(Perhaps that resonates with you)

There are a few key differences between those worlds, and one of them can be a bit of a sticking point:

When you’re used to capturing stories, particularly for editorial and content assignments, you can rely on groups of work to do the job. A scene-settling image of the place. A portrait of the person in said place. A few captured moment in-the-flow images. A detail.

You have the luxury of multiple images to build the story and provide context.

But in the ad world, and even for singles and covers in the editorial world, there’s often call for ONE image which must do all the heavy lifting; it must encompass an entire idea, and if it’s a campaign, it will only ever be seen in separate locations.

That’s why when I review (or Blitz) photographer’s work, I start by identifying the heroes; the images that will do this job, and stand alone without support images, regardless of where they’re seen.

The hero image must stop me in my tracks, move me, and convince me, without an explanation.

There’s nothing wrong with a series of images. In fact I advocate all the time that photographers shoot bodies of cohesive work which tell a compelling story, especially in their personal projects.

But even then, I always insist on establishing the hero images before editing them together. There’s noting worse than a ‘transitional’ image which tells a story but let’s down the quality of the series (I see this all the time when I’m judging).

So, if you’re editing your work to share with people in the ad world, or you want to be noticed by judges and curators, don’t forget the power of each individual photograph.

We ended up sitting with him every afternoon for a month. (That’s so typical of my strong spirited dad).

I kept my sanity by working. Not burying myself in admin (note my marketing reduced to zero) but by working with photographers, editing their work, uncovering their essence and digging into what makes them tick. Doing the bits of my job I love.

I’d emerge from an edit newly renewed, with a smile on my face and the emotional strength to keep on keeping on.

It’s what we all do isn’t it?

Life events and times of crisis can have a different effect on everyone.

Maybe you’re the kind of photographer who is paralysed by situations like this and you can’t go near your camera. (Sometimes once you’re through the crisis you can throw yourself back into work with even greater gusto and creativity.)

Maybe you use the camera as a meditative tool, allowing it to help distract you.

Perhaps it’s the perfect vehicle to help you channel your emotional journey into something tangible, manageable.

For me, there is almost nothing that lights me up more than the core work I do – and that’s where I channelled my energy.

I am back in New Zealand now for a month before I head off to Chiang Mai, Thailand, for a personal project workshop which begins this week online.

Eight photographers making new personal projects with depth. For them I know this process will distract them from the stress of everyday life with family, and transport them into new ways of thinking about their craft.

For me, Chiang Mai will allow me to combine my two great loves, working with photographers and continuing my dad’s legacy – a passion for exploration and travel. I’ll even bring his walking boots.

Do you line up a load of tests?

Experiment with new current lighting trends?

Get some more of those essential lifestyle images made (cue the family around the campfire), or the reflective object shots in the studio?

There’s nothing wrong with this – it’s essential to grow your skills and build your folio.

But if you’re just trying to stay on trend, or fill gaps which you’ve seen others are shooting, you’re probably going to do one of two things:

1. Dumb yourself down to look like everyone else.

2. Confuse your target audience.

And sadly, neither of those will get you more work – they’ll probably get you less work.

If you really want more work, try to quieten that scattered ADHD brain just for a few minutes and before you decide what to shoot, focus on one thing:

Your unique brand voice.

Is it calm? Driven? Theatrical? Funny? Dramatic? Authentic? Edgy? Intimate? Bold? Raw? Zen?

Is it the high tech Nike trainer or the scuffed Converse sneaker? Or the Barbour Wellington Boot?

Get some clarity on this and if you already know your visual voice and brand, stop distracting yourself with scattered thinking about what everyone else is doing.

As a lens based image maker you’re a creator, and creators don’t follow, they lead.

Your unique visual voice is yours, and yours only – and that’s the starting point to standing out, being seen, remembered, and hired.

I was an agent for 20 years and it wasn’t the first time I’d heard those words. In fact, if you’re an advertising, editorial or commercial photographer, you’d know it’s part of the job.

To be honest, you’re lucky if they even bother to tell you – often you’re just ghosted.

It was a big job; a library for a huge telecommunications brand from a Singapore ad agency. The images were highly prescriptive and the work would be used across Asia – we just couldn’t risk trying to pull it off for any less.

But then something happened. After pre-production was supposed to have kicked off, we got a call from Evelyn, the suit, who was acting as art buyer.

The agent for the photographer in Australia had basically underquoted it, and now wanted approval for more funds after the job was approved. It’s a dirty trick but it happens.

