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Ten Steps to Success Part 2

So getting published and I think this is one of the most exciting things and also the most important things in fashion photography because fashion photographers have to have published work. So for me, my first publications were with but covers, and he went to school magazines so in order to get there, so the thing is about published work, and I always say this to people it's not just about getting a tear sheet, it gains trust, and it gains status and again, this industry is always about status. Who is that photographer? What has she done? Who's that stylist? Who can he pull for? Who does he? Where does he hang around with the tears shed just creates the extra level of trust that someone will let you do a commercial job because you've done that name, you've done the shoot, so terje is crucial because it's simply a gateway to commercial work and that's what it comes down to, you can't just shoot a certain amount of personal working and expect to get big jobs from it. You gotta call most ...

climb the ladder with e start with small magazines, get tomb or independent magazines, and then you hit the big guys that are at the top, so this example of attacks she and when I put these in my portfolio there's always different formats of tearsheet I usually just put the images if I have credits on at the bottom within the image, I'll put it up on my website, but for the main reason like I'll take this into a client passe if they want to see them, but I think it's important to show on the bottom like they'll usually say like he's like hong kong tatler, these are the credits, and if I'm using chanel earrings that just shows the client well, she's got a stylist that can pull this great brand so again, creating that trust obviously covers there were always a great one because again, that's a really high level of trust that someone your work has been good enough to be on a cover and it's always really exciting because often it's unexpected both of these were where I shoot for cover I sneak lee have it in my mind that I know what the client wants, and I take them to a bare wall and I give that space at the top and I submitted to the client is an extra and unlike I shot for cover us well and they're like, oh, the title looks really good at the top there and then you're like right now you have another cover there's always think of when you're shooting editorials and you've got those connections and you've got a great team if you submit something with a bit of extra space at the top you'll be surprised how people are like visualize the logo in there here's another test sheet from mary claire indonesia and often they're in charge of doing over there you know that the typography and the design and everything so just be aware that when you're submitting your work the dimensions of way the magazine is published the format is it digital? Is that print is that the color profile because some do see m y k says all those things that when you know if a magazine approaches you or you approached them ask them what they want, what they do with in details of the shoot as well so getting published do your research don't just reach out to every magazine that's out there because they don't suit your style not all magazine's going to like what you do and some are going to absolutely love what you do and I was definitely the person that would email everyone and expect that that's how it would go but you've got to realize that commission published work and submission work is very different if you submit your work to a magazine that usually you be the shooting in or you either they accepted the idea that you've basically shot no so you basically said them the mood board in the idea and the editor goes ok, you can shoot that for us submit it in a different way would be you shot it you've got really great brands it could be that a stylist did a really great shoot the day before with big brands and kept the clothes for your test shoot so then you can submit the story because you've got great brands so that's often how sometimes we get away with using great clothes for shoots so commission basis obviously when they approach you and say we're commissioning you we want you to do the story he's a mood board so you've gotta have some kind of creative control but often it could be that it's a budget and they're just booking you for the sake of bucking you because your photography that they like so when you're looking at magazines you gotta look at what quality brands included because again it comes down to status asian markets with like the magazines have very different brands that appeared to their demographic when I shop for velvet dubai they like expensive like really rich looking clothing like don't chase I could get away with shooting that same with hair and makeup often magazines will get in touch with the hair and makeup and go can you get these brands? Because this is what appeals to our readers so when they are contacting you think about that what is the style do they like creative staff to they like dark stuff to the lake really beautiful portrayed and also the quality as well, because you don't want to put your work in something that's, low quality when you shoot great work, you want to make sure that that status is always there and also a big thing, and they opened two new photographers because sometimes they're not sometimes they are, it could be that they're not, and you email them and get lucky because you know your work suits them and I haven't yet discovered you. So how to contact to the person to contact at these magazines ever to creative director or photo editor? How do you find them perhaps linked in do a search on google who's, the creative editor of this magazine, who's the I do this on a daily basis you would not believe how many emails, how many connections? Who I'm trying to find, who's, the fashion editor who's, a stylist that like, come work with me and help my works to get to the next level because it comes to a point in fashion photography way you're there and the next step is here and you like they're gonna take me ten years to get up there, and it really