karen_lippowiths

March 27, 2012

As others have rightly posted above, three simple words: charge, charge, charge. I charge $100 fee to cancel or move the date outside of the initial 48 hours following booking. Stops this craziness in its tracks. Good luck!

February 17, 2012

You guys totally ROCK! Thank you so much for the ***CONSTRUCTIVE*** criticism. I SO agree that I need to drop about HALF of the spreads to around 30 or so (I always instruct the photographers I teach that less is more and here I am guilty of throwing too much in), but that's what this initial "go" was all about. Figuring out what direction. Point well-taken about a few strong spreads that drive the eye INWARD. Thank you Randall! I've also been told by others to do a bit more "edgy" stuff, which I will begin doing (again, remember most of my bread and butter to this point has been mom & tots . . . not so much edgy). Have to run now to get the little one to pre-school and head to the studio, but I'll follow up with what I'm doing in a few hours. Also, THANK YOU, Michael for the feedback about the broken link. I updated the site about a month ago and may have forgotten to put the page to the remote server. I'll find out. Have a great Friday, all!

February 16, 2012

Michael: Thank you so much for your thoughtful insights. You're spot on in your evaluation of the adult work. This is the second "adult model" shoot I've done . . . and yes, all in one day . . . I have many more scheduled but this is it up to this point. Once I can show a bit more diversity, I'll dilute down this shoot (though I AM very proud of this work and will still keep a few from that session in). I own a thriving CHILDREN'S portrait business named (appropriately) Urban Kids Photography. I'm going out as Karen Lippowiths commercially so as to welcome all ages and I'm working on that. Same goes for the gray seamless studio. I have a studio but do much more location work (and will continue along those lines). You picked up my two new growth areas. Tells me you actually looked through the work. I sincerely appreciate it. Never hesitate to throw up a link for us to check out! Best wishes :) Karen

February 15, 2012

Thanks, Jeff. The agency who is pitching my work asked that I keep all age groups together as they solicit for a broad range, but it's very easy to separate out. When you say "deviates from the standard stuff," can you elaborate?

Thank you again!

February 15, 2012

Hi All!

It's been a while since I've posted here (used to be a "regular" in these parts).

I'm in need of some constructive criticism on a newly-compiled fashion / editorial / commercial portfolio. I'm not going to poison the well by offering up what **I** think I need to change (though I do think I need to make some edits), but I would really appreciate your thoughts beyond what my dear and well-meaning husband said: "Looks good!" (What does he know anyway . . . LOL!) I've done high-end portrait work for 8 years and am working toward more fashion / editorial / commercial work. Got a very nice look and a potential pretty big commercial job just today. Ideally looking to pitch to Janie & Jack, Lord & Taylor-style retailers (i.e., kids catalog), various commercial entities, and lifestyle / editorial publications.

Thanks in advance! - Karen

<a rel="nofollow nofollow" href="http://issuu.com/karenlippowiths/docs/commercial_portfolio?mode=window&printButtonEnabled=false&shareButtonEnabled=false&searchButtonEnabled=false&backgroundColor=%23FFFFFF" target="_blank">http://issuu.com/karenlippowiths/docs/commercial_portfolio?mode=window&printButtonEnabled=false&shareButtonEnabled=false&searchButtonEnabled=false&backgroundColor=%23FFFFFF</a>

(P.S. I swear issuu.com cranks open the midtone levels and softens the images by about 10% . . . blah!)

April 27, 2011

In MI, I have to collect for ALL goods & services . . . yeah, everything (the session fee is deemed to be labor toward creating a tangible good). I've called the state to double check. Call your state agency to be sure.

April 5, 2011

Hi Everyone:

We're considering including mobile marketing (text campaigns to participants who "opt in") and QR codes. I'm not the target demographic (37 years old, HATE text messages, and I own a decidedly "dumb" phone) but I DO see the utility of this marketing media. We've been approached by a local MI company, www.mobilemotto.com.

I would say about half of our target demographic (moms 30-45 of high-net-worth household) texts. We don't do a lot of seniors but we do work in fashion / editorial with a lot of younger models.

The bottom line questions are these: do you use mobile marketing? Have you seen direct ROI? Who have you used? How much did it cost?

