if this was the only way you could view your grandparents' wedding photographs?" Brilliant! How many hours have I spent extolling the virtues of professionally printed images to couples and telling them that any type of media - CDs, DVDs, thumb drives, even hard drives - is fragile and permanent storage and long-term accessibility can be questionable.

So . . . off to eBay I went to find someone selling old 5 1/4" floppy disks (I don't even have a computer that takes these, so I tossed all of my old ones). I also ordered some business-card sized stickers from my lab to put on each disk. I will hand these out to brides who request info this weekend, as well as displaying one on my table.

I think it gets the point across quite well.

- David

Resolve to Be a Better Businessperson in 2012!

First off, I hope everyone enjoyed a wonderful holiday with the people they love the most. After all, that is really what it's all about.

Florida photographer Kevin Newsome has posted a series of YouTube videos with his opinions on different issues within the industry. They're relevant, thought-provoking and mildly entertaining. When a link to one of his videos on "Shoot and Burn" photographers was recently posted in another forum in which I participate, it opened the ever-popular discussion of "should I sell print or files?" While I don't want to get into that one one more time, I do think there were a few important points to be made.

One relatively young and opinionated member chose to point out that selling image files was the only way to make money and that Mr. Newsome was a "relic" and and "artifact" in the industry. This group member continued by stating "This dude is just afraid of losing his rip off of a business that needs to die and I'll be happy to be one of the ones to help make that happen."

Is he right? The fact is, we should all be concerned about losing our businesses, but not because we are "rip offs" or aren't embracing technology and selling files. We should be concerned about the fact that we are underpricing our products and services in an effort to compete with the MWACS and DWACS who enter this field daily. (Just think, there are probably hundreds of new "professional" photographers right now who are still trying to decide what to name their Facebook business page as they caress the shiny new Rebel they found under the tree!)

While I definitely have my own opinion, I'm not going to fuel the files vs prints debate here. What I am going to do is ask you to take a serious look at the amount of profit your studio needs in order to survive.

Photographer and educator Charles Lewis (another "relic" or "artifact") still talks about starting his studio and the number of hats one must wear to own their own photography business. He'd say "all I want to do is take pictures!" Of course, we'd all love that.

However, it takes more than just pushing a button. Those photographers who fail to do the sales, marketing and most importantly, pay attention to the numbers and bookkeeping are doomed to fail. You MUST find a way to make a viable living in this industry by pricing your product (whether image files or physical images) to make a profit.

Those who shoot and burn for cheap rates will be forced to find another source of income to supplement their photography. Those who sell prints for cheap prices will die for the same reason. 

It's not about the technology. It's not image files vs prints. It's not "relics vs young guns". It's each and every one of us vs ourselves and our own reluctance and hesitation to sell our products and services at professional rates that allow us to make a decent living while still doing something we enjoy.

Everything old is not necessarily bad, just as everything new is not necessarily better. Some things got to be old because they stood the test of time and have not crumbled under the pressure of change. Yet, embracing the "out with the old, in with the new" mentality can be a good thing in many ways. Perhaps the New Year is the right time to take the plunge with a new pricing structure. Maybe this New Year will be one in which you eclipse your old sales numbers. What if I told you 2012 would be your breakout year, simply by making a few positive changes in the way you look at your studio; not the photography itself, but the business of photography.

My suggestion for a great resolution for 2012 is to take a serious look at your own business model. Crunch your own numbers (or if that's not your strong suit, talk to a bookkeeper or accountant who can help decipher them with you!) We obviously love what we do and have a deep passion for the art. Make 2012 the year you get passionate about the business side of photography and start making it truly profitable!

Happy New Year!

- David Grupa

Are You the Holdup in Preventing Better Sales Averages?

It's been said that if your customers don't complain in some way about your pricing, you're probably too cheap. Many photographers - especially newer ones - are even afraid to charge "market rate" for their photography, often time giving it away at what can be perceived as a loss.

The excuses given by photographers range from ridiculous to absurd. "I want to be affordable for everyone!" "I want all of my clients to be able to own my work." "I price my work at what I'd be willing to pay." "It was a beautiful image and I really wanted them to have it."

Photographers get nervous. We're just jumpy. We go out and invest money in top quality gear and the best education and think we're ready to tackle the world. Then that first client walks through the door and balks at our pricing, so we do the only logical thing.

We panic.

At a recent event, I was having dinner with a few colleagues; one of them was newer in the industry than the rest of us. We were having a discussion about pricing and my new friend said "OMG! How do you tell people that your 8x10s are $100 each?"

My more experienced colleague answered "With a straight face."

But we're in panic mode, remember? Clients make one little statement about our product being expensive and we start discounting prices and handing things over as if they were pointing a gun at our heads. It's almost as if the total sale reaches an amount that we personally feel uncomfortable with, we start apologizing for what we charge.

STOP IT! Total up the order, slide the invoice across the table and ask how they'd like to make payment. At that point - SHUT UP! First one to talk loses. Seriously.

