Archive for the ‘Ask An Agent’ Category

Ask an Agent / What’s a Chemistry Meeting?

March 2, 2015

Ask an Agent is a regular monthly column tackling all your dilemmas about the photography industry – the photography industry’s first Agony Aunt!

If you have any questions you’d like to ask a photographers agent please send them to askanagent@lisapritchard.comQuestions can be on anything to do with the photography business, such as photoshoots, marketing, professional practice, pricing, contracts, legal stuff – anything!

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© Andy Smith / Cassie at LPA

Dear Ask an Agent,

I recently quoted for a shoot for an ad campaign and have now been asked to go into the ad agency for a chemistry meeting. I wondered if you could tell me what this is it and what they will be expecting from me?

Andrew Sullivan, Photographer

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Ask an Agent / What’s the Best Way to Make a Folio Appointment?

January 30, 2015

Ask an Agent is a regular monthly column tackling all your dilemmas about the photography industry – the photography industry’s first Agony Aunt!

If you have any questions you’d like to ask a photographers agent please send them to askanagent@lisapritchard.comQuestions can be on anything to do with the photography business, such as photoshoots, marketing, professional practice, pricing, contracts, legal stuff – anything!

This month’s question tackles the tricky of business on how to get your foot in the door at top advertising agencies. I thought I’d turn to one of the LPA team to give us his tips on his one. Over to Tom , Head of Marketing and PR , who is  very good at making lots of appointments to show the LPA Photographers portfolios.

TomGallagher

Dear Ask an Agent,

I’ve been struggling to get my folio seen by the right people – do you have any advice on how to get appointments at top ad agencies?

Rebecca Wilson

Making folio appointments can be quite a repetitive experience but you have to remind yourself to be patient and persevere. Creatives in adverting and design agencies are nearly always busy and it’s just a matter of catching them at the right time when they can chat with you.

For a start, the most important thing to do is to make sure that you are after the right person. The majority of larger agencies won’t transfer you unless you have the specific name of who you’re after. There are certain companies such as Bikini Lists and File Fx who can provide a database of contacts within the creative industries – globally as well as the UK. I would always recommend checking the contact is still there before you ring and Linkedin is often the best way of doing so. The ‘People Also Viewed’ on a contact’s page may also help to give you some additional names who you can try. Usually the best person to see is the Art Buyer if there is one. If not, Creative Producers, Creative Directors or Designers (at Design Agencies) are also good people to have your book seen by. For editorial clients, see the Picture Editors. Make sure you keep all of these contacts in a database so you know who you’ve seen or who maybe it’s time to see again.

L1001055
© Lisa Pritchard Agency

There isn’t really a right way to make contact but I personally find that phone calls are the best way of securing the appointment as an email may get lost. Remember to be patient and understand that there will be hundreds of other photographers doing the same thing. People often ask you to ring back in a month or so when they have quietened down so make sure you do. Make a note of any leads and make sure you follow them up. Seeing photographers’ folios is part of a creative’s job but it needs to be at a convenient time. We’re often given slots for 6 months away so make sure you put it in your diary! If you prefer to email then keep it short and sweet – reams of text with loads of images attached are likely to be ignored.

For the larger agencies, once you’ve made an appointment its worth seeing if other people in the company want to see you too at the same time.

Appointments are often cancelled the last minute due to varying workloads so make sure you follow up with these and get a new date in the diary.

Hopefully that gives you a little bit of guidance on what to do – just remember to persevere and you’ll start seeing the time you put into making appointments pay off!

Please Note:

We reserve the right not to enter into ongoing correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only.

Lisa Pritchard, LPA and guest bloggers take no responsibility for any omissions or errors.

Please seek professional legal advice should you require it.

Ask an Agent / Twitter Competition / Keeping Warm on a Photoshoot

December 19, 2014

Ask an Agent is a regular monthly column tackling all your dilemmas about the photography industry – the photography industry’s first Agony Aunt!

For the last Ask an Agent this year we are tackling how to stay warm on winter shoots. We turned to Twitter for some help from the LPA followers, offering a Christmas Hamper to the best idea!

If you have any questions you’d like to ask a photographers agent please send them to askanagent@lisapritchard.com.

