July- Todd Eyre

I fell in love with this shot as soon as I saw it, and because Todd’s passion is travel and tourism photography it was a no-brainer to open his website folio with it. The shot is full of energy, unbridled enthusiasm and innocence. Todd chose to name his categories with travel assignments in mind and this shot sat so nicely in ‘Discover’. Within a couple of months of the website’s soft launch, Todd received a call from a dream client who found his site and knew he was perfect for a huge summer assignment, which he won of course. You can escape into Todd’s world here

September- Marcus Adams

It has been a pleasure to watch Marcus’ photography blossom over the past year under the tuition of some of the best Magnum photographers in the world. Already an established reportage photographer, Marcus spent 2013 focusing on ‘Wheels of Revolution’– a project which took him to Cambodia, Vietnam and the Philippines. With an emphasis on transportation, Marcus shot many many gorgeous images of people- some award winning, but I just couldn’t help but be drawn back to this simple image of a bicycle. I’m a sucker for an emotive shot and the simplicity of the frame, bell and raindrops won me over. You can read more about this eye opening project here.

October- Hugh Hartshorne

In October I was privileged to edit some of Hugh Hartshorne’s images for his agent Mondo Folio in Sydney, Australia. In fact I spent several intense days immersed in their photographers’ imagery. Whilst Hugh has shot some incredible black and white portraits, this shot just had to be my final pick, even though it didn’t make the website. Everything about this image is fantastic- the view in the background causing all but one of the identically-clad children to turn their backs to the camera. I wonder if that one little kid will end up being a photographer- clearly he sees the world differently. You can see more of Hugh’s work here

November- Grant Matthews

Anyone remotely interested in fashion photography n Australia will have heard of Grant Matthews and his name can be associated with any number of top models and many celebs, all of whom he has shot beautifully. But this timeless shot has great graphic lines and the composition is spot on. I love it! To see Grant’s vast array of work go here

December- Gary Gross

No matter how often I see this shot, I am drawn to it. Apart from having all my favourite elements- beautiful composition and graphic lines- it has gorgeous tones and it is so evocative of all of those wonderful old ocean pools you find dotted around Australia’s coastal cities. Gary shoots in a very direct way- but he does it with a sensitive eye and an appreciation of texture, colour, and a good dose of soul. And when I look at his shots, whether they’re people or places or objects, I can’t help but want to know more. I think that’s a good thing. To see more of Gary’s work on his newly launched website go here

It is only a few months since now Pro Photographer Magazine Editor Lottie Hedley kindly assisted me at my last workshop in Wellington. She had just arrived back in New Zealand from the USA. Two days later, we found ourselves on the same flight up to Auckland, and a week later we were having coffee in a sunny cafe in Herne Bay, discussing the importance of communication and in Lottie’s words- ‘reaching out’. (Lottie brought home some great American expressions as well as some beautiful photography.)

I’m all for ‘reaching out’, or ‘connecting’, especially as I like to talk. Ask any of my clients; photographers, ad agency art buyers and creatives, or my long-suffering husband. Maybe it’s inherited from my northern Brit parents and relatives, who were forever popping into each other’s kitchens for a natter and a cup of tea.

A natter and a glass of wine won me many jobs at my photographer’s agency. Based in Parnell in Auckland, and having a penchant for good food, I would grab a few hungry photographers or producers and we’d wander down to Cibo, then my favourite restaurant. A quick glance around the room would confirm for me that there were tables of creatives from various ad agencies; inevitably these included Saatchi & Saatchi, Publicis Mojo, FBC and JWT, all of whose offices were situated a convenient stone’s throw away. Then off I would go; a trip to the ladies a thinly-veiled excuse to pause at each table for a chat; sometimes joining them for a wine, dessert or a coffee. Often I would return to my table with a brief for another photographic assignment; a layout scribbled on a serviette. Job done; lunch paid for thrice.

Social media has extinguished the cost of this exercise (although not for me the joy of eating). When commenting on a client’s recent holiday, ‘liking’ the shot of their new baby, or openly admiring the award they just picked up in New York or Cannes, we are dropping in on them at their restaurant table, sharing their conversations and staying top of mind.