is just about the people you work with keep producing beautiful work trying what with people have status within the industry and keep climbing the ladder as well when you email keep it simple straight to the point list those status magazines or clients you'd worked for because that will give a pull on also follow up but don't be cheap assistant so following up with a phone call is sometimes okay don't be afraid to pick up the phone and contact magazines because all you do is fine name kind of the email the dress in the photo editor please I'm a photographer based in new york they left and give it to you and that's much more easy than like going online deciphering the e mail address and all of that just don't be afraid of doing that you never know what's gonna happen sometimes nothing to lose in these scenarios I've had it where I've got a huge shoot from say, glamour italian from just on the base sending an e mail introducing myself and I've been like great okay trust you to do the chute go do it and it's great you have to do that you can't just sit and expect it to happen so nurture professional relationship so within this industry again all about status relationship so the team I went with onset we're not all serious crew were always dancing laughing we play stupid music, you know we eat like pizza and candy and have a drink after so it's all about those relationships you hang on to reputation is everything that's, the clients, the model, agency's, creative team, social media, everyone talks in this industry, it is actually a very small industry wedding industry, wto everybody talks so it's important to always stay on track of your reputation if you let someone down, try and resolve this scenario if you encourage your team will be honest with your team, they're going to remember that and perhaps recommend you for the next job. So also helps build a foundation. Like I said, in the beginning, getting that solid foundation of support on business that was always about building relationships, every businesses it's important that you take the lead with that, that you're responsible, so you don't expect people to just give things to you or do things for you. You take the lead and take on a new stylist creative person who perhaps isn't there yet, but you trust them and you bring them in for a job on leda ryan. I've had people recommend me to big photo editors, and I've got a big job from it, so I always think about that so it's, always doing things for mutual benefit, the model agency is reaching out to them. Also doing things for them more than yourself in the beginning helped favors definitely help relationships, especially in the beginning of my career. By helping them and getting them jobs, it's really helped me when I say, can you work for free for the day to do a test with me? Be honest, because as I said, if I have a budget on a job, I'm recycling will give some money to the team if ever really small editorial budget, I give one hundred dollars to the first one hundred dollars, to this person, and I take less of a feast sometimes because I know honesty's kay if that magazine ever works with them like the stylist because they talk and they know I've been paid a budget not paid them, they'll be like, oh, where's the honesty I thought we had like a relationship going here so it's very important keep that on also credit where credit is due if you use someone's work makeup in how I always make sure it's credited, I always make sure in magazines credited correctly, I double check because they understand that that is where you know they've worked for free or low budget, they're going to help you out in future things and it's also important to learn to say no, and I'm always finding this one hide because we don't always want to say no to things with all this you should test, you should do this what is that point where you go? Well there's no benefit to me why don't we do this and if you don't feel it's right and you have that good instinct that I'm not really into this it's not going to benefits not financially beneficial to me not good for my portfolio and that's the point where you go okay these people expecting too much from me I've gotta let it go you move I need perhaps do something else for your portfolio will be positive in different ways I'm going along from that and this is a huge conversation I've actually inspired me because I have a workshop group I keep in touch with all my students that attend workshops on facebook and we all start having a conversation that's submit you and I get them criticism and one thing that a lot of them have been doing lately they're really great they're really passionate but what they're expecting is it's happened like quickly really quickly and a lot of people for you in the end just remember going to a university interview back in london when I was seventeen, sixteen or seventeen and I remember like we got into this hallway there's tons of people and they were obviously trying to sell the course they were like fashion photographers can earn between fifty two, five hundred thousand maybe a million on my dad was like oh, you got into the right industry hair and I was like, oh this is a really common and it's not, but it takes years to get to that level and remember that the industry is always changing it's lower budgets right now that may be different in the future back in the day of light when patrick and pollen which had avedon were around there was very few photographers there was more budget so what you have to understand is it takes about two to three years of experimentation and investment so is while you're shooting and while you're trying to find you I make sure that your investment imagine tea career as possible because if you start shooting in you stop putting out there online and expecting too much you don't come very and this is a really good way to put it it's like resentment comes a place from entitlement you start to resent what you do I've been there, I go through it several times a year I sought to resent I sought to expect too much I start to think why you now person get back to me from vogue and I'm thinking because I'm not ready for it stop feeling like you, I'm