The talented and curious Hasnain Dattu posed this question in response to my post about the bevy of new reps in town:
Great that there are so many reps in Toronto, but can this market sustain all these reps? Is traditional representation now a model that has to be changed?
I thought it was an interesting question and I put it out to the reps I referenced earlier this week to get their response:
Pam Hamilton from Sparks Photographers:
My contracts with the photographers I represent are standard industry forms and based on traditional working arrangements.
My way of working with clients hasn’t really changed much either, except that I’m now available to offer them both print and broadcast production, as well as non traditional forms of advertising. A good example:
Ryan Lussing from 2B1 Inc:
The traditional representation model has not changed in that it is still about relationships. No matter how many email blasts or direct mailers people may send out, nothing can beat the personal connection between an agent, an art buyer, and an artist. We are in a business that has been built on collaboration, and we see ourselves as one of those collaborators, rather than just a middleman who connects the pieces. We are as passionate about the art we are selling as the photographers are about the art they are producing, as a result we explore various opportunities that excite all of us, and may seem non-traditional when it comes to promoting our artists and inspiring them to produce great work. This may be anything from unique mailers not normally associated with photography, gallery shows, creating motion-picture based shoots, or even teaming up with art-directors to help with a pitch.
In the end I am not sure if it is a matter of whether Toronto can sustain this many reps, but whether the industry can sustain the growing number of great artists out there. From what I have heard people are eager to find the “next big thing”, so while the amazing established shooters like Hasnain will keep working, the new talent that seems to be emerging have their foot in the door, and are ready to kick it open the first chance they get.
Clayton Rochemont from Rochemont Reps:
In regards to the question, traditional representation is definitely a model that is already being changed. Take it from (almost) the only male agent on the block! Our model is much different as we’ve focused on the best of the young talent, and are all building together as fresh eyes, with new work in an age old industry. It seems seasoned photographers are finding ways to upgrade and remain in the industry while my guys are simply being themselves. Yes that involves heavy retouching on very well directed and lit imagery, but they’re just going in the direction the industry is, and hopefully helping pave the future as well. Time will tell…
Jacquelyn West from Hermann & Audrey:
Hasnain brings up a good point. From our perspective approaches to the traditional representation model are evolving with the marketplace. With the current level of competition and the declining market need (and profitability) for photography as a result of shrinking advertising and magazine budgets; a traditional model, especially for a new photography rep agency, may have trouble being sustainable over the longterm. Hermann & Audrey is an agency made up of the artists it represents. We are selective about who joins us as our mandate is to collaborate in creating opportunity for ourselves to produce work in art and in commerce, while supporting and inspiring one another. Each member of our agency plays a distinct role in propelling the agency forward, defining new outlets for ourselves as individual artists as well as a collective. For us, we believe that what allows for sustainability in this market is a consistency in producing strong, impactful and culturally-relevant work while being openminded to new mediums and collaborations that will inspire Creative teams.
Our work extends beyond commercial and editorial photography into motion, graphics, web and contemporary art. Our next group art exhibit is an extension of this collaboration as 5 photographers each work with an artist of another medium to create an exhibit of stills, projections and video installations at this year’s CONTACT Photography festival in May.
Time will tell indeed. Thanks and best of luck.
{ 11 comments… read them below or add one }
Ryan , you prove a wonderful point in regards to relationships and collaborations. I completely agree with Pam that certain standards and the base of representation will never die. Its the details that will change as the industry evolves. I’m a former art director and designer (directed/designed Matt Barnes record promo along with loads of photographers mailers), and provide design and art direction for all my photographers as a part of our fee. That can take us out of the realm of traditional postcards and open the box a little in the sense of marketing our shooters, and our company at affordable prices for everyone. Small details such as what the rep actually is, (career management, agent, friend) is what I believe is evolving and while industry becomes faster and a bit more broad with the scope of digital and motion/interactive, the photographer isn’t the only one holding more hats.
I know that the answer will ultimately be answered by particular relationships…but what IS the standard relationship between artists and rep. The reason I ask is that I know a number of photographers with reps and they all seem to be working a little different. Some are out there busting their hump trying to bring in new clients, some only help negotiate estimates, and others simply take 30% without really doing a whole lot of anything (true story).
Not too long ago, one particular value of a rep was his/her connections…but it seems the net and companies like Agency Access and ADbase has demystified this process. As far as estimating, even though there is no standard, there is a plethera of comparative information on the net.
I’d like to hear the answer from reps but also other photographers. What are the expectations of reps? Do they negotiate only advertising or editorial too? Do they routinely show your book in person? Do they estimate, bill, etc?
Thanks in advance.
Hi Shane, my belief is that art is not only meant to be viewed, but also meant to be talked about. Therefore we will only send out books if that is a direct response from a client, otherwise we present the books in person, allowing for the dialogue to flow.