If you can't handle the pressure of the salesroom, you have a few options. Take a class in "need satisfaction selling." This type of sales technique has been used for years and is also referred to as "value-added selling."

One misconception of customer-oriented selling is that the sale is only about the customer. Wrong. It must be a good deal for the buyer and the seller. If it were not a good deal for the seller, why would the salesperson pursue the client? If it were not a good deal for the buyer, why would the buyer want the product?

If you still feel queasy at the thought of asking for money, go out and find someone else who can do it for you. Ask someone you've met who is working in a decent retail store if they'd be interested in working for you part-time as a salesperson. Offer them a basic wage with a handsome commission. Let them sell your work for you while you do what you love; create awesome images. It's a win-win for everyone.

- David Grupa

How Many Files Do YOU Have to Sell to Equal a Good Paycheck?

There are constantly discussions being opened in online groups in which I participate that revolved around the nagging question of pricing for actual photographs vs. "should I sell my files?"

A local colleague (who is an amazing artist!) commented "I still think it is better for the client to have US do the artwork and printing, but (purchasing files) is an option available for when someone needs the file. I had an image to be published in a book . . . because I did his (the subject's) wedding and the publisher bought usage of 1 jpg. What I charge per jpg is $450 for just 1. 3 jpgs are $1000, 10 jpgs are $2000 and 30 jpgs are priced at $3000. So, with a (minimum) order of $1500 or more the jpgs are $100 each, but only IF you are purchasing 30 of them. In this instance it would be at least a $4500 (sale)."

I'm pretty sure that there are too many photographers giving away their work because "that's how my friend does it" or "my client complained I wasn't including files".

You can certainly sell your files (although my personal preference and business model is to do the artwork and printing myself) AS LONG AS you're still making your session averages! Too many newer photographers think "Wow . . . I just made $100 shooting that portrait session and giving away a CD of printable images. All it cost me was a 50 cent disk - this is gonna be awesome!"

Do you remember the cereal commercial? "You'd have to eat TEN bowls of their cereal to equal the vitamins/fiber/whatever else that's in just ONE bowl of our cereal!" What we do is actually very similar.

Since there are only 24 hours in a day, do you really want to work 20 of them? There are just 5 days in a typical work week (bet your spouse/partner/kids are already thrilled to see you working nights and weekends). With 52 weeks in a year, you probably had paid vacation at your other job and enjoyed the benefits of that.

Suddenly, it's not so awesome if/when you figure out that you're actually making less than minimum wage. You're probably not even making enough to pay for the gear you own (not to mention the "wish list" of toys you want to buy!) The goal here is to make a living while creating awesome images for our clients. They, in turn, will compensate us appropriately for the portrait and lasting enjoyment they will receive!

My artistic colleague has the right approach and mindset. This is not about selling 80 square inches of photographic paper or a digital file, it's about the time and talent we put into the creation of each portrait. It's about the image, the emotion, the art.

This isn't about giving family, friends or frugal clients a cheap way out. It's about taking positive steps to insure we can make a living doing something we love.

While a great deal of my time is invested in this industry, photography is NOT my life. Photography is what I do so I can actually HAVE a life!

Take a look at what you are doing. What do you need to change to have a great life?

- David Grupa

Dare to be Different; What Kind of Business Owner Are You?

There are lots of photography forums out there; between Facebook groups and privately run sites, it's pretty tough to say that there are no places to go for "inspiration". Many of these sites encourage participants to share their images, along with the techniques used to create them, so that others may learn from what they have done. Photographers of all skill levels participate in these groups, some actively sharing while others are more comfortable "lurking" in the shadows. Of course, there are always one or two who just vie for attention, practically screaming "come on, dig me!" in their efforts to be the "most liked".

In addition to the online education, there are also dozens of opportunities such as seminars, conventions and privately run classes, again offering tips, tricks and formulas for success in the photographic world.

Inevitably, after taking the same classes, joining the same groups and using the same tips, actions and templates, suddenly some photographers' work begins to look "the same". Sure, there are a few folks who will copy an idea down to the last detail, but what is it that you do to set yourself apart? Too many new photographers find an image they like and repeat it over and over, or prowl through the websites of established photographers in hopes of finding an image or pose that their limited technical skill set will allow them to copy.

If running that new action to over-saturate the colors is your idea of "being different", maybe it's time for another look at the bigger picture.

            - After you find an inspiring image or a new pose, do you try to copy it exactly or do you take the idea and execute it in a unique way by adding your own style or twist?

            - Do you spend time looking at images of other photographers for inspiration, or are you "stalking their websites" in hope of stealing ideas?

            - Do you find yourself using the same actions on every image? Do your images stand alone without running actions, or have they become a crutch that keeps you from having to be technically "perfect"?

And finally, my personal favorite:

            - Do you find yourself constantly visiting the sites of other photographers in your area "just to see what they are doing?"

