“One of the things I do to keep myself balanced is I teach.”

“We want to make sure we are as specific as possible to keep our business safe.”

“We have to put ourselves in the place of our clients.”

The Players

Producer Susan Shaughnessy

Client: AstraZeneca
Product: Crestor
Agencies: Digitas Health and
Saatchi & Saatchi Healthcare Communications Group
Photographer: Jayne Wexler
Artist Rep: Kevin Schochat
Producer: Susan Shaughnessy/SKS Productions
Location: Los Angeles
Total people on set: 30

1. Making the Call

The ad agency had three photographers in mind for the shoot, and the photographer Jayne Wexler was considered a favorite. The agency called her directly, and Jayne called her rep, Kevin Schochat. Together they talked about the concept, dates, and availability. Next, Jayne and Kevin considered which producer they wanted. Usually, the photographer or the rep has a relationship with a producer. Sometimes the ad agency has a relationship with a producer, and they will recommend one. In this case, Jayne decided she wanted to work with me.

2. Crafting the Estimate

Campaign layout

"Then and Now" concept

There were three bids submitted for this job, and the estimating process took more than a week, including several rounds of back-and-forth with the agency. We were trying to meet the agency budget, but we were the only team estimating traveling expenses, so our costs were higher. The agency was very fair and understood our numbers, but it took time to get the estimate and photographer approved.

I typically work with my favorite program, Excel, for bids, as does the rep. I turn my document into a custom-designed PDF, so it looks like a neatly presented document with my logo and client info on it. Excel allows you to make changes quickly and frequently, which is so useful when estimating and making revisions.

3. Getting Approval

During the estimating process, I have a crew in mind. Typically they are on hold from the beginning, especially the stylists. Once the agency awards the whole job and the money, then I book. I review the costs, rates, and expectations with each person, to confirm we are all clear. Sometimes the rates, expenses, and layouts have altered during the estimating process, so it’s essential to clarify at this point.

In this case, the casting and location line items were approved first, and then days later the rest of the job was approved. We began right away with a creative call between the photographer, agency, and myself to review layouts, casting specs, and location needs. I hired Eastside Studios in L.A. to cast, and I began researching locations with my coordinators.

Then stylists, photographer, producer, and agency have creative calls. These calls solidify the wardrobe direction and the prop needs. From there I can build a firm schedule, and manage expectations and deliverables for the team. As soon as the job is approved, the rep and I submit a request for the advance, to receive the appropriate percentage of the expenses up front. This money will get the job rolling and secure locations, studios, and all immediate out-of-pocket expenses.

4. Building the Crew

Wardrobe stylist Gillean McLeod, wardrobe assistant Lauren Burns, and photographer Jayne Wexler

When assembling a crew, I consider the photographer, the project and style, the budget, and the personalities that fit with the requests. It’s also important to have crew members who can work closely together to support each other. The wardrobe stylist and prop stylist know each other, work together often, and were able to help each other styling vintage clothing and props.

With Crestor, because everything was being shot in L.A., I suggested and hired the crew for Jayne. Jayne brought her first assistant, Piero Ribelli, with her, but I introduced Jayne to Mark Gordon, digital tech, along with Ubaldo Holguin and Joe Klecker, who were local photo assistants we used in L.A. Based on temperament, professionalism, and personality, I knew they would fit great with this team.

Having team members who know each other and work well together adds another layer of efficiency. Photographers often get in a groove with certain stylists, and definitely photo assistants and digital techs.

Often the crews stay the same, but sometimes we’ll add or lose somebody because of availability. Like Jayne in New York, we’ll have almost the same crew every time we work with her. For every photographer I work with, I specifically craft a crew that seems appropriate for them, based on their personalities, needs, styles, how fast paced they are, and what they expect in terms of styling.

5. Scouting Locations

On location: The painter's studio

For Crestor, we had a big assignment in a short time frame. We needed an authentic painter’s studio, a park that looked like it might have the Eiffel Tower in the background (to be handled in post), and options on a French café and cobblestone street. All in L.A.

