AIAP Newsletter 12/15/09

As the signs of economic recovery begin to appear, I thought it might be useful to discuss some secondary markets that heretofore may have been missed opportunities for architectural photography sales.

Times like these often require a bit of creative thinking when it comes to finding new clients. Too often we think of our client base as being architectural firms, design firms, magazines and builders. Here are a ten suggestions for finding secondary market clients:

1. Professional offices - Specialty clinics, dental and orthodontic offices, cosmetic surgery clinics and centers, spas and retreats, law firms, manufacturers.

2. Car Dealerships - Especially dealership "groups" which usually have an ongoing need for promotional material.

3. Restaurants - Especially localized chains or unique independents.

4. Specialty Food Stores and Markets - There's been an upsurge in this market despite a down economy.

5. Real Estate Investment and Holding Companies - These are a bit more difficult to discover than other markets. However, you may want to peruse the business section of the newspaper for investment firms that specialize in real estate as their primary product. Often theses firms hold apartments, offices and other multi-tenant properties in their portfolio. These guys have taken a big hit, but competition has never been keener. If they are to survive, these firms will need to have solid marketing images.

6. High-end Condominium Developments (both residential and commercial) - The top end of this market is still spending money and buying solid architectural photography.

7. Fractional Ownership Properties - Don't think time-share. These are high-end properties that usually have only a handful of owners at a substantial buy-in level ($250,000+). Some developers are converting hotel properties into fractional ownership properties. Because of the price point, these properties require top-notch photography in their marketing materials.

8. Medical Centers - Hospitals, retirement homes, specialty care centers, assisted living centers. Business continues to grow for these firms, and most have in-house marketing directors.

9. Commercial Leasing Firms - Find out who the big boys are in your area and don't waste your time with the others. Only the top tier firms will have the budget for good architectural photography.

10. Architectural Product Manufacturers - These firms often require a bit of research to find. However, most hire photography of their products in finished installations. Landing a few of these clients will definitely help smooth out the ups and downs in your business.

Your pitch to all of these potential clients is the same: The need for great site photography that showcases their place of business and the amenities offered there. My experience is that many of the businesses in these secondary markets may not have even considered the advantages of great architectural photography.

Often these clients require a bit of education. I like to simply offer a proposal for architectural photography that I feel could benefit their business. I like to use phrases such as "signature property shots, branding shots" and "showcase views" to describe the type of photography I have in mind for their business.

The feedback I receive from the AIAP membership at large is encouraging. Obviously there's been some attrition in the market and competing photographers that were "barely making it" last year are likely out of business this year. The upside for the rest of us is that competition has been greatly decreased, and the opportunity exits to significantly increase our client base.

©2009 Alan Blakely

Alan Blakely, Director

The Association of Independent Architectural Photographers

www.aiap.net

AIAP Membership Options Announced

Given the present economic situation we've decided to offer AIAP memberships and renewals on an annual, semi-annual and quarterly basis. Please note that the annual membership still requires manual renewal. However, the semi-annual and quarterly membership options are auto-renewing. You can cancel your auto-renewal at anytime.

You may view the changes at the following links:

www.aiap.net/ftprenew.html

www.aiap.net/join.html

Best regards,
Alan


Alan Blakely, Director
The Association of Independent Architectural Photographers

AIAP Newsletter 07/30/09

We all know that having a website is no guarantee of new business. But what does it really take to convert "click-through" traffic into bookings? In the world of webmasters this phenomenon is known as "landing page conversion." Let's take a look at a few ideas that may make it easier for photography buyers to spend money with you:

1. What's Your Headline?
I know, you're an artist and your website is a reflection of your vision. Fine. But to the photography buyer who lands on your page searching for an architectural photographer, what is your message? Your headline may be your page title, your menu, your design, your opening image, etc. But the fact is, saying nothing about yourself is also a headline. Why not title your page or include some opening copy or a signature image that expresses your "position" or "message" immediately?

Why have a headline? Simply put, it convinces your viewer to go further into your website and gives them an idea of what they'll find. You may have the coolest site on the net and a killer portfolio, but without an invitation to look further, you'll lose potential clients. In other words, give your viewer a reason to open the door and take a look around.

When I was a copywriter in the advertising business I worked for a creative director that enforced the "60 headline" rule. For any given ad, he expected me to offer 60 headline possibilities. What this did was force me to refine the message and craft the delivery until the headline was clear and powerful--and hopefully clever. I'm not suggesting that you write 60 headlines before deciding on an opening for your website, but 4 or 5 would be a good start. Then test them. Ask those you trust if the message is clear and compelling enough to make them want to know more.

2. How About Some Copy?
You know, some words of explanation about what you do and how well and why someone should hire you. Granted, as photographers it's our images that will close the deal, but the typical photography buyer will also form an opinion in their mind about what makes you unique. Why not spell it out for them? Give your viewer some compelling information that will convince them that you're the one for their project. Many photographers rely on their "profile" or "about" page for this type of information, and often do a poor job of convincing the viewer that they're the one for the job. Why not tease the viewer into your website with some clever supporting copy.

3. Tell Your Viewer What To Do!
As you may remember from your Business Marketing 101 class, this is known as your call to action. This may be as simple as "click here to request a quotation" or "use my toll-free number to book your project". There are any number of offers you can make here. The point is to convince your viewer to take the next step towards booking a project with you. Take a look at the websites of those companies you buy from. Chances are they have a clear call to action to help you along the way to a transaction. Don't expect your viewer to take the next step towards hiring you without first telling them what the next step is.

4. Show Only What You Do Best.
It's pretty tough to convince a photo editor to offer you a magazine assignment for an architectural subject if your website showcases your product photography. I realize that many of us offer commercial photography services beyond architectural photography. If that's the case, consider creating an architecture-specific website. Every year I hear from one or two disgruntled AIAP members who can't understand why they aren't getting assignments from their AIAP listings. In every case the photographer's website is too general or showcases a type of photography other than architectural.


In summary, let me suggest that you design your website to send a clear message to your viewers about what you do, why you're the best and why they should hire you. If your message is clear, your conversion rate is bound to increase.

AIAP Newsletter 04/24/09

Four Steps to Easy Search Engine Optimization

At a time when being found on the web has never been more important, let me offer four simple steps to get your website noticed and visited:

1. Keywords and Keyphrases

Part of optimizing your website is knowing what keywords and keyphrases are significant for your website. Simply choosing the keywords "architectural" and "photographer" just won't do. You need to target your audience by the keyword and keyphrase content that you include on your pages. It's far more profitable to target a small number of visitors than a broad spectrum.

For instance, rather than using a general keyphrase in your content like "architectural photographer" why not try something targeted like "timbuktu hotel photography" or "tri-cities interior photography"--see the difference? A large volume of non-targeted visits is worthless compared to a small number of targeted search visits from people wanting exactly what you offer. The first step in optimization is deciding what keywords and keyphrases are the valuable to you.

Google's keyword tool is a great asset in evaluating the value of certain keywords and phrases: https://adwords.google.com/select/KeywordToolExternal
This tool allows you to play "what if" with keywords and discover their respective popularity and search volume. Google offers this tool for those who use their AdWords advertising. I don't necessarily recommend jumping into AdWords advertising--just enjoy the free tool.

2. Page Titles

For starters, you should use a different title on each of the pages in your website. From there, you should make use of your keywords and keyphrases in your page titles. Make sure your page content matches your titles. Search engines place more weight on the first letters and words of both titles and page content, so plan accordingly. Page titles are often displayed in search engine results after your website has been indexed. Consequently you may draw visitors further into your site with well thought out page titles and content.

3. Meta Description Tag

Meta tags seem to be less important in optimization than they once were, however your meta description tag still plays a vital role. Most experts recommend creating unique description tags for each page just like page titles. This is yet another place to make use of your targeted keywords and phrases. The meta description tag should be under 160 characters for most applications. Search engines simply won't go beyond the 160 character limit. With a little effort you can fit your targeted keywords into a description of this length.