not ready and when I shoot for a smaller editorial I'm now like I'm like okay, what if that happened on a sheet provide but what I do so it's important that you're ready for that and you pay your dues especially in the fashion industry because you want to make sure that you pay deduce whether that's in assistant, whether that's putting those two to three years in experimentation to understand, because it's all about taste it's all about understanding the fashion industry as well as the photography industry as well. So don't put obstacles in the way of gold if you live in a place that's, not a fashion industry. It's hard to succeed. I was just small town in the west midlands. I knew it wasn't gonna work for me. I had to move to london. I failed, went home, moved to new york after a year of being here, put all my money into savings and move there, because I knew that in order to be successful, that's where I had to live. So you have to if you want to be in the fashion photography industry, you can't put those obstacles if, oh, well, I don't live here, although I don't have that equipment we'll think about people that just shoot, such as mariano vanco that lived in london on dh shut here, too, a house in chapel market, which is in north london, and natural light, really small apartment, when kate must was a baby, and all those who have the model agents like, send the test in girls in and haven't against the war like provocative poses natural light black and white who produced a book of that and of course some of those girls are going to get huge he just had natural light in an eye for it and that's all you need sometimes it's not about don't have there so I don't have that you know, we all come from that we all struggle with that but it's what we do to create what we have and it's always important to not make excuses but that always learned to reinvent yourself you never gonna have the same I in the same taste when you started photography to five years later two, ten years later I'm always reinventing myself and always surprised after a year later wow, I didn't know that a year ago I'm so happy that it finally noi how to do that and don't compete as I said, your photographers in the industry, your peers and not there for competition there there tio keep you on your toes basically someone produces some amazing work then great they're one step ahead of you perhaps, but that keeps you inspired to go well I'm going to do something to get to that next level and we're all guilty of it I know ensues taught yesterday she was talking about that and what I loved it's like she's very honest about it we're all in that oh no she's in that magazine oh she shot for that why am I not doing that? We're all in comparison because we're also into what we do and it's such a personal thing when we do photography and we put our heart and soul and tears into it that it's like when someone just something better and they haven't put as much no, I get it with twenty four year old photographer I've been doing this for ten years I put everything into it but then some little rich kid is twenty years old that has everything given to them can I like bait like pay for set designers compay for big stu's can pay for models and suddenly they get in and all these magazines I want to and it's hard to like oh no, let go of that but again my support system around me as I said reminds me if you've done all this, you've got to remember what you know you got to keep pushing forward and again stay inspired this is another step say inspired when you're feeling down and you're feeling like you know, working in the institute not pushing forward is because you're not inspiring challenging yourself so personal taste defines what you shoot and not everyone has the taste immediately tasted to find over time when I was fifteen years old I was sick my taste was very different to what I shoot today completely the opposite that tastes kind of made me do the dark art and the crazy in the conceptual and emotional work because I was emotional and dark and and moody teenager so that's what came out there so today unlike you feel happy like in the side dresses colorful things and it shows in my work so your taste will change in what you like overtime and educate yourself on what you like well because you're not going to know in the fashion industry it's not instant that you're going to know what you like keep up to date with catwalks what comes out you'd have to be obsessed with the fashion industry don't I don't go on every day like how my god why don't you do this season it's about educate yourself on what is out there pick up some magazines every month I have like you know say vogue I have a sip section two vote but I also look outside the box of independent magazines I go on loads of web sites and forms to kind of educate my eye what works what doesn't and also I really like this quote so long quote so I'm not going to read it out but this is by ira glass and what I love about this is there's one thing that stands out here and it's for the fasting when I read things like this and having a really bad day and industries getting to me kind of reminds me that everybody goes for it, and that is one thing that stood out here is for the first couple of years, you make stuff it's just not that good it's trying to be good, it has potential, but it's not, but your taste, that thing that got you in the game is still killer. On what it's saying at the end is your taste is what you work disappoint you. A lot of people would never get past this phase. They quit it's those people that keep pushing and doing interesting things that succeed, no matter how many failures you have, no matter how many sheets don't work out, keep pushing forwards and being persistent and personal work because those are the people that get through in this industry those of the people that eventually get recognized, the personal work helps growth. Like I said, you could test you do personal work on looking busy when you're not because, you know, I'm not this person that shoots every day and, like, has this exciting looks glamorous online, but it's really not when we're shooting, we're out in the cone, we're out in