We also provide our artists with full production support, including negotiating, quoting, billing, casting, or simply hand-holding if that is all that is required.
Hope that helps!
I wholeheartedly agree with Ryan, we do this work because we believe strongly in the capacity and uniqueness that our talent offers (and we want to talk about it, promote it!). We aspire to open doors and create opportunity at every turn.
There is a movement not only in this industry but in many industries toward developing more authentic relationships based on trust and personal interaction. Awarding work to the people you know and believe in is what we find agencies and brands are after (and good way to risk-manage investments).
hey Shane,
With every Rep it’ll be different. I think of it as a marriage and a friendship. Sharing responsibilities, honesty and hard work re all factors to make the relationship and business successful. I don’t believe anything is obtained by doing anything other than working hard, and both parties have to share that understanding. If one party is pushing more than the other, it wont work no matter what the relationship is.
The connections a rep has are very important, however not as important as their ability to connect and network new relationships, seek new business opportunities and recognize when themselves or photographers and AD’s/AB’s etc share a common connection. One is the needle in the haystack, the other is a master seamstress. Time to see if they can work together…
With ADBASE being so convenient it probably has changed the game a bit, however nothing will ever replace the face time, and the connection you can receive in person. You can never be read as well as you can be heard. That you can quote, haha.
I don’t think I can answer any of Shane’s questions directly, but I can maybe give some insight from another angle –
I’m new to repping – actually, I’ve barely clocked a year working with Pam, helping her as she launched her roster – but I can attest to the fact that Pam, at least for me, completely exemplifies what it means to be pro at this. On every level.
Oh yes, I have the databases, I have an ADbase login, I try to keep up on the who’s who in Agency world – and yes, it’s all fairly demystified when you’ve done your homework and cross-referenced all the lists. But every day, Pam keeps proving that the most valuable assets a rep can offer are personal connections made through professional courtesy, and the really good ones take years to make. I mean, doesn’t that exactly hit at the heart of what ‘sales’ is? That, and basically all the hard work she’s willing to put in over and over to make sure all the details get her attention – from quoting down to coffee.
Hey Pam, I’m not kissing up, I promise! You really are that good ;)
“Evolve or Die” has been our studio’s motto since last year’s economic downturn. From the roster of photographers/directors to the producers to our infrastructure, we are always striving to be ahead of the curve.
I agree with Pam in that we still have our traditional working arrangements, but we too have combined both stills and motion.
Technology is rapidly evolving and photographers are embracing the inevitable convergence of stills and motion. Clients are ready and eager to converge their stills and motion productions because, let’s face it, it’s all about the bottom line to them. It is the agencies that are maintaining the ‘traditional’ arrangements because of their silo approach to stills and motion productions. This will change though because clients are going to demand it.
At the end of the day, it’s not about the number of reps in town but it’s the caliber of artists and the services that we provide.
Hi there Shane, I think the ‘standard relationship’ between rep and photographer is much like a supportive friendship but in the context of running a business. In terms of specific tasks… the rep usually does all the contract negotiations, solicits work, critiques work, edits books, oversees the estimating of the budget, as well as the production and stick handles any issues that arise. But in general, I view an agent as someone who generally consolidates the photographer’s position in their respective industry… whether that be advertising, editorial, or fashion/retail. By the way, if you want to view any standard forms for agent/photographer agreements you can download them for the AOP website
Thank you so much for all of the answers.
Do you do editorial work too? or just the ad stuff?
I’ve also wondered how you handle issues when you have two artists on the roster with similar styles. Do they compete for jobs? Do you estimate them exactly the same so the style is the deciding factor? Or do you try an avoid having two artists with too similar a style?
I also hear people talking about the video explosion. Sure people are asking for it…but do they really know what they are asking for? Do they want to pay for it? Are the comfortable with the extra time it takes to really successfully switch mind frames from video to still and back?
For Canada, I only rep advertising. For the USA, I rep one photographer for ads, music and editorial as they really want to push into a few key magazines. I would believe you’re going to get very straight focused answers for this topic, Most reps that Ive talked with have a focused industry, and thats where they stay. That to me makes the most sense, It’s hard to be all over the place.
Competition – My guys are quite different, but I know there will come a point where they compete for the same jobs (hasn’t happened yet), it happens in the big houses. I would assume money is never the bottom line, and as long as both quotes are within budget, the candidates would be chosen based on who is best for the job. Pam would probably be the best to answer this question, especially with her experience with Westside.
Thank you for taking the time to answer my open ended question.
I have to agree with Taeko & Steph that it is, but always has been, a time to evolve or die. I think the key to surviving and more importantly promoting your artist is to be proactive with interesting promotions as Rochemont did for Matt.
“You can never be read as well as you can be heard.” – Rochemont. Great Quote!
Great answers and insights, thank you! I look forward to quoting against or maybe even with you!