3 Steps to Win the Client Over After the Initial Creative Call

Question: When an art producer makes the initial creative call to me, how can I indicate my creative compatibility and a willingness to collaborate on the project? Are there questions I should be asking, such as what their vision is, and then express mine?

When an art producer reaches out regarding a potential project, this is your time as a photographer to step up to the plate and shine. Obviously, there is already some form of interest in you, your capabilities and your voice. So you need to make an impression that puts you over the top as THE photographer for the project.

Step One: Prepare for the First Call

The initial phone call is the time to gather as much information as possible. You must:

• Listen, take notes and think on your feet
• Show your interest in the project, the client, the brand and the people that are involved
• Make sure the conversation is interactive - listening is just as important as questioning
• Ask purposeful questions
• Pose some initial “potential” ideas or solutions

So what are the questions that you want to ask when you are on the initial phone conversation? Be sure to ask all the basic, yet important questions like:

• What is your vision?
• Does the brand have a certain style that you need to achieve or continue?
• What are your feelings on how you would like to approach this project?
• Are there any set parameters that we must contend with if and when we move forward into production?
• Budget, time constraints, location stipulations, media usage, product availability, talent needs or expectations, client approvals, etc.

Asking these questions demonstrates that you have an understanding of everything that may come into play when working on a production. It also shows that you have a strong grasp of how to handle a project whether big or small.

At the end of the call, suggest that you’d like some time to review the specs and that you will be back in touch (specify when) to have a collaborative discussion. Then it’s time to get to work.

Step Two: Make the Most of What You Know About the Project & Client

Now that the call is over, you need to do your research. Find out as much as you can about the creative team that you could potentially be working with, the type of projects that they have worked on, the brand vision for the client and consider what you can bring to the table to make you their answer for the project under consideration. Also, try and learn who your competition is and gather information about them as well.

Once you have a better understanding of the client, take this insight and begin to weave your magic:

1. Prepare a competitive bid that fully lays out all of the items and crew members needed to handle this project.
2. Provide potential options to allow the team to collaborate on the final solution, but come to the table with your perspective and how you would suggest handling the project.
3. Create mood or style boards* that specifically outline your thoughts for how you would suggest moving forward in partnering with the creative and the client to bring their project to life. Pull examples of styles and create strong descriptions that provide perspective and vision for how you would like to move forward.

*Style or mood boards should include, but are not limited to:

• Concept
• Models/Talent
• Setting
• Styling/Props/Hair & Make-up/Locations/Surfaces
• Inspirational Swipe
• Production plans

Step Three: Win the Bid

Go back to the conversation you had with the creative and their thoughts and direction for the project. Make sure that your solution and approach ensures their vision will be executed, and then push the envelope. Today’s creatives not only want to make sure that their vision will be executed, but they are also looking for a creative collaboration with a photographer who can bring something more to the table. They want an artist who will push the project as far as possible to potentially take the finish to a whole new place that may not have been dreamed of previously.

You truly need to find alignment with the vision that is initially articulated when conversations begin with creatives, but, you MUST also find a way for your voice, perspective and style to shine too. All of this can be accomplished with information, research, a little bit of intuition and an extra dash of creativity and inspiration!

Thank you to Agency Access for the initial post of my piece.

www.agencyaccess.com

Agency Access & Amanda Sosa Stone on DIRECT MAIL

Direct Mail That Worked

July 18, 2011 @ 10:15 a.m.
in The Marketing Lab
by Amanda Sosa Stone
0 Comments

Question: What key elements make a direct mail piece successful and grab attention?

I believe the key elements for a good direct mail piece to be universal to any market. I have had the opportunity to receive amazing mail campaigns from the agency world as well as the good fortune to work with clients from around the world who do outstanding work. I know what has worked for me in the past and what is currently working for my clients. Here are the four basic KEY elements for any successful direct mail piece.

1. A Great Image

This should go without saying, but I am going to say it again: If you are going to spend money on a large mail campaign, which is always a significant investment, you must send the BEST of the BEST. I remember one of my favorite direct mail pieces I received over a decade ago from Henry Horenstein. The images are stunning! I have kept this promotion for years. I also really love the impactful beauty and strength of the latest mailer from Coolife Studio - the still life photography team of Carole Beaupré and Pauline Rochas:

2. An Interactive Piece

My mentor always taught me this. While interactive might mean “internet" to you in this case it means that you are involved in and part of the actual direct mail campaign. Aaron Fallon took his campaign and made sure there was more to the piece. It functions as a holder for his promos, a business card and offers some insight into his personality – while showing an additional image:

3. A Clear, Visual Communication

Be sure your target market understands what you are selling. What is your visual style? Here, Patrick Molnar clearly states his strength in lifestyle photography. Be sure to communicate it clearly, effectively, and consistently. Pat put together the entire booklet supporting his work, style, and his end product:

4. A Good List

Knowing how many pieces you can print starts with knowing what you can afford. Once you have a working number of how many people you can afford to send to, use that number to build a targeted list of people. I use this formula when building my clients' lists:

• People you have worked with and want to keep as a client,
• People you have connected with in the past (meetings or shown interest),
• People who click through to your site from your electronic promotions,
• Your dream clients and,
• "IF" you can afford it - the top buyers and creatives that work in your TARGETED markets.

Use these four elements and your investment in your company will be a wise one.

How to Succeed with Competitive Bidding

When the call comes in for you to put together a bid for a project, how do you handle it? Do you ask the right questions to create an estimate that’s going to give you the best advantage for winning the project? It’s okay to ask questions and in fact, I encourage it wholeheartedly. Ask questions like: Who is your competition? What’s the budget or range? Will the lowest bid win the job or will it be a combination of bid and creative choice? Does the creative have a first choice to win the project? You may feel uncomfortable being so forward, but if you want to put together a suitable bid, making sure that you have asked enough questions to appropriately prepare your estimate is KEY to winning the bid.

Where to Start

When you first start putting an estimate together, I recommend starting with the hard expenses. These are the items that you must have to do the job, like: crew members, digital files, equipment rentals, location or studio needs. After you’ve got these costs together, you can then start thinking about the other items that support these requirements, including props, surfaces and wardrobe, talent, and stylists.

All about Competitive Bidding

Competitive bidding doesn’t mean undercharging so much that you don’t get the budget you need to competently complete the project. Your estimate needs to demonstrate that you clearly understand the creative vision and goals and show that you can smartly problem-solve the project. As well, you need to be able to speak to the line items in your estimate to show how they solve your client’s problem. I suggest making it clear that you really want to discuss your ideas with the art buyer, producer and/or creative once you’ve submitted your estimate.

You’re Worth Your Fees

Fees are line items where you need to carefully consider a number of factors. Be sure to consider: the type of usage that your client is asking for, who the client is, the complexity of the project, the amount of time the project will take from prep work to completion and last, the relationship you have, or want to develop with the client. ALL of these pieces need to play a role in your determination of the fees for projects you estimate.

A Final Note

A good thing to find out is what role the client sees you having on the project. This will help you understand how much leadership you’ll need to provide. Also, think about how, creatively fulfilling the project is - is it something you would just die to shoot? Just because today’s market is terribly competitive doesn’t mean that you shouldn’t value your work, usage, creative perspective or time. DO NOT sell yourself short, but balance all of these pieces and factor them in to create an informed, fact-based decision.