Interviews
February 2nd, 2012
Last September, Jess and I found ourselves in the lovely Hearst Building for a portfolio review at Country Living Magazine. Once through the elevator doors, we were greeted by the super friendly face of Country Living assistant photo editor, Will Morel. Will is a big Wonderful Machine fan (possibly because we share initials?) and told us that his life has been made easier since finding us. He even said he’s on the site almost everyday, searching for photographers around the country. It’s not just lip service either, Will has recently worked with a number of WM shooters including Jody Horton, Jesse Rieser, Andy Reynolds, Hollis Bennett, Sara Rubinstein and Beall+Thomas. This week, Will was nice enough to squeeze time into his busy schedule to answer a few interview questions for me. Thank you, Will!
Enjoy!
- Maria Luci
How did you end up in your current role at Country Living?
I’ve been at Country Living for about a year. Going into photography was not my plan—my background is in international finance. When I was a senior in college, I had a yearning to do something more creative than sitting at a desk crunching numbers all day. Luckily, a friend of mine asked me if I wanted to work as a 2nd photo assistant on a still life job. I’d always had a strong interest in photography, but working on set for the first time made me consider a change in direction. After that job was up I just started looking for more freelance jobs. I eventually took a full-time assisting job with the photographer Keate Barker. After some time with him, I felt like I needed to move on to something on the client side. There was an opening at Studio D, an in-house photography studio for Hearst. After working at Studio D as the photo editor for a little over a year, I heard about an opening at Country Living—a Hearst publication—and decided to go over to the magazine world.
What makes a photo great to you?
What makes a great photo to me? Great question. I don’t think there is any particular all encompassing attribute for a great photograph. If I had to choose, I think it would be the details. If a photo has great details, I am drawn to it! I need to be able to see that great effort was put into the composition of the photo. I look for that one pop of color that my eye is drawn to or the sun being dappled on water. Any photo can be great. It’s the little details that ushers the photo to life.
What kind of photos do you look for at Country Living?
Above all, we look for beautiful and real images. Nothing is too staged because we really want a sense of life in each photograph.
Andy Reynolds for Country Living
What’s the best way to get your attention?
The best way is to have an interesting personal project. An excellent example would be Jesse Rieser. He has two personal projects, Christmas in America and Class of 99 turns 30. Christmas in America really captures the essence of Christmas and tells the story about its over commercialization. It’s a little dark with those great artificial plastic pops of color. Class of 99 turns 30 tells the story of how his classmates’ lives turned out. Everyone went down different paths. As soon as I saw this story, it made me think; how have the lives of all the people that I graduated with turned out? This personal connection with his stories is what lead me to hire Jesse.
How does Country Living source photography? Has finding decent photographers become easier or harder in the digital age?
We have a roster of our favorite photographers that we use on our feature stories. We have many little shoots all over the country that we hire local photographers for. Sometimes we will use stock, but we don’t like it to look too “stocky.”
Well, I can’t say if it is harder or easier because I am a product of the digital age. So I really can’t compare them. One thing I can say is that having every photographer’s website at my fingertips is wonderful. We have many shoots all around the country in small towns. The Internet is the only hope I have in finding photographers in these areas of the country. There’s also nothing that impresses me more than when I meet with a photographer to review his or her book and an iPad is pulled out. It just makes viewing a photographer’s work so much easier and it shows that the photographer likes to keep things simple. Digital has definitely made my life easier.
Hollis Bennett for Country Living - Hatch Show Print
What annoys you the most?
Without a doubt, the answer is slow websites. The photographer can have great work, but if his or her site is too slow, I will move on. A photographer’s site is in many ways their best resource to procure work. If it’s too slow, then they are losing out!
What’s the most satisfying part of your day?
The most satisfying part of my day is when I am able to write an email to the art department stating that hi res is in. It means that the story is done and ready to be put to bed.
View all of our past art buyer, photo editor and rep interviews here.
January 5th, 2012
While in Minneapolis last November for portfolio reviews and an ASMP event, I had the pleasure of meeting Chris Peters. Chris is the senior art producer at the ad agency Colle+McVoy. At Colle+McVoy Chris works with a wide variety of clients including Caribou Coffee, DuPont, General Mills, Land O’Lakes and many more. Knowing this, and the fact that Chris has worked with several of our photographers in the past, I decided he would be the perfect interviewee. Luckily, he was kind enough to take time out of his busy schedule to answer my questions about the art of art buying.
- Maria Luci
How long have you worked with Coll+McVoy?
Just over 12 years now. I consider myself very lucky to have found a job I still enjoy doing every day.
How did you get your current position?
I had been working for a photographer as a first assistant/office manager for a few years. We did freelance art buying for national agencies as a side business to the shooting. A good friend was working at C+M and told me about an opening for an assistant art buyer. I was ready for a new challenge and jumped at the opportunity.
What makes a photo great?
If it can hold my attention longer than a few seconds. But it’s so subjective. A truly great photo captures a moment where lighting, composition and subject all come together and ultimately, I think, surprise or enlightens the viewer. It should also have a little magic sprinkled in it.
Jonathan Chapman for Colle+McVoy - Purina
What kind of photos do you look for at Coll+McVoy?
Each of our clients has widely different needs. On a typical day, I might look for photos of dogs, bikers, corn fields, families cooking, fishermen and tanker trucks. The common thread is the photography needs to grab your attention or evoke an emotion. I typically lean towards images that have a fresh perspective or have a cool look or some style to them. It’s hard to describe because there are so many ways to take a photo, but I know it when I see it.
What’s the best way to get your attention?
A good direct mail piece or email promo. I will usually follow to a website if I’m interested. Having your rep set up a show is probably the best. Then you’re getting the eyes of the art directors on your work as well as mine.
Has finding a decent photographer become easier or harder in the digital age?
It’s so much easier. I haven’t called in a book for years. I use source sits quite often. At-Edge and Workbook are my first choices. I also like Photoserve, Gallery Stock and ASMP. I look at FFFFound, Tumblr, Flickr and photo blogs. I love magazines as well. I also think there are more decent photographers working today than there were 10 years ago. The economy has weeded out the field somewhat. I see a wide variety of photo styles being accepted by clients today, which brings photographers into the commercial fold where previously they wouldn’t have had a market.
Alexander Zoltai for Colle+McVoy - Winfield Solutions/Land O' Lakes
How has your position changed over the years?
Technology and the economy has change the job. Otherwise, art buying is pretty much the same minus the giant boxes of slides I used to get. I’m not sentimental about counting hundreds of transparencies or huddling over a lightbox for hours. Price calculators and search capabilities on stock sites have made finding and licensing stock much more convenient. Micro stock sites offering cheap photos with unlimited rights have driven some clients to abandon photo shoots and rights-managed images altogether.
What annoys you the most?
Cold calls. Watermarks. Slow websites. Badly designed websites. Websites with small images. Don’t make your photos tiny, make them huge. Let me bask in their glory. Empty coffee pots.
What’s the most satisfying part of your day?
Discovering a new photographer whose work excites me. And calling a photographer to tell them they got the job is still pretty fun.
View all of our past art buyer, photo editor and rep interviews here.
December 12th, 2011
I recently had the pleasure of interviewing Patti Schumann, founding agent of Schumann & Company. Schumann & Company represents a talented roster of commercial photographers, including Wonderful Machine members Terry Vine, Saverio Truglia and Joe Wigdahl. Patti was kind enough to answer all the questions I put forth about the world of photographer representation. Enjoy!
- Maria Luci
How did you become a rep? What lead you to this path?
Actually, I really stumbled upon this career. Had I known it existed as a career path, I would have certainly directed myself down the path! My degrees are in Journalism and Art History and in so many ways, being a Photographer’s Agent is the perfect combination of all of my passions. My first job out of college was with the Chicago Tribune where I learned every facet of marketing/branding and running a business. As an alternative to the MBA path, my mentor connected me with the owner and publisher of the Chicago Sourcebook—an amazing and innovative regional resource for creatives in the advertising industry. I sold ad space to photographers, illustrators, and their agents in the Midwest. Eventually, our company was bought in conjunction with the Creative Black Book and a new division was formed creating the first national network of sourcebooks. I moved to SF managing Northern California. and the Pacific Northwest for all publications and then moved to Dallas to open up their office in that market. Eventually, I left to found my own business—Schumann & Company—hard to believe, but I am celebrating my 21st year in business this January!
