Part II: The Business Aspect of Photography

JM: Talk to me as if I were just starting today to start my own business - focusing on pet photography. What are the basic steps to getting started (besides having the raw skills to provide the images)?
JP: I personally recommend to anyone starting a business to take business classes. It seems like a no-brainer but I’m always surprised by how few folks starting businesses actually know anything about business. Boring, basic, generic business classes are very valuable. Having really good, sound business knowledge is what sets the successful photographers apart from those who struggle. Being successful has less to do with talent and skill and more to do with strategy and knowledge. If a new photographer takes a business class they will learn everything they need to know to get up and running- marketing, determining costs of goods sold and profit and loss, creating financial statements, getting licenses and insurance, etc, etc. This information is the same for any type of small business and is absolutely necessary in order to do it right. At the very least one should buy every ‘Idiots Guide’ to starting a business they can. It will make a big difference.

Aside from business classes, I recommend portfolio building until the photographer’s skills are good enough to be consistently saleable to many people. One of the best ways to do this is to work with shelters and rescue groups and photograph animals that are either in shelters or in foster homes, in order to help them get placed in new adoptive homes. I am a huge proponent of adopting instead of buying, because of the large numbers of homeless animals that are needlessly euthanized every year. Photographing homeless animals benefits the animals and shelters in obvious ways, but also helps the photographer build their skills, learn to work in unpredictable environments, learn to work with different personalities, in sub-optimal light, and get great shots for their portfolio. It’s a win-win-win situation. Win for the photographer, win for the shelter, and of course, win for the animal. Yay! (

Providing photography to rescue groups is also great because it opens the door to networking, which is the single most important way to market a new business. The more people a photographer knows in their target industry, the more work will come their way (assuming they are producing great work).

JM: What do you believe are common mistakes that beginners in the business make?
JP: Number 1- Making a decision about starting a photography business without educating themselves first about the basics of business or being aware of the realities of business. (See above).

And #2- trying to sell a skill that is underdeveloped in regards to having little experience before selling a service. The best way around this is, before starting a business, practice, practice, practice, practice, practice. And unfortunately with so many people owning digital cameras these days, and so many new photographers sprouting up, it’s no longer acceptable to produce average work. Or rather, it may be acceptable, but it will be very hard for a new, or even established photographer to make a living if they aren’t doing something remarkable, or innovative.

Each new business owner needs to determine what sets them apart from others in their area. If they have no unique style, look, or skills, and quite a bit of competition (for example in the Seattle area there are 25 pet photography businesses), they need to develop a new look or style before they can expect to make a living at photography and get hired by lots of clients. I only say this because I’ve seen so many photographers get discouraged, and the sooner a person can identify their strengths, the easier it will be for them to be unique, and set themselves apart from others. Each person has a special gift to offer, and it’s just a matter of finding out what that is.

JM: Let's talk about networking for a bit. What are the sorts of connections people should be making?
JP: People should be making connections with other business owners in their industry. They should be pushing away from their computers, twitter, forums and photoshop, getting out there, in person, and meeting people. Shaking hands, smiling, selling themselves and their businesses. Getting to know what’s going on in their community, in their industry, and becoming a familiar face to many people. The more a photographer sells themselves (in a non-aggressive way), the more business they will have. Networking can’t be undervalued for a personal service like photography. It’s also very very important to have good social skills and a pleasing personality, because photography is a personalized service. People- both businesses and individuals- generally like to work with people they like, so having a great attitude and good social skills are critical. And being genuine and authentic are so important in the pet industry.

JM: How did you go about making those initial contacts when you first started?
JP: It was easy for me because I was already entrenched in the pet community in Seattle. I worked for years as a dog walker and worked in a dog daycare, and knew many people who worked with dogs in various capacities when I was studying animal behavior. I knew all kinds of different people in my community. I was friends with dog daycare owners, rescue group employees, shelter volunteers, animal trainers, behaviorists, you name it. If I hadn’t done it this way I would have in the very least been a volunteer at a major shelter and been very involved and active in the rescue community (see above).

JM: If you had to look at goals for future connections today, what are you looking for say 12 to 18 months down the road?
JP: My goals are about maintaining the relationships I’ve already built, and continuing to meet new people in my community. I have also branched out to networking with more national businesses, and given how much I’ve been traveling the past year and a half for workshops, I hope to do more work with other parallel businesses around the country. I’ll be in NYC this August teaching a workshop and there are a couple of dog businesses in Manhattan I’m super excited to work with while there. I always get excited when meeting new marketing partners.