4. Content on the Page

Page content is hands-down the best method of winning visitors and links for your website. Search engines love page content! Take the time to make your page content both informative and rich in your targeted keywords. This takes some effort, but the reward is targeted visitors looking for what you have to offer. SEO experts recommend having your keywords appear at least every 100 words in your page content. One word of caution: don't get caught in the trap of keyword stuffing. The search engines will punish you for keyword stuffing and you may be banished from search returns.

Search engine optimization is usually something the average user can do on their own. In some instances it may be worthwhile to employ a service for this, but these companies are often predatory, offering little value for the fees they charge. Take a look at websites that enjoy a high ranking and you'll discover the careful use of keyword and keyphrase optimization. It's something you can do for your website with a little time and patience.

Best regards,
Alan

Alan Blakely, Director
The Association of Independent Architectural Photographers
www.aiap.net

AIAP Newsletter 02/11/09

Dear AIAP Members,

As we move towards Springtime and a busier business season, I think it might be profitable to re-visit a few items relating to travel. I returned this week after a trip through the southwest that was less than pleasant with regard to travel. Here are a few items for your consideration:

1. TSA WORKS FOR YOU! I realize that they haven't been told this yet, but as I read the budget appropriations it does appear that you and I are paying their wages. Here are a few helpful guidelines that you need to understand to stay in control of your equipment when you travel:

a. You need to assert your rights under the law if TSA wants to hand-inspect your bags. First, tell them straight away that they may not open the bag unless you're there to watch.
b. Next, tell them that if they want to remove anything from your bag that they must do so in plain sight, handling the item with extreme care, and that they must place all removed items on the table in an organized manner.
c. Finally, tell them that they may not re-pack the items, but must allow you to re-pack the bag.

I've only had to assert these rights on a few occasions (this week being one of them). TSA was thoroughly miffed at me when I insisted on the above items, but complied completely knowing that I was well within my rights.

2. MAKE YOUR EQUIPMENT CASES TRAVEL FRIENDLY. Gone are the days of baggage waivers. Consequently it's more important than ever to have bags that are easy to inspect, easy to pack, and extremely protective. For years I traveled with full-armor ATA cases. I had a baggage weight waiver from most airlines, and travel was a breeze. That all ended in 2001.

Now I travel with high-impact ABS plastic cases that weigh less than 50 lbs. packed. However, I don't believe that my gear is any less protected than it was before. My cases were custom built for my lighting system and are a footlocker-style case with a piano hinged lid, heavy-duty hasp closures and riveted web straps and closures.

I don't lock my cases, but rather rely on the double closure system to keep things closed up tight. I traveled one time with the so-called TSA locks--they were all broken by the time I arrived home.

Here are a couple of suggestions that will make inspections less of a hassle, and the probability of loss or breakage less likely:

a. Paste a contents list to the lid of your case (or some other conspicuous place) along with a photo of the packed case contents. Along with the contents list your contact information. Checked baggage is inspected out of sight, and this list and photo will tell a TSA inspector that you're not only expecting an inspection, but that you'll know immediately if anything is stolen or broken in the inspection.
b. Place a conspicuous note to TSA on both the outside and inside of your cases. I make mine with a P-Touch labeler. My labels say, "TSA: Please re-pack items exactly as you found them and re-close all latches completely and securely to avoid claims."
c. Weigh your cases on an accurate scale, and pack up to 48 lbs. In my experience there can be a 1 to 2 lb. error in airport scales. This can mean anywhere from $25 to $100 in baggage fees if they feel you've exceeded the 50 lb. limit.


3. RE-CONSIDER YOUR EQUIPMENT CHOICES. I know, this isn't the best time to encourage photographers to spend more money on gear. However, you may discover that less is more. There's been a fair amount of discussion lately in the AIAP Forum regarding lighting equipment. Enough in fact for me to re-evaluate my lighting choices and make some new purchases. The new gear is lighter, more accurate (digital controls) and much easier to travel with.


Finally, I want to let all of you know that the AIAP is in negotiations with several major airlines for some concessions for AIAP members. Specifically, we're working on some preferred baggage policies as well as other preferential practices that will benefit AIAP members. We're hopeful that we can come away with some real benefits for members--I'll keep you posted.

Best of luck to each of you as we approach the Spring shooting season, and hopefully a more positive economy.

Best regards,
Alan

Alan Blakely, Director
The Association of Independent Architectural Photographers
www.aiap.net

©2009 AIAP

AIAP Newsletter 12/23/08

Dear AIAP Members,

There's been a huge increase in the marketing efforts of companies promising immediate search engine placement and ranking, as well as optimization. You've undoubtedly gotten the calls saying, "We've noticed that your website doesn't come up very high on the search engines. Did you know that we can guarantee you top ranking on Google, Yahoo and MSN?"

Most experts agree that the bulk of these companies are nothing more than scams that prey on small business owners. Given the current economy I don't think any of us can afford to spend a single dollar on marketing that doesn't bring results. To that end I've decided to share the following article with you by Marc Ensign who is an expert on this subject. I've also included Marc's contact information for any of you who think you may benefit from his services.

Happy Holidays!
Alan Blakely, Director
AIAP


Debunking the Top 10 Search Engine Myths
We've all done it at some point in our professional lives. We search a keyword that describes our business only to scratch our head as to how our competitor's website shows up on the top of the list instead of ours. If you've gone one step further and read about Search Engine Optimization, then surely you have come across the conflicting information online.

One article tells you to do one thing while another tells you to do the opposite. Which one should you believe?

This gray area of what you should or should not do is much like the modern day "Bat Cave." If you are lucky enough to stumble upon it, chances are you don't quite know how you got there and if you had to go back one day you would probably just find yourself lost in the woods.

So what should you believe? The general rule is to combine what you read or heard with what you have experienced and somewhere in there lies the truth. To get you started, let's debunk some of the more commonly used myths floating around.

1) Use a Keyword Rich Domain Name:

It is widely believed that if you include your keywords in your domain name like www.professional-website-design-in-nj.com it will greatly increase your rankings. This is not true. It is best to choose a domain name that is short, easy to remember and if possible includes your company name.

2) Google Partnership:

If you are ever approached by a company claiming to have a partnership with Google, run in the opposite direction. There is no such thing as a "preferred" relationship with Google and in fact on Google's website it even states: Beware of SEOs that claim to guarantee rankings, allege a "special relationship" with Google, or advertise a "priority submit" to Google.

3) Meta Keyword Tag:

It used to be that the Meta Keyword Tag was given a lot of weight in the early days of Search Engine Optimization, but people abused it and now it does very little. You may still want to include your keywords here, but know that it will not do much and in fact most search engines won't even check it.

4) Bold or Italicized Text:

Adding emphasis to certain keywords like using bold or italics can make your text easier to scan for the reader if done properly, but has little to no affect on your search engine ranking.

5) Content Length:

There is no search engine rule stating that your content needs to be a specific number of words in order to get indexed. Any recommended length is more to assist the reader in understanding what you do than to aid the search engines.

6) Duplicate Content:

Posting specific content like an article or blog entry on your site and then on another site will not get you penalized. In the search results, Google will recognize that the content is the same and only choose one of the pages to display, but it will not hurt your overall search engine ranking.

7) Avoid Flash:

Any text that you place in Flash will not be readable by a search engine, but this doesn't mean you have to avoid flash altogether. You can still very successfully incorporate Flash into your site through rotating pictures or a header on the page. Just don't have an all Flash site or use a Flash intro if you are interested in increasing your search engine rankings.

8) Pay-Per-Click:

Some say that using Pay-Per-Click will help your organic listing while others say it will hurt. Both are false. The fact is that Google has gone to great lengths to separate the two departments of organic and paid listings to a point where the two departments don't communicate or even sit at the same table for lunch.

