karen_lippowiths

Specifically (and I'm paraphrasing to get to the point here), this person writes:

"Your work is beautiful. I own XXX studio in XXX town. I was hoping you would share with me a few of your lighting

secrets: namely how you get the light in your subjects' eyes. Do you bring reflectors with you? Extra lighting? Or are

you just using available light? Is it the Nik or Efex filters that give your colors that extra pop? I'm always on the lookout

for new techniques."

This person goes on, but that's the crux. I think I like a combination of Howard and Alec's responses best and I will

probably say something like that.

By the way, I don't use anything other than my camera and lens. I probably could get some nice effects with reflectors,

tents, or flash, but frankly, I'm a less-is-more shooter. I also don't own filters or actions because I'm too cheap and too

lazy to get into that stuff (LOL), but who cares how you get the shot, really. If the client loves it, it doesn't matter in my

opinion if it's out-of-camera or highly processed. That stuff only impresses other photographers and they're not hiring me

to take shots of their kids. This is a BUSINESS after all, not "art for art's sake." I don't really want to know how a Big

Mac is made, but I somehow keep comin' back for more - LOL!

Thanks all :)

Karen

Hey Rich:

Thanks for your reply. I SO KNOW what you mean about the computer stuff too -- I was a web developer in a past life

photographer and everyone would ask me to just "take a look at a file" for them or (even worse, my least favorite thing in

the world) help them with various hosting / domain / e-mail issues. Because information (especially about web /

computers / video / media) is abundant on the web, people think it is (or should be) free.

Yes, I was the person who wrote about an inquiry to shoot in my studio, but this is a different person inquiring. (I have

somehow "drifted" from the person who wanted to rent my studio -- she never got in touch again after I said "no" -- go

figure).

This person is seemingly innocent in her approach and, again, I am very flattered by her kind words. I want to be "nice"

in my reply to her, but honestly, these e-mails are starting to irk me. My mentorship program is not for people within 250

miles of me, otherwise I would steer her that way. In this case, I don't really feel I have much to offer her other than

general words of encouragement, which I am happy to share.

Thanks for chiming in. I love this board because it IS a place I feel comfortable sharing. :)

Best wishes,

Karen

I'm always genuinely flattered when I receive "fan mail" from clients and other photographers who share kind thoughts about my work. I

know we all are. Creating a joyful reaction with our work is tantamount, if not in some cases paramount, to the money. It is very humbling

to me to know that others see the love and effort I put into my craft.

That said, I also don't always know how to draw the line when someone (namely a local photographer practically in my back yard) writes

with very flattering words but then wants to know everything about how I do what I do in the name of "helping a newbee" out. I do have a

formal paid mentorship program which is quite active, but not for people in my metro area. I also love sharing and bouncing ideas off of

friends / colleagues, but again, not so much my direct competition. In thinking about it, I don't think I would ever write and ask a

competitor (especially who I don't know) "tell me how you got that shot -- what ISO, what metering, what processing?" I feel that's a bit

disrespectful.

I know I have a competitive streak in me and so I may be a bit more guarded than most (a colleague of mine is totally laid back and would

not have a problem sitting down and opening her workflow to anyone). I know I'll politely thank her and give some sort of "canned" answer

about how much I appreciate her kind words and that it's all "practice, practice, practice."

I know we all have the "PC" way of responding, but I'm wondering how you REALLY feel about this and how much specific info. you

actually share.

Thanks :)

- Karen Lippowiths

Usha:

Hi. I took a quick glance at your site. I think you have a strong body of work and I'm not so sure I think creating

"dummy ads" is the way to go. I think it could lead to awkward conversations if a prospective ad exec asked you about

the client you "shot for" or specific questions about the ad campaign (would you simply say "I made it up" or would you

feel compelled to lie to carry out the brand). I think revealing the fact that it was made up lends one to see you as totally

inexperienced and possibly not altogether straight forward about what you're doing. I know where you are -- it's always

tough to get someone to give you a chance when you've got little or no experience. Given the strength of your work,

however, I would simply keep pounding away and network like crazy. Luck happens to those who work hard, as you

know. I'm probably the world's most impatient person, so I'm not one to dole out this particular brand of advice, but hang

in there and give it time . . . I do believe this will happen for you.