Thanks so much in advance :)

Karen Lippowiths

February 14, 2011

Selling IN PERSON (particularly when projected) is THE way to go. I ask clients either to make decisions for grandma / grandpa or invite them to the consultation. I don't leave images, do a second appointment, or post images online. Images that are purchased (and that's key) are placed online for 7 days for family / friend viewing AFTER the consultation. Don't proof what isn't purchased as that's a HUGE waste of time. When I did this in 2009 (in conjunction with raising my rates to a profitable level) my sales quickly went to $2K consistently and have been in the $2-3K range since. Good luck :)

January 24, 2011

It doesn't matter that you can "outgear" your clients (or other photographers) only that you can "outshoot" and "outproduce" in terms of the quality of the photos, products, and experience. Invest in the best tools you can afford, maintain them well, and only buy / replace if the gear can pay for itself within a few months. That's my rule :)

December 30, 2010

Hi Aura:

All good news. Raising your rates would not only be "doable" but highly advisable! Since it's year-end, take a few hours to do a Profit / Loss to see how everything came out for you in 2010. That should give you a good sense of where you need to price yourself. Then, do a projected model and add in the expenses of your studio and all it entails.

I LIVE by my Profit / Loss. I make no decisions without running through various scenarios. The numbers never lie!

Good luck :)

Karen

December 30, 2010

Dear Aura:

First of all, congrats for getting this far! I've been in business for the past five years and we're looking to open a retail studio in the first quarter of 2011 (we're in the process of negotiating a 3-year lease in the MOST expensive and upscale enclave in my area . . . mucho bucks!), so I know where you are.

I looked at your web site and this is what I would say. Your work is beautiful. I took about 3 seconds to survey the quality and it's fine. The fact that I didn't spend MORE time looking at your work is exactly the point. The quality of work is important but less so than your ability to start up and run a retail business.

I took a longer look at your business model. You're going to KILL yourself with these prices. Sine you've only been in this for a year, I wonder if you've done a profit / loss statement yet to figure out your profit margin. Most photography studios hit a 35% (or so) profit margin if they're doing well. I don't know what your average sale is but consider that you probably take home a third of every gross dollar NOW, let alone with rent.

My average sale is $2,300 per session and I do around 100 sessions per year. Now I have to factor in rent and other lockstep costs (computer, Internet, furnishings, additional samples to hang on the wall, etc.) as well as a lot more for marketing, since I really need to get the word out to cover the cost of overhead (rent, utilities, the start-up costs, etc.).

The only place I would consider getting a space is in my prime market, where 80% of my work currently comes from anyway. I have enough high-paying clients in an affluent area to drive in the dollars. I would NOT consider setting up shop anywhere that doesn't naturally attract my prime client. You'll spin your wheels with clients who are out of your target demographic and you'll likely be too far for many of the clients you want.

The volume of work you're doing doesn't sound like a whole lot right now. I understand the inconvenience of having to shoot and sell on location (I do this now and have racked up 30,000 miles on my car in one year!), but I fear that you don't have enough volume or handle on your numbers yet to warrant taking on additional financial commitment yet. Only you know.

Plus, 200 sq. ft. sounds incredibly small. What are you able to shoot in there?

I'm not trying to poo poo your idea (trust me, I know how excited you are because I feel that same excitement) but I can tell you that a woman opened up a studio in our area a few years ago and it was clear she was woefully underprepared. She tanked in a year and it was sad to see her demise. Further, she probably ended up in debt and ruined her reputation as a "high end player." It's better to wait it out and be certain than to take a premature risk that will set you back for years.

Good luck in whatever you decide. Best wishes and let us know what you do :)

Cheers!

Karen Lippowiths

December 9, 2010

John:

I just spent the last year developing a huge 300+ page kit on the very topics (and more) that you propose above. Here's what I might add:

I would say that if you're looking to create a PROFITABLE photography business, it's more important to tell your "target market" (rather than "everyone" and "all of your friends" and "Craigslist") about your services. I would never advertise on Craigslist or simply give my work away to anyone who asks. I do volunteer but to organizations who make sense for me. I think creating a sustainable business that lasts the test of time involves a much broader marketing plan and long-term investment than what your outline might lead a reader to believe. These are good "functional steps" and short-term objectives but they don't seem to fall within any overarching business plan or focused goal.

The single-most important element to me is to find the RIGHT clients and do outstanding work at a very profitable level (I average a couple thousand per portrait session) so that I have the means to reinvest in the business and so I'm working with clients who lead me to other desirable clients. I write and revise a detailed business plan to set out my vision and goals and to be sure I'm on track every 6 months or so. I think it's critical for any new photographer to start at this point.