9) Update the Site Frequently:

Updating your site often is a good idea if you have something new to say. Just don't change around a few words to accommodate the search engines as that won't help your listing at all. Regularly adding legitimate content like articles, press releases and blog entries will help though.

10) Doorway Pages:

Many companies will sell this idea of increasing your ranking by creating hundreds of one page sites loaded with keywords that link to you from various domains. This is considered spamming the search engine and is not recommended. If you properly optimize your site and focus on the correct way to get listed, you will increase your ranking much quicker than these doorway pages ever could.

Of course there are many other myths out there confusing the general public about what works and what doesn't work. Some of them are spread by people who don't really know the truth and others are spread by SEO companies in an attempt to make search engine optimization confusing... mission accomplished! Regardless of where the myths come from, if you or the SEO Company you hire use common sense and do things the right way, you will have no trouble finding the proverbial Bat Cave…and when you get there please tell them that I want my utility belt back!

©2008 Marc D. Ensign. All Rights Reserved. Marc D. Ensign is the CEO and Visionary of Sound-n-Vision, a New Jersey web design and Internet marketing company. Marc actively teaches workshops and seminars on web design and search engine optimization throughout the New York Metropolitan area.







Marc D. Ensign
Sound-n-Vision Designs, LLC
Park 80 West
Plaza II, Suite 200
Saddle Brook, NJ 07663
Phone: 201.291.2899
E-mail: marc@sound-n-vision.com
Website: www.sound-n-vision.com

AIAP Newsletter 12/11/08

Dear AIAP Members,

First off, as many of you know, in-bound links to your webpage will greatly improve your page rank with the search engines.  It occurs to us that if AIAP members were to link back to the AIAP that all members would stand to benefit.  To that end we've created a banner that you can place on your webpage to link back to the AIAP.  We've attached it here as well as placing it in the AIAP Member's Area.  Please not that you must copy the code exactly.

Secondly, the AIAP homepage will begin to display news items from members on the AIAP Homepage.  Appropriate news items would be major assignments, publications, books, exhibits, etc.  The news items must be newsworthy to be considered, not simply self-promoting.  The news item will link directly to your webpage or other appropriate page.  Members must have a reciprocal link in place (banner) in order to have news items considered for posting on the AIAP Homepage.

(Please go to the AIAP Forum "Files" section to download your preferred version of the AIAP logo)

Best regards,
Alan Blakely, Director

The Association of Independent Architectural Photographers
www.aiap.net

AIAP Newsletter 11/26/08

Dear AIAP Members,

This message is intended to clear up any questions you may have regarding how AIAP members are listed on directory pages:

1.  Members are listed on their home region page in order of membership date.  For instance, if your home state is New York, you will be listed below those who have joined before you and whose home state is also New York.

2.  Members are listed on additional directory pages (other than their home region) below those for whom the page is their home region.  For instance, if your home state is New York and you want to also be listed in Pennsylvania, your listing will appear below those members whose home region is Pennsylvania.

3.  Members are listed on additional directory pages in order of membership date.

4.  If your AIAP membership expires your directory listings are deleted and as well as your membership in the AIAP Forum.

5.  If you choose to re-join the AIAP after your membership has expired and your listings have been deleted you cannot re-claim your previous page rankings.

6.  When an AIAP member chooses to let their listing expire, their listings are deleted and all existing listings move up accordingly.


Best regards,
Alan Blakely, Director

The Association of Independent Architectural Photographers
www.aiap.net

AIAP Newsletter 10/28/08

A Prime Time for Marketing

It's hard to escape the barrage of negativity that the media has been churning out during the past few weeks.  Yes, there are some indisputable facts that prove that the economy has taken a nose-dive.  However, if you're brave enough to see the glass half-full there are some real opportunities for business growth and success.  Let me offer you some alternatives to the doom and gloom:

1.  Slow Market Thinking vs. Prime Market Thinking

We all know how to act when the economy is chugging along and business is good.  We spend money on advertising and marketing and aren't afraid of competition.  We're sure of our abilities and the level of photography that we offer.  One sign of a great market is the level of competition.  When the economy is good competition is fierce, and vice versa.

Think about this.  What then are the realities of a slow market?  First of all, your competitors tend to take a step back or vanish all together.  Secondly, the level of advertising and marketing drops off dramatically for photographers.  In other words, there are very few competing messages for photography buyers.

Doesn't this present an obvious opportunity?  Now is the time to ramp up your advertising and marketing efforts!  You say money is tight?  Not to worry, there are many opportunities to get your message to photography buyers and potential clients with little or no cost.  Simply put, a slow economy presents you with an opportunity to reach clients and potential clients without the usual competition of a thriving economy.

2.  Save Your Money Through Creativity and Hard Work

Unless you have a real surplus of advertising funds, this is not the time to simply throw money at a marketing effort.  Use whatever excess time you may have to promote your business in the following ways:

a. Issue regular press releases to local trade publications, community newspapers and other media outlets.  If you're story is picked up, it's free advertising.  You have to have something worthwhile to say. For instance, maybe you've recently started using a particular piece of equipment or instituted a workflow system that benefits your customers.  Educational stories are always popular and immediately give you credibility and establish you as a leader in your field.  Offering useful information is key.  Think about the things you could educate potential customers about that would help them have a better experience when they hire a photographer.  To see how this is done, pick up any trade magazine or newspaper and look for articles that are meant to educate the consumer--then adapt the approach to your own expertise.

b. Offer to speak to business and professional groups.  Obvious groups to speak to are AIA and ASID chapters and the local homebuilders association (HBA).  You should also consider Chambers of Commerce, Rotary Club, etc.  Your telephone pitch may go something like this, "Hi, my name is Joe Photographer and I'm calling to see if your members may have an interest in hearing about some of the new developments in photography that could benefit their businesses?"  Your approach must clearly state a benefit to the members of the group you want to speak to.  This is a tremendous way to boost your visibility in the community and establish yourself as an industry leader.

c.  Write a Blog!  This is a quick way to boost the page rank of your website and also establish your credibility.

d.  Go out and meet potential clients.  This is the one we all hate, but it still works.  Here's what I recommend:  Prepare a stunning print with your logo on it as well as a cover letter and attach your business card.  I get my prints done at Costco at a ridiculously low price (you first need to get your file dialed into their color however).  Take your "leave behind" piece and walk into the office of that architectural firm that you'd love to do business with.  

Don't ask for an appointment, or say something lame like, "May I speak to the person in charge of hiring photography?"  Simply smile and politely say, "I'm Joe Photographer and I'd like to leave some information for the person who hires photography for your firm."  Then ask, "Who is it that usually makes decisions about hiring photography?"  Jot down the name in your little notebook and thank the receptionist and leave.

In two days, telephone the firm and say "Hi, this is Joe Photographer--Bill Architect please."  Don't say, "May I speak to Bill Architect," or "Is Bill Architect available?"  If the receptionist asks what your call is regarding, simply say, "I'm following up regarding your photography needs."

As I've said in the past, cold-calling is a numbers game.  For "x" number of calls you will get "y" number of clients.  You just have to be brave enough to make the calls.

e.  If your budget permits, send some direct mail pieces.  I personally like the results I get from postcards.

3.  Keep At It!

Remember, your competition will likely be doing absolutely nothing right now and for the foreseeable future.  You will likely meet with some rejection from potential clients who also view a tough economy as a time to pull back.  No matter.  They likely aren't a strong enough business to merit your attention.  Focus on the businesses who have maintained a positive attitude and who see the current economy as an opportunity.  These businesses will be around a long time, and will help you build your business in future years.

Finally, Don't Panic!  We're all going to feel a pinch here and there.  Just remember--people will still keep building homes and commercial buildings, and they'll need great photography to market them.