Scouting the painter’s studio was tough. We needed a studio space that was authentic, but more of a hobbyist painter versus a professional painter. The space needed to be big enough to hold a crew of 30 people, and it could not be too messy or too high-end. We also needed daylight, so we needed windows. We ended up at a real painter’s studio, but cleaned it up, pared it back, then propped it to our taste. We commissioned real paintings that were made to feel not too professional, but pleasing to many.

Since this job required me to work from N.Y. during pre-production, I needed solid production coordinators and scouts on the ground in L.A. Nima Ghedami is one person who can make things happen faster than anyone else I know in L.A. He helped by calling scouts and friends, and found painter’s studios for us to review online.

Michael McClellan scouted and permitted Griffith Park for us, handling the paperwork and fees. He also scouted various other parks and painter’s studios. We also needed to find options for a French café. Michael and Nima scouted the café for us, but the idea was finally killed, and we stuck with two days on location and one day in the studio, shooting on white at Pier 59 Studios.

I do a lot of the research for location scouting, but ultimately I send someone like Michael to take pictures and upload to a website that allows the photographer, agency, and me to simultaneously review the locations.

Logistically, shooting on location in L.A. can be very easy, but sometimes you need a site rep, you need appropriate insurance, you need money up front, and the contracts can be very detailed. On Crestor, the paperwork was fairly straight forward; we negotiated directly with the painter’s studio, and Michael handled the park permit. With the painter studio’s, I made sure that the building was aware of the shoot by passing out flyers ahead of time, making sure our electrical needs were in line with the studio requirements, and ensuring we had parking nearby. We also made sure all the equipment, catering, and props could fit in the elevator

6. Casting Talent

For this project, which was based on a previous T.V. shoot, we had to capture the concept of “Then and Now” — meaning we had to hire the talent for the primary roles, then find teens to represent those people 30 years ago.

We cast during two days with casting director Doug Mangskau at Eastside Studios. He provided links to the talent each morning for the agency, photographer, and me to review. Each day we made our selects and commented on what we felt was missing. We also added a link of comp cards for the agency to review, which added to the in-person casting days. Eventually, we made selects for the painter, the younger version of the painter, and the younger version of the couple at the park with the Eiffel Tower in the background.

7. Styling and Props

Wardrobe selection

Prop options

Because the concept involved a “Then and Now” theme, we needed to prop and style talent and locations that looked contemporary, and another with a vintage look. There was a lot involved to coordinate themes, colors, and believability. The props that conveyed “then” included vintage bags, cameras, and maps. The hair and makeup stylist brought in a mustache and wigs. The wardrobe was all rented from from vintage stores. It was very believable. The props for the painter’s studio included: custom paintings, easels, paints, paint brushes, boxes, and used clothing from actual painters.

8. Transport and Amenities

Good maps, planned parking, and orchestrated transport are essential for a smooth shoot. In the production book (details include: the call sheet – client/agency/crew/vendors names and phone numbers; hour-by-hour pre-pro and shoot schedule, locations/maps/directions, talent and wardrobe specs, weather, sunrise and sunset times, nearby conveniences – Starbucks, Target, FedEx, and favorite restaurants), I try to provide as much info as possible. The coordinators also help by handing out maps, setting up signage, and emailing maps and directions ahead of time.

L.A. can be tricky in terms of traffic. Scheduling early drives against traffic can work to a producer’s benefit. Being able to get online from wherever you are seems to be required these days – the agency essentially wants access to all of their work back at the office, and often we need to email samples of the photos to people who couldn’t make it to set. Also, having a digital tech who can take the photo and place it in a layout for agency preview is a real need.

The importance of good food and coffee also cannot be underestimated. Neither can: a clean bathroom, helpful assistants, efficient cleanup of garbage, flexibility, understanding, dinner reservations for the agency, and on-time car service.

9. Shoot Day

Mark Gordon's G10capture digital tech cart

Arrive 8 a.m., set up lights, breakfast, wardrobe, and props. Model arrives at 8:30 and gets wardrobe approved, then goes into hair and makeup. The agency works with Jayne on lighting and angle, modifies props and crop, and gets camera and digital all working in sync. Mark Gordon, the digital tech, comes with his own DJ set-up, so there’s always good music happening.