the mud wood. On the beach in winter time trying models and miserable we try and make light hearted things out of the situation, but the reality is if you put a persona around online and when you go to meetings with clients that you're busy you're excited about what you do they're going to feel that energy and they're gonna be like great she has an amazing energy like we're going to want to run set if it's not director they're going to be like our client would really like her you always gotta look busy and keep yourself updated on current trends. As I said, the fashion industry if you work in portrayed women want to look like girls in magazines, so don't just educate yourself portrait photographers and beauty light in and glamour photography educate yourself on the fashion industry what sells so many women around the world? What is it? Is that the way they dress styles the trends keep up to date with your work because that's going to attract clients in it itself. So the trends are you so again shoot in autumn winter when we're out in the sun so thinking of ways to get that kind of feel ansett without it looking like the girls of roasted in the heat we're always trying to fake you know, spring summer when it's the opposite and always gets a bit crazy this was generally is common that's in doctor who that guy shot in london for the observer it's different when you worked with celebrities because you've got a very limited amount of time it's all about them you wait for them it's not like a model model is there to do what you want this kind of girl you know that's what they used teo, I go out and get a water or like I help the scenario like I want to please her because you never know who she's going to talk to the people that looked after her, the agents you never know who else they represent, whether your name come up with something so also it's important to understand when you're working with status figures, what are they gonna wear? This is alexander mcqueen dress does she like that brand? Has the fashion editor checked that? Does she think it looks to stumpy on her? Because she's sure and it's made for a model? Is that the sample size that needs to be bigger? There's always these things you've got to be thinking about when you're shooting on set this is another daughter dress that I was in love with. No, I keep showing you that all the time but this's my favorite collection in I'd shot in this location numerous times but it's an order winter so how can I make it look median ordered winter and that's simply putting her in a dark location and feathering the light and making it look dark and moody the way you would shoot this outside for spring summer if it was a daughter gown put in some backlight shooter against the sun have a really like relevant hair makeup that's fresh and beautiful so trends really helped define your portfolio and I wanted to put some forms and web sites out there for trend inspiration no matter what type of photography do I feel I bookmark thieves and every every week or so I go on and say or if I'm looking for inspiration for a shoot what is on here what's in right now what trends aaron right now what other people do it in the fashion industry and it really helps because you'll be surprised how much things air on there and how many photographers and new photographers they're producing beautiful work they're just click and something is inspired whether it's the hair the location if I see a motel story like I need to shoot a hope on motel story season so I have like on my desktop a folder of like images that I've got to do this this year this this year so I give myself goals and I worked towards them and well I never stop educating yourself laura before we move forward to the next one we break for a couple of questions that we have any in the studio grab mike what were I had a great question from seeking in the chat rooms did you ever take on a project that you thought oh my gosh I'm in over my head yeah and how did you handle it? Especially again we're talking about these teams well lighted a sheet full about so when I ways see the italian coffee brand when I was seventeen I love being honest with you because it's like that just makes it really, really feel like I've been free this and remember they I was living in northumberland which he's likeness scotland and they wanted to spring summer story campaign she over three days my agent at the time through me in over my head and was like here's some money in your bank account go source some doors and all these crazy get all these like locations go photographic get the models flight coming from london I'd never done anything like that before, you know when it turned out I was so disappointed in myself because I was like sure you should know it I should know how to do this but obviously I don't and for the longest time I put it down to that I just failed and I didn't know how and what it was I wasn't ready like I said earlier I wasn't ready for it and I needed to accept that and I should have turned the job down yes, that definitely happened to me first of all, I want to say that I admire your aunt summer entrepreneurial spirit. I started my first business when I was fifteen, too, so, you know, okay, to the teenagers and go in my question is regarding crediting your work, my niece industries, the horse industry, it's laden with visual media, so I have lots of tear sheets from that, but my goal last year was actually to get published in a non horse magazine on di submitted to a lot, and finally, as of december, I've been published for months consecutively, but my problem is is most the time, even though I'm totally open to collaboration, those other resources aren't available, so I'm hair eye makeup, I'm stylist, and then magazines come back and they want all the credits. Well, I don't want to seem like I'm a one woman army, so, uh, what is your suggestion? How how'd away? How I'm credit? I would ask the magazine in advance. I mean, what is the state of seven magazine isn't local? Is it photography magazine? Because a lot of some magazines like the fact that there's, no older, these huge people on set, and always to the status of the magazine for