All the best,

Alan

Alan Blakely, Director

The Association of Independent Architectural Photographers

www.aiap.net

©2008 AIAP

AIAP News Release 08/14/08

FOR IMMEDIATE RELEASE
Date: August 14, 2008
Contact: Alan Blakely, director@aiap.net

THE ASSOCIATION OF INDEPENDENT ARCHITECTURAL PHOTOGRAPHERS

(AIAP) MARKS SEVEN YEARS OF SERVICE

 

WWW.AIAP.NET -- The Association of Independent Architectural Photographers, commonly known as the AIAP, will mark seven years of operation on September 10, 2008. The AIAP is a web-based organization that provides an easy point of contact for architects, designers, builders, magazines and corporations who wish to hire an architectural photographer. "The AIAP was founded to help promote the professional success of independent architectural photographers," states AIAP director Alan Blakely. "The AIAP provides unmatched visibility for architectural photographers and an easy, one-stop resource for photography buyers."

The AIAP membership is comprised of several hundred members, all of whom are full-time architectural photographers. AIAP members must pass a portfolio review and provide client references for their work prior to being accepted into the AIAP. Additionally, AIAP members must also pledge to adhere to a strict code of business ethics. The AIAP "Find a Photographer" directory allows prospective buyers to view individual photographer's websites and negotiate pricing directly with the photographer.

Among the significant changes that have taken place since the AIAP's inception is the transition from film to digital format. "In 2001 there simply weren't any acceptable digital solutions for architectural photographers," Alan Blakely explains. "In the past few years however, most architectural photographers have made the switch to digital without having to compromise image quality or perspective control. I think that architectural photographers are producing images now that are superior to what was possible in film format," Blakely concluded.

Unlike many professional photography organizations, the AIAP is open only to architectural photographers who demonstrate a talent for this specialty. While many commercial photographers may dabble in architectural photography, the AIAP prides itself on its commitment to the specialized skills of its members. AIAP members are available for assignments in all U.S. States, and in many foreign countries.

To learn more about the AIAP, please visit the AIAP homepage: www.aiap.net

###

AIAP Newsletter 07/14/08

Dear AIAP Members,

Thank you to those who have already responded by posting images for consideration in the AIAP Homepage Showcase gallery.   You must be a member of the AIAP Forum on Yahoo to post images in the Showcase folder.  If you wish to join the Forum (and I recommend that you do anyway) here's the link:

http://tech.groups.yahoo.com/group/aiapforum/

Any submissions from this date forward must conform the the specifications contained in the AIAP Gallery Template found in the "Files" section of the AIAP Forum.  You must follow this template in order to have your images considered.

The gallery showcase on the AIAP homepage will undergo a facelift as well.  The current simple slideshow will be replaced by a much more sophisticated presentation that better reflects the caliber of photography available from AIAP members.

I'll be stepping away from image selection and turn that responsibility over to a colleague with considerable experience and an excellent eye.  Please don't be offended if your images aren't immediately chosen for inclusion.  Images will be rotated on a regular basis.

Best regards,

Alan Blakely, Director

The Association of Independent Architectural Photographers

www.aiap.net

aiap@photographer.org

AIAP Newsletter 06/26/08

Finding Your Prime Clientele

This is generally a busy time of year for most of the AIAP membership.  I believe that makes it a perfect time for us to plan ahead for slow times.  I’d like to recommend taking some time now to analyze your business and honestly determine what it is you offer as an architectural photographer, and what type of client is most likely to value what you offer.

When I was in the advertising business I took all new clients through this evaluation process.  It’s incredibly valuable as a marketing tool if you’re ready to be brutally honest with yourself.

Here’s what I mean--If we take a careful look at our clientele, we can draw some conclusions about our business by honestly answering a few questions: 

1. First, do you have a few main “prime” clients that account for a significant portion of your billing?  If not, do you have a single significant client? 

2. Think of your prime client or clients—what is it that they’re really buying from you?  This is a harder question than you may realize.  The answer will almost assuredly NOT be architectural photography.  However, it may be something such as time, peace of mind, style, confidence, reliability, competence, perception, etc.  I can guarantee that if you are thinking of a prime client, price will not be on this list. 

3. What is it about these clients that you value?  Is it the freedom they give you to do good work (this is usually the single most important factor that people identify)?  Is it the working relationship/friendship that you have with them?  Think long and hard about this—it speaks volumes about the type of new client that you’re going to be most happy to acquire, and most likely to retain. 

4. Next question:  What is it that you bring to the working relationship with your prime client that you may be unwilling to bring to working relationships with other clients?  This definitely requires some thought.  You may find that you’re willing to tolerate more give and take with a prime client, or perhaps you’re more patient with their indecisiveness.  You may also realize that there is a level of trust in this relationship that you don’t feel with other clients.  In addition, you may be more willing to go the extra mile for this client knowing that they will truly appreciate your efforts. 

5. How exactly did you acquire this prime client?  Did you win this account as a result of direct contacting, referrals, direct mail pieces, directory advertising, your website, etc.?  Did you acquire your other prime clients in the same way?  More likely than not, you’ll find a pattern in the type of marketing effort that is most effective for you in acquiring a prime clientele.  This method will undoubtedly be different for everyone.  For me personally, my best clients have been acquired by my rep—on the other hand, one of my most successful colleagues is particularly adept at acquiring new clients through networking with existing clients. 

6. Last question.  What exactly do you do to retain this prime client or clients?  Are there services available to them that aren’t customarily available to your other clients?  Do you offer information to them that is of benefit to their business that may not have any relation to photography?  Do you spend time considering how you might improve the product you offer them?  Do you offer other “intangibles” that add value to the photography you create for them? 

Okay, that’s it.   No more questions, but some serious conclusions are in order.  If you honestly answered the six preceding questions you now have a pretty good idea of what type of client is the best fit for your business, how to find them and how to retain them.

Yes, I realize that you may always wish for bigger and better clients, but the pattern you’ve just identified gives you a blueprint to use when searching out that bigger and better client.  If you see definite commonality in your prime clientele then I believe that it’s safe to put all of your marketing eggs in the same basket.

Now, how to proceed? The key now is to create a list of potential clients that you feel have the possibility of becoming a new prime client.  Focus your efforts towards companies that are similar to your prime clientele in the aspects you’ve identified through this exercise.

This isn’t an easy process, and will likely require refinement as you proceed.  I think a farmer I met in Montana summed it up best, “When I shop for a pair of new boots I always bring along my old worn pair with me.  I tell the store clerk to find me a pair of new boots exactly like my old boots—just as comfortable, but without the smell.”

Happy shooting,

Alan Blakely, Director

AIAP

 

©2008 Alan Blakely, AIAP

AIAP Newsletter 03/18/08

Getting Paid in Three Easy Steps

I receive a fair amount of email from photographers asking for advice on how to collect on a past due invoice.  Being a talented photographer doesn’t necessarily make one a good businessman.  To that end I’d like to share my own formula for getting paid on time and avoiding the unpleasantness of collections. 

It’s essential that you have some set terms for payment for your services.  I remember reading a “how-to” photography book years ago wherein the author said to simply offer terms of Net 30 days to your customers.  I tried it—it was a disaster.  I found that terms of Net 30 often translated into Net 90 or even Net 120 in the minds of my commercial clients (read advertising agencies).  Nowadays I’m not afraid to present my terms up front and insist that clients stick to them.  I also try to make it as easy as possible for clients to spend money with me. 

1.  Put in in writing, and do it in the beginning.

First, I provide a price quote before booking any job.  Having a written quote provides a clear description of what you’re planning to provide, and at what price.  If there’s a discrepancy between your perception of the project and that of your client the written quote will quickly bring the disparity to light.  It’s not uncommon for me to revise a quote two or three times before the description and price are agreeable to all parties. 

If there’s any quibbling about price, I offer to reduce my services—not the price for my services.  Perhaps the client doesn’t really need as many shots as they first thought, or maybe they’ll opt to do their own prop search and styling.  Nonetheless, my price is my price and I never negotiate price. 