The model stands in for Polaroids, frame gets signed off on, wardrobe approved. Final touches, then shoot. The shoot day continues for hours, changing wardrobe, altering props, changing hair.

Once the model nails the emotion, and we get multiple shots, they are edited and approved by the agency, and a select is emailed to the director, who can’t make the shoot. Once everything is approved, we let the model go and shoot the set elements alone, (the props, the backgrounds), which will be manipulated in post.

Lunch inserts itself around 12:30-1 p.m. Usually we all stop and eat, at least for half an hour. Then back to work. We wrap by

Wardrobe ready, talent on set

5 p.m., using an hour to edit images and back up all digital files. At the same time, the crew cleans, empties garbage, packs props and wardrobe, and loads everything into vans.

Before I leave, I walk through the space with the owner/site rep and ensure nothing is damaged, broken, or out of place. Anything moved gets put back in place — we often note its place ahead of time by taking pictures when we arrive. I’m the last to leave.

The check is written if anything additional needs to be paid for. Maps or directions for the next day are reviewed and dinner reservations are confirmed. Call a rain day if needed. For the Crestor shoot, we bought weather insurance instead of calling a weather day, but the day ended up perfect. You just never know!

Who: Susan Shaughnessy, Producer

What: Manage people, schedule, communicate, delegate, problem solve, have fun, take responsibility; write checks; provide deliverables/links to casting, scouting, and visuals that need approvals; take care of photographer; organize everything; insure everything; handle travel, catering, transportation; create production books; answer questions, ask questions, provide confidence; do due diligence; be flexible; stay on budget, get overages approved as needed; work closely with art buyer-producer/agency, accept praise on behalf of crew.

Where: Brooklyn is home, but I produce anywhere

How: www.sksproductions.com

Who: Jayne Wexler, Lifestyle and portrait photographer

What: I find a producer if the budget allows one. Go over the layout, all the details, and shot list. Discuss the casting with the producer. If a location is needed, we find a scout and start scouting. On shoot day my assistants and I set up lights. Then they usually get the set ready and shoot a digital-Polaroid for me to see. In the meantime, I discuss the details with the prop and wardrobe stylists and the hair and make-up artists. Once we are set up and I’m happy with my lighting and composition, we start shooting. After the shoot we edit the images and choose the best selects for the job, then we either make a website or send a disk or hard drive to the client with jpegs. Depending on the size and complexity of the retouching, the client will either retouch in-house or I will use one of my retouchers. Then there is the billing, which can take as long as the production.

Where: I live in NYC — “Nolita” — been in the same apartment for almost 23 years! My studio is on Vandam Street, west of Soho.

How: www.jaynewexler.com

Who: Kevin Schochat, Photographer’s agent

What: When a request comes in, I  go over the specifics of the job with the creative in charge. I then work closely with the photographer and producer to prepare a detailed photography estimate. I negotiate all fees and rights for the photographer. Once the job is awarded, I follow it closely to make sure everything is running smoothly and we are staying within budget. I also go to the shoot, if it is local, to see how it is progressing, meet the client, and deal with any last minute questions or changes. After the shoot, the photographer and I usually review the invoice together. Then I contact all the key people involved to make sure they are happy with the results and thank them for their business.

Where: New York City

How: www.kevinschochat.com

Who: John Robinson, Prop stylist and set designer

What: Once a concept has been approved by the client, I get the sketch or comp that the agency created for the ad. Then I create detailed sketches of what the set will look like. We also shoot images of all props options and provide images or samples of all textures, wallpapers, and fabrics that will be needed to create the image. Once prop selections are made, we purchase or rent them, then begin building the set. Once everything is collected and built, we go into the studio beforehand and assemble the sets. After the shoot we take down the set, return rentals, send purchases to the client, and salvage and store anything that may could be useful in the future.

Where: Just outside of Austin, Texas, plus an apartment in Manhattan. I work as a local in L.A. and N.Y., and I’ve done shoots in Vegas, L.A., San Diego, Austin, Chicago, Montreal, and N.Y. this year.

How: www.johnrobinsondesign.com

Who: Gillean McLeod, Wardrobe stylist and costumer

What: I talk to the art director and photographer, and we look at the comps, then I shop for clothing in stores and costume houses. There is usually no time for a fitting, so all is done the day of the shoot. When we’re done with the clothes we bought, I either donate it or send it to the client. The rest is returned immediately after the shoot.