Good luck to you! :)

Karen Lippowiths

Hi James:

I took a quick look at the site -- overall a nice, clean design. In some of the areas with type content, I noticed a few

punctuation / spacing errors and it seemed like the fonts are not uniform in size. Also, I assume you'll populate the site

with more images as I only noticed a few per category. Otherwise, it moves smoothly and has a straight-forward

navigation structure.

Good luck :)

Karen Lippowiths

I'm all about increments of $5 for smaller items or $25 for larger priced items. Easy to add and as a PP points out, I'm not

trying to run a blue light special. The $999 thing smacks of a Sears appliance. IMHO, great for big box stores, not so

great for high end services :)

- Karen Lippowiths

Hey Alan:

Thank you so much for such a thoughtful and thorough answer. You always go

above and beyond :) Also, thanks for the cautionary warning. I'm very aware of this

"garbage" scam stuff and receive my fair share of that too.

The company who called me, TheBump.com, is a sibling of TheKnot.com, a

reputable wedding / marriage / couplehood / baby web site and magazine. Most 20-

30-something women know all about these sites. I'm confident that they're "legit"

and I've reviewed the contract and have been in contact with a few point persons

from the company (I called them back using the number on the web site, just to be

sure), so I feel good about it.

I agree on the micro stock agencies -- forget them. I've never used them and don't

plan on doing so, based on what I hear in the forum. I've considered talking with a

publicist, but I'm not sure my body of work is really strong enough yet. I'd like to

work toward that in the next couple of years. A fellow photographer advised me to

work with a portfolio builder (when I'm ready), but the portfolio builder charges $500 /

hour. Ouch. I should say that the photographer who advised me to go this route

*did* start doing amazing work once she found her publicist. It's hard to say . . .

Yes, I'm finding that editorial work pays zip, but it is kinda fun and a feather in the

cap. And when I tell clients and prospective clients my work appears in "X, Y, and

Z" it resonates with them.

Thanks so much for the help :)

Karen Lippowiths

For the second time in my short photo career, I got a call to do some editorial work. I got the cover

of a regional magazine last March and yesterday, a call from a national web / print company to do

a small piece. I asked how they found me and they said through a Google search (how random!)

and review of my site. I'm pretty excited to be getting the calls, but don't want to just passively

wait around for more to come.

My commercial career has been through networking. I've worked with a handful of children's

retailers in my area, metro Detroit.

Do I generate more editorial work by way of an agency? A PR person? Networking? Query letters

(that seems so old fashioned). I have a handful of shots I think would be perfect for various

outlets, but I have no idea how to approach them.

I don't want to do a ton of editorial work, just enough to help position me and gain more consumer

work.

Thanks in advance :)

Karen Lippowiths

This is kind of a sideways answer to your question, and is kind of in response to

Scott's post above about dress, but here's how I approach it:

The initial consultation -- I'm becoming a "friend" and want to convey "successful

artist" so I wear a hand-painted blouse and some silk or linen pants -- something

artsy and upscale.

The shoot - I want to be able to get on the ground, dirty, move freely, and not

"intimidate" or upstage the subject s I wear very casual and sometimes dress-down

clothing (I only shoot children, but I get Scott's comment about weddings, except

having to get on the ground and contorting into odd positions to get shots

sometimes).

The design consultation (sale) - I'm all business and I wear something close to a

business suit / nice pant suit with an overcoat or something one would wear to an

office.

Professionalism is in your demeanor and is how you put yourself out there. You can

still do that while being warm, personable, and yourself. Good luck :)

Karen Lippowiths

Hi Carol:

Your husband is right. That's most definitely not enough. I'm a children's

photographer and I charge close to that for an 8x10 print alone (i.e., ink on paper). I

don't sell framed pieces because it's too much hassle and I'm not a frame store, but

everyone feels differently about this, I know. Even if this person is in a position to

send you a lot of business, remember two things: 1) it's just as much about present

business as the promise of future business, and 2) once you establish yourself as a

"value" photographer, you're going to get mostly "value" clients, perhaps a lot of

"value" clients from this person (headache). I can't imagine you would profit much

from a sale of $85 for this.