2.  Make payment and usage terms clear.

Second, I set forth the payment and usage terms in my quotation.  My quotation contains a clause that states, “usage granted only upon payment in full.”  My final quotation is called a Proposal Contract, and is emailed as a .PDF file with the request that the client return the form with their signature of acceptance.  This signed Proposal Contract becomes a contract for services that binds both parties. 

For a new client I always require a 50% down payment to book the shoot, with the balance due upon receipt of the finished project.  If they balk, I ask them to explain their hesitation.  Frankly, there’s no legitimate reason for a client to refuse a down payment unless they don’t have the resources to pay you for the project.  In any event, without 50% down I don’t accept the job.  For regular clients I don’t require a down payment, but do invoice with the terms “Due upon Receipt.” 

Granted, many clients will pay you in 30 days even if your invoice terms require payment upon receipt.  However, I’ve found that I do get the attention of the accounts payable department by invoicing in this way.  Also, my subsequent statements reflect the invoice as “past due” if unpaid during the previous month. 

Lest any of you think that this strategy is pure nonsense, let me tell you of an experience with a new client this past month.  The client will remain un-named, however if you use a PC you’re undoubtedly using their operating system.  This client is a major player in the business world to say the least, however when one of their departments contacted me to shoot a project I proceeded with an explanation of my terms as I’ve already explained.  There was no kicking and screaming, they simply mailed me a check for the entire invoice amount within two days of having received my photographs.  Enough said. 

3.  Find out who pays the bill, and how.

The third step in my formula is to ask for the name and direct telephone number of the person responsible for accounts payable within my client’s company.  Once my client has accepted and signed my Proposal Contract I contact their accounts payable person and inform them that I’ll be doing business with them as a new vendor and explain my terms of service.  I then email or fax my W-9 form to them along with any other new vendor forms they may require. 

Having the payment channel in place prior to shooting and billing the job will make getting paid a breeze.  You may find that a company prefers to only pay vendors on a monthly basis, in which case you’ll know when you need to have your invoice submitted in order to make the next payment cycle. 

Another great tool in getting paid is being able to accept online payments.  If you’ve already got a merchant account with your bank, you can likely add an online module to your website that will allow you to accept credit card payments.  If not, may I suggest that you set up a business account with PayPal.  I use PayPal for all of my online transactions.  Accepting online payments is an easy way to get a down payment from a new client given the fact that most companies use corporate credit cards. 

Being up front with your service and payment terms will help avoid the unpleasantness of trying to collect from a client on a past due invoice.  It’s been my experience that clients who take issue with your payment terms will always be difficult to collect from, and likely won’t use you again anyway.  Avoid bad clients by weeding them out in the beginning.

All the best,

Alan Blakely, Director

The Association of Independent Architectural Photographers

 ©2008 AIAP

AIAP Newsletter 02/12/08

Dear AIAP Members,

I've had numerous requests for the sun declination chart that I've referred to in the past.  Simply put, this chart will tell you whether the sun is rising and setting in the northern or southern sky based on your specific latitude--and how far north or south.  This is immensely helpful when planning a shooting schedule.

My chart is valid only for those of us in the Northern Hemisphere, however it can be interpolated for use in the Southern Hemisphere. This chart has been posted in the "Files" section of the AIAP Forum.

Best regards,
Alan Blakely, Director

The Association of Independent Architectural Photographers
www.aiap.net

AIAP Newsletter 10/16/07

Good Manners–The Forgotten Business Advantage

 

            I’m departing a bit from the business of architectural photography this month to address a topic that’s been on my mind for the past few weeks.  Specifically—the lost art of good manners in business.  Okay, before you stop reading right here, let me assure you that understanding this concept will always give you an unfair business advantage in nearly every business situation.

 

            Somewhere along the line businesses have forgotten some of the fundamental practices that bring in and retain customers and create loyalty in suppliers and associates.  I’d like to discuss three practices that are incredibly simple to implement and will make you shine above your competition.  Here’s my list:

 

• Learn to say Thank You!
• Years ago I worked in an advertising agency as a writer and strategist.  As much as I grew to dislike the business of advertising, I learned a great lesson in the value of saying “Thanks!”  Every Monday morning it was the practice of the agency to discuss the people who warranted a formal thank you for their actions and influence during the previous week.  A formal, handwritten note was sent to those who gave excellent service, offered a business referral, accomplished something exceptional or contributed in anyway to our success.  The result—a constant stream of positive opinion and business referrals.
• As much as I dislike writing anything by hand, I’ve made it a practice to religiously send thank-you notes to all new clients, those who offered referrals, potential clients who took time to meet with me and those who gave me excellent service.  As a result I’ve enjoyed a continually expanding business while other photographers in my local market have dropped like flies.  Writing thank-you notes is easy, it’s appreciated and the return is significant.

 

• Be Generous!
• Generosity takes many forms.  In my business, I never hesitate to refer someone to one of my clients, and then give my client a heads-up about the referral.  I also try to pass along any information to my clients that I feel may benefit their own business.  Wouldn’t you too appreciate this type of generosity?
• I also set aside a percentage of my advertising budget for gifts to clients.  Not just at holiday time, but throughout the year.  Throughout the year I send my clients gift certificates to fine restaurants as well as cultural events.  I also send flowers and “gift baskets” to my client’s offices for everyone to enjoy.  Think about this:  When any of my clients have the opportunity to recommend a photographer, whose name do you think they’ll mention?
• I also send holiday gifts to clients, and I send them early.  My gifts and cards go out during the first week of December—not the week of Christmas.  Aside from good will, I want to be noticed and remembered; there’s no better way than to be first!
• Okay, I can here you grumbling as you read this that you can’t afford to send all of your clients a gift.  The fact is that I can’t either.  Consequently, I have a “threshold” of billing that I consider before sending gifts.  Everyone gets a thank-you note, but not everyone gets a gift.  For those clients who are a major source of your billing, consider being generous—it will instill loyalty and make you the most popular photographer on their list.

 

• If You’re a Professional, Look and Act Like One!
• I know, I know—you’re an artist.  That’s all well and good, but consider your demeanor and appearance through the eyes of your clients.  In my own case, my clients are primarily “suit and tie” corporations with a business culture that rewards professionalism in both conduct and appearance.  Does that mean that I wear a suit and tie?  No.  However, I do dress very well when compared to most other photographers—no grubby attire ever!  This goes for my assistants too.  I think it’s a lot easier for my clients to swallow my prices if I show up looking polished and professional.  If nothing else, a polished appearance will set you apart from your competition.
• What do I mean by acting professional?  Well, that’s a little more difficult to define.  However, it starts with a firm handshake, eye contact, remembering names, speaking up and taking charge.  Again, through the client’s eyes, you’re being paid well to show up and get the job done successfully.  There’s no bigger career-killer for a photographer than to be indecisive!  Make sure you have a plan for each project you begin, and make sure you can defend your decisions.  Input from the client will always be part of the equation, however you’re being paid to “create” an image that meets a critical need or solves a problem.  In the end, you’re the one who’ll either get the blame or the credit for the photographs you create.

 

 

That’s it!  Three basic concepts that will contribute to the success of any business—but especially yours.   Remember, megapixels and megabytes are no substitute for good business manners.  Good luck to each of you.

Alan Blakely, Director

The Association of Independent Architectural Photographers

 

©2007 AIAP 

AIAP Newsletter 06/04/07

Fireplaces, Candles and TV Screens

Over the past few years there are several technical questions that I seem to answer on a fairly regular basis.  These questions deal with photographing fireplaces, candles and television screens in an architectural view.  Here are a few guidelines that I use when including these elements in my photographs:

Fireplaces

If you've ever photographed an actual blazing fireplace in an architectural view you know that it will nearly always be blown out–especially with long exposures.   Wood fireplaces produce the greatest flame exposure and gas fireplaces slightly less.  In nearly every case you'll find that an actual fire produces far too much exposure for a pleasing photograph.  Unless you're going for a "blazing inferno" look you'll nearly always have to modify the flame source.