Where: I live and work in Los Angeles, but try to work away as much as possible since I love traveling.

How: www.gilleanmcleod.com

Who: Stephanie Daniel, Makeup artist and hair stylist

What: Prior to the shoot, I discuss with the photographer the desired look of the model, do the necessary research to achieve it, and get approval from the photographer/client. On the day of the shoot, I style the hair and makeup of the models to achieve the desired effect, then make sure their looks stay in place by touching them up between shots. Once the models are done, I’m done.

Where: I live in Santa Monica and work all over L.A. and N.Y.

How: www.stephaniedaniel.net

Who: Michael McClellan, Location Scout and production support

What: As a location scout, it is my job to interpret the art director’s and photographer’s vision. By using sample photography or sometimes just text, I set out to find the perfect location, then negotiate with the owner once the location is approved. After the initial scout, I load everything onto a website for clients to view and make their picks. I am a production coordinator and produce many shoots myself.

Where: Based in L.A.

How: www.madactive.com

Who: Nima Ghedami, Production coordinator

What: My job basically entails doing whatever the producer and the production staff need me to do. This could include finding studio space, arranging meals, or getting coffee. Production is mainly a problem-solving endeavor, and my job is to provide support so the production can move seamlessly.

Where: West Hollywood

Who: Piero Ribelli, Photo assistant

What: Before the shoot, I help the photographer decide the logistics, location, time of the day, and set ups. The day of the shoot, I set up lights and cameras with the other assistants, help the photographer stay focused on the images that the client needs, and socialize with the clients to make them feel comfortable. After the shoot, I usually help a bit with editing and reassure the photographer that all went well.

Where: Manhattan

How: www.pieroribelli.com

“How do you get someone’s attention and keep it?”

©Jeffrey Thayer

My name is Jeffrey Thayer and I am a photographer. I am early in my career, but I have been using the camera as a medium for expression as long as I can remember. I can’t paint or maybe I’d be a painter.

At the moment I am trying to push my career up a notch. I have great clients, from boutique designers to smaller editorial, but I want more. I want the clients with huge visions that are a challenge to create and who want to make them with me. I want clients that embody the laughter in life and fun lifestyle that I enjoy.

So how does one go from being an assist to a photog? That was the question I asked myself — and to be honest, I needed some help. I have worked with a lot of great photographers in the Los Angeles area, as well as some of the ones who came to town for shoots. I have shot pre-production stuff for one of today’s most in-demand photographers … and all of this means nothing in the end.

So I started asking these guys and gals I work with what I should do to move forward. I also started attending every possible APA event on these topics. I went to portfolio reviews and was told I seemed to have multiple personality problems. I narrowed my vision and started to do some e-mail blasts, which got a good reception, and then did a postcard.

But budgets are tight due to this awesome economic climate, and I still wasn’t getting the calls I wanted. So I hired Leslie Burns-Dell’Acqua at Burns Auto Parts, who told me I was using too much of a “shotgun” marketing technique. I was sending things to people who probably wouldn’t hire me and I probably wouldn’t want to shoot for. What I needed to be was a self-promotion sniper. So Leslie helped me fine-tune my contact list and market only to the clients who use images like mine and the companies/magazines I want. We also trimmed a couple more images out of portfolio.

One good friend kept telling me go to New York and get in front of the people I wanted to work with. “Do whatever you have to,” has been a common suggestion. So has, “Get in front of them and sell your personality, your image, and who you are.” So I scheduled a trip to NYC.

©Jeffrey Thayer

I spent the last week and a half talking on the phone and listening to voice mails. What do I do with voice mail? I hadn’t thought about that yet. I checked with a friend who shoots for some of the mags and clients I want. He said, “Just keep calling.” I feel a little pushy but, heck, when I get uncomfortable good stuff normally happens, so I went back to the phone. I mentioned to the individuals I got a hold of that I was going to be in the city for a few days and asked if I could meet with them.