bigger magazines want that because it's needed, I would always like, even though you may feel like, oh, I should really tell them now, because I would approach them and be like, you know, I do this and that in a way, like, people would will love that because it's, like, how amazing that this person can do everything on set, but I would if you could, where you live right now, I would start reaching out at this point to hair and makeup, and just tell them what you want on set, because that's going to benefit you, because your work is just going to grow from this point in the future, you're always going to run into this problem, so I would try and do that at this point, but maybe approach this magazine right now and just tell them the scenario and that you're willing to look for people for future shoots and keep collaborating with them. Great, thank you. Problem question from online, we've got erlend creative talking about nurturing professional relationships. Sometimes those have toe end, they say, have you ever had to fire or let go of a creative team member during the shoot? How do you handle that and still maintain your relationships? I'm luckily, it hasn't happened in a client shoot, I've sometimes when he strangled someone in a client, you're like them behind set, but on shoots where it's like a collaboration like a mutual benefit editorial sometimes people can just be too overbearing to expect and I'm not hard to work with on set but sometimes I'm you know I'm not that type of in control of bossy you do this right now and like a lot of people are in the fashion industry so some people can't handle that I'm not in control of everything so there would be like where you should so students they start crossing that I'm like you know we're not going to work together on future things you kind of just drifting apart and you kind of part ways but I always do it in a way that's like they know it's just that it's not mutually a good relationship and it's not like an ending where it's like really bad and and things like that but it's it's a hard question because I definitely feel like there is times where you just want to get them off set but it's always about professionalism with me like I was going to try and keep that relation too even though you know people that are close to me you'll live near me and it's come to that point where I just would rather be friends then try and work with them on something because that relationship is something I don't want to lose you great thank you I mean we can keep going ok great they never stop educating yourself, and I feel we've touched upon that with personal work test in, but this is also going for equipment, lighting techniques, retouching techniques, it's also industry knowledge and working with teams and new subjects because you can never start learning. I think the people that get to that point in their career where they're like, I know everything that the people that stop meeting forward so the people that stop getting published because no one wants to work with someone that isn't interested or has the energy to wanted me forwards and their work, they want someone he's excited about the next project. So test your personal projects with models, team's, new techniques for shoot idea once a week or four times a month in the beginning of my career, I did it. I tested once a week at a personal project four times a month, so the thing is, if you have a job as well, a lot of people say to me how the way work with both, and I say you have a weekend. I know it's difficult, but at least give yourself two weekends a month to allow yourself to do a personal project or tested idea because you need that balance. He wants to be that balance and commercial personal work, because if your buckets full of commercial work it's going to be all over the place because you're not the one that's controlling the shoot the client is and every client wants something different, and it may look completely different to what you do. So when you do personal work that your vision and that's what clients buy into through a lot of my portfolio isn't commercial work, it's my vision and then clients can then ask, can I see a work from littlewoods? Can I see a work from this client? Because it's an extra step for them to look at, so educating your eyes, I said, people in this interesting looking to master's having an eye for detail because you could shoot fashion photography and feel it's a really beautiful image and someone could come along with me, like, why is that hair like over the eye like that? Or you know why? I feel like a strap sticking out of the dress, and this is when you need a team on set because you don't notice that initially a fashion editor is always looking for those little details over time you begin to, haven't I for that detail a notice in it as well? It's also about casting you subject having an eye for a great subject takes time to understand go on luck it masters in photography how did they cast their subjects? And why did it work and start seeing how it all comes together? And I like this quote, stare is the way to educate your iron maur by walker evans, because really it is, we stare billboards with sterrett magazines behind the scenes on youtube were always looking at things with interesting. The more you look, the more you gonna learn through online sources. How do we find this so behind the scenes videos? As I said, I want to live workshops, seminars, articles on techniques and blocks and foreign, so never stop looking outside the box for new ways to get out there, whether it's photography magazines, things like stoppers don't come like they have really great articles and taught me whether it's like things that just put in a crystal in front of the lens that, like, I'm going to go try that technique out next week, so prince sources things like photography and creative books known an independent magazines, and again, look outside of the box don't just look at the big name brands out there, look at the online magazines, look at the more accessible magazines, look at what your peers they're doing, that I write your level what are they and it's not about competition it's like how did they get to where they are and what they're doing? Maybe that's a step I need to take a swell the next step is networking because with all these seven done cast in getting your model is getting your team understanding your eye educating yourself the next thing is how do we get work? I've got all these great things how do we get to that step the network and forges those relationships so you've got the trust thing you've got that reputation the next step to forge those relationships and to get work it's all about network in is the foundation of successful businesses so ultimately you are your brand so your product is that vision it's your eye it's what's in your portfolio but you are the forefront yourself of selling that so you need to be essentially your brand you're responsible so your image the way you look, the way you were dressed things where you come across some line the way you act in meetings, a rule your brand and behind it is that product so someone doesn't like you as a person they're not going to like your brand, so I had a shoot recently that when I will say it wasn't the best shit I've ever done because of the team they didn't trust me that had that issue with me up front I never have that very easy to get on with on set, but she just didn't like me as a person so it came to that ok? You're not going to like my product then you're not going to like my vision and how I get there and I'm going to accept it as professional and set on some people just aren't going to get it so it's always important to have that professional level have your image within the same clients want to see your personality within your work as well the autumn network and sell your product ultimately the things we do out there sells so an artist cannot be fewer career without contacts there's so many photographers I see out there online that have beautiful work and I look at it and I think wow like what are they doing on I look at that client list and they've been doing it for years but they have no clients and I'm shocked I'm thinking, you know, what is it they do to network? And all I see is that they just networking on social media and their big thing is that they teach and they work up and I'm like, okay, but where is your status within the industry? Because you could easily sell this like, what is that you need to do and it's because they're lacking contacts or they don't have their not target into the right market so for me is a fashion photographer yes, I used a social media side I used the photography industry side the fashion side all comes about close relationships it's about getting in front of you getting in the door and sitting in front of that client or networking events where you get to meet that client in person and selling yourself so that's why important in the industry that your image is key on the way you act in your professional level is also important to that as well. So again network with your peers we're not all in competition I think it's important that so many people have given the ideas were in the same industry is me I've been like, wow, I didn't think that like well what do you do it this way or he's a contact here's a contact for this magazine there's so many ways that people other photographers can help you so given advice and industry knowledge and healthy competition as they said it keeps you on your toes if I didn't have any people above me that I was like no little jealous off I will want to push forward to someone tries to use my team after they know I've worked with them on like I'm going to do another shoot with my team that may be so it's like that little healthy competition that kind of keeps you on the ball and keeps you inspired to me forward the networking ideas how can you get seen and get your work out there networking events gallery's getting your work in exhibition interacting with potential clients personally going on linked in and find out who's the art director anthropology who's the art director of this company and what's great about that is it's easily you can easily phone and find out those contacts if you know where the phone and send them an email because you've got nothing to lose by that so I do spend a lot of e mails a day per week I sent hundreds thousands and that's because if I would say put it like this okay, if you were working at an agency like an art agency art director you would understand like an ad agency it does not have time to go oh, who might be the next photography that we look for social media like me they're just going to go to a photo agency or they're gonna look in a magazine that's sitting on the desk or a creative book where they're all listed because they just don't have the time to do that. So if you can put yourself in front of their eye in their in box while they're having their luncheon munching on their sushi and it's there there read it go on your web site I have had so many opportunities by doing that so don't limit yourself to just expecting it to come to you so linked in, as I said, it's a great one blogging new fathers and online communities, new studies I will admit, I've only just started my workshop new southern it took me so long to do, but it's actually helpful because it reminds people people, I'm not going to remember what? What is it that you feel that somebody is going to remember you so quickly? They have other things going on their lives through a quick reminder like that can mean wonders I'm one of the last things to do one thing today to better your business, so I'm always heard from in front of my computer looking at models come who is going to be the next model huge, and I wanna work with the fashion editor stylist. How do we get there? What light? To buy one test out? What technique? What do I need to send to my re toucher? What are the trends on the catwalk right now? And I love this quote by avidity really like every time I look at this, I'm like I get it because I've been in this industry for ten years, and every time I do a shoot or something that inspires me, it's like that kind of inspiration comes back and I feel really excited to shoot with my team. If a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence as though I've