Recently, an individual new to the photographic industry, but no stranger to the business world shared this quote:

"The competitor to be feared is one who never bothers about you at all, but goes on making his own business better all the time." - Henry Ford

So think about this; are you so stressed over what your competitors might be doing that you can barely find enough time to be creative in your own studio? Or, are you the owner that sets focus on your own brand and business, always creating new items, striving to be better and offering products of high value to your own clients without visible regard for what those around you are doing?

Which one would you rather be . . . and which one would you rather do business with?

- David Grupa

Hints For a More Successful Bridal Fair Experience

If you're a wedding photographer, odds are you've spent your fair share of time at bridal fairs and expos. This is a busy time of year for events such as these; while they can be great events for marketing and displaying your product, they can also work against you if you aren't prepared. Worse yet, you risk damaging your image and reputation if your attitude is too casual.

Long ago, I decided that if I was going to invest the money, time and effort into doing these events, I was going to get the most bang for my marketing dollar. Time and money are too precious to waste.

While you need to make your table or booth appear inviting, simply having a few large photographs or a slideshow playing isn't going to make you stand out from the other photographers in the show. You need to do both some advance work as well as follow-up.

Here are five simple (yet important) tips about getting the most from your bridal fair marketing investment:

   1.  Do your homework. Check the vendor list in advance. See which photographers will be displaying, as well as other vendors. If you have (or would like to have) a partner relationship with the vendors in attendance, see if you can trade table space for a small display. For example, if you have photographed at a specific venue, printing a small quantity of marketing pieces featuring images from that venue could work in your favor. I generally give the vendor 8-10 of these shortly after the wedding. The card may be a small press card (4x5, 5x7) featuring your images of their work. (Of course, you've discreetly placed a photo credit along the edge of the card; something like © David Grupa Portrait - www.DavidGrupaPortrait.com.) The vendor now has a professionally-designed card with their work in-hand; I always attach a little note that says "how much I enjoyed working with them and hope to again soon. Please accept these marketing cards with my compliments."

Invariably, they'll want more cards. Since they're handing out samples of my work for me, I supply them at a "preferred vendor rate". You get referrals, they get great images. Everyone wins.

If you need something to spruce up your table or booth, check with vendors who do decorating or floral arrangements. You may be able to work a deal where you can have a fresh arrangement or decor from that vendor (along with a sign, crediting that vendor's work) on your table. Again, offer to give them images from weddings you've photographed where they have also worked.

   2.  Control your environment. If possible, set up your booth or table so that it allows prospective clients to come in and interact. Too often, the table becomes a barrier between you and a bride. I like to set up my images on easels along the sides and pull the table to the back wall. This way, brides can "come in" to your space. It also maximizes the space available and provides the illusion of a larger booth.

   3.  GET RID OF THE CHAIRS! There is nothing that makes a vendor look completely uninterested as a booth at an event where the vendor is sitting behind a table. Stand. Interact. If possible, put the chairs in a position where prospective couple can sit and view your work. Get off your tail and look excited to be meeting new clients.

Also, keep any food, drink, snacks, etc. out of view. A half-eaten sandwich or partial bottle of soda just looks sloppy and unprofessional.

   4.  Network. When traffic slows and you are able to walk away from your table, use the time to speak with other vendors who appeal to the same type of client with whom you wish to work. Trade brochures, build a referral list with other businesses. Even though a particular person may not be in a position where they refer prospective weddings your way, they may have other connections which will prove valuable. Talk. Smile. Exchange cards and info.

DO NOT become a clock-watcher. While I realize these events can consume a good portion of the day, don't be one of those idle people standing along the sideline muttering "45 minutes left" to other merchants. You paid for this time, so use it wisely.

   5.  Follow up. Many shows supply you with a list of registered attendees, along with their dates and contact info. A follow-up message via USPS or email is often an effective method of spurring a potential client to action. If you choose the email route, design an attractive piece using a bulk email program such as iContact. Using a program such as this will also allow you to track when the email is opened, as well as any embedded links that were clicked on.

Do the same with the vendors you met; drop them a note and a small stack of marketing pieces or business cards. Better yet, schedule a visit and offer to photograph their site in exchange for a small display in their sales area.

Of course, the main thing is to do something. Doing nothing simply pushes you to the back of the pack where you'll be soon forgotten.

Whatever you do, make sure you do it in a timely fashion while your name is still fresh in the minds of your prospects.

Good luck - happy marketing!

- David Grupa

A Camp David Minute with Beth Forester of photoDuds!

Last week during ImagingUSA in San Antonio, I had a minute to catch up with Beth Forester of photoDuds.

If you're not familiar with the product, photoDuds is a great way to take your sales to another level by creating products that your clients will love. From collages to greeting cards, photoDuds offers you some awesome options!

Best of all, even if you missed ImagingUSA you can still take advantage of a 20% discount on all photoDuds products if you order by January 31, 2011! www.photoduds.com 

Check out my interview with Beth right here: