One of Peter Lik's "destination" galleries showcasing his landscape photography.

As I explained in my first post, a brand is not a logo or a website or a design. A brand is a promise, what people trust, feel, and believe you or your product to be. Branding is how you express that promise to people. Here’s some tips to help you define your brand — only then can you express it through branding.

First, your brand will ultimately be defined by other people, mostly your customers and potential customers. They will make up their minds about you and you will usually have to live with it. Your job in building your brand is to try and influence them before their minds are made up. It is easier when they don’t yet know you and harder when they do.

Therefore, your brand can not be just anything you want it to be. It needs to be based on some truth about you, as well as client needs. Otherwise your brand will be rejected as not credible. Your brand also needs to be flexible so that it can evolve as you or the market change over time.

For example, while Polaroid’s brand was successfully built around innovation in instant imaging, its brand become too closely associated with chemical imaging in the minds of consumers and has struggled to stay connected with people in a digital world.

Second, be clear about what you need your brand to achieve at a strategic level. For most people this will be to set you apart from your competitors, to make you top of mind and memorable. By default, a brand should also say who you are not. A strong, healthy brand never tries to be all things to all people. Strategically your brand offers a way for clients and potential clients to quickly and easily categorize you. When they need what you’ve got, you want them to know exactly who to call. Ideally your brand should also make you look like the original or the best solution, making it hard for others to copy you.

Here are some great examples of photographers who have done this successfully.

Terry Richardson has one of the strongest brands I have ever seen. He has no logo and no real design to his website. Yet he stands out. He is unique, highly memorable. He shoots some of the world’s most famous people with a small, inexpensive digital camera. Why is his brand so strong? In a world full of smartly presented photographers who all look, shoot, and feel similar, Terry is distinctly different. (Check out the video, where Terry talks about his approach and his new Belvedere Vodka campaign.)

Another example is Australian landscape photographer Peter Lik. In a market saturated with great landscape photography, much of which never sells, Peter’s business generates more than $30,000,000 per year (US!!). Peter’s photography, while brilliant, is hardly the sole reason for his success. The essence of Peter Lik’s brand is the creation of a photographic experience. In particular, his galleries are must-see destinations. What you buy is not just a beautiful picture but a small part of everything that you experience in Peter’s world.

The critical third stage in defining your brand is determining what the attributes are that make up your brand. Attributes are like brand DNA. These are the tangible and intangible, emotional and functional characteristics that you and your business, product, or service are — or could credibly become. If expressed and managed correctly, these attributes become the reasons for people to trust and do business with you.

Here’s an example. I asked 10 people who know of Peter Lik to give me 20 words that describe what they believe him to be. I put every word, including those repeated, into Wordle, which creates a prioritized word cloud showing most-used bigger and least-used smaller. This this is a visual representation of Peter Lik’s brand attributes, according to these 10 people.

You’ll notice that the functional description of him as a “landscape photographer” is rated low. From a brand perspective, this is excellent because being a landscape photographer is just the cost of entry, it is not enough to define him as unique. Peter has purposefully built his brand around the attributes that help set him apart. That is how a strong brand works.

So, how do you determine your attributes? Here are eight questions that will help you find them. The depth and honesty to which you answer these question will determine the ultimate quality and strength of your brand. Other people’s input is also important, so also ask your friends, family, staff, and customers.

1. Why do people buy products and services in your market?
   List the functional reasons (a record of my wedding, thank-you gifts for friends & family) as well as the emotional reasons (memories, a sense of family and belonging).
2. What are people’s specific needs that influence their purchase?
   Needs can also be functional (photographer needs to have a good reputation, work weekdays, be affordable) or needs can be emotional (photographer needs to be trendy and hi-profile, I need to like him/her). People’s needs can be based on fear (my friend’s wedding pictures were awful, she was devastated) or on hope (I remember looking through my grandparents’ wedding album, I want to have the same thing for my grandchildren).
3. How do you meet these needs?
   These can be functional or emotional, tangible or intangible. Try to break them down into things you share with your competitors and things that only you (or very few people) do.
4. In what areas can you prove superior performance?
   What are you absolutely the best at?
5. What special advantages do you have?
   (e.g. ownership, accreditations, endorsements, famous people you have shot)
6. In what areas would you like to move into and specialize in?
   (e.g. video weddings or off-beat weddings)
7. What do you and or your business stand for?
   Think about your values and beliefs and identify personal passions you have that might help you connect with customers.
8. What is surprising, original, or memorable about you?
   (e.g. you drive around town in a specially painted bright pink VW beetle with white hubs… and always wear bright pink glasses.)