A marketing plan involves four elements: Product, Pricing, Packaging, and Promotion. Pricing is such a mystery to most photographers and I didn't see anything here mentioned. In my opinion, failing to understand the "four Ps" but in particular pricing, is the nail in the coffin for most photography businesses. A photographer can do all of the things you mention above but if they're charging $15 for a 5x7, no amount of marketing and no amount of work will bring success. You might go into pricing a bit. There are three approaches: demand-based pricing, market-based pricing, and cost-based pricing. There's the "first unit of production" burden and there are basic formulas for accounting for time, costs, and mark-up. Then, you take the different pricing methods and give them a "real world test." If you can attach figures and formulas to the theories, this would be of great value to someone just starting out.

I'm not sure who your audience is or what the broad topic of the article is, but those are just a few additional points I would think you might want to include.

Since you asked, you can take a look at the outline of what I put together at focusedphotographer.com

Good luck and kudos for taking the time to help others out there.

:) Karen Lippowiths

December 9, 2010

I "LIKE" (always wishing this was in Facebook format) Luis' statement. Not worth the time and trouble. Hand over the release, reimburse any money, forefeit the sale and enjoy the holidays! Trust me, I know it's easier than it sounds and you're tempted to cling to your pride when you KNOW you're right (we've all been there) but when given a choice to be right or happy, choose happy. Happy holidays to you!

:) Karen Lippowiths

December 1, 2010

I was actually half-way considering working with an outsource company for 2011 (I was looking into Silverback) but after thinking about it, decided I couldn't let go of control of the product, process, and profit margin. In an effort to save time, I suspect I'll spend more time working with a company than just doing the job myself. Instead, I'm thinking of hiring additional shooters as a way to make the business more efficient.

If you're considering this line of work, be aware that photographers will want you to learn and imitate THEIR style, not implement your own. That's critical. You have to be able to meet their standards and must be flexible in your approach. I wouldn't hire someone to put their creative stamp on the image but to most closely mimic mine.

Always good to throw the ideas out . . . thanks for sharing and good luck :)

Karen Lippowiths

November 24, 2010

Paul:

That's exactly right. I might adjust exposure or color balance or anything that prevents the client (and more likely, me) from throwing up when they see the image. Nothing more than that. When clients book me, they've seen the finished product -- either they're working with me on referral from another client or they came to me via my web site. Either way, they know my work (and I always ask just to be sure they understand my style and what I do). Of course, when I begin the design consultation, I reassure them that we're only half-way there to a beautiful finished print / canvas.

When I first started doing sales this way, I was terrified I wouldn't sell a thing. The opposite happened . . . clients told me they couldn't tell the difference between A and B. After I go over the bruised ego, I let myself off the hook of hundreds of hours of needless work. I can't imagine going back to the old way again . . .

Happy Thanksgiving and good luck :)

Karen Lippowiths

November 23, 2010

Charlestonmom:

I started from "square 1" (actually, negative square 9) about 7 years ago and I make a good living at it now. I shoot children only.

It takes a ton of practice, most of which you should try to get out of the way before charging clients. You'll certainly gain more experience as you go along, but be careful that what you put out there is the "real deal" before you start charging for your work. Nothing ruins a reputation faster than the inability to deliver.

In terms of post-processing, you'll want to get Photoshop (not Elements), a workflow program such as Aperture, Lightroom, or Bridge. Those will be invaluable as a pro. Also, once you begin working through those, you'll begin to develop your own style.

Some great Photoshop training resources include Kelby Training and I've enjoyed Ben Whitmore's CDs on color.

Getting clients is easy -- getting the high-end client you WANT is the trick. Be careful not to price yourself too cheaply. It takes a whole lot more than you think to PROFIT at photography. The margin is about 35% (meaning for every dollar you sell, you'll keep about .35 for yourself). Most photographers start out around $200-500 and KILL themselves in trying to keep up with enough volume to make a dime. Don't try to compete with Walmart -- you'll never win that game. Instead, focus on creating and delivering a consistent remarkable SERVICE and EXPERIENCE that clients will want to pay more for and limit the number of shoots you do. I average 8 shoots a month (give or take depending on the season) at $2300 a pop. I'm busy but I still have a life and I'm still putting good money in the bank.

Don't worry too much about equipment at this point. You have more than enough to get yourself going. Focus on mastering your craft, defining a niche, creating a brand (not a logo), and building rapport with like-minded businesses in your target market.

Most importantly, ignore the nay-sayers. There out there in full force (and sometimes in your head). With consistent hard work and the willingness to ride the many ups and downs, you can have a thriving business in a year or two. Good luck and have as much fun as you can along the way! :)

Cheers!

