How to #MakeClientsHappy & Land the Job – Advice from Commercial Photog Monte Isom

This is Part 1 of 2 from our interview with commercial photographer Monte Isom.

With a saturated market of capable photographers, how do commercial clients narrow down the list to choose just one photographer that’s right for the job? For some advice on how to stand out and be “the chosen one” we talked to New York based commercial photographer, Monte Isom. To our surprise we learned that making your clients happy from the start, before you get hired, has a lot to do with it (oh, and that food can also help seal the deal). Here, Monte, who has shot for brands such as Nike, EA Sports, Adidas and more, dishes out tips for those initial calls with potential clients. Read ahead to get some fantastic pointers on what to talk about during the, what can be, intimidating conference calls with art producers who are making the hiring decisions, and the creative team.

PhotoShelter: What’s the most important thing a photographer should communicate during that initial phone call in order to get the job?

Monte Isom: The initial phone call with an ad agency art producer has significant importance. We all know first impressions are everything, and in this case during that first call, if you blow it – that second call never comes. The first call is not just to you, it’s also to two other photographers the client is bidding, so it’s imperative to make a positive impression.

In the initial call, the art producer is feeling out which photographer would best fit their needs based on the photographer’s past experience on similar shoots, their personality fit for the agency, client, talent (especially if a celebrity is involved) and of course, budget.

As I’m having that first call – there’s two things I try to convey: number one is confidence and expertise. You need to have confidence in yourself and in the project, make it clear to them that you can deliver what they’re asking for. The second point is compatibility – let them do the talking. It’s like a good relationship, you have to listen to them before you can respond. Let the client tell you what they are trying to achieve, and re-communicate their goals – that should help steer the direction of the conversation.

What do you hear time and time again that art producers need from photographers?

Generally with commercial clients, creative request are very spelled out. The wild card for them is budget. It’s fairly common in this business for additional requests to pop up along the process as well as unforeseen issues to crop up when on the job, all resulting in additional costs.

When building an estimate, if you bring up potential scenarios where issues may arise and discuss these along with anticipated costs, you will gain the art producers trust. The result of foreseeing potential issues when developing estimates and accounting for these will help the agency look good to their client when they come in on budget. This is the kind of partnership the agency is looking for when selecting a photographer.

What’s that second call like with the creative team – how to do you finalize the deal so you get hired?

There’s definitely a shift in tone once you’ve moved on to round two and begin communicating with the creative team. With the art directors, the discussion switches focus, away from budget and the numbers, and into a discussion of what you can bring to the table to help make the campaign better overall. What will differentiate you from the competition is speaking to what added value you can bring to the creative team’s vision.

Any expertise you bring to the table in post production that will make the final product sing is appreciated in this phase. That said, it’s very important not to step on the art director’s toes. It’s all in how you communicate your ideas, your suggestions need to emphasize the art director’s idea – not take it in another direction. Your enthusiasm for the project should not be underestimated, enthusiasm breeds excitement and can help you get hired.

What other ways do you “seal the deal” during that second phone call?

There’s one thing that everyone in the world does, and that’s eat. You start talking about the food you could get catered on set, and you’ve just moved the conversation away from details and onto an experience. Everybody can identify with that. Agencies and clients want to be taken well care of, and knowing the best restaurants in the region communicates that you’re not only familiar with the area, but also ready to have a little fun while on the job.

I set myself apart by conveying the experience and overall atmosphere I create on my sets. As the photographer you’re in a position to make the ad agency look good or bad in front of their client. I try to communicate the value of showing the client an amazing experience that will leave lasting memories of the shoot.

Monte is teaching a 2 day intensive workshop this May: Advertising Gigs: How To Get Them, How To Shoot Them – for more information, click here.