Mistakes are Expensive

protocol can help you eliminate them and add to your profitability

I believe I’ve probably made every photography mistake possible! How can I whittle them down to the top 10 out of thousands? It might be easier just to list the top 10 protocols that I’ve put in place because of the mistakes I’ve made.

I take great pride in attempting to only make a mistake once. In order to avoid making the same mistake over and over, I analyze why the mistake occurred, and then determine what I need to change about myself or my procedures. This process has resulted in the following protocols:

1. If it can happen, it will happen.

The last thing in the world you want to happen is exactly what will happen – especially on a photo shoot. Eliminate the possibility before the occurrence.

For example: If a cord from a strobe head to the powerpack is not secured to the ground, you can count on someone tripping over the cord and falling.

2. Always have backup.

Carry a backup system for the primary system.  Whenever possible, also have a backup for the backup! Everything should be standardized and interchangeable. Carry two cameras. Have multiple power systems and strobe heads. Never be dependent on one source for any aspect of a photo shoot. “If it can go wrong, it will.” Murphy must have been a photographer because Murphy’s Law always applies.

For example, on a photo shoot using child models for a packaging photo for a children’s game, the little boy, being silly on the set, said “Damn” in front of the two little girls. Daddy rushed in, jerked little boy up and paddled him. The two little girls were terrified, the boy was screaming, and the art director turned to me and said, “I knew I should have added a backup set of models, this shoot is over. We will never get the looks we need today. When can we schedule a reshoot?” Fortunately for me, this mistake fell on the art director. But the principle applies to all aspects of a photo shoot.

3. Always take the shot.

If you see a photo shot, take it. Some of my greatest regrets are the photographs that I saw and I didn’t take. Even though you are on a commissioned assignment you are implementing something very personal – your art – and you were hired because of your art. Always take the photograph, even if the client is telling you that it’s not needed.

For example: A client become belligerent because I insisted on taking a certain shot. We were on a strict time schedule and the art director wanted to end the shoot because he felt we had already got what we needed. But I saw a great shot and insisted on taking five more minutes to get it. The art director went into a tirade and finally blurted, “Take it then, but I won’t use it. It will never be used – period.”  

That final photograph ended up being the cover of that month’s magazine.

4. Never make your clients eat crow.

Cover shots are usually picked by committee. Typically, the cover is not predetermined and it’s a competition between the featured articles in the publication. The cover is usually based on the best photo. With the cover shot in the example above (see protocol #3), I was careful to minimize the embarrassment of the art director. One should always keep in mind you are there to make your client look good. There’s no room for one-upmanship, even when it is richly deserved.

5. Always put your client’s needs first.

One paintbrush isn’t good for all purposes, just as one photographer isn’t great for all assignments. Don’t be ashamed to say, “I’m not the best fit for this assignment. Let me suggest someone I think will do a better job for you.” You may lose one shoot, but you will gain a client. A valuable lesson I have learned is that clients are more important than any single assignment.

6. Never make excuses to a client.

They don’t care. They’re only interested in results … that’s why they hired you.

A problem is something that happens that makes you concerned and you explain it to your client. It doesn’t result in blowing the job, even though that was a possibility. But by verbalizing it, you make the client worry.

A mistake is when you blow the job and don’t deliver.

If you have three problems your clients will replace you. There’s too much money involved for them to take ongoing risk with you. If you make a mistake, you’re fired and the client will never use you again.

7. Go over fees and usage rights up front.

Ask lots of questions to clearly define and understand the purpose of the photographs. Point out your own ideas of ways the photographs could be used to increase sales for the client in order to give them additional options, whether they use those options or not. Then present a proposal for usage rights and fees in writing, using language that is as clear and simple as possible. Straightforward contracts are in the best interest of everybody. Use definitive words to eliminate confusion or misinterpretation.

8. Keep in mind that you own it.

Not only do you have ownership of what we create, you must also own it. In other words, you must take responsibility for the good, the bad, and the ugly. If there’s an issue or problem technically or creatively in your work, fix-it! Never deliver it without fixing it, because you own it! It’s true that “you’re only as good as the last image you delivered”. The simplest of slights that falls under the category of “good enough” can cost you tens of thousands of dollars in work. Don’t fall into the mistake of thinking, “I’m not charging much, therefore that’s all I’m giving them.” Regardless of what you charge, you must deliver your very best – every time. If you see a flaw, fix-it, don’t deliver it. It represents you because you own it.

9. Promote yourself if you want to stay in business.

It’s part of the job. Dedicate some hours every week to the development of new clients. If you don’t keep priming the pump you’re going to run out of business. Clients come, and clients go, through no fault of the photographer.

For example, a marketing director that you’ve worked for leaves his job and a new marketing director replaces him and starts with a clean slate. The new guy wants to use his previous photographer. It’s standard operating procedure and has nothing to do with how good or how bad you are. It’s not your fault … it’s just the way it is.

10. Develop new creative work.

The same as sales are critically important, so is developing new creative work. Dedicate a portion of your time each month to the creation of new work. This could be part of ongoing education and skill development. You could pick a charity that you like that’s in agreement with your ethics and civil viewpoints. This would become a great outlet to display and/or donate your creations as well as being a cross promotion to your business. It is important to develop new creative work and skill sets.

These 10 protocols have resulted from hundreds of mistakes I’ve made over the years, including all the examples given above.

Here’s a little Bonus Advice from my four decades of experience:

In my business model I have a primary and a secondary business. I’ve always run two businesses concurrently which are related but separate. Being closely related allows for cross marketing and advertising and promotions. My primary business has always been the same. Mike Boatman Photographer has always been my primary business. The secondary business exists to enhance and support the primary.

In the early days the two businesses were Mike Boatman Photographer and Just Black-And-White, a custom black and white lab catering to the advertising community and other commercial advertising photographers. The demand for commercial photography seems to be tied strongly to the economy. When the economy is growing, commercial photography is booming. At the beginning of a recession, commercial photography feels it first. Work just dries up and goes away and corporations began running old advertising they’ve already paid for and not creating new ads. When under financial stress, advertising agencies would have their interns or AEs take photographs instead of hiring a commercial photographer to handle less critical imagery assignments. A lot of newspaper ads and editorials were black-and-white, so even though they may have an AE take the picture they still needed a lab the to do processing and printing. When commercial photography was slow the lab was booming. It was a great combination.

Today I own two businesses: Mike Boatman Photographer and Boatman Consulting.

Boatman Consulting helps corporations install commercial advertising studios for their in-house photographic needs and trains their personnel to photograph their product. Boatman Consulting also does assessments on existing in-house photography studios to increase efficiency of workflow, troubleshoot issues, and create solutions. Obviously, I would prefer that corporations never bring their photography in-house. However, whether I like it or not, there is a point where it’s more cost-effective, efficient, and profitable to bring photography in-house. In addition, it has potential to become a revenue stream for the company – not only in dollars saved but in newly recognized efficiency and expansion of the photographic services. Let’s face it … in business terms it’s easier to increase profit by not spending money than it is to increase sales. But when you can save money and at the same time increase and expand efficiency and effectiveness, it’s a triple play.

Boatman Consulting engages in public speaking on all subject matters concerning advertising photography.