That’s not to lessen the value of the good old fashioned ‘catch up’. In fact, the more rare it becomes, the more powerful it is. At this year’s AIPA Image Nation conference panel discussion, a group of advertising creatives and art buyers were asked a list of questions by photographers eager to find out how to get noticed.

‘Come and talk to us’ implored the creatives, keen to assure the audience that photographers were welcome in their respective agencies. The MC of the panel was Draft FCB creative Peter Vegas, recent winner of numerous awards for his Driving Dogs campaign. One photographer called him afterwards.

‘Love your work’, he said, ‘Can I pop in and have a chat or a coffee with you?’ Vegas invited him in, together with other creatives, and they talked about the photographer’s career and what he wanted to achieve. A few weeks later, after working with me on some planning, he went back to see them, sharing his vision.

‘Fantastic!’ they said. ‘We’ve got some jobs that would be perfect for you!’ They didn’t need to see a folio. He communicated with them, shared his vision, and they were on board.

Yesterday I was listening to a radio interview with a successful New Zealand musician who has collaborated with amazing artists from all around the world.

‘How did you manage to achieve all those connections?’ asked the presenter.

‘I followed the best advice I was ever given’ he said. ‘Put yourself out there, and seek out people who inspire you. Ask them for help, to collaborate, or just to meet with them for a coffee. The worst they can do is say no.’

This Bronze Lion winning campaign shot by Kerry Wilson was a result of a long working relationship between Kerry and creative Mike Shackle, instigated by a glass of wine and a chat in Singapore years earlier.

‘Why do ad agencies fly in high-profile photographers from Australia to shoot big budget campaigns here in New Zealand, when there are loads of amazing local photographers who are more than capable of shooting those jobs?’

I know that a version of this question torments many a photographer worldwide. Just replace Australia and New Zealand with any two alternative countries of your choice. Typical scenario: You’re pitching for a local location-based campaign, only to discover that a ‘foreigner’ has been flown in to shoot the beach at the bottom of your street, or the mountain at your back door.

More to the point, why does Vogue Italy send an Italian photographer to Sydney to shoot a fashion spread for their magazine instead of using an Aussie? And the BIGGEST, most common gripe of all…..Why do Tourism agencies fly in photographers from other countries to shoot their campaigns instead of using a local?

The dissent doesn’t stop with photographers. The ‘Where the Bloody Hell are you?’ campaign, shot for the Australian Tourism Board via M&C Saatchi, was an example of locals getting their knickers in a right proper twist about a foreigner shooting their lucky country. (The fuss was promptly superceded by worldwide news that the Brits, Japanese and Americans objected to the profanity in the headline …so that was that).

We do tend to be quite possessive about what’s on our own doorstep. Why ever wouldn’t we be? We’ve paid our taxes and our rates to help make the country more safe and beautiful. We’ve worked very hard on reaching our local potential clients. Hell, we’ve introduced clients from all over the world to our locations and and in turn helped grow our economy.

But it’s an inescapable fact. Photographers are shipped into unfamiliar territories by experienced creatives all the time. And perfectly good locals are shunned.

The thing is, whingeing about it will not achieve anything. There are often pretty good reasons for sending photographers across the globe. And there’s no reason you can’t be one of them, rather than the jealous incumbent. Here are the 4 main ways you can work on turning things around in your favour:

1. Relationship

Yes, talent should prevail. But I know many a creative who isn’t going to risk spending three weeks on the road, sharing a vehicle (and possibly bathroom) with some arrogant stranger who may have halitosis. No siree. They’re going to take the guy they know with them. Someone who’s fun to be around. Someone with whom they can happily share breakfast, lunch and dinner.

Yep- that’s right, you have to be a paid friend as well as a good shooter. (As an agent it was amazing how many times I had to reassure the creative that the photographer was a nice person!) So build those relationships with your local clients. Be the person they want to take with them when they have that big job- in or out of the country. Either that or you’d better build the relationship FAST during the quoting process.

2. Trust

Having a good relationship with someone also means you get to build trust. Trust equals less risk. If the job requires shooting around the world but the budget restricts the agency team from going, they’re going to try to send someone they trust to get the job done, rather than risk commissioning someone unknown with no supervision.