It has been daunting — no one answers the phone. Luckily Communication Arts recently interviewed me, so I used that as leverage and did a specific New York E-blast. So far I have appointments with some leading reps, some great photo editors, and a few art directors. Five minutes here, five minutes there, but it is a start.

I have tried to offer coffee or what ever else I can to get in front of the people I want to shoot for. The good news is that some will see me. Others will just get my mini-book and others, well, maybe next time. These guys are extremely busy and get hundreds of request like mine every day. I am truly grateful for the time that some are giving me and I am not offended in the least that others cannot. I try not to take anything personally — though it is hard sometimes — and to learn from the experience.

I also get to visit with some photographer friends in the city and to get out of town. What could be better? I’ll let all of you know how it goes.

©Nader Khouri

Miki Johnson: How and when did you transition to commercial work after leaving your staff position?

Nader Khouri: Immediately after leaving the Contra Costa Times a year-and-a-half ago, I knew that I was going to be doing commercial work. I am shooting mostly food right now and many of my clients are branding firms and restaurants. I would love to be shooting food-related subject matter most of the time, but I am still building my business. I am also doing corporate/nonprofit work and am very thankful to some of my photographer friends in the Bay Area for giving me referrals during this transition. For me, this change isn’t happening overnight, and I don’t expect it to.

MJ: How did you present yourself to commercial clients? Were they drawn to your photojournalistic background?

©Nader Khouri

NK: Most of my food clients have come from doing a lot of networking. I got to a point where I said to myself, “I’m sick of hanging around photographers.” So I got as far away from them as possible and started meeting people who I could potentially collaborate with. I had discussions with them about photography and gained their trust. My website was just a confirmation for them. I’ve gotten to the point now where I’m back in the loop of being around photographers. I became a member of APA and am using a lot of their resources. Also, I have done a ton of email marketing and I have to say, even in this day in age of Twitter, Facebook, and Adbase, seeing someone-face to-face is still number one for me.

MJ: Did you work with a consultant or rep to re-brand and find commercial clients?

NK: I studied marketing and it helped me go back and ask myself, “What am I passionate about?” and then set goals for myself. It also helped me focus on how could best serve my clients. I started hearing the word “partnership” more, and that helped me think more about how I can reach out to other professionals to meet my clients’ needs. Photojournalism and commercial work are both collaborative processes. Commercial work just has a whole host of different players. And I think that’s where photographers might end up getting discouraged.

During a transition, photographers need to take the time to understand the scope of the markets they are in and to identify growing markets. I constantly say to myself, “Even in this down economy, plenty of work is being done and plenty of money is being made.” Instead of learning video like many still photographers, I am spending my time researching my markets and making connections there. I think spending time on the content of my images is more valuable than the medium in which I shoot. If I have a client who wants motion, then I’ll hire someone to do motion. But I am still quite passionate about still images and don’t plan to change what I do anytime in the near future.

MJ: I notice that you have a strong “mission and values” section on your website. Has that helped you focus in on the kinds of jobs you want?

©Nader Khouri

NK: Many photographers don’t have much text on their websites, and I decided to use text to help put my work into context. Not all clients will look at the text, but I value it when photographers take the time to give some explanation. I believe in the power of images to give a point of view, but I also think that stating a mission helps complement the images. Not only that, but it helps set the stage for the kinds of expectations I have for myself and of the clients I want to work with.

MJ: What is the biggest difference between commercial work and photojournalism for you?

NK: Commercial work is posed while photojournalism isn’t at all. That’s been an interesting change. Yet in my commercial work, I am using both models in posed settings as well as a journalistic approach. Although I’m not doing photojournalism right now, that’s not to say I’m totally done with photojournalism. But, I’ve gotten to the point where I feel like supporting a movement is the most important thing, not whether or not it is advertising or editorial.

I have been learning a lot from Doug Menuez as he comes from a similar background. I’m going to his workshop in Woodstock this month. [Read Doug's posts about running a successful photo business here.] I think photojournalists can add authenticity in advertising images. It’s a give and take, and I am learning a lot of valuable lessons from established commercial photographers — including knowing my worth as a photographer. Unfortunately, photojournalists often put all the emphasis on making compelling images and end up being under-earners and giving away too much of their rights to their images.