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Dear Ask an Agent

I’ve been commissioned to shoot a large group of people for a big client over the Christmas period. It’s a three-day outdoors shoot and some shots need to be taken at night. I want to make sure everyone on set is as comfortable as possible, so I was wondering if you have any tips on how to keep warm on a winter shoot?

- Malcolm Clark, photographer, Derby.

Thanks for the question Malcolm. Here at LPA we’ve braved all manner of weather conditions on set over the years, and as producers we’ve organised few similar outdoor shoots this winter for our photographers. Shooting in cold temperatures can be tricky and involves a bit of foresight when it comes to making sure the crew and clients are comfortable and your equipment is fully functioning.  Warm clothes and hot drinks are a good starting point but we have a few more handy tips courtesy of some of our Twitter followers.

Thanks to everyone that got involved, we had a great response and it was hard to pick just one winner but eventually we decided on this suggestion from photographer James Lightbown. Well done James, a Christmas Hamper is on it’s way to you!

“Making sure there’s hot food. I’ve been known to make enough chilli for double helpings and took a slow cooker. Happy team…oh & another…Don’t let the team who are wrapped up warm complain about the cold in earshot of the talent in summer clothes!”

- @jameslightbown

 We thought James’ answer was really original and we particularly like the second part – it’s really important to consider the comfort of the models who may not be wearing weather appropriate clothing!

image

© Jonathon Nixon / Behind the scenes on a chilly Julian Love shoot.

Here’s a few more of our favourite tips for shooting in winter, starting with Wayne Lennon who came in a very close second with these clever technical tips:

“Hand warmers in the camera bag do wonders for keeping batteries charged…Sticky back pain pads (that heat up) are great on the @Profoto B1 battery to keep them warm in harsh conditions…Transition equipment between heat extremes slowly, to stop condensation forming inside the kit.

- @WLennonPhoto

“Obligatory star jumps every ten minutes.”

- @emilyphoto

“Fingerless gloves and dancing to the music while shooting.”

- @BeQuirkyBeYou

“Make sure caterers know you’re out in the cold so appropriate warming menu! And that the crew know details of shoot so wrap up!”

- @davebirdphoto

“For assistants, fingerless gloves with mitten attachment so you can do the fiddly little bits. 2 pairs of socks & a wooly hat”

- @EdwardFuryPhoto

“Double up on socks, thermal undies, a toasty woolrich jacket, hand warmers and lots of tea and I’m good to go!”

- @Claire_Portman

“Production team equipped with never ending supply of tea/ coffee and melted cheese based snacks…and windproof trousers”

- @thisisdanross

“From a stylists point of view I always take hand warmers and hot water bottles! And not just for the models!”

- @emmalightbown

Please Note:

We reserve the right not to enter into ongoing correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only.

Lisa Pritchard, LPA and guest bloggers take no responsibility for any omissions or errors.

Please seek professional legal advice should you require it.

Ask an Agent/ Does it matter who pays me?

December 1, 2014

Ask an Agent is a regular monthly column tackling all your dilemmas about the photography industry – the photography industry’s first Agony Aunt!

If you have any questions you’d like to ask a photographers agent please send them to askanagent@lisapritchard.comQuestions can be on anything to do with the photography business, such as photoshoots, marketing, professional practice, pricing, contracts, legal stuff – anything!

This month an interesting question about a client having a change of heart on who’s paying!

Lisa

Dear Ask an Agent

I’ve been in discussions about a really nice shoot for the last few weeks with a small marketing agency and I’ve just got the go ahead. Now I’ve reminded them that I need the production expenses covering in advance of the shoot they’ve said I need to invoice their client directly as it will be quicker. Should I agree to this? What are the pros and cons? There are models and locations and quite a few other shoot expenses on this one so I’m in a bit of a vulnerable position.

Anonymous

Thanks for getting in touch. There shouldn’t necessarily be any cons to this as long as you are diligent with the small print, although it’s not ideal that your client has moved the goal posts this late in the day.