Acting on intuition, with her boss out of the country and uncontactable, Evelyn took the risk and decided to come back to us, on the provision our costs would not increase and we could still meet the deadline.

We went ahead with the job, our photographer delivered a great set of images, and their client was so happy that Evelyn got a promotion.

If you are ever struggling with a client pushing your costs down, I encourage you to stick to your guns. There are lots of ways to make it a bit more digestible to them, and help it across the line, regardless of the budget they’ve given you. And often they can get more money to make it happen if they understand why.

But if you ditch some of the resources, time and money which make you good at what you do, you risk dropping the ball, reducing the quality of your work, and never being hired by them again.

The creatives don’t remember the restraints you had, just the final result, and they’re usually the ones choosing you for the next job.

The suits, art buyers and producers will remember the people who made their lives easier and their client happy.

Achieve both and it’s a win win.

Last week? Six months ago? A year? Never?

Maybe you DID have a system but then you got busy (yay!) or life got in the way (uugh) and you’re paralysed or struggling to get started again.

Me too. Guilty as charged. My last Email blast was in late January.

Just when I was rolling gun-ho into the new year, with a talented roster of photographers joining my next Bootcamp programme, a list of discovery calls as long as my arm, some exciting Blitzes to edit, and some new collaborations on the horizon, ‘that’ call came: to get to my elderly parents’ rescue (and they live on the opposite side of the world).

Usually I’d have a few Emails pre-written, but I’d used those up (damn those Christmas holidays!)

After adjusting to the jet lag and turning my calendar on its head I noticed that every time I tried to start an Email blast or a social media post I got stuck. What to say? How to say it? And the longer I left it, the more paralysed I became.

Everyone gets stuck sometimes. When I do, I remind myself of these three things:

Done is better than perfect. Aiming for perfection is only going to prolong that procrastination.
Own your story. Honesty really is the best way, and can sometimes make for a more engaged audience.

JUST DO IT. Yup – that really is the crux of it. I set myself a time limit and have to press send. It’s the only way.
(All which I told myself today.)

As I settle into the rhythm of work back in the bleakly beautiful North of England, it’s actually all working out. Most my Bootcampers this round are in UK, Europe and USA – all Northern Hemisphere. I get to speak to them in my daytime, rather than at the crack of dawn.

And I might be missing summer in New Zealand, but in June I’ll be in Chiang Mai for the next Series Project workshop, so I can’t really complain.

If you’re in the same boat as I was, and struggling to write that Email, Instagram or Linked in post, it’s time to stop overthinking and just do it.

‘The chemistry just won’t be there, and we’ll see it in the images’ he’d say, unwavering.

So we’d cast entire families, real couples and real friends. We always built that into his estimates, and he was right; the results were consistently breathtaking and he had a reputation for seeing into people’s ‘souls’.

Do you have a secret recipe? The stuff only you know makes your images that bit better, more powerful, convincing, believable, authentic?

Usually when I blitz the work of a photographer I’ll ask them questions which prompt them to think about what makes an image great, not just good- we’re looking for some commonalities of the heroes I’ve selected.

Often, as it turns out, it’s their relationship to the talent. (Maybe they spent time getting to know them, maybe it has to be spontaneous- there’s no wrong answer if it does the job for you).

Sometimes you have to recce the locations in person, or be at the casting to meet the talent and get a sense of their chemistry and personality. Maybe you plan fastidiously so you can get the job done in limited time.

And all this has to be considered in production time and cost.

When you know what your most powerful images are, take a look at what secret ingredients you brought to those productions- paid or personal. It won’t be obvious to an outsider, but it should be non-negotiable to you.

Then build it into your estimate template, and make sure your producer and clients know that it’s an essential part of how you make your magic.

If you’re super experienced you’re probably doing this automatically. But being intentional about how you shoot will still get you consistently better results, and keep you on your own path, rather than someone else’s.

And right now, it’s those small things which can make a huge difference.

If you’re feeling a little overwhelmed, confused, behind or directionless as you start 2026, you’re definitely not alone. Here are three things you can try (and some more reading if you’re still on holiday):

1. Hone in.

Train your focus on what you do want, and narrow down. Choose one style/ visual voice, one personal project, one goal, one word for the year, etc. Read this to understand the clarity that’s actually right in front of you: https://christinaforce.net/the-clarity-thats-right-in-front-of-you/

2. Declutter:

Ditch the rest (at least for now)! What can you let go to remove undue pressure? What don’t you need? Two location photographers I’m working with are ditching their unused and costly studios, along with unnecessary gear and everything else that was dumped in there. But even clearing out your Emails can create space in your brain.