If you don’t have a list of 50 or more answers from the above questions, you need to dig deeper. From this list you can cull the attributes on which to build a strong, ownable brand. I’ll talk about how to do that in my next post.

From Doug's "Heaven, Earth, Tequila" project, which was a commission as well as a book and exhibition, with prints like this one now for sale on his website. ©Doug Menuez

So far in this column I have touched on general issues of starting a photography business. Now we’ll explore the mystery of profits. If you want to make a profit, stay in business, and retire some day, you need to know your break-even point. Break-even is reached when your income is equal to all your costs: production, marketing, fixed overhead, taxes — everything.

Why is this useful to know? Because every decision you make impacts your costs and/or potential revenue, so you should be evaluating all options in the context of your cash flow and whether you will make a profit. When you print a new portfolio, buy a camera, or advertise in a source book, you are taking a calculated risk that these expenditures will yield jobs and revenue. If you can’t do the math and actually calculate that risk, it’s just risky.

Most of the photographers I know take every job they can, happy to be working and oblivious to the fact that some jobs cost them more money than they will earn. This happens because they don’t know their break-even and are not factoring in all their costs.

You simply must know if you can even afford to take a particular job before you consider it. Sometimes photographers take a loss for a great assignment that will help the portfolio. But if you rationalize a low fee because the job makes you feel better, or think it gives you momentum, think again. Sometimes we are asked to do a job as a favor with the promise that next time we’ll be paid properly. I can pretty much guarantee you that this promise is a lie 99 percent of the time. Especially in this economy.

You can go out of business in a hurry working under the illusion that being busy is the same thing as making a living. More likely you are just churning and burning resources without getting ahead. If things slow down, look out. Instead, be strategic. Your goal should be to make a profit to provide financial security and funding for future creative endeavors. Therefore, each job you accept should fit into what you defined in your business plan.

The next step is to understand your profit margin. This is where you can really refine your goals, focus your mind, and get the business in gear. This often-ignored tool is simple: profit margin equals your net profit after taxes divided by total revenue.

Say your net profit is $30,000 on $300,000 of revenue. Your profit margin is 10%, not so great. Average business margins are around 30%. With that knowledge, you know it’s time to cut overhead, raise your fees to earn more, or both. If you regularly check yourself against an ideal profit margin, you are utilizing a potent tool to analyze your business costs. Now you are starting to take control of your own destiny.

Let’s break it all down another way: Say your total yearly overhead at the moment (Fixed Expenses + estimated Cost of Goods Sold + estimated taxes) is in fact $300,000. That is the minimum amount you have to earn to break even. Now look at your income and how it is billed. If you bill per ad, and you’re getting an average of $10,000 per ad for usage fee, and you shoot about two ads per month, your total annual income is $240,000 — and you are losing money.

Until you do this math you probably think you are skating by because the checks are coming in. You are short and late on some bills, but you are working. But by not making a profit, you are actually way behind and won’t last long. You shot 24 ads at $10K each, but you need to do 30 ads at that rate just to break even. To make a profit you’ll need to significantly cut costs, raise your rate, or both.

Based on your break-even today, and considering your market, forecast a number of jobs for the year that seems conservatively realistic and how much you’ll need to charge to arrive at a 30 percent profit margin. Carve that in stone or on your forehead and aim for it. Now you can be strategic about every job you accept and every dollar you spend. You can keep track of your progress easily and push yourself and your team toward that goal. Profit. Make it part of your plan.

One of Sol's Redneck Games images, which ran in National Geographic. ©Sol Neelman

Miki Johnson: So tell me what you’ve been working on now.

Sol Neelman: I’ve been working on a long-term project, photographing weird sports and the culture of sports around the world. Recently, I photographed dog surfing in San Diego, pro wrestling in Mexico, the Lumberjack World Champs in Wisconsin, and bike polo in Seattle. Up next is a prison rodeo in Oklahoma.

I try to keep myself busy with fun sporting events. It’s an excuse to travel, which is one of my addictions. Along the way I’ll do some traditional sports, such as The Beijing Olympics and college football. I just went to my first Cubs game at Wrigley and photographed the fans in the bleachers. That was fun.

My goal is to get this work published in a book. Ideally it would encompass everything in sports – not just weird sports. It doesn’t need to be the Redneck Games to be good. But the Redneck Games were pretty good.

As far as work, last year I did a commission piece for a developer for whom I photographed downtown Portland for a year. They hung my photographs in the lobby and on each floor of their new building, which ironically is located right across the street from The Oregonian. I’ve also been doing work for Nike and a local bank, plus some weddings. Things are kind of hit or miss, so I try to stay busy with my own project to fill the time.