The thing is, this issue isn’t simply about ascertaining who is going to pay you, it is about determining who you are entering into a business arrangement with. Usually the person who pays you is also the person that accepts your terms of business (and vice versa) as these are attached (or should be!) to your estimate and your invoice. So if it’s the marketing agency’s client, they are not only now taking on the financial responsibility but also all the responsibilities that come with commissioning a photoshoot.

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Behind the Scenes / Julian Calverley

Let me just clarify a bit more. Any estimate or invoice you send out should not just include costs, it should include a full set of your business terms which should be accepted (or negotiated) by the client along with the costs. You payment terms is part of this, but a photographers business terms should include several key things to protect your business including cancellation terms, specifics about the usage licence, who is accepting liability of third party clearances and lots of other important stuff.

So, you’ll need to start from scratch in a way. Resend your original estimate, addressed to the your ‘new’ client and once your costs and business terms have been agreed by them, and not before, you can crack on with the shoot.

I hope that helps. There is some more information and a full set of photographer business terms and conditions in my book “Setting Up a Successful Photography Business’’ which will shed a bit more light on this very important area of your business.

Please Note:

We reserve the right not to enter into ongoing correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only.

Lisa Pritchard, LPA and guest bloggers take no responsibility for any omissions or errors.

Please seek professional legal advice should you require it.

Ask an Agent / Halloween Special with Guest Blogger ‘Super Lawyer’ Charles Swan

October 31, 2014

Ask an Agent is a regular monthly column tackling all your dilemmas about the photography industry – the photography industry’s very own Agony Aunt!

This month we bring you an Ask an Agent Halloween special. Lisa invites lawyer supremo Charles Swan, from leading media and creative law firm Swan Turton, to advise on trademarks in Halloween masks.

Charlie Informal No 2

Charles Swan from Swan Turton

Dear Ask an Agent,

I’ve been asked to use Halloween masks in a shoot for a new soft drink and I’m just wondering if there might be any potential issues with trademarks and copyrights? For example what if I featured Frankenstein or Dracula? And whose responsibility would this be, the advertising agency’s or mine as the photographer?

Robbie Brown

Thanks for your question Robbie, I believe there could be some issues with particular masks whose characters might have trademarks. I remember being asked to produce a shoot featuring Batman once and indemnify the client against any third party claims. I was heavily advised by a lawyer not to do so, as the trademark for Batman is owned by the Walt Disney Company/Marvel Entertainment and associating Batman with another brand could be seen as falsely claiming that a brand is endorsing another brand.

In terms of whose responsibility this is, it needs to be made clear from the onset in writing. We incorporate in our terms and conditions the following clause to cover us just in case.

INDEMNITY. The Photographer and LPA shall only be responsible for obtaining clearance in respect of third party copyright works, trademarks, designs or other intellectual property if this has been expressly agreed in writing before the shoot. In all other cases the Client shall be responsible for obtaining such clearances and will indemnify the Photographer and LPA against all expenses, damages, claims and legal costs arising out of any failure to obtain such clearances.

And we also have a paragraph on the front of all our estimates and invoices headed ‘Important Information’ to reaffirm points like this for those clients that don’t read the ‘small print’

However, it shouldn’t simply be a case of passing the buck. As a professional photographer you should be aware of the potential hazards of shoot production and at least flag up the fact that there might be an issue to your client before they land themselves in trouble.

Anyway, I’m not a lawyer and sometimes it’s worth consulting one. So I asked Charlie Swan, one of the country’s top media lawyers and partner at Swan Turton, to shed a bit more light on the matter. Here’s what he had to say…

‘Although Frankenstein and Dracula are characters from out of copyright (public domain) novels, there is artistic copyright in specific versions of their appearance created for movies, comics etc. There might also be registered trade marks and using particular masks in a soft drink ad could indeed provoke a passing off (false endorsement) claim by the rights owner.

The key here is to make sure you warn your client, in writing, of the possible risk and get your client’s confirmation, again in writing, that they will be responsible for any necessary third party clearances. Most photographers’ terms and conditions will include an indemnity similar to your clause, but you should still put this in writing – to avoid arguments further down the line about who said what.