JM: What types of advertising do you use to promote your business? Is it mostly google (or equivalent) advertising? Or are you using direct mailing, commercials or other forms of media (such as bill boards, etc)?
JP: I don’t do any paid forms of advertising, except for the occasional Bark magazine ad for my workshops. I get most of my business through word of mouth referrals, and the rest come from a variety of avenues including web searches. I’ve never done direct mailing or commercials and don’t see ever plan on doing them, given the strength of my WOM.
JM: When you say that you don't spend money on advertising, are you excluding google, displays at veterinary/pet facilities, etc?
JP: I don't spend money on advertising, at least, as much as I can help it. I DO however, spend money on marketing (advertising and marketing are two very different things). My marketing budget is actually higher than any other budget I have (gear, computers, software, etc), because (good) marketing produces revenue- and none of the aforementioned things do.  It always pains me when I hear photographers complain about not having any clients, and then go and drop hundreds or thousands on new camera equipment. I always like to say: cameras and lenses do not produce clients, good marketing does. Case in point: I just invested $1650 into a canvas order, with another large order slated for later this year, so I can display those pieces in marketing partners' spaces. I've never spent money on google or any pay-per click (with the exception of some facebook advertising for my workshops back in 2008), but am no stranger to dropping a good deal of cash on promotional pieces. BUT, the irony here is that I get *most* of my business through word of mouth- as much as 75% or more. So although I'm always looking for the next 'marketing piece of the puzzle' to spend money on, the reality is I don't really need to. And most people don't need to, because word of mouth is hands-down by far the best way to grow a new business. 

JM: How have you worked to brand yourself? What makes what you do different from the scores of other pet photographers out there?
JP: I’ve branded my business over time through trial and error and by asking myself what I like, and I guess to some degree using some innate creativity to help me determine what looks good. But my brand is also in large part my personality, which I inject into every single thing I do- from the style of my images to the feel of my website and the language I use on it, to the experience the client has with me during the shoot and beyond. To me my brand goes so far beyond the visual and my clients ‘get’ me, my style, and what I’m all about before they even pick up the phone to call. And that’s just plain awesome. I want to work with people I can relate to, and my branding draws those people to me.

I think if I’m different from other pet photographer’s out there it’s only because there is only one of me. I am always, through everything you see of me, myself, authentically. I don’t put on any airs, have no shield of mystery like many photographers do, and am just who I am- nothing more and nothing less. Because of this, I have a unique expression of who I am that can’t be duplicated by anyone else. And the awesome thing is that will never change.

JM: How have you worked to develop your pricing structure? What do your photographic packages look like?
JP: Well, I used to look at what competitors were charging, but not anymore because I realized that’s a bad idea and really gets you nowhere. There are so many subjective variables that come into play when pricing, and since I don’t know the inside workings of other businesses or what they offer in terms of experience and product, I can never know if their pricing will work for me.

So I determined what I need to make on both a monthly and hourly basis, calculated time invested per client in terms of hours, really dialed in my processes to decrease that number, and threw in some subjective decisions based on value and experience, and came up with my pricing.

I also had some (great) help from Alicia Caine’s Easy as Pie pricing guide, which really helped me finalize many loose ends I had had difficulties tying up over the years. ( HYPERLINK "http://www.served-up-fresh.com"
www.served-up-fresh.com), specifically collections, which I had never offered before working with Alicia. My pricing was 80% of where it needed to be, but I wanted to do one major tweak so I could finally leave it alone for awhile. A LONG while, lol.

JM: What sorts of packages are your clients purchasing? Why do you think this is?
JP: Most, if not all of my clients purchase multiple products- a handful of prints, a collection of canvases, or a photobook and prints or a CD and canvases, etc. They usually purchase larger prints and canvases and I no longer work with clients who only want to buy a single 8x10 print or a few 5x7 prints. The clients that I work with greatly value high-quality photography of their furry loved ones, and their orders and the products they purchase reflect this. The days of $300-$500 orders are (thankfully) over. It’s normal now for me to pull in $1500-$2250 orders from clients, exclusive of my $350 sitting fee. A $1k order for me is on the low end now. The clients that I work with aren’t wealthy, but they do place a high value in what I offer, which is awesome because it means their values are perfectly aligned with mine. I think when you get to a place in your business when you and your client’s values are on the same page you know you are doing something right. I have been teaching photographers in my consulting and workshops for the past three years that it’s not about what a client makes, it’s about what they value. The key in making money in this business (aside from producing unique and great work), is targeting those clients that place the same high value in pet photography that we do as professionals.