forgotten toe wake up so it's a photography you start to live, breathe photography you that you've got to be that excited about it too want to push to the next step so things to do on a daily basis these are things I do every week almost every day planning a new test personal project researching upcoming trends, reaching out to potential clients of publications meeting with the creative hair makeup wardrobe starting that conversation you never know where it could lead rethink your branding because you're brandon has to be relevant relevant to product you know? How does your brain in effect the way clients view you? We think your marketing strategy so who you market into are you marking to every photographer you mark into everybody or you mark into your select audience think of all these ways if you know these things go for my head on a daily base that I need to change that we need to change that. I need a new website layout because it's not working for the way that I want to showcase my work right now I don't take your block social media posts I have to post one today very obsessive about not doing it updating your portfolio website because if you send images to a client and they know in your website they're going to be like war. Why does this work with different towards on your website doesn't show that you're on it, and you're keeping yourself busy writing an article or inspiration post on your blood can lead people coming to your block and finding your website watching, firing videos and workshops that said, behind the scenes, people, you admire your peers in the industry, what did they do? Because I watch that, and instantly I go, okay want to get that light and trey out and put a shoot together just based off that brows up coming in, knowing michael scenes, remember the upcoming magazines and small online magazines is where to aim when she had those tear sheets you've gotta work towards there. The more independent magazines it's always about your product, what do you have in your portfolio? And how is that going to help you to get the next step of the ladder and also created newsletter, as I said, because that little reminders to clients, that little hint is so important, I'm engaged in your client's, an audience so unsaid and it's really obvious, like when I stopped, I was writing this to, like, put the presentation together, I was like, he's, a really obvious things, like, surely that I would know these, but you know, I didn't know these when I first was on set I turn up and not know who anyone wass I had no idea about the client, it was hard to make conversation with anyone it was hard to know what they were looking for on one thing that I'm always be positive and energetic make sure you sleep the night before, make sure you have a coffee if you feel in really tired like being control without being overbearing, so understanding how to be this the control person on set if this clients there I was thinking of being controlled, but we'll expect you to control the set and what's going on with the model but without being overbearing so not shouting and telling people, you know, people at the top can you have because they've earned that trust if they do a good job, regard how they act, but I'm not saying it's, right? But you know there's, a twenty four year old female, if I still acting really mean on set it's like I'm gonna work with her again, but who does she think she is? So it's always important to understand how the control works, so understanding your client's background what they've done before, what campaigns they've done what's their status in the industry who if they worked with before what other photographers if they work for research their campaigns, research a little bit about them, you know, is this she's going to be something that's going to be big magazines? They're going to be billboard. How is that going to affect you as a photographer? I know who's going to be on set because you want to know when you walk in the rain, the shaky hind you like? Oh, hi it's, kind of a liquid like you don't know who they are, so introduce yourself to people when she get on set to the model to the art director because they're not going to know who you are unless they follow the instagram and start to selfie is they're not gonna understand that you'd be surprised how many do that? And then, like I knew you alarm because you were blond and small, a handle, mistakes calmly, like mistakes happen like the light can fall over and almost knock someone out. It could be that you know, it just something doesn't go right or it's not working the lighting's that work in that particular area, we need to change it up. Tell your client this isn't working, we're going to move on to plan b always have that plan b always have your assistance, have you back. Photo assistance really have you back on set you can't be lifting lights and moving them while you're trying to control a client and you're trying to control a set you need people that are going to be there to help you to have you back to be able to also come you down because sometimes you know I get angry I don't show it on set ah, what behind a b flat with my assistant uh like this I'm so hungry and I walked back again and I'm like, okay, I've got my anger out so it's important that you have those people you can kind of relay off confidence is key obviously and also meet deadlines because no one wants to work with someone it doesn't deliver on time always meet those deadlines again because if you work well with the client for the next job, they're going to recommend you it's about all these things and again now obvious but you'd be surprised how many times I don't do than even I have to remind myself of them online. Sorry post interesting articles and length always be positive. I used to have that, you know, I was a teenager when I started doing social media and it was like all these like post of being sad and there was like all that stuff that clients don't want to see until one day my agent was like why did you post such depressing status? Is and I was like, well, I'm not depressed, it's just kind of taking my anger out, I guess means that you can't do that even on my personal