Wonderful Machine

How to Find a Professional Photographer

Finding a photographer is quite easy. I could probably throw a rock from my window right now and hit one. With cameras in our pockets, everyone is technically a photographer these days. However, because of the sheer number of photographers out there, finding the right one for your commercial photo project can be extremely difficult.

This article will discuss the best places to find a professional photographer and what to ask them to ensure they have the proper level of experience for your project.

Where to Look – A Refined Choice

Google is great and all, but if you want to save a little time in verifying that the photographer you’re hiring is a professional, I would suggest using one of the photo industry trade organization websites. The photographers on these sites have been vetted and confirmed to follow best business practices.

Photo Trade Organizations

ASMP – www.findaphotographer.org

APA – www.apanational.org/hire-apa-pro/

AIAP – www.aiap.net (for finding architectural photographers)

ASMP's Find a Photographer
Since 1944, ASMP has been the most trusted photo trade organization.

Another resource is source-book sites. Photographers pay significant money to be listed on these websites and are only allowed to join if they meet the high-quality criteria dictated by the site. These sites are highly reputable and have upheld the industry standards for a long time. While there are a number of such sites out there, I believe the ones I advertise with cater best to art buyers:

Source-Book Sites

Wonderful Machine

Workbook

LeBook

Found Artists

On each of these sites, all you have to do is type in your specialty and/or location, and you’ll get a list of quality professional photographers that can serve the needs of your project.

Wonderful Machine's Find a Photographer
Finding a photographer is easy at Wonderful Machine

When in Doubt, Just Ask

At the end of the day, the best way to find a photographer is often through a referral. A referral can come from any trusted source: a client, a colleague, or even another photographer. I’ve personally referred plenty of other photographers to my clients if their projects weren’t a great fit for me.

Searching the Wild Wild Web

If you still can’t find anyone on these sites and the referrals are coming up empty, your next step would be to search on Google. Here’s my main tip for finding the right kind of photographer on Google: Be specific and use “quotes”. Don’t generically search for “Photographer.” Make sure to include the specialty and location you need for your shoot. For example:

“Architectural Photographer Virginia”

Or

“Food Photographer San Diego”

Or

“Fashion Photographer Brooklyn”

Now, it’s important to be particularly careful when reading the results. Contrary to customary wisdom, the photographers that come up first may not be your best fit. The first 3 will be paid ads, and it’s very likely they’ve not optimized their ads for your area. Personally, I would skip past the ads and read the other results on the first page. The photographers there are usually much more relevant to your search. If location is important, go to their contact page before anything else to make sure they’re listed in your area.

Google results for "architectural photographer virginia"

Portfolio is Important, but so are Words

Once you find a photographer, definitely head straight to their about page or blog if they have one. You can get a great read on someone’s personality just by seeing how they talk about themselves and their work. Are they humble or braggy? Are they quiet or boisterous? Are they confident or conflicted? Would you want this photographer to meet your parents? Do they seem like someone you can know, like, and – most importantly – trust?


Ask The Photographer These 5 Questions

Hopefully by now you’ve found a photographer or two you like and want to inquire about their availability. But how do you know if they’re as good as they say they are? Here are some fundamental questions you ask:

1. Hey photographer, can I see a complete job (proofs and finals gallery)?

When you visit a photographer’s website, you will usually only see the best of the best. A well-edited portfolio is probably what motivated you to reach out to this photographer. This is great! Next ask the photographer if you can see a complete shoot that includes the proofs and the final images.

This will give you two important things:

  1. You can see how consistent they are across the entire shoot. Getting one shot is easy. Getting 10 consistently good shots separates the pros from the amateurs.
  2. You can see how well they shoot in camera and how much retouching they do. This will help you understand their creative process and know what to expect for deliverables.

Here is one of my client galleries you can see as an example: https://go.lbpho.to/client-gallery

Lincoln Barbour Client Gallery

2. Hey photographer, can I see a full resolution image?

Megapixels and camera brands, though important, don’t matter much if the shot is not in focus or the retouching is inferior.