One thing you must avoid doing is saying anything to your client that might be construed as legal advice. It’s the agency’s job, not yours, to get legal advice about potentially risky elements of advertising photographs. If a client asks you whether something like a mask or a building or a designer sofa is ok to include in a shot, you should explain to them that they need to get their own advice. Otherwise, if a claim does materialise, the client may try to pass liability on to you. When the sh** hits the fan, everyone in the room tries to hide behind the next person!’

foto1057© Oliver Haupt. For illustration purposes only.

Charles Swan is a partner at Swan Turton LLP, his clients include leading advertising, marketing and design agencies, advertisers, trade associations, image libraries, photographers, agents, publishers and artists. Charles heads the firm’s Advertising & Marketing and Photography & Visual Arts Groups. He is rated by Thomson Reuter as a UK Super Lawyer and by Chambers & Partners as a Band 1 Advertising & Marketing lawyer, is Honorary President of Adlaw International, a member of the Advertising Lawyers Group and is a director of the Association of Photographers.

Whether you’re a creative director or a student, a photographer or a designer, an art buyer or an assistant, if you have any questions you’d like to ask a photographers agent please send them to askanagent@lisapritchard.com.

Please Note:

We reserve the right not to enter into ongoing correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only.

Lisa Pritchard, LPA and guest bloggers take no responsibility for any omissions or errors.

Please seek professional legal advice should you require it.

Ask an Agent / Model fees for Moving Image

September 30, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – like a photography agony aunt. Whatever area of the industry you are in, or at whatever level, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com

Lisa

Dear Ask an Agent,

I am preparing an estimate for a shoot which involves stills and moving image. My question is, apart from my own fees and equipment for moving image do I need to allow for extra for the model fees?

Darren Orange, photographer, Leeds.

Hi Darren,

Whenever you are preparing costs or booking models be very clear about the final usage as this is the one area that can come back and bite you on the bum!

The thing to do is put the exact end usage in an email to the model agencies when you are gathering your costs. So even though it may be online and digital content, 2 years, for example, you should also clarify that this will involve stills and moving image. Then if you do get the job, put the usage in writing again along with the fee available based on your previous research and agreement with the client, and check the model booking forms have the correct information. I know I might sound a bit paranoid but I’ve had several instances where models have attempted to charge more after the shoot as they misinterpreted the usage, and if it’s set out in writing they don’t get very far.

JL_201308_Simple_2682

© Julian Love

Some model agencies might not charge any extra for moving image whilst some will, and it’ll be sods law that your client will want to use models from the agency that charge extra. As with any suppliers, we always get a number (usually 3) of quotes to check that we are in the right ball park and quote the client somewhere in between, or what we think is achievable within the clients budget and nature of the shoot.

I was recently quoted a day rate of 18K from one model agency for a small corporate job which involved moving image on the clients website, needless to say I didn’t think it a good idea to include this figure in my estimate if I ever wanted to hear from my client again! As I say most agencies quote pretty reasonable fees for moving image for digital content and at the end of the day it’s going to be your client who dictates the model fees available, not you – something which model agencies often fail to acknowledge.

Please Note:

We reserve the right to shorten questions due to space constraints.

We reserve the right not to enter into on going correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only. Lisa Pritchard and LPA take no responsibility for any omissions or errors. Please seek professional legal advice should you require it.

Ask an Agent / Who wants to see my portfolio at an Advertising Agency?

August 29, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – a sort of photography agony aunt. Whatever area of the industry you are in, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com

Lisa

Dear Ask an Agent,

I’ve finally got a printed portfolio together with a view to trying to get my foot in the door with some ad agencies. Can you advise me on who I should try and show it to?

John Oliver, photographer.

Hi John,

The best people to show your book to in an ad agency are the art buyers, art directors and creative directors.

It is the art buyer’s job to source photographers suitable for a campaign, negotiate the shoot costs and oversee the production process, making sure everything is delivered on time and in budget. Some of the smaller agencies don’t have art buyers or they have different job titles such as creative services manager or project manager for example.

The art buyer liaises with the ‘creatives’ as to what kind of photographer would be right for the campaign they have created. The creative department is made up of teams of art directors and copywriters, with the art director creating the visual side of things and the copywriter the words, although the boundaries are often blurred these days.