face. But my agent reese, it was like, just control the way you talk about things after you come off set because, you know, clients can be frustrated. My personal facebook is my friends and family, but still she's like you can't do that, you never know who's looking at that so show behind the scenes images and videos because again, clients want to look into more you and not just the product you're selling. It's well, it's kind of the link through from your website that can kind of see deeper into how you do things on set on how things work so they can get a bit of an idea what happens when they book you as well. I remember to keep in touch, as I said, don't be afraid to follow up after a shoot every time I worked with the client a few weeks later, I really excited to work with the one future projects and please keep me in mind into fashion editors that said no to me originally. I follow ups a year later, I just wanted to show you my new work. Yugo and I send what's in line with their magazine new clients just really important that you keep that connection going. So, yeah, I think that's, but you seem longer than I thought. It would be a that's. A lot of information in in that lung. Yeah, for people who are looking to get into the fashion industry. Thank you know parts in a very, very detailed he's already quite tunes after that. Yes, we've got would you see then? You alright, let's? Go, let's, go, julie here. Hi. I've a question. I'm just starting to put my submit my editorials into submission based magazines. What is your? I need some advice on this? I submitted to a magazine and it said specifically in the in the instructions if we don't want to use it, you won't hear from us. So I waited and I waited. I'm like okay, so I just started submitting to other magazines. Then I got then both approved. So what is your suggestion on? Do you disobey it and just wait on one or just to start submitting to a bunch of I personally would just send to as many as you can I mean, if they there are bigger magazine that becomes a bit of an issue because they used to kind of have an exclusivity, but if you're working with small, independent magazines where you've submitted, I wouldn't mind just send it, and this is a good question, because so many people have said this to me, like the people that worships a ll the time have this problem, and they're like, what can I do? And I say, well, it's, really the first person that gets back to you in the best offer that you gets your benefit? So if you feel that second magazine, go back to your better status or better for what you do and you haven't signed off for said, oh, yeah, you can have the images, he go to the other one, I would do it, it becomes an issue when you given them the images and you said, okay, you go in there like, okay, approved it's going to be in this month and then it's like, oh, sorry, I have to cancel that because you never know that they've already put it out there they've got that plan so again, just I would always be like, what works for you, especially with these type of magazines. Take one from online we're getting ready out here we've got nick who says I was working as an assistant for some time now I want to start photographing by myself, but I'm afraid to disappoint somebody the model of in particular if there aren't any good results, did you have the same problem when you're transitioning into shooting other people and what helped you? Yeah it's really good to know there's a really good question today, actually, but I put there too, because in the beginning I was too scared to work with models to my first ever models I was it was just all about making it feel comfortable and said first result, they weren't the best resorts, but I think that's the point where you worked with models that I knew and whatever images they get is a learning experience for them when it comes to working with more known models that's when it gets a bit more risk because the agency's expect good images so it's like build that bit first know that you can work with models that perhaps new faces and kind of pose with them and it's always hard opposing new faces because that can be a little stiff, but I think if you have that confidence or you test that idea and it doesn't work out, just move on to the next year or us to re shoot her again hi uh this might be a silly question, but I'm wondering how you create a tear sheet like tristan magazines or do you get teo request from how that process works? Yeah, good questions well, I get bored I make them send me if it's an online magazine they send me the pdf if it's in print I get them to send me the pdf so it looks good online like a high rez and I also get them to send me the physical copies for my own and I just keep them in a box on the editor or it depends on who you worked with who your contact is sometimes it can be like even the assistant to the editor who will do it and to send your address and say it's very common you know, we get that if if we've given them the work as well so that's the person to thank you. All right, we have one more question have from online so a lot of people are new and maybe not even doing into the world of fashion photography yet but from lk what are the best bits to take from fashion photography to bring into portrait work? Not everyone will have a model sized figure so how to best still flatter them and give them cover model experience and yeah, I think it really comes into the themes you use on set say it doesn't matter that anyone's body size, the way they look, you can still make someone look beautiful. If you put them in a character, say, like you put them in like it gets the theme or save sixty steam. What flat is sometimes like a beautiful classic, the talent. So if you're feeling unsure about a concept that would work for your client and your portrait photographer, classic beauty is always a really safe option. Again. I feel like people that want to be photographed in portrait. I want to be like models in magazines. So sue is a perfect example of that. Taking up fashion trends, the dresses, the way, hair and makeup making me feel really beautiful and flattering them in a portrait is a great way of doing it.