Karen Lippowiths

November 23, 2010

Thanks, Robert :)

Paul: Yes, by "proofing," I mean fully editing: color correction, saturating, sharpening, skin repair, burning & dodging, rotating, cropping, and whatever else the image might need. Hope that helps :)

Cheers!

Karen Lippowiths

November 22, 2010

Hi Paul:

During an in-home design consultation, I bring a rolling suitcase of sample products (too numerous and detailed to list here), my screen and projector OR my MacBook Pro (depending on when and where I'm working), and for a full session, about 35 UNEDITED images that have been culled in Aperture, loaded into ProSelect, and integrated into 5-10 storyboard designs or other design elements (a sample album cover if the client indicates they might want an album). I spend about 45 minutes to get images from the camera to the client. If the client purchases the image, THEN I proof it for whatever use (canvas, print, album, etc.). If a particular image is not purchased, it's purged one week following the design consultation when we close the order and I send everything off to the lab (I give clients a week to add to the order and for family and friends to view the purchased proofs online).

This system has worked very well. On average, clients work with 6-10 images (when they're not doing an album), so the amount of time I spend proofing images is minimal. Gone are the days of spending countless hours in front of the computer proofing with the HOPE that the client will purchase an image. This efficient use of time maximizes PROFIT, which after all is the name of the game, and has allowed me to have a LIFE!

I hope that was helpful. Have fun and good luck :)

Karen Lippowiths

November 21, 2010

I only do in-home consultations as soon after the session as possible (sometimes in the same day or more often within a week of the session). I ask that clients make all decisions while I'm there at the design consultation. I don't proof before selling the images. Clients make much higher purchases closest to the shoot. Only ones purchased are proofed and shown online. I NEVER leave the images with them to decide or allow them to purchase online. My sales average is $2,300 and I keep my time very well in check. Hope this helps.

:) Karen Lippowiths

November 11, 2010

No. Not Ever.

By the way, next time I go to the steak place, I might just ask if I can come back to the kitchen and cook my own steak. Maybe they'll knock off a few bucks and I'll get mine a few minutes ahead of the next guy in line. LOL! I'm just sayin'. I come from the graphic design world and I have never heard of this. It' completely insulting.

This is pretty cut and dry as far as I see it. Hold the line . . .

Good luck and let us know :)

Karen Lippowiths

November 9, 2010

Ditto what Chas says. My husband is a well-compensated professional and plays in a band on the weekends "for fun." His cut ends up being about $300 per gig, about $20 of which goes toward food at the venue, another $20 toward gas, and the rest keeping his stinkin' musical equipment in good shape (LOL). If he was a full-time musician, the pay would be laughable. The idea of "investing" in photography would be unfeasible for a small or even a moderately-successful band. I obviously took some shots for their web site and promotions but I never expect to get paid.

I suggest investing your time in another area of photography and just hanging out with the band for fun or for free cover at the club.

Have fun :)

Karen Lippowiths

November 9, 2010

Be careful on how you market and advertise yourself in the beginning. One of the kisses of death is to advertise yourself, actually get business, and fail to perform. No matter how much (or little) you're charging, the general public will expect professional quality work the minute you put your name out there.

A great way to get your feet wet and build a portfolio is to create an organized casting call. You may only be "casting" for your own web portfolio, but if you set up a date, a systemized way of shooting, showing, and selling your work in a structured time frame (say, shooting four clients over two hours on a Saturday then meeting with each of them on a specified day in a cafe), you're less likely to spend a ton of time on each client individually and you'll get more images for your portfolio in a short span of time. Just be sure to use releases, contracts, and *profitable* rates if you're going to sell anything. Also, since you're compensating the client and not the other way around, be sure you get exactly what you want from them and shoot the style, location, clothing, etc. that you want. You may have to provide some props and clothing (the client shouldn't have any outlay of costs) but you certainly won't have that flexibility with a paying client, so make it count!

You may simply opt to offer a $10 Starbucks gift card (and no portrait products that will take time and hard costs to produce) as compensation. When we do our high school senior portrait casting call in early spring, we compensate with Starbucks. Only if and when the client books for the senior portrait session later in the year do we show the initial images. Otherwise, we spend way too much time proofing and selling for a very small sale. If you do offer portraits or portrait products as compensation, keep it nominal and be sure you're covering your costs. You may be surprised that you earn additional sales (a bonus for sure).

Start shooting what you *want* to shoot right away (at least, after figuring out what it is that you really want to shoot -- that can take a bit of time). The more "niche" and specialized you become, the more sought after you will be. Avoid the "scattershot" approach to taking work. You'll inevitably only get more of what you shoot and show.