The creative director oversees the creative output of an agency, they are also very good people to try and see but in the larger agencies they are generally very busy managing the creative team. The art directors are a really good contact to ‘get in with’.  If they like the way you see the world and your ideas it may well inspire them to create their next campaign with your work in mind. It’s all very much a collaborative and a people business, so networking with art directors often pays off for individual photographers.

L1001054

A few final words of advice:

• Don’t be put off if an art buyer books you in 4 months ahead, this is fairly normal.

• Try and book to see a few art directors (e.g 3 or 4), at say 15 minutes intervals as it’s likely some will cancel on the day as they suddenly have a pitch to work on. They aren’t being rude it’s just the way it is.

• Don’t be put off if you make 20 calls and send loads of emails and don’t get anywhere. It is part of an art buyer and art director’s job to see as many photographers as they can, so don’t think you are being a pain or wasting their time.

• Having said that, be respectful of peoples time and only show relevant, well edited and well presented work that is actually useful for the ad agency to see. Do your research before your meeting and familiarise yourself with their clients and recent work, everyone likes to talk about themselves!

• Don’t ever get shirty if your calls or emails don’t get acknowledged, if someone says they don’t want to make an appointment or gives you negative feedback. Sooner or later, if your photography is right for the brands an agency works for, your perseverance should pay off.

Good luck!

Please Note:

We reserve the right to shorten questions due to space constraints.

We reserve the right not to enter into on going correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only. Lisa Pritchard and LPA take no responsibility for any omissions or errors. Please seek professional legal advice should you require it.

Ask an Agent / Shooting Without a Location Permit

July 30, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – a sort of photography agony aunt. Whatever area of the industry you are in, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com

Lisa

Dear Ask an Agent,

I’ve been asked by a regular client to do a shoot next week. They want me to cast the models before the shoot but rather than scout the locations, which will be cafes and shops, and get permissions beforehand they want me to just find them on the day. Do you think this will be ok?

Jerry Llewellyn

Hi Jerry,

Not really, no.  I think this is a really bad idea!

With any shoot that is going to be a potential hazard to the public you need to make arrangements before the day of the shoot for a number of reasons.

• As you will have a large crew in tow – models, stylist, hair & make-up, assistants, art director – plus wardrobe, props and kit, there is potential to cause damage to the location or even injury to the public. Dragging a clothing rail with wardrobe or your equipment across the floor might cause damage or a child might trip over your tripod and hurt themselves for example. To avoid this it’s wise to do a risk assessment before the day of the shoot and agree to have a section cordoned off for a set time period. Also, whoever is responsible for booking the location, which by the sounds of it could be you, needs to have at least 2 million pounds public liability insurance in place in the event that there is damage or injury.

maeveskitchen09

© Holly Pickering

• Not having the locations lined up before the shoot day may result in major delays to the schedule. Imagine how it might pan out on the day. Are your entire crew going to follow you around while you go into the various locations and try and find the right person to talk to? Chances are the only person with authority to grant permission and agree a location fee won’t be around on the day anyway. It can take a few days to negotiate a hire fee and grant proper written permissions once you’ve found somewhere. Delays usually have financial implications; overtime for the entire crew, additional expenses or even the cost of a potential re-shoot. You could be liable for these costs if you don’t do things properly.

• It’s usual on a commercial job to scout several locations so the client can have a choice and approve the one they think will work best. Chances are the senior client might not be on shoot and they will want to have their say when they see the final images – they might not like the location you and the art director have chosen, reject your images and refuse to pay you.

• Finally, it’s a matter of being professional. The shoot could end up being a complete shambles and the finger will be pointed at you. As a professional photographer it is your responsibility to adhere to industry codes of conduct and advise your client on the protocol. Aside from being made to look like a bit of an idiot who can’t arrange a shoot, you could ruin relationships with your crew, your regular client and even find yourself very much out of pocket.

I know no one likes say no to a client, but you really do need to shout up and explain why this is a bad idea sooner rather than later!

Please Note:

We reserve the right to shorten questions due to space constraints.

We reserve the right not to enter into on going correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only. Lisa Pritchard and LPA take no responsibility for any omissions or errors. Please seek professional legal advice should you require it.

Ask an Agent / Student Exploitation?