I’m in a really great position now with my business where I don’t have to be doing handfuls of shoots each week to survive. Gone are the days of 3-4 shoots per week like I was doing in 2008! My max client load now is 8 clients at a time, which usually translates to 4-6 shoots per month, because I’m frequently filling orders for past clients, or doing an art commission or working with a commercial client, which quickly brings me up to 8 clients at a time. I remember there was a time when I had between 25-35 clients I was working with at any given time. That was nuts!

What’s so awesome about where I am at now is that I no longer have that ‘crazy busy’ life that I used to lead. I watch other photographers around me on twitter and facebook, running around like headless chickens, and I’m so grateful that I’m no longer in that head-space. As of early 2009, I now have the balance I’ve been yearning for for years. And it makes me that much more charged and excited for each shoot. They are like golden nuggets to me now.

Of course, I should say that with higher orders come bigger obligations. I invest time with each client like they are the only client that I have. My whole business focus is now on quality vs. quantity. I’m still learning how to give excellent customer service, and I have a long way to go, but I invest in my clients as I would my friends and family and it pays off.

JM: Would you share your experience with publishing?
JP: As far as magazine editorial, I’ve shot several articles and a cover for the fabulous local CityDog Magazine. My work has also been featured in Bark Magazine as well and this fall will be in Modern Dog Magazine in a super cool article I’m really excited about. I also shot the cover article for AAA’s Travel Magazine ‘Journey’ last year for a fun article on traveling with your dog. That was my favorite assignment to date.

In terms of books, I’m not published yet, but I have two books in the works that I’ve been working on for about a bazillion years. If any book publishers are reading this and interested in talking to me about either one of them, give me a shout!

JM: What experience, if any, do you have selling stock photography, if any?
JP: I do regularly license images to commercial clients, and also do commercial assignment shoots for medium and large sized businesses. I’ve been licensing images to smaller businesses since about 2004, but didn’t start doing bigger assignment shoots until after meeting with my lawyer and drawing up an excellent commercial contract and really educating myself about commercial work, because of the higher legal risks involved with working with medium and large businesses. I license stock directly to clients, and currently have an online searchable stock library that has over 2,000 images in it. I no longer license images to small businesses (and some medium sized businesses) because they usually don’t have much of a budget for photography, and I no longer charge below market value for my work.

JM: Can you talk a bit more about the stock work you are doing?  You mention that you are selling direct - through which portals are your customers coming to you?
JP: I'm no longer listed with any stock agencies, and do all of my selling direct to clients. Art and creative directors, design agencies, etc. I've been lucky in that the work comes to me and I don't have to promote myself beyond the things I already do with my regular portrait business. Clients usually contact me through my website or blog, and in some cases I have repeat clients I work with. In some ways it's not unlike regular portrait work. I'm also a member of ASMP and hope to get more work through that avenue in the future. My dream is to someday be as good as good commercial photographers, who, IMO are a cut above in terms of quality and creativity than your average portrait shooters.

JM: What advice do you have for people who are trying to get into stock?
JP: I recommend to anyone looking at getting into commercial work of any kind, whether it be assignment or stock, to join the ASMP (American Society of Media Photographers). The association has sample commercial contracts, great forums, regularly provides workshops and seminars to their members and is fantastic at getting information on commercial work.

Some general research in google on commercial & stock photography is essential as well. Commercial and stock work are like different worlds when compared to portrait shoots for private clients.

Also definitely pick up the book 2010 Photographer’s Market. It’s invaluable when it comes to finding agencies that purchase images.

And most importantly, develop and improve your skills! Stock photography is the cream of the crop, at least when it comes to any agency a photographer would actually want to work for (Getty and Corbis are good examples), and their standards are very high when it comes to all aspects of image quality. There is also a commercial ‘look’ that is hard to define, so studying other commercial photographers can go a long way in helping someone develop their commercial shooting skills and style.