Over the years I've tried a number of things in an attempt to limit the fire exposure, and have come upon an easy method for producing realistic and controllable fire exposures.  The technique differs from gas to wood fires, so let's look at both separately:

Gas Fireplaces and Fire Pits:

You'll encounter two types of gas fireplaces:  sealed and open.  The sealed variety are usually found in residential applications and have a direct vent system.  Sealed gas fireplaces require a "warm-up" period to reach their full flame potential (usually about 10 minutes).  This warm-up also burns out the moisture in the fireplace chamber (initially the fireplace glass will fog up and then gradually clear).  This type of fireplace is most often switched from a standard light switch near the fireplace.  After the fireplace has warmed, locate the burner adjustments behind the thin horizontal access panel below the fire box.  Inside the access panel you'll see an on/off valve for the gas supply, an on/off/pilot switch, and a flame adjustment control.  I recommend setting the flame adjustment to it's maximum setting to start with, and then adjusting downward as needed.  Now proceed to compose and light your shot and evaluate the flame exposure.  Make certain that your fireplace has fully warmed before adjusting the flame intensity.

With an open chamber gas fireplace you'll find several artificial logs arranged to appear as natural logs.  Beneath the logs you'll find a gas burner and possibly an igniter.  Often this type of fireplace requires manual lighting.  First, make sure that the flue is open!  I use a small flashlight and stick my head in the fireplace to verify that the flue is open before lighting the fireplace.  The procedure is to light a long fireplace match and then open the gas flow using a keyed valve near the firebox.  The flame can be adjusted using the gas valve.  My experience is that the flame from open chamber gas fireplaces are usually too "aggressive" to give proper exposure.  In this case I use the following technique:

1.  Tear a full newspaper page into fourths.

2.  Loosely crumple each 1/4 page and place out of site between the artificial logs.

3.  Quickly light the crumpled newspaper using a butane match (I don't use matches because of their residual smoke).

4.  Begin making exposures.  I usually shoot four to six exposures and then pick the best flame shape.

This method gives a realistic and controllable flame without excessive exposure value.  Newspaper gives an attractive orange flame, lights easily and burns predictably.  I do recommend "warming up" the artificial logs before using the newspaper method.  This will give them their proper warm color rather than their cold concrete look.  I use the newspaper method for outdoor fire pits as well, and recommend a generous warm-up for the logs or gravel.  Use care after you turn off the fire pit and place the crumpled newspaper as it may burst into flame spontaneously.

Wood Fireplaces:

I employ the 1/4 page crumpled newspaper method for wood fireplaces as well.  However, there is some prep work that will make things look more realistic.  First, always make sure the flue is open!  This is easy to overlook if you're in a hurry.  Take it from me, the last thing you want is a multi-million dollar house filled with smoke and the fire-suppression sprinklers activated.  (I'm speaking from experience here!)

I like to start with fresh logs and then arrange them in a fairly deliberate manner.  Next, I use a butane match or better yet a propane torch to scorch portions of the wood.  Be careful not to ignite the wood.  All we want to do is darken and blacken some areas of the logs to make the fire look believable.

I then place two or three crumpled 1/4 sheets of newspaper in the crevices of the logs.  This technique allows you to choose where the flames come from, so give this some thought.  Again, once my assistant ignites the newspaper I begin making exposures.

Candles

Nothing adds a touch of elegance to a residential interior like a few well placed candles.  I usually carry a box of white tapers with me when I go on location.  The last thing you want in a shot are half-spent candles with wax drips.

An important part of a good candle flame is a well-trimmed wick.  I like to trim wicks to about 3/8" for most applications.  This length of wick produces a nicely sized, well-proportioned and stable flame.  A too-long wick will smoke and flicker wildly, while a too-short wick will struggle to stay lit.

It's important to let a candle "burn-in" a bit to produce a stable (non-flickering) flame.  Once the candles are placed in the composition I usually have my assistant trim and light the candles while I finish establishing overall exposure.

As you probably already know, the smaller the lens aperture the greater the star-burst and twinkle you'll get from the candles.  On the other hand, wider lens apertures produce soft, glowing flames.

TV Screens

In the days before digital, TV screens were a bit of a pain to capture and reproduce well.  Nowadays, the process is fairly simple and quick.  Here's how I go about capturing an actual TV or computer screen image in a shot:

1.  I first establish my overall room exposure without regard for the tv or computer screen exposure.

2.  Next I turn off all room and auxiliary lighting and establish my screen exposure.

3.  With the camera and tripod "locked down" I make my room exposure using all necessary lighting.

4.  Next, all room and auxiliary lights are turned off and with care not to move the camera the screen exposure is made.

5.  In post production I bring both images into Photoshop as layers, with the room exposure on top.

6.  Using the lasso tool I select the screen portion of the image with a slight feather, and then erase through the selection to reveal the screen image.

7.  I then flatten the layers to produce the final composite image.

As with most Photoshop techniques, there are a myriad of ways to combine the two layers--I've just shared my personal preference.  Please don't write me with your own solution.

Another technique that I employ more often than the one described above entails adding an image of the clients choosing to a blank screen.  Virtually any photograph can be made to be believable as a screen image with the proper technique.  This technique is often used when the actual screen image may be copyrighted, or otherwise not released for usage in the photograph you're producing.  Here's the technique:

1.  Again, I bring the room image and the potential screen image into Photoshop as layers.

2.  As with the example above, I select the screen from the room exposure using the lasso tool with a slight feather.

3.  I then select the photograph to be used as the screen image and transform the shape and perspective in Photoshop to match the existing screen perspective.

4.  I then erase through the room layer to reveal the new screen image.

5.  To make a photograph believable as a screen image you'll nearly always need to reduce its contrast and sharpness.  I do this using a slight gaussian blur and levels or curves.  It helps if you've got a real screen to use for comparison.  You may also have to add a slight bit of noise to the image.

6.  Finish by flattening the layers to produce the final image.

All the best,

Alan Blakely, Director

The Association of Independent Architectural Photographers

www.aiap.net

©2007 AIAP

AIAP Newsletter 10/20/06

Keeping Your Client's Interests in Mind – Always a Good Business Strategy!

For years now I've done something I thought everyone did--that is until a recent conversation with a colleague.  As he and I spoke over lunch I related the activities of the previous day, including the mailing of a recent business article to several of my clients.

I was surprised by my friend's response, "I've never heard of that sort of thing.  Does it have any effect on your business?"  Well, the fact is, it has a profound effect on my business.  In a nutshell, here's what I've been doing over the past 15 years:

1. I subscribe quite a few business magazines (Forbes, Money, Business 2.0, etc.) and a number of architectural & building trade magazines and ezines.  For me, these resources have helped me keep abreast of industry trends and have provided opportunities for my own business.  In a short time one becomes very familiar with who the big players are in the architectural, building and development communities.

Aside from helping me stay up to speed with opportunities for my own business, these resources contain information that is extremely valuable to my clientele.  I'm always surprised to learn how disconnected many of my clients are from the "big picture" of their respective industries.

2.  Whenever I run across an article that I feel may benefit one of my clients, I send them a copy--either through the mail or electronically.  The information may relate to a competitor of theirs, new trends in their market, new technology that may benefit them or a potential business opportunity for them.

Let me give you a recent example:

I have a client who manufacturers a unique but rather hard to describe building material.  The product line is vastly varied, but consists primarily of natural materials embedded in an acrylic resin.  This product is used by architects, designers and builders in a variety of ways.  My client is always in search of new materials that can be embedded in their product--it's their edge over their competition.

Recently I read in a business magazine of a unique woven material made entirely of discarded copper wiring and other recycled items.  This product is produced by poor women in South Africa.  I passed the information along to my client who was thrilled, and immediately made contact with the supplier of the material.  This connection has benefitted not only my client, but an entire African village.  Now, the next time my client has a photography project--who do you think they'll call?