June 27, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – a sort of photography agony aunt. Whatever area of the industry you are in, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com

Lisa

Dear Ask an Agent,

I’ve just been approached at my end of year show by a business who would like to commission me to shoot some images for their advertising. Whilst I find that very flattering, they are only offering minimal expenses (travel,subsistence etc) and no fee, should I at this stage of my career accept something like this? The end usage is quite extensive and includes packaging, brochures, point of sale and web, but not only that they actually want ‘outright ownership of images’. I’m worried if I say no I’ve blown my chances of having them as a future client.

A Photography Graduate 

Thanks for getting in touch about that and congrats on your photography degree. This is pretty cheeky and not really on.

Very occasionally it’s worth accepting a job for no fee, for example if it’s an amazing brief that’s perfect for your book, full shoot expenses are paid and there’s a really good reason why there is no fee ( maybe it’s a charity or a very good cause or a test shoot for an unlaunched company). It doesn’t sound like this is one of those occasions. Aside from that you should never assign ownership of images (see an earlier Ask an Agent on Copyright). And that old chestnut of the promise of more work in the future rarely comes off in my experience.

Reading between the lines someone in the marketing department has come up with what they probably think is a genius idea, ‘Hey I know what, we can headhunt graduate talent at the final degree shows, and they’ll be so excited and flattered to be given the opportunity to work with a big brand that they won’t want a fee, it’s a win win situation’.

AAA
© Andy Smith

Well the thing is, it’s unreasonable to the point of being exploitative. Even though you have only just graduated and may not have a long list of clients (yet!) your work still has a value, which is why they want it all over their marketing communications. I’m sure the marketing department aren’t working on this for free, neither are the graphic designers that have designed the packaging or the web developers, not to mention the printers who are printing the brochures or the point of sale material. And we haven’t even gone onto the fact that your amazing photography might end up being integral to their sales and profit, and they don’t feel that you should be paid?!

So I would advise you politely telling them how you intend to run your business professionally. Pointing out what is standard industry practice – to be paid a fee that reflects the usage and not to assign copyright. Inform them that you want to protect your business and integrity, establish a standard and only accept fee paying jobs. Offer to prepare a full and professional estimate for shoot fees including usage, plus all shoot and production expenses. And ask them how they would like to progress.

At best you may educate them, at worst you may need to walk away from a job that’s not worth doing and I’m sure there will be plenty more to come.

Keep me posted, but if any students are reading this in a similar situation, don’t sell your self short!

Please Note:

We reserve the right to shorten questions due to space constraints.

We reserve the right not to enter into ongoing correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only. Lisa Pritchard and LPA take no responsibility for any omissions or errors. Please seek professional legal advice should you require it.

Ask An Agent / ‘Off The Shelf’ Photography

April 29, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – a sort of photography agony aunt. Whatever area of the industry you are in, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com.

LisaASKanAgentsmaller

This month on Ask an Agent, a question that comes up now and again from our clients , so I thought it would be helpful to publish the answer by kind courtesy of Peter.

Dear Ask and Agent,

I need to get together a bank of images by the same photographer for a client of mine (I’m a freelance creative and they are a large media company). I don’t think they would have the budget to commission this time, although if the images work well they may be persuaded to next year. I don’t really want to go the photo library route as the images will all be by different photographers and won’t be consistent. Would it be possible to have access to one of you photographers back catalogues to choose a collection of images? I probably need about 50. I thought this might be a good middle ground and will give my client access to a photographic vibe that they can buy off the shelf and use to re-energise their visual cache.

Peter Robinson

Thanks very much for your question Peter. Although this is a nice idea in theory, in practice I’m afraid you might come up against a few barriers if you need to licence a large amount of existing imagery by the same photographer. (Although never say never and if you can give me a few more specifics, I can certainly have look; for example are you looking for more lifestyle, ‘real’ looking shots of people in real situations or something slightly more stylised/aspirational/filmic. Spontaneous moments or posed? Do you need people in the shots at all? What sort of locations are they in?).

PH © Patrick Harrison / British Gas

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LPA Photographer Patrick Harrison was recently commissioned by OPX to shoot these bright and youthful ...
4 Mar 2015