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

Images from a search for “Las Vegas, Atlantic City, luck, risk, chance, chances” on iStockPhoto.com

Detail Your Descriptors

Most photographers know that properly captioning and keywording their photographs is crucial if it’s going to show up in an image search, either on a stock site, on their own site, or, increasingly, on a Google Image search. What may come as a surprise is just how detailed those descriptors need to be — down to the color of the model’s shirt.

For example: Smiling brown-haired Caucasian woman drinking coffee, sitting at the kitchen table. Now go even deeper for the keywords. The woman is smiling, so be sure to include “happy” as a keyword. What does the kitchen look like? Is it modern? Traditional? What is she wearing? If she is wearing a turtleneck, include that since it suggests a specific season. In fact, include the season. All of these details could be important to the person looking for the photo.

Think Like an Editor

Another concept to consider when keywording is atmosphere and mood. A lot of photo editors are looking for an image to illustrate a specific concept. In addition to describing the scene, imagine what ideas your photograph could be used to convey.

For example, if you have a close-up of a pair of dice, think about what that could represent — Las Vegas, Atlantic City, luck, risk, chance, chances, (include singular and plural; photo editors have different searching “styles”).  Or a road sign, those can also be used to illustrate other concepts such as “choice,” “fork in the road,” “decision.” All of these should be included in the keywords.

To help with this more conceptual keywording, look at magazines and see how images are used to illustrate different stories and concepts. Begin thinking like a photo editor, not only when shooting, but also when captioning and keywording.

Check and Copy Edit — Again

One thing you can do to help those photo editors looking for your images is to spell things correctly. There have been times when I purposely misspelled something in a search in order to find what I was looking for (after spending hours trying different keywords). Double, triple, even quadruple check your keywords and captions, then have someone else “copy edit” them. You never know what errors a fresh pair of eyes may find — and who might find your images because of your diligence.

“Did you read Rolling’s Recalcitrant Ruminations of Ruskin?”

“Why no darling, but I did shoot the image for the cover of the hardback.”

“Oh, bravo. Glass of sherry?”

I tried to get into that publishing circle for years. To say that they didn’t give two shits about me is, to be honest, crediting myself with one shit too many. Which brings me to my guest, photographer Claire Rosen. She was recently contacted by the boutique global publishing firm Random House to shoot the cover (left) of Sarah Addison Allen’s book The Girl who Chased the Moon.

The folks at Random House were intrigued by Miss Rosen’s distinct style of photography when they came across it at one of her gallery openings. The assignment (I’m not joking): Read the book and pitch some ideas of how the cover should be shot. The folks at Random House chose one of the ideas and Claire was, (I promise, I’m not joking), free to go shoot it and send in the results.

That kind of paid creative freedom with a high-profile client is practically nonexistent in contemporary society. Not only do you get paid to do your creative thing, you can window shop at a Barnes and Noble on a date and feign surprise when you see your book cover. If I want to accidentally-on-purpose show off my book cover I have to start a fire in the café of the book store, convince my date that it’s safest in the photography section and then use my book to fan away the smoke. “You okay? Hey look at that!”

Gigs like Miss Rosen’s can become a wonderful source of work. In just a week since receiving her first assignment, she has landed another book cover. If you’re interested in doing this type of work, you need to keep one thing in mind: The people at publishing houses who are green-lighting covers aren’t looking for photographers. They are looking for covers.

I reached out to a senior art director at Little, Brown Books to find out what he’s looking for from photographers. He suggests going to the bookstore to find covers, illustrated or photographic, that are similar to your narrative style. Check the imprint names on the books’ spines and contact those publishers to get the name of their art director.

The best way to reach out art directors is by mailing a hard-copy promo with an example of your work. Email promos have become the bane of art directors, my contact said. The barrage of email promos from listing services has resulted in a backlash, and they are routinely deleted out of hand.

One phrase that stood out in my interview with the Little, Brown art director was “cover appropriate.” Take the time to do your research. If your work doesn’t look like any cover you’ve seen, then don’t send it to the publishers.

With all that in mind, take a day and hang out at the bookstore — you could find a whole new direction for your photography business. Just please pretend not to notice if you see a guy in the café torching a pile of coffee beans.