I’m still trying to figure out how to expose myself to more advertising firms. I recently signed up with Adbase and plan to contact firms that seem like a good fit. At the same time, I’m really trying hard to steer away from editorial clients, just because their rates are so low.

I think one mistake a lot of newspaper photographers make is that they’re still trying to work for editorial clients. It’s very rewarding, but when The New York Times is paying $200 day rates, you can’t make a living off that. So I think the more important avenues are commercial, advertising and corporate clients.

MJ: And how have you found it to be trying to get into those? Did you consider finding a rep?

SN: I work with a couple people in LA, but I would love to find a nationwide rep. I wish there were more photo reps who were looking to take on new clients. That would make it a lot easier for me to do what I do best — take pictures.

Most of the photographers I know are not talented business people. It’s not an intuitive skill for photographers, I think, to be on top of it financially. They’re happy to make pictures, and they’re happy to be paid for it. Unfortunately, they’re not always diligent about being paid appropriately.

And it’s a tough thing to do. It’s tough to walk up to a client and say, I’m worth $2,000 a day or $5,000 a day or whatever. Ideally, if you have a good photo rep, he or she would be better at negotiating and – more importantly – finding you quality clients.

One of Sol's wedding images. ©Sol Neelman

MJ: Talk to me a little bit about weddings and how those are going.

SN: It’s supplemental income, one part of the puzzle for me. I have not booked as many as I would like this year. Last year was a little busier. I think it’s harder for people to drop adult wages for a wedding right now when there are so many photographers out there willing to work for less.

Generally I find clients through word of mouth. I signed up for WPJA, and I get some traffic to my wedding website from that. But I’ve only booked one or two weddings from them. What I really need to do better is to hit the streets and talk with local wedding coordinators and event planners directly.

MJ: What was the hardest or the scariest thing when you left the paper?

SN: Well, I think the scary part is the lack of stability. Newspapers have always been a safety net, a security blanket for photographers, a way to make a living taking pictures. When you’re freelance, you’re in charge of earning money and that task can be pretty daunting.

On the flip side, you become your own assignment editor, and how cool is that? There’s a lot of freedom working for yourself. And a lot more fun.

Lucha Libra fans. ©Sol Neelman

I say embrace your strengths. I love shooting sports. There was a certain point where instead of trying to be all things to all people, I just embraced sports photography and said, “I’m gonna own this. This is gonna be me.” It doesn’t mean I can’t do other things, but sports photography is my passion.

MJ: So are there big questions that you are still trying to figure out?

SN: I want to know how to find a full time photo rep. That world is so intimidating. I’m very fortunate to have some friends who are in the advertising world, and that’s how I cracked the code a little bit. But I’m not doing as much as I want to. I really feel that having some form of manager is key, to free me up to spend more time taking fun photos.

Click here for a list of all other “After Staff” posts.

I had a look around the rest of my room and realized that all the art was of equally high quality. Of course my next thought was, “Is there a money to be made in photography sales to hotels?” So I thought I’d find out.

I started with a call to Jill Crawford, a world famous interior decorator who you would recognize from TV’s Guess Who’s Coming To Decorate. She told me that she sources photography for her interior designs in two different ways: directly from the photographer or from an art consultant like Fresh Paint Art Advisors in Los Angeles.

Ms Crawford advises photographers to pursue both strategies — direct to the designer and via art consultants — if they want to get into this market. Also keep in mind that the people you connect with for hotel projects will also be your conduit to corporations, restaurants, bars, and large mansions with empty walls.

Speaking with Helene Brown, of Fresh Paint, one immediately gets the sense that she has a singular passion for art and photography, as well as a veteran sensibility for brokering it. Ms Brown explained that the usage rights for the photography she negotiates is based on 1) the quantity of the prints, and 2) the quality of the medium that the image is printed on.

Higher quality print processes will fetch a higher premium. But on the other side of the coin, a large run of offset lithographic reproductions can also get a good return. The rights granted are one time to print, with varying levels of exclusivity based on the negotiated deal.

If this all sounds like a good idea to you, you’ll want to do a little research before launching the hotel art section of your website. My suggestion is to do a cocktail crawl through a few five-star hotels and have a look at what is hanging on their walls. You’re not looking to emulate the work so much as you’re trying to understand the artwork’s tone and how it fits into the interior decorating palette.

Finally, remember that the designers and consultants you’ll be contacting are savvy people, so don’t try to pitch them crap. And if on your cocktail crawl you encounter a writer holding a martini glass in the washroom, that’ll be me looking for an idea for next week’s column.