INTRODUCTION TO WONDERFUL MACHINE PT-1
Finding and working with a rep is a common question that photographer's ask themselves. For some it means they've "made it to the top." For other it is a validation that the work they are doing is at the highest level. Whatever the reason, getting and maintaining a rep is all about a relationship. In this 10-part series Rob Grimm meets with the founder or Wonderful Machine Bill Cramer and producer of Craig Oppenheimer to cover a series of questions that many photographers have.
DEFINING A REP WITH BILL CRAMER PT-2
What exactly does a rep do? This answer varies and in many cases it simply depends on what the photographer needs most. Many photographer's prefer to handle certain aspects of the business while many may want nothing to do with it. Overall, a rep is considered like a business partner who's job is to help get your work, advise on shoots, they may help with production, and they may even go so far as to manage certain parts of your internal business. While a lot of the core principles of reps are the same, there are still some considerable variances in what a rep does from photographer to photographer.
CEO | WONDERFUL MACHINE
ABOUT: Prior to dreaming up Wonderful Machine, Bill Cramer spent 20 years working as a photographer - first as a photojournalist for newspapers and wire services, then later doing conceptual portraits for magazines, corporations, and institutions. When he isn't busy working with his staff or interacting with photographers, you can find him walking Tilly, reading biographies, or relaxing with his family.
REP & PHOTOGRAPHER RELATIONSHIP WITH BILL CRAMER PT-3
Just how the heck do photographers know they are ready for a rep? Furthermore how much work are they going to get me? I hate to be the bearer of vague answers, but that also can depend on many factors. There is no such thing as a black and white visual of being "ready for a rep." In this section Bill lays down some truth about what some reps may expect photographer's to do and begins to lay down some expectations about roles and some advertising strategies that may cost the photographer time and money.
BUSINESS PRINCIPLES WITH BILL CRAMER PT-4
Are photographers known for being great in business? For some yes and for others hell no. The business side of photography is where many photographers end up spending a lot of their time. When you think about it, the vast majority of a creative's time is running the business and working on the business, not taking photos.
the future of business with bill cramer pt-5
PRICING WITH CRAIG OPPENHEIMER PT-6
Rob drops a banger question in this episode and asks Bill to whip out his crystal ball. Bill drops more knowledge nuggets for photographers with some 20 year tips about culture, social media, and tools photographers need to be aware of.
EXECUTIVE PRODUCER | WONDERFUL MACHINE
ABOUT: Prior to Wonderful Machine, Craig was as an art buyer at Bank of America and worked in various production and asset management roles for ad agencies in the Philadelphia and Baltimore areas. When he’s not in the office, Craig enjoys riding his bike and making vegetarian sushi. His bucket list includes visiting a different national park every year.
LICENSING & ESTIMATING WITH CRAIG OPPENHEIMER PT-7
Figuring out pricing is a lot like riding a horse, if you're comfortable doing it then you're probably doing it wrong. The concept of pricing is hard because there really is no norm. For some companies they may expect to pay a huge fee for a job that other companies would only pay a fraction. Pricing, no matter how much you try, is still an art and not a science. While we try to use things like formulas to help estimate what that might be, it's still basically impossible.
TREATMENTS & CLIENT INTERACTIONS WITH CRAIG OPPENHEIMER PT-8
Have you ever been asked to give a creative brief or a creative treatment? Knowing how to put them together is an important part of establishing yourself as a commercial photographer. When bidding for a job at the highest level, you need to know the expectations clients might have of the photographers that they ask to bid.
FUTUREPROOF YOUR BUSINESS WITH CRAIG OPPENHEIMER PT-9
Where the heck are we headed? I will give you a hint and it rhymes with A LOT OF CONTENT! As a creative you are a problem solver first and photographer second who needs to understand the tools available at your disposal. Today's market is moving faster than ever, and being agile has never been more important. At the end of the day, many believe that you need to become a specialist in your craft.
WRAP UP WITH ROB GRIMM PT-10
If you made it this far, congrats and please get yourself a beer, on us! We hope you liked the series and the fish joke above. Do you feel any better about how the rep game works in photography? Do you feel like you need one? Make sure to join us on the private PRO EDU Photography Community to continue the conversation, free with any purchase.
PRO EDU BLOG
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Nothing is so fundamental to studio portraiture as light. Light is the language photographers use to communicate who our subject is and what we want the viewer to understand about them, or us. Part of every photographer’s career is the lifelong study of light, which is why consistently going back to the fundamentals is always a good idea.
When you look at a photo, what do you see? For most people, the answer is a physical representation of reality. But what about CGI? What if I told you that the images from a camera are really no different than a render? In this blog post, I'm going to compare photography and CGI and explore the differences between the two.