This is a huge topic and can lead to so many other discussions, but this is my .02. Good luck and have fun :)

Karen Lippowiths

November 6, 2010

I was a Vice President of a BNI chapter and a member for 3 years. The organization as a concept is great, but the reason I'm no longer a member is that while it DOES include higher-end service providers, it typically attracts lower price-point services and products (i.e., Mary Kay, Cookies By Design, "trinkets and trash" vendors, etc.). I'm in an affluent area and I still found that most of the members (the men in particular, no offense) did not understand or support why I charge what I charge (average $2300 per session). I believe I was well-liked and I "invested" substantially in my group, but quite honestly, many of the other members were not connected with my core clientele. I consistently tried to educate clients as to what I do, why I charge what I need to charge, and who an ideal referral was for me, but I often felt like my message fell on deaf ears.

I'm strictly a children's portrait photographer. I often received referrals for work that weren't in my ballpark (people wanting a business headshot for $200 or a member's sister who wanted extended family photos "on a tight budget" or something). It was frustrating after a while.

This was just my experience. I'm by no means bitter. BNI is very valuable if you're looking to learn how to network, organize yourself, and speak about your business in front of a small crowd. I'm sure it could work well for others (particularly wedding photographers). I've formed many lasting friendships and business resources. It just wasn't a "sales powerhouse" for me and I had to make a decision on how best to spend the money and extensive time I was putting in.

Even if you don't join, visit a chapter or two. You're able to visit twice without joining. Every chapter is different and each has its own personality and "category composition." You might just find the right mix and that's all it really takes. Good luck!

Karen Lippowiths

November 6, 2010

I shoot exclusively on location (and usually outside) and we schedule a rain date at the same time we schedule the main date. This gives me and the client the ability to plan. I can't remember when I've ever had to replan a rain date and only about 10% of the time do I even have to shoot on the rain date (I'm in MI, so I also contend with cold weather and variable conditions). I only schedule the rain dates on "off" dates (not another prime Saturday morning). This has worked well for me.

For what it's worth, I don't shoot outside at all after Thanksgiving or before mid-March. I take the month of December off to enjoy the holidays with my family (my last shoot this year will be November 20 and I'll probably deliver the order around December 15) and I only do newborn and indoor shoots in January - mid-March.

Good luck and have fun :)

Karen Lippowiths

October 29, 2010

Valdez:

I'm a fellow Detroit-based professional photographer, so I hope I can be of help. I am a full-time children's portrait photographer who earns 100% of her living in photography. Yes, the Detroit economy is depressed -- no question -- however, with a solid business plan and a solid business approach, it can be done. My net income was the same this year as it was last year even though I had fewer sales this year. I anticipated this shift and made changes to the business, but I still achieved the sales I wanted at an average of around $2300. I'm pretty proud to say that I did this in metro Detroit.

It's a bit difficult to advise you because you take a very "on the fence" stance. You want to make money (who doesn't?) but as you say, you're not looking to go "extremely professional." No one can advise you on the right equipment until you yourself know what you want to do with it. I don't have an "equipment heavy" business and I buy only what makes sense to me, but I know what I need and I do own the tools to get the job done in an efficient, effective way that ensures profit at the end of the day.

To be honest, in reading your post, I got lost in the details of what equipment you need. I'm not sure it even matters here. You mentioned that you learned the Nikon D3000 was an amateur piece of equipment after buying it. This says to me that you haven't really taken the time to examine what you're doing from a business sense and that you're not yet ready to call yourself a pro. Getting a job here and there is not the same as running a sustainable business. $700 may sound like a chunk of change but I wonder if you understand what benchmark profit margins are (around 35-40%) and the time you're putting into the whole project (not just the time to shoot). Taking home a third ($230) for about 15 hours of work total doesn't sound that exciting to me.

Camera Mart is at M-59 and Telegraph. Go in. Play around. The guys in there are great. You can learn a lot about what works and what's a waste by checking things out and asking lots of questions. At the same time, sit back, crunch some numbers, find out what your profit margins are, make a plan. Your plan will dictate a lot about what tools you need to do the job. After all of that, go shopping and have fun!

From one metro Detroiter to the next, I wish you luck in creating a business that you love . . . even if it's just a side thing outside of your 9-5. We all deserve the success and we can all have it if we're willing to put in the work . . . even in Detroit (smile).

Good luck :) Karen Lippowiths

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