When working with any clients, make sure you always produce high quality results, behave professionally, surround yourself with an amazing team and get the day to day jobs done well- with or without the creative present. It will keep you top of mind for those solo travel opportunities.

3. Uniqueness

If you are perceived (and note I say perceived) as the only person who can shoot the job, then all those relationship problems will fade into insignificance. If you are known for something specific, or better still, are famous, then being arrogant, requiring huge quantities of drugs on set, turning up late and going over budget seem to be par for the course. After all, they can say they shot with xxxxx. And presumably the shots will be amazing (how else could you get away with that behaviour?), win tons of awards, blah blah.

So work on your uniqueness, and you too can be the celeb landing on everyone else’s shores. Shores which you will undoubtedly choose.

4. A fresh perspective.

The reality is that offshore photographers perceive things differently. More to the point they see things the way a tourist visiting the country for the first time might see it: With a fresh, optimistic eye. And when a country is trying to sell itself to people in other countries they want the right perspective.

So stop fretting about the local tourism campaign, and instead why not be that offshore photographer who shoots some of the other hundreds of tourism campaigns around the world? Be the photographer who is genuinely excited about what’s going to appear around the corner, and target your marketing internationally.

Of course when you succeed at one or more of the above, and find yourself abroad shooting a job, just watch out for the local photography industry lynch mob…..

You’re sitting with your friends drinking your flat white at a cafe, discussing everything from kids to dogs to work and the universe. Life is good.

Someone mentions a quandary they or a sister in law or their lifelong business partner have of needing something to be shot. It’s a really simple job. Just to help them get off the ground. Just for a magazine doing a story on them. Or maybe it’s their kid. A head shot for an agency, or even just to hang on their wall.

Of course you offer to help them out. You’re getting 3k plus a day to shoot for clients but this will only take an hour and well…it’s what you do for friends right? And the thing is, because they’re mates they would never rip you off. You went to school with them for goodness sake.

Established or complete beginner, I have seen photographers lose the best friendships in the worst possible ways because of a shoot which began like this. And mostly it’s because of 3 things:

1. There is hesitancy to discuss money so the job goes ahead with little or no understanding of what, if anything, is being paid. And what it’s being paid for.

2. Barely anything is put in writing. Everything agreed is verbal. They’re mates, right?

3. After the shoot all the miscommunication and lack of clarity inevitably ends up with someone feeling ripped off. What do you mean I can only use it for a year? What do you mean you can’t pay me for the gear I hired? What do you mean I can’t use the portrait you did of my daughter for an ad campaign? What do you mean your boss won’t pay me?

I’ve known of litigation resulting from these scenarios. It’s completely unnecessary and preventable. You can shoot for friends and still remain friends, but to ensure this happens you must take the following steps:

1. Don’t even contemplate providing a cost without knowing what the usage is. It’s like asking how long a piece of string is.

2. Clarify cost and all details in writing. Up front. It can be a friendly Email but make sure you and they know the usage you will give them for the price you are charging, and that you will remain the copyright holder, for their protection as much as yours. If you want a credit (in lieu of fees) make sure this is covered off. Remember to cover payment terms. If you are hiring items and charging them cost only, make sure you make the payment terms immediate, up front, or perhaps they can pay them direct. Remember you’re doing them a favour.

3. Ensure that you have their agreement to whatever you have discussed in writing. Make sure that the person agreeing to pay you is actually the person or company who will end up with the licence for the use of the shots. Your friend might be a minority shareholder, or a mate of the start up company owner, or simply an employee, but will have no say when the company decides to fire them and use the shots in their global advertising.

4. Do not under any circumstance shoot until the arrangement is all clear and agreed to, even if it means their dates are compromised. It’s  as simple as them sending you a reply Email with agreement to your requirements. (Read this post how to be a ‘yes’ man to find out how to do this nicely.) If they are hesitant to give you written approval you would be wise to wait.

5. Make sure you complete the copyright paperwork. In New Zealand you must provide an AIPA licence stating the usage. (You can download one here.) If it’s a portrait of their wife and child for their wall, licence it accordingly!

The thing is, every time I suggest the above to photographers working with friends, they all say ‘Oh I won’t need to do that- it’s for friends!!’

Trust me, it will save a lot of heartache.