On the web, images are sized down and many technical errors are masked by the reduction.

Ask the photographer for a full resolution photograph from their website that closely matches your needs. Open that file in Photoshop and view it at 100% (Cmd-Opt-0 Mac or Ctrl-Opt-0 PC). Review the photo closely and look for sharpness, detail, focus, color fringing, dust, and poor retouching techniques like repeating patterns. Then print the image as you would print it for your own needs.

If it looks good to you, then great! You’ve found a photographer who knows how to handle their files.

Here is one of my high-resolution photographs as an example. https://go.lbpho.to/high-rez

100% Crop of Full Size Image
100% Crop of Full Size Image

3. Hey photographer, do you shoot RAW?

A RAW image is a digital negative and is the industry standard.

It contains the maximum amount of color and uncompressed detail from the camera’s sensor. It allows greater flexibility for coloring and toning than a standard JPEG. You are able to save highlights and boost shadows. A RAW image provides total control for the highest quality output.

And it’s non-destructive, which means any changes you make to the file can be undone anytime, forever.

Here is one of my RAW files: https://go.lbpho.to/raw

(Note, you will need Adobe Camera RAW 7.1 or later to read this file)

4. Hey photographer, how will I review photos during our shoot?

When you’re working with a photographer on set and it’s critical that you review the shots he or she is getting. You don’t want to be viewing them on the back of the camera. It’s just too small and too hard to judge sharpness, composition, detail, etc on that tiny little screen.

A photographer can tell what they need from the camera’s screen, but you need to see it big.

You should be looking at the shots on a large screen such as a laptop, external monitor, an iMac, or at the very least, a tablet.

5. Hey photographer, how will you backup the files from the shoot?

It’s not if the hard drive will fail, it’s when. There is a golden rule for backup of digital assets called the 3-2-1 Rule: 3 Backups, 2 Types of Media, 1 Off-site. I typically shoot to a card and a laptop simultaneously and then automatically backup to an external drive. My assistant will take the backup drive home and there we have the 3-2-1.

But that’s not secure enough for me…

After the shoot, all media is downloaded to a RAID hard drive and uploaded for cloud storage (RAW Files and all). After a shoot is delivered, final images, edit files, and RAW selects are placed in long term cloud storage and backed up on my studio hard drives.

At the very least, your photographer should be following the 3-2-1 Rule. If not, I’d request a copy of the files immediately after the shoot so you can back it up yourself.

I learned a lot about Digital Asset Management from Peter Krogh’s great book, The DAM Book (in its third printing). If you or one of your team members is in charge of media assets, I highly recommend it.

Here is a link to it on Amazon: https://amzn.to/2N7TMQg

Thanks for Reading!

I really hope this article helps you find a great photographer for your next project. This is just an overview of some fundamental validations you can use to vet any photographer you hire. Definitely add your own to get a complete picture of who you’re about to work with.

If you have a project that I can help you out with, contact me today at [email protected] or 503-467-9470.

Have an awesome day!

Q&A About Wonderful Machine

I’ve been a member of Wonderful Machine for several years now. A lot of great things (big and small) have happened by being on their roster. And unlike some other source sites out there, I’ve never felt like I’ve wasted money being on their site.

I frequently get emailed from photographers thinking of joining up. I did a Q&A email exchange with Brian Stevenson a few months ago and thought it might be useful info for anyone else thinking of joining.

BS: Bill Cramer at Wonderful Machine has offered me a place on their roster of shooters and I’d love to hear your perspective on how well their marketing model is working for you. If you have a couple of minutes, would you mind answering a couple of questions for me? I’d really appreciate any insights you can provide.

LB: Sure Brian! Wonderful Machine is great. It’s like a better version of all those find a photographer websites out there. And they’re all really nice people to work with and get advice from. I’ll answer your questions below.

BS: Has Wonderful Machine helped you increase your exposure?