Here's another recent example:

Las month I read an article in Business 2.0 magazine which touted Adobe Software's headquarters as "The Greenest Building in America."   A commercial real estate developer with whom I've done business has launched a new venture developing so-called "green" buildings that are designed to conserve water and power resources.  I sent them a copy of the article this week and had an immediate response from them.  I learned that the article mentioned several strategies that they hadn't considered in their green designs.  Again, who do you think they'll call with their next photography assignment?

I should add that this practice extends far beyond forwarding magazine articles.  I'm always eager to recommend a client of mine to anyone who might be able to use their services.  We often forget that referrals go both ways.  It's extremely satisfying to receive a thank you note from a client for sending new business their way.

That brings up one more thing.  There's another practice that I think is important to mention--saying thanks!  It's been my practice to always send a hand-written thank you to all new customers after their first assignment, and to all existing customers following a major assignment.  I'm always surprised when I hear back from a client that they've never before received a thank you note from a photographer.  Not only is this an expression of good business manners, it cements relationships that ensure a constant flow of business.

Now is a great time to institute new practices that will give you an edge over your competition!

Best regards,

Alan Blakely, Director

The Association of Independent Architectural Photographers

http://www.aiap.net

AIAP Newsletter 09/12/06

The Gentle Art of Fee Negotiations

Dear AIAP Members,

For those of us in the Northern Hemisphere, our busy season is officially underway.  Most of us see the bulk of our billing during these good weather months.  One of the most critical issues to real success in this business is the ability to negotiate a good fee when booking a job.  If you find yourself more inclined to ask "What's your budget" than offer a price, here are a few important considerations:


Make the First Move

We've all found ourselves in a discussion with a client about a potential project.  We spend time discussing the creative aspects of the shoot, but eventually the conversation progresses towards pricing.  For most of us this is make-or-break time.  Do any of us have a real strategy in place when negotiating fees, or do we simply cave in and let the client set the price?  Consider the following business school dictum: The outcome of a price negotiation is largely determined by the party making the opening bid. 

In plain english this means that setting a price at the outset of the negotiation will give you the advantage.  Setting a price in the beginning sends two strong messages:  First, you're a professional, and you know what your time is worth; Second, you know how to play the pricing game.  However, going first means you have to be on the mark with regard to market value.  If you bid low, your client may sense desperation and perceive you as less qualified; on the other hand, an overly ambitious opening bid may bring the whole deal to a screeching halt and send the message that you're simply full of yourself.

Going first allows you to draw that line in the sand that says "this is the ballpark price" for this particular project.   It's important to understand that both you and your client always have "reserve" prices in mind for the project--you know the lowest price you'll accept, and your client knows the highest price they're willing to pay. 


Meeting in the Middle

Knowing just where to set your opening bid is often an educated guess.  However, the Donald Trumps of the world hold to the strategy that it's best for your opening bid to be slightly higher than market value.  This brings up the second business school dictum: The final negotiated price is most often midway between the first two bids.  Let's assume that the project in question has a market value of between $13,000 and $15,000.  You and your client likely both know this if they too are an experienced professional like you.  

Using this strategy you make an opening bid of $16,000.  It's unlikely that you're client will counter with a low-ball offer of say $9,000.  A client who is a professional will likely counter in the $13,000 to $14,000 range.  You're negotiated fee will most often be midway between these two price points, or in other words about $14,500.  In this example you've reached a price that makes both you and your client feel like winners.  While the expression "win-win" has become cliche in the business world, it's still an arrangement that fosters good business relations and brings clients back again and again.

By bidding first, you've laid the ground rules for the negotiation and have come out with a price near the top of the market.


The Strength of Taking Charge

Admittedly, not every negotiation will be this simple.  However, the negotiating principles explained here are tried and true.  You'll find this practice in place in all high-powered corporate negotiations.

We all encounter clients who will never be willing to pay fair market value for photography.  Any Harvard Business School grad will tell you that you're always better off walking away from those clients.  Setting fair market prices for your services is good for your reputation and for future business.  As highly specialized professional photographers we have a duty to set prices for our work that makes a clear distinction between us and the thousands of generalist photographers out there.  

A professional demeanor and confident price bidding will strengthen any architectural photographer's reputation.  Often there needs to be a certain amount of education between you and potential clients.  To the client who's never hired an architectural photographer before your pricing may seem extreme.  However, a confident discussion that educates your client as to what you as an architectural photographer can offer over a generalist photographer will be adequate in most cases to justify your pricing.


Conclusions

We all know that we can drop our prices if need be, but can rarely raise them.  The lesson: Don't sell yourself short from the start!  Having the power of pricing on your side will always work to your advantage.  Now is the time of year to cement those new client relationships that will lead to a steady stream of assignments in the coming months and years.

Happy shooting,
Alan Blakely, Director
The Association of Independent Architectural Photographers
http://www.aiap.net

AIAP Newsletter 06/07/06

The Gentle Art of Fee Negotiations

Dear AIAP Members,

For those of us in the Northern Hemisphere, our busy season is officially underway.  Most of us see the bulk of our billing during these good weather months.  One of the most critical issues to real success in this business is the ability to negotiate a good fee when booking a job.  If you find yourself more inclined to ask "What's your budget" than offer a price, here are a few important considerations:


Make the First Move

We've all found ourselves in a discussion with a client about a potential project.  We spend time discussing the creative aspects of the shoot, but eventually the conversation progresses towards pricing.  For most of us this is make-or-break time.  Do any of us have a real strategy in place when negotiating fees, or do we simply cave in and let the client set the price?  Consider the following business school dictum: The outcome of a price negotiation is largely determined by the party making the opening bid. 

In plain english this means that setting a price at the outset of the negotiation will give you the advantage.  Setting a price in the beginning sends two strong messages:  First, you're a professional, and you know what your time is worth; Second, you know how to play the pricing game.  However, going first means you have to be on the mark with regard to market value.  If you bid low, your client may sense desperation and perceive you as less qualified; on the other hand, an overly ambitious opening bid may bring the whole deal to a screeching halt and send the message that you're simply full of yourself.

Going first allows you to draw that line in the sand that says "this is the ballpark price" for this particular project.   It's important to understand that both you and your client always have "reserve" prices in mind for the project--you know the lowest price you'll accept, and your client knows the highest price they're willing to pay. 


Meeting in the Middle

Knowing just where to set your opening bid is often an educated guess.  However, the Donald Trumps of the world hold to the strategy that it's best for your opening bid to be slightly higher than market value.  This brings up the second business school dictum: The final negotiated price is most often midway between the first two bids.  Let's assume that the project in question has a market value of between $13,000 and $15,000.  You and your client likely both know this if they too are an experienced professional like you.  

Using this strategy you make an opening bid of $16,000.  It's unlikely that you're client will counter with a low-ball offer of say $9,000.  A client who is a professional will likely counter in the $13,000 to $14,000 range.  You're negotiated fee will most often be midway between these two price points, or in other words about $14,500.  In this example you've reached a price that makes both you and your client feel like winners.  While the expression "win-win" has become cliche in the business world, it's still an arrangement that fosters good business relations and brings clients back again and again.

By bidding first, you've laid the ground rules for the negotiation and have come out with a price near the top of the market.


The Strength of Taking Charge

Admittedly, not every negotiation will be this simple.  However, the negotiating principles explained here are tried and true.  You'll find this practice in place in all high-powered corporate negotiations.

We all encounter clients who will never be willing to pay fair market value for photography.  Any Harvard Business School grad will tell you that you're always better off walking away from those clients.  Setting fair market prices for your services is good for your reputation and for future business.  As highly specialized professional photographers we have a duty to set prices for our work that makes a clear distinction between us and the thousands of generalist photographers out there.  