Saverio Truglia
In your own words, what is the role of a photo agent?
That feels like a loaded question! I’m guessing that each agent would likely provide you with a different answer. I feel that the role of the photo agent is to serve as a critical collaborative partner in the branding and marketing of the clients I represent. I take great pains in the selection process of who I sign as I hope to only develop long term mutually rewarding relationships.
Typically, my initial strategy is to define and refine the creative brand of my photographers so that we have something to refer to as we create our marketing message and plan. It is my photographer and their vision that really is the starting point. I really try to hone in on what makes them unique and distinct within the industry categories that they serve. After that, it’s editing what exists and working to determine where images need to be enhanced. From there it is a well thought out targeted approach researching where best this vision will be received. We develop an annual plan that includes advertising, promotions, portfolio development, etc. I reach people through electronic, voice and personal communication. I relentlessly reach out to potential clients. I travel. I host events. I support the communities through participation in professional associations of both photographers and clients. I network. I feel that there should be mutual accountability when it comes to the agent/photographer relationship. When expectations and strategies are created, it offers both sides a source of measurement.
What do you enjoy about your job?
Everything! But mostly, it is the ability to actualize the dreams of true artists into viable and vital businesses. I love finding solutions that are win wins. I love immersing myself in fantastic imagery. I love working with TRUE professionals. I love representing a group of the most extraordinary HUMANS that I know. I am inspired every day.
Terry Vine
How often do you get inquiries from photographers looking for representation?
I have a submissions email that is through the contact section of my website and I likely have 1-3 photographers contact me for representation per week.
How do you respond to these inquiries?
I sincerely look at everyone who reaches out to me and respond personally to each photographer. In most cases, I am contacted when I am not looking for a photographer. I keep my group small intentionally. If someone’s work touches me, I let them know to stay in touch and keep me on their mailing list. I actually do look at everything I receive.
What’s the best way to get your attention?
Respectfully send me GREAT images!
How often do you add photographers to your roster? How do you typically find these new photographers?
Honestly, it’s very organic. I keep my group relatively small. Usually, I add someone to the group when I feel I can handle the addition and I am looking for a new strategic challenge. I find my photographers through serious research. I utilize award annuals like CA, Archive and AtEdge. I research through websites and resources like Wonderful Machine and Workbook. I talk to art producers at agencies, producers with whom I collaborate, and reps for the publications where I advertise. Usually one or two folks keep coming back to me. I go to their websites. I have to LOVE their work first. Additionally, I do not approach photographers that are currently represented by other agents.
What do you look for in a photographer to rep?
Extraordinary vision and a distinctive visual point of view. Conceptual depth. Professionalism. Exceptional values. Their work is my first point of reference. Their demeanor and ability to articulate their vision next. The way they interact with crew and clients is, in the end, actually more important to a long term successful relationship.
Joe Wigdahl
In your opinion, what does it take to be ready for representation?
The ability to produce work and create images consistently. The ability to equally invest in the partnership. A general level of understanding about how the industry works…
What’s a normal work day like for you?
Wow. No such thing. The one constant is that there is no constant. Generally it is a mix of ongoing communication whether it be via email or on the phone. It’s a mix of working directly with my photographers, following up with clients, estimating, working with producers, doing portfolio shows, scheduling shows or travel, meeting with key potential clients one on one……..and then there is the follow up……..to bids, to shoots, to potential opportunities. It can also be intense editing, working with designers on my own branding and marketing, working on the blog…..there is also the invoicing, following up on the invoices and all the other paperwork that must be kept in order. I could not do this without the incredible assistance of my associate Renee who has been with me for almost eight years.
Do you expect your photographers to market themselves on their own as well?
ABSOLUTELY, and usually with my input. This is part of the mutually accountable strategy.
To learn more about Patti and Schumann & Company, visit schumannco.com.
