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Nobody is perfect. And I put myself at the top of that list—or the bottom, depending on how you look at it. My vices? I’m a raging perfectionist who can’t help trying to “improve” everything from client processes to shoot schedule minutiae, all the way down to the “best” way to load the dishwasher. I also have a deep-seated fear of being late. I’m early for everything, which is good if you are talking about deadlines, but bad when it comes to client meetings and parties. It drives people crazy.
Knowing all this about me, it should come as no surprise that I often lie in bed wondering why my otherwise intelligent, wonderful clients make some really dumb photo mistakes. It’s maddening to see something done wrong without voicing a tiny little helpful hint. So in an effort to assist those who want to improve (read: there she goes again), I submit the list below. Names have been changed for obvious reasons, but if you recognize a co-worker, anonymously forward them this link.
My worst clients
The low-res enabler
Photo oops, not photo ops
Everyone has a camera. But that does not mean everyone is capable of creating good visual communications. Simply owning a computer and knowing how to type does not make you a good writer, right? I know there is a terrific temptation to use those awful (but free) images sent in by the guys in the field. But please first ask yourself—are mediocre, poor quality photos really the company image I want to project to the world? Then go ask your boss (or whoever holds the budget strings) the same thing.
The telepathic communicator
Communicators who don’t communicate
The Good Client spends time with the creative team and compiles a comprehensive shot list for the photo shoot. The Great Client goes beyond a shot list and provides comments and insight into why each shot is needed, what the intended message is and who will be seeing it. Even better, the Great Client lets the photographer know the reaction desired from the audience. Most clients don’t do this, leaving the photographer to guess or attempt client mind-reading. Too bad, because this kind of information will help your photographer go beyond mere documentation of the items on the shot list, adding emotional impact to your visual communications. But be warned—this information exchange needs to happen before the shoot, not on the set!
We once spent half a day setting up for an important executive-in-his-office shot only to learn from the marketing director (who arrived only after we had begun shooting) that all shots should have the exec standing, not sitting as we had planned. At no time in the month leading up to the shoot had she expressed any preference, she just assumed we would know what she wanted and was actually quite upset that we didn’t. The results were a mad scramble to reset and relight, leaving us mere minutes to actually shoot and the exec feeling hassled and late for a meeting—not the atmosphere for a good performance.
Mr. I-know-what-I-like-so-that’s-what-we’re-using
How a basket of puppies ends up on the cover…
Groan. It galls me when I see people without any training working as photo editors. Times have changed, people! The world is increasingly more visually sophisticated. Long gone are the days when a gut feeling was a good reason for photo design or selection. Just like it takes training to be a good copy editor, it takes knowledge and experience to conceive and select photos that will properly augment your story message and enhance, rather than conflict with, your overall corporate image. “Pretty” is not good enough. Boring documentation photos are not acceptable. A trained image professional can strategically build your corporate image library and establish guidelines for future photo creation that will give your visuals a consistent, cohesive look. Now doesn’t that sound good?
Clarence Darrow wannabes
Guilt by omission
I like lawyers. Most of my immediate family members are either lawyers or judges (yes, I’m considered the strange one). Lawyers by nature and job description are conservative and, let’s be honest, the words “artist” and “attorney” are seldom found in the same sentence (sorry, sis). Lawyers tend to start from a position of “no” rather than “yes,” which may be good if you’re talking legislation, but bad where creativity is concerned. Legal input and opinions get a big yes from me. But when did legal opinion become the final word? I wish communicators would take a more proactive stance and fight for images (and copy for that matter) that they know are good.
The peanut gallery
Employees that kibitz and don’t cooperate
People are funny about having their picture taken. It’s a love/hate situation. Most will say they hate being photographed, but many secretly love the attention and just about everyone enjoys the resulting personal promotion a picture in the company annual report or newsletter brings. So why don’t they pay attention to the memo that tells them what to wear and when to show up? And after refusing to be in a photo, why do they then hang around chatting?
For example: My long experience shooting industrial photos tells me that any person shown in an industrial situation should have on proper safety gear. I don’t care if they are technically outside the area that requires hardhats (or ear protection or safety shoes, etc.). Viewers (including clients and investors) will only see that it looks like the people in the photo are in a dangerous environment without safety gear. And honestly, corporate photographers are visual professionals who really want the photo to be great and for you to look good. Trust them and please follow direction. You’ll be glad you did.
Whew, I feel better already. Thanks for listening to my rant. I hope I didn’t hurt anybody’s feelings because I’m only getting started. Next time: The top photo blunders clients make. Stay tuned.
Suzanne Salvo and her husband/partner Chris are co-owners of Salvo Photography, an international award-winning studio with bases in Houston, Texas and near Milan, Italy. They specialize in location shooting, and assignments have taken them to over 60 countries. Typical projects include annual reports, ad campaigns and editorial assignments. See their member photos on the IABC home page. For more information, visit their web site at www.salvophoto.com. For more fun, visit Suzanne’s nationally recognized photoblog at www.salvoatlarge.blogspot.com. |
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Shooting realistic scenes like this in office environments often entails crowd control. The flashing strobes often attract those with little work but big opinions (and mouths). Heckling the employees in the shot may make these onlookers laugh, but it embarrasses the subjects and makes it very difficult to get a good performance from them.
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When the story is about the manufacture and assembly of a specific piece of equipment, it should be shown in process like the photo here. A generic wide shot of the facility exterior just does not carry the same impact, as it is not on-target with the precise message. Generic overviews or even specific shots submitted free by employees in the field may be tempting, but typically they are low-res and poorly crafted. Beware.
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Safety issues aren’t confined to industrial and construction locations. If the situation even remotely looks like safety equipment should be used—insist on it. Better to err on the “safe” side than chance a negative perception by your audience.
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When the company legal department tries to kill a marketing shoot by stating that proprietary information or research and development secrets are at risk, we solve the problem by taking shots like this. The feel is high-tech, but the image is tight and the focus is shallow so that no sensitive information is compromised. My point? The legal department will always play it safe with their opinions, but that doesn’t mean they should always have the last word.
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