Part III: The ShootJM: Where does most of your work occur, in your studio or on location?
JP: 100% on location at either a park, beach, urban spot or client’s house. Nothing in a studio. Tried it. Hated it. Never again.

JM: Would you please talk about your photographic set-up?
JP: I pull my camera out of the bag and go. That’s about the extent of my preparation.

If it’s gear we are talking about, I use a Canon 5D, and have several lenses for it that I use in every shoot: a 20mm 2.8, 24-70mm 2.8 L, 70-200mm 4.0 IS L, and a 50mm 1.8. I also have a 580 EXII flash, off-shoe cord and various flash modifiers.

JM: Typically, how do you look to use light in your work? Is it mostly done with studio light or natural?
JP: I use natural light almost exclusively. Sometimes I’ll pull my flash out of the bag if the situation warrants it (like in a commercial shoot or in bright midday sun), but generally I make sure I have enough light to shoot in, and the animal is facing whatever the brightest light source is.

I find it easiest to work with - free lighting- all natural baby. After working outside for years, I’ve developed a second-nature ability to always know where the light is coming from even on overcast days. I’m lucky in that I generally don’t need to try and ‘figure out’ lighting before starting a shoot, or use a light meter, I just sort of always know where to place myself and the dog or cat in order to get optimal results. When you’ve spent thousands of hours outside you really become in touch with nature, the sky and light. And no I’m not a hippy. More of a punk rock girl at heart. A punk rock girl who loves nature.

JM: Do you work with a handler?
JP: Nope. Unless I ask my client to help hold a reflector or the leash or something, it’s just me and the dog. I have found that when fewer people are around, the pet is less distracted, and I can connect with them more. I’m also not a fan of forced sit/stay shots, where the animal is subjected to sitting in the same position for 5 minutes while everyone around them tries to get everything right, while they continually hear “no- wait, sit, stayyyyy” over and over and over. I’ve found that’s an easy way to kill an expression in a dog, and although the shot may look ‘fine art’ and beautifully produced, if I don’t see joy and light in the animal’s eyes I can’t connect with it emotionally. My clients connect with my shots emotionally, which is one of the top reasons why they spend so much money on products. This is why it’s so important for me to let the shots happen organically and not do anything that might damper the animal’s spirit. So no, handlers aren’t needed, since it’s pretty easy for the animals to be themselves all by themselves. I’ve had my assistant Christina at shoots with me before, and most of the time she is just standing and watching. Great for her but not so great for my bottom line, ha! Not only do I not use a handler, but if I had my druthers, I’d send my clients off during the shoot too! My ideal shoot would be me and the dog, or me and the cat. And in case you are wondering, I’ve gotten really creative when it comes to holding flashes and reflectors.

JM: How would you describe your work? Is there a specific 'look' you are trying to achieve in your work?
JP: ‘Happy, relaxed dog photography.’ I always try and capture the animal in their element, and it always makes me happy when they are happy and relaxed, and that is what I always try and capture in my images. Capturing the essence/character/personality of each pet also goes without saying. If I leave a shoot feeling like I didn’t ‘get’ the animal’s personality and didn’t capture it on film I feel like I’ve failed. Each dog and cat is an individual, whether they are rambunctious social butterflies; graceful, shy, delicate athletes; or grumpy, independent yet lovable ‘elders’, and it’s my job as a professional to capture that for my clients. Every animal is so different, and it’s really important to capture the expressions they use that make them who they are. Understanding animal behavior I think is really key to ‘getting’ how they think in a very short period of time. Reading body language, being able to predict behavior in any situation, knowing what an animal is going to do next, and having a sort of psychic sense of their inner workings are all important.

I also love rich, vibrant colors, so I look for that too. I also really like dynamic shots, so I do my best to produce bunches of those in every shoot. I like seeing energy and life and personality in my images, and I have found that those kinds of shots sell the most, so it’s not only fulfilling for me to produce them, but also improves my bottom line, which is just doubly awesome.

Ultimately I do this job for my clients. I want them to be thrilled. I want to see them cry happy tears. I want to give them a gift that is meaningful beyond dollars and products; something that keeps them connected to an amazing special spirit that they love so much, long after the animal is gone, forevermore. The fact that I have the honor to do that is profound in a way I can’t wrap words around. In case I haven’t mentioned it yet, I truly, deeply love my job. It may have taken me a lot of work to get where I am today, but I am still a very lucky girl.