LB: Depends on what you quantify as exposure. They are consistently my top 10 referral to my website. How many of those visitors are potential clients or just other photographers is hard to say. I am of the belief that not one single marketing effort will increase your exposure, rather the more reputable places for a potential client to see your name and your work, the better off your chances are to get hired. I’m also listed on Workbook.com, FoundFolios.com, and CommArts.com, PhotoServe, ASMP, AIAP, and EP; plus all the typical social media stuff. I even do Google AdWords and constantly tweak my SEO. Some of my bigger jobs have come from Google searches.

BS: Do you feel like you’ve been adequately represented in their general marketing campaigns?

LB: I’ve been in a couple of their email campaigns and been on their blog periodically. They have my printed portfolio that they shop it around to appropriate magazines and agencies when they do their showings. My book is one of 20 or more, but it’s still nice they do that. Again, the more your name gets out there, the more likely you are to get work.

BS: Are you able to communicate well with them?

LB: They are always quick to respond when I reach out to them. I usually email, but sometimes I call. They did drop the ball once when I asked them if they wanted to take over my email marketing. They said they would come up with a plan and a cost and then never got back to me. I never followed up and decided to do it myself. I think I’m happier doing it myself and it saves me money. The thing about Wonderful Machine is, the more you put into it the more you get out of it.

BS: Have you had them negotiate any contracts for you and do you feel like they generated more income for you on any jobs than you would have likely generated on your own? Do they respond quickly when you need to put together a bid on short notice?

LB: I asked them to help me on a couple estimates and both time their numbers were way higher than the client wanted to pay. I’m not the best negotiator, so I don’t blame them for not getting those jobs. I have never had them bid a job on my behalf.

BS: Have they generated any work for you in national markets (i.e. outside the NW)?

LB: I’ve shot for mags like Sunset and Parents in the Pacific Northwest, but I can’t say they’ve gotten me work outside of this market (i.e. I haven’t shot outside the area for a lead I got from them). A while back they got an inquiry for a pretty big ad shoot and were pitching me as the photographer. Nothing ever materialized from it, though.

BS: Do you get the sense Wonderful Machine is well regarded by creative directors and editors (I’ve been familiar with Wonderful Machine for a long time and based on their now regular contributions to A Photo Editor, it seems like they are respected)?

LB: Yes, absolultely. Though, there is some confusion because they are not reps in the traditional sense, but some art buyers / photo editors think of them as reps.

BS: Do you think there is any industry bias against this type of representation model?

LB: I don’t really know. Honestly, I think a majority of the WM photographers are at the emerging stage of their career. So, you’re in that pool and associated with that level of photographer. Definitely some talent in the ranks, but I don’t think it has the same clout as Workbook.com or more exclusive source sites like LeBook. Some photographers are so popular and in demand that they don’t even have websites. How’s that for cocky?

Again, WM is a great way to get traffic to your site. Then it’s up to you to sell yourself and get the work.

BS: Are there any downsides to signing with them (other than the cost) and has the membership been a good value for you?

LB: I’m paying a $100 a month. I’ve definitely gotten enough work each from them to justify the expense. Stats wise, I had 645 visitors from WM last year and they were my #1 source site referral and #3 overall. If half of them were qualified leads, that’s $3.75 per click. About what you would spend on a Google AdWords.

Pricing Photography for Image Libraries

“…in a world where photographers traditionally price their product based on usage, what is “unlimited” use worth? There have always been photographers who intentionally or unknowingly ignore the subject of licensing, or otherwise simply give away unlimited use of their pictures without charging a premium for it. Those tend to be young photographers who don’t know any better, or established photographers who have found that it’s the only way they can compete, or they couldn’t be bothered with the extra work involved in understanding how image licensing works and explaining it to their clients.

However, in most of these cases, pricing photography “by the day” is a dysfunctional system, and not in the interests of the photographer or the client. There’s an inherent conflict when a photographer is compensated in inverse proportion to her productivity. The more photographs she produces, the less she is paid for each of them. Any photographer’s natural motivation will be to produce enough work to satisfy the expectations of the client, and no more. That is no way to run a business.”

by Jess Dudley

via A Photo Editor – Real World Estimates – Pricing Photography for Image Libraries.