Again, I don't sell framed images (so perhaps someone who does could offer better

advice) but I would think we're talking somewhere in the ballpark of $250 + for that

size and the description you mention (without actually seeing the piece, of course).

Just a guess. Good luck :)

Karen Lippowiths

Hi Jeniece:

I do send out a pretty comprehensive packet that outlines everything from studio

policies, to pricing, to what to wear in the form of a FAQ section (I send it as a PDF)

either when the client inquires or books, whichever makes logical sense. I like to

have all of the expectations out in the open and clients seem to appreciate the

information. It also helps make sales suggestions and is another layer of

"branding." It works well for me.

You'll have to decide what makes sense for your business in terms of the tone and

how much info. you include. My packet took many drafts and tweaks over time and

I'll still change it. I date the version and have a section on the client contract where

I mark the booking date to be sure my policies and prices correspond with what I

told that particular client.

Good luck :)

Karen Lippowiths

No. I refer them. I've tried a few but find the profit margin to be so far less than a

90-minute portrait session. I'm much better at portraits so I stick to portraits. Plus,

I'm developing my reputation as a niche photographer for children.

In my limited experience, I found the amount of work on a wedding to be

phenomenal. I really hand it to wedding photographers who like what they do and

have the workflow down to a profitable point. Good luck in finding out if weddings

are for you :)

Karen Lippowiths

I'm a PPA member and have insurance through them. I may not be the best

respondent because I've never had to make a claim or test the policy, but I feel

good about the coverage and know based on comparison with our personal

insurance broker that the PPA is very competitive.

I will also say that my PPA membership has paid for itself in other ways, including

jobs I've gotten through the web site, the Professional Photographer magazine

(which I look forward to monthly) and the other benefits.

:) Karen Lippowiths

1. Digital proofs are essentially the negatives, or the gold, as I see it. Many clients

want the digital proof and I offer them, but only a la carte (at $125 per image) along with

my most expensive package, which is in excess of $1,500. I don't just give them for

the obvious and perhaps not so obvious reason. Obviously, I want to make as much

per sale as possible. What may not be obvious, is that when I hand over a CD, I can't

control the quality of the print and I can't stand clients showing off their Costco print to

friends saying Karen Lippowiths took the shot. I educate my clients as much as

possible on how to make a nice print.

2. I want to make a lot on the session and the order. The session only covers the

many hours that I work to execute a session. The enlargements (reprints, order)

covers my talent and my ability to create a nice print -- the actual tangible product.

3. My clients invest upwards of $1,000, the average sale is around $1,500, and I'm

getting more $2,500 sales as I get better in my sales. My order minimum is $350.

Most [child / family] photographers I've met average around $200 - $750 per sale and

are actually going broke. The work takes many, many hours and more investment

than a "nice camera" and a little time. Running a profitable business is not the same as

being a casual photographer who takes loads of shots and gets a few good ones in the

bunch. I'm sure you know that.

Sounds to me like you're thinking about going into business. Is that the case? Or are

you just shopping photographers around?

Good luck :)

Karen

I'm just curious to know who keeps every single frame and who trashes the "non-five-star" stuff (i.e.,

the stuff that the client never sees)?

I'm the very opposite of a pack rat in all aspects of my life (drives my husband nuts!) and I get down to

bare bones -- I only keep what the client sees. I also purge what the client doesn't buy after the sales

cycle. I haven't been sorry yet.

What do you do?

:) Karen

I'm working with a friend (and fellow photographer) located in the St. Paul area who is looking for a

fashion stylist (she's working with a children's retailer). Each time I've done a shoot of this nature, the

manufacturer has always had a stylist and I haven't had to find one myself.

Anyone know a fashion stylist in the St. Paul area? Are there agencies or other reliable sources to find

a stylist? How does one go about this?

Thanks :)

Karen

A lot of magazines (even some well-reputed ones) don't pay at all. I've had my image on

the cover of a couple widely-distributed magazines -- one for which I got paid and the

other I did as a "feather in my cap" very early in my career. It's a good way to gain

exposure, but don't expect the phone to ring off the hook as a result (I never got a direct

call from either appearance).