Here are some more ideas, from an old (but very honest) blog post: https://christinaforce.net/how-to-make-space-for-better-clients-and-more-money/

3. Work on your elevator pitch.

It helps to start the year being able to clearly articulate what you do, in a way which will hold the interest of the listener (and it’s not ‘I’m a photographer/ director’ or ‘I shoot cars’.) Here’s a breakdown on how to rethink and approach this: https://christinaforce.net/your-elevator-pitch/

This past 2 weeks I’ve already met with over 30 photographers, and I love the clarity, excitement and motivation they’re finding on those calls.

Wishing you gallons of the same, and if you’re not already working with me or had a discovery / strategy call, now might be the time.

Consistency.

• A consistent and clear visual voice and brand.
• Consistently sharing that work, so that across platforms and promos it completely aligns.
• Consistently reaching out and staying in touch, regardless of replies (or lack thereof).

It sounds easy but I know this kind of repetition can seem tedious, and daunting, and kind of scary.

I get it. As a photographer you’re a creative. A visual person who likes diversity, who doesn’t particularly relish working for a boss. You enjoy the freedom (and sometimes the stress of living on the edge of a roller coaster – hello you ADD folk), and consistency feels like it could kill your creative mojo and trap you. And let’s face it, if no one replies or responds, you start questioning yourself.

But the problem with lack of consistency is it can cause confusion to the people you really do not want to confuse. The people who want to work with you, but don’t.

Why?

Because a confused mind says NO.

If I’m to leave you with any advice as we begin 2026, it’s to keep showing up, repetitively, consistently, and RELIABLY.

This says so much about who you are as a commercial photographer.

You are not just selling beautiful pieces of work to hang on someone’s wall. You’re being hired as a human, and half the job is being a good communicator; someone who shows up, can take a brief, deal with all the people involved in the process, remain calm, and STILL deliver great imagery.

You and your work can be as wacky as you like, but delivery has to be consistently reliable.

Every year I choose a word as a kind of North Star. In 2025 my word was ‘Simplicity’ and every time I had a decision to make I asked myself – Is this the simplest solution? What would keep things easy?

I propose that one word you consider for 2026 is CONSISTENCY. When you’re editing and sharing your work, or planning your emails and outreach, ask yourself if you’re being consistent. What can you to to communicate your brand clearly and avoid confusion?

Consistency is an awesome way to build trust and inspire confidence, and then the sky’s your limit.

Happy New Year and may this next year be full of consistent and amazing work for you!

The past few weeks have been a succession of calls with photographers across Britain, USA, Australia and New Zealand, on the back of a workshop I ran (The advertising photographers’ reset) and a podcast interview I did with the fab duo Tom & Greg at Exposed Negative (you can have a watch/ listen here if you haven’t already).

It’s been such a blast meeting and chatting to so many talented and passionate photographers from across the globe, and I feel very privileged to have been the ear to your challenges, successes and goals throughout 2025.

So thank you for being in my wonderful community and I look forward to helping you in the new year as we navigate the madness that is the world right now.

Meri Kirihimete (Merry Christmas) from Aotearoa and happy holidays!

What was astonishing were the amount of broken links, non existent (even ‘bad’) web pages, and some of the websites were, quite frankly, a bit of a dog’s dinner.

What a shame if a dream client, creative or agent lands on your Instagram feed, loves your work but gets to a broken link or finds themselves on a website which doesn’t deliver to their expectation. There are just not enough jobs to go around for you to be making these basic mistakes. They will simply go elsewhere- they’re too busy.

I worked with a photographer once who wrote brilliant monthly Email blasts, but from his stats he could see that people were not converting once they got to his website. When I looked at his website it was clear why- in spite of being nicely designed, it just wasn’t delivering what the emails promised.

In spite of all the places people can find you, they will inevitably seek out your website. It’s the one place they can (hopefully) find everything they need quickly, and use as a tool to get you across the line with their clients, account managers and producers.

There’s a raft of things you can do to achieve this but when you have a clear understanding of your brand DNA – your visual voice, how your work makes people feel, your own unique approach, and your ‘why’, you can build everything from there, and use it as a guide for what you have on your website, social media, what you talk about in your Email blasts (you do have one don’t you?) and any other outreach.

Consistency is key.

As we get to the end of 2025, consider a quick audit of your links- are they going somewhere? And if so, is that ‘somewhere’ a place you’d be happy for anyone to land?