A professional demeanor and confident price bidding will strengthen any architectural photographer's reputation.  Often there needs to be a certain amount of education between you and potential clients.  To the client who's never hired an architectural photographer before your pricing may seem extreme.  However, a confident discussion that educates your client as to what you as an architectural photographer can offer over a generalist photographer will be adequate in most cases to justify your pricing.


Conclusions

We all know that we can drop our prices if need be, but can rarely raise them.  The lesson: Don't sell yourself short from the start!  Having the power of pricing on your side will always work to your advantage.  Now is the time of year to cement those new client relationships that will lead to a steady stream of assignments in the coming months and years.

Happy shooting,
Alan Blakely, Director
The Association of Independent Architectural Photographers
http://www.aiap.net

AIAP Newsletter 04/25/06

FREE ADVERTISING! (Or how P.R. changed my life and income)

One of the least utilized marketing tools among small business is the Press Release.  We read and hear press release material every day of our lives, but rarely recognize it as such.

In a former life in the advertising business I spent a great deal of time writing press releases for corporate clients.  In a nutshell, a press release is a way contact the print and broadcast media and say "Hey, look at me!".  Much of the story material that isn't "headline news" comes from press releases submitted to the media.  Have you ever wondered why a certain business or person seems to be constantly in the spotlight?  Chances are they have a great P.R. person with media contacts who is sending a constant stream of material to the media.

Magazines and newspapers are always in search of material to fill their pages.  Trade and business magazines and newspapers are the most likely of all media to publish material from press releases.  However, there are some important rules that one must follow to even have their material considered.  Let's discuss the nuts and bolts of writing and submitting a press release:

I.  The 4 elements of a great Press Release

1.  The Headline -- In ten words or less summarize the information in an attention grabbing fashion.  Think of this as a billboard that the editor is passing at 70 miles per hour on the expressway.  Your headline must be precise and exciting.

2.  Opening Paragraph -- This is your "lead" or "hook", and must address the who, what, where, why and how of your story.  The opening paragraph must summarize your story and draw the reader into subsequent paragraphs that explain the details.  One important bit of advice:  your lead must be clearly factual and not sensational.  Avoid the "used car salesman" approach.  Just state the facts in an interesting fashion that makes the reader want to know more.  Your contact information must also be stated in the opening paragraph (your name, location, email/phone, etc.). 

3.  Body -- This is where you offer details and explanation of the facts stated in your first paragraph.  An important tip to remember is to state the most important information first, then go on to lesser details.  Chances are your story will get edited, and this is where they'll do the cutting.  Putting the most important points first in the body makes the editors job easier.

4.  Closing Paragraph -- Re-state the important facts of your story, and your essential contact information (email, phone, etc.).

Generally a one-page press release is best.  If your story is newsworthy you can easily tell the story in one page.  Traditionally press releases followed a strict printed format and were mailed to the various editors in the media.  However, email is now the preferred method of transmitting press releases.


II.  Now, Let's Make it Happen:

First, let's take a look at the kinds of things an architectural photographer may choose to headline in a press release.   Here are a few possible headlines:

Local Architectural Photographer Gains Professional Certification

Architectural Photographer John Doe Honored By AIAP

Architectural Photographer John Doe Completes Annual Report For ABC Corporation

Architectural Photographer John Doe Featured on AIAP Website

Local Photographer John Doe Launches Architectural Photography Services

Photographer's Website Features Architectural Photography Portfolio

Local Architectural Photographer Gains National Recognition

Architectural Photographer To Speak to Real Estate Professionals

Architectural Photographer John Doe Offers Now Offers Digital Imaging

Architectural Photographer To Address Local Architects

Get the idea?  There are dozens of reasons for you to have your name in the news on a regular basis--simply take the time to consider what you can spotlight.



III.  Format is Crucial!

Here's a quick sample of how a press release should look to be taken seriously:


NEWS RELEASE

FOR IMMEDIATE RELEASE
Date:  August 27, 1999
Contact:  Alan Blakely 000-000-0000
Email: 000@000.com

NEW STOCK PHOTOGRAPHY AGENCY  TO SHOWCASE IMAGES OF SALT LAKE CITY

SALT LAKE CITY, UTAH – Local commercial photographer Alan Blakely this week announced the launch of Salt Lake City Stock, a unique stock photography agency that will offer Salt Lake City images exclusively.  "I created Salt Lake City Stock in response to the ever-increasing demand in the world for photographs specifically of the Salt Lake City area.  The sheer volume of inquiries I've received via the internet convinced me that there was a bona-fide market for stock photographs of Salt Lake City" Blakely explained.

Salt Lake City Stock will operate primarily as an electronic storefront on the internet, and fulfill most image requests via electronic transfer.  The agency will also deliver images on CD and DVD.  Salt Lake City Stock is now actively soliciting submissions from professional photographers in the region in order to build a diverse and extensive image file.  Mr. Blakely will be receiving management assistance from his brother and fellow photographer David Blakely in the day to day operation of the agency.  David has prior experience in both stock photography management and internet technology.

Salt Lake City Stock will market its images to the international press, national and international magazines, advertising agencies and other image buyers throughout the world.  The agency will offer images that depict the many facets of life in the Salt Lake City area, as well as traditional landmarks, architecture and events.  Blakely is also hopeful that local photography buyers will look to Salt Lake City Stock when the need arises for area-specific photographs.

"We view Salt Lake City Stock as a preliminary effort in a much bigger plan" explains Blakely.   "We plan to launch similar stock agencies that showcase other major cities throughout the world, and thanks to the internet we can operate all of these agencies from our home-base in Salt Lake City."  Those interested in learning more about Salt Lake City Stock can visit the agency's website at www.www.www or call 000-000-0000.

XXX
(This signals the end of the release. It's customary to always include this at the conclusion of the release.)


A few words about the above release:  This is an actual press release for a business I started in 1999.  I launched this agency in anticipation of the 2002 Winter Olympics in Salt Lake City,   The national media immediately picked up this release, and within a few weeks my little "stock agency on the side" became an overwhelming success--the emphasis being on the overwhelming.  

This press release ran almost verbatim in Communication Arts, Advertising Age, AdWeek, etc.  However, I soon found that I much preferred being an architectural photographer to being a stock photography agency owner.   Within six months of this release I sold the agency and realized a very handsome profit that nearly paid for my new house on the golf course.


IV.  This Will Work For You!

Here are a few steps to getting things rolling:

1.  Discuss possible topics for a press release with your friends and colleagues.  Often we're too close to our business to really appreciate its unique aspects.  Make a list of projects you've recently completed for prominent clients.  Consider a press release touting your AIAP credentials.

2.  Make a media list.  Here's where I'd start: local business publications (newspapers, magazines), local newspapers, local trade magazines (construction, real estate, architecture, interior design).  You'll want to find the email address of the appropriate editor from each publication.  Usually this will be the business editor.  You can usually find the email address in the magazine or newspaper, or on their website.

3.  Start Writing.  If you doubt your writing abilities, you may want to consider using a freelance writer.  Finding a freelancer is usually as easy as going to the phone book and calling the small P.R. agencies in your area.  Ask if they have anyone on staff who will write a press release on a freelance basis.  A press release will usually cost you about $125.  You may also want to contact the P.R. department at a local university and ask if there are any recent graduates who may freelance.

4.  Email your press release, and then its monitor publication.  Tracking "friendly" media will help you focus your efforts for subsequent press releases.

5.  Watch for the "boost" in your business.   I've yet to send a release without almost immediately seeing an increase in telephone and website traffic. Regular press releases will continue to build your business.


V.  The Truth About P.R.

The fact of the matter is that few small businesses even consider public relations as part of their business plan.  Most photographers rely on paid advertising and their reputation to bring in business.   However, virtually all successful corporations use public relations as an integral part of their marketing strategy.

A small investment in time is all that's required to make public relations work for you--just do it!

Best regards,
Alan Blakely, Director
The Association of Independent Architectural Photographers
http://www.aiap.net