As far as pay goes, yes, this is on the low side, but compared to what? I'm sure you're not

expecting to land the cover of Time anytime soon, right? This is a good starting point to

build on. Congrats on getting the opportunity. Nail the shoot, get the cover, put it on the

resume, and go from there.

Good luck :)

Karen

I use a "pie grid" system of determining how much *I* earn (and yes, as others note, you

have to pay yourself and pay yourself FIRST each month) and then how much I reinvest into

the business in various categories. I establish firm sales goals for each month and I

scramble a bit if it's . . . say April 23 . . . and I see myself not making the mark. You have

to light a fire under your own butt sometimes to get out there and not only make enough

to cover the expenses of a growing business, but to make it profitable and rewarding on a

personal level to keep your motivation up!

Just double checking, but are you writing off a lot of business expenses? That certainly

makes a huge difference in terms of how you count "profit" and taxable income every year.

I assume you know this if you have an accountant.

Keep at it and stay focused on the goal, the PROFIT will come :)

Good luck!

Karen

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Success comes in any discipline when you go about it with discipline! I have chosen not to

be the stereotypical "poor starving artist" and I'm far from it. So here goes:

Are you doing business with photography? Yes.

2. What catagory? Children's portraiture / commercial / editorial

3. Are you making a profit? Yes. Far more than I ever dreamed.

4. Is it your main means of income? Yes. 100%.

Good luck in whatever results you're trying to tabulate :)

Karen

Sadly, (assuming a decent readership) these look about right. Even worse, stats show an ad

has to appear three consecutive times before reaching an audience. Cha-CHING! Good luck

deciding. :)

Karen

Silly me . . . I forgot: http://www.lensprotogo.com located in Acton, MA (is that close to you?

). :)

Karen

I've used LensProToGo and LOVE them. I rented the 85mm 1.2 before buying it and have

reserved a second 5D body and 70-200mm for an upcoming shoot in a few weeks.

The price is right, the equipment is flawless, Paul is a great guy to work with, they have a

great selection, and they SHIP to you FedEX anywhere. The price includes shipping both

ways and the rental period starts when you receive the stuff to the day you send it back,

not the transit time.

Tell Paul Karen Lippowiths says "HI" if you call him. I hope you do.

:) Karen

Hi Matt:

Thanks for a great response. I really appreciate it. I'm going into a planning meeting with

the retailer tomorrow and want to be in a position of strength and knowledge to navigate

the potentially sticky situation.

Strangely, I just purchased a design license with my paper supplier and signed on the

dotted line with the same dealer agreement stipulation (in this case, I'm the retailer). I just

didn't connect the two in my head.

As always, you're a positive presence on this board. I appreciate you taking the time to

help me.

Cheers :)

Karen

Hi All:

I'll be doing some advertising work with a local children's retailer. The shots will appear in print ads, web

site, point of purchase, postcards, etc. I've already worked out usage rights and compensation with the

retailer. My question concerns the manufacturer. The retailer expressed that the manufacturer might also

like to use the pictures and "should be able to" because they are their clothes. I think the "should be able

to" statement is coming from the manufacturer's mouth.

The thing I should disclose (and my client, the retailer, does NOT know this -- out of professionalism, I

don't want to talk negatively about the manufacturer) is that I passed on a job with the manufacturer a few

years ago because we couldn't come to a meeting of the minds about rates. We're on friendly -- albeit

chilly -- terms after the job fell through. Now that we're traveling in the same circle again, I want to be

sure this manufacturer does not have anything to do with the shoot and doesn't have means to later claim

rights to the photos. Obviously, I know to negotiate rates and usage with the manufacturer separately if

the opportunity arises.

Does the manufacturer have any "say" in whether their clothes can be used in an advertising campaign? In

other words, do I need a "release" from the manufacturer? Do they need to work that out with the retailer

(my client) or do I need to be involved?

To give you some scope, the retailer is a small boutique. The manufacturer is a mid-level name with

about 300 distributors nationwide. Not "Grandma's Hand-Knit" by any means, but not the Gap.

Thanks in advance :)

Karen

My pleasure and thank you very much for the compliments. I love what I do and I'm glad it

shows :)

Good luck!

Karen