By Lisa Golden Schroeder

Those of us in this business hopefully “get” the title to this publication. But sometimes I have to define it…and I just spent two days really working this angle of our work. As much as we love to style loosely and naturally, plating gorgeous recipes or artistically staging photos good enough to eat, the reality of commercial work is all about pleasing our clients. Two days of styling test shots for new frozen dinner packaging drained much of my usually ebullient creativity.  Placing peas with a pair of tweezers and trying to make a frozen dinner look appetizing and natural illustrates the amazing realm of the jobs we’re called to do. This is not the glamorous career that many think we have–it can be down and dirty. Thawing freezer burned vegetables and pouches of sauces only a food technologist could love. Sorting out undented peas, chunks of meat with a nice texture, slices of carrot with smoothly round sides. And reassembling meals so they look like something your family will beg for–or at least eat on a busy weeknight. Homestyle, family friendly, comfort food…whatever it’s called. So here’s a snapshot of the ubiquitous spatula of “stuff” with a biscuit on top. Almost ready to be delivered to a dinner table near you!

Lately, as each issue of Bon Appétit arrives in my mailbox, I shake my head and wonder what the editors are thinking. October, in particular, started a conversation among colleagues. What goes into the decisions about the images a magazine creates to illustrate their articles? Clearly, if you take a long view of the evolution of American cooking magazines, efforts have been made periodically to push the envelope. Gourmet took on the challenge a few years ago, shooting with only available light and taking on the portrayal of classic, iconic foods like your Thanksgiving turkey. And they seemed to be committed to the concept, come hell or high water. Even if the images appeared cold, grey, and unappetizing. The photos departed from the conventional warm, studio-lit images of beautiful food. One memorable July cover featured a grilled steak that had as much appeal as a piece of shoe leather–the cold, bluish light on the meat deadened what should have been a shot that fairly sizzled in the waning summer evening sunlight.

So now Bon Appétit appears to have growing pains. I haven’t spoken with anyone there, but we all (me, along with colleagues both far and near) agree that their stab at shaking up their photography is both interesting enough to generate conversation and surprising enough to make us think about what we’d do if asked to shake things up for a client. So I had an e-mail from Sarah Thompson, the senior food stylist at Reader’s Digest Milwaukee (Taste of Home). She wrote “I was looking at the new October issue of Bon Appétit. I’m curious about this cover. It’s an overhead shot of a copper stock-pot  filled with Texas Beef Brisket Chili. It makes me go “hmm?!” While I do think the food itself looks appetizing -the cover, on the whole, doesn’t really “grab” me. But in a way: It does grab me because it’s a rather attention-grabbing image. It’s bold, it’s confident, unconventional. Which makes me wonder: Is this by design do you think? Putting a cover out there that isn’t very appealing - in order to get noticed, to get people talking?  I mean, I know there’s always that intention. You want people to take notice of your products. But you also want them to make the purchase. Not just look at it momentarily and return it to the rack because you’re put off by the cover.”

I do think that there’s sometimes that idea of “let’s throw it out there and see if it sticks.” Experimenting with making readers question how they personally cook or think about food. Viewing photos is so subjective, and despite many readers liking some of the earlier spring Bon Appétit covers (I personally thought the whole grain pancakes on the February 2008 cover looked kind of greasy and inedible, but the novel approach to showing a very tall stack seemed to strike a cord in people.)  So who knows what prompted the tall stockpot full of stew–I doubt that basic appetite appeal was the goal. It was probably the idea of evoking memories of long-simmered stews of our grandmothers (even if we didn’t have a grandma who cooked like that). But the light background (I’d like a moodier setting for memory retrieval) is a bit of a disconnect. Like it’s an outline shot waiting for more type to be added. Maybe there’s a desire to “play” a little right now by their editorial staff. I do have to say that I lust after that copper stockpot!

Sarah shared that their approach to magazine and cookbook covers is not overly complicated. For any particular repeat publication, they look at what has worked for them in the past - the percentage sell-through on the publication over recent years. They consider repeating a success or taking a different direction. Do they want to show several whole recipes or individual servings? Sweet or savory? Is chicken selling better than beef because of high food costs? They make sure they don’t have another cover that will overlap in the marketplace with a too-similar look/feel (including recipe type). The time of year is also an important consideration. They sometimes shoot two cover versions and put them through online testing. Recently, they brought in Karen Tack and Alan Richardson (authors of Hello, Cupcake!) to help concept/develop and style the December/January issue of Taste of Home. That issue of their flagship publication will launch a new design that they are very excited about and hope the new look will make sales soar. In the end, publications are out to sell themselves to an audience hungry for content that solves their personal cooking dilemmas but that also entertain and stimulate them to try new things. You can’t argue with that.

Magazine publisher Haymarket Group, Ltd. has recently combined three of its titles, Chocolatier, Frozen Desserts and Pastry Arts & Design, into a new bimonthly “super-magazine” it’s calling Dessert Professional.Aimed at pastry professionals, but also of interest to the serious food amateur, Dessert Professional incorporates features, tips, techniques and recipes for all sorts of sweet goods.

Dessert Professional is also sponsoring a Web presence, www.dessertprofessional.com, which offers those in the pastry and confectionery fields a place to build an online community.

For information on subscriptions to Dessert Professional, call (386) 246-0139.

By Hugh Robert
Reprinted from The Republican (Thursday, August 28, 2008)

An enduring - but true - cliché is that we eat with our eyes. Since the first test of a dish’s ability to satisfy is whether or not it looks good, food presentation has long been the obsession of every restaurant chef worthy of the title.

Contemporary food presentation practices represent the culmination of contradictory ideas.

Up though the 1970s, “presentation” meant “garnishes”; it was the heyday of parsley sprigs and radish roses.

In the 1980s chefs discovered “verticality” as a presentation dimension, stacking elements of the dish into teetering towers.

“Dusting” plates came into vogue in the 1990s, with every square centimeter of the dish covered with minced, powdered and chopped elements.

Today, the fad in presentation is in the dishware itself, which now comes in strange shapes and dramatic colors designed to have visual punch.

All of these traditions co-mingle today, but the real secret of effective food presentation is simple, clean and uncluttered. Food, after all, should look like food, not be stacked, sprinkled and arranged until nearly unrecognizable.

Editor’s note: Today anything goes in the return to real food, with a more casual attitude and individual artistic expression. Future plates are sure to shrink with concerns about nutrition, the environment, and more “responsible” eating. Back to the basics?

By Lisa Golden Schroeder

I’ve been in the business of working as a consultant for corporate food giants, small entrepreneurial food companies, publishers, and any number of other non-food related businesses for 21 years. For much of that time I’ve been available as a freelance food stylist, working in a metropolitan area that knows food photography. Over the years, the studios that shoot any amount of food hired stylists and assistants with a simple phone call. The level of trust was high—it was assumed that the freelancer would show up prepared to do the job, the studio would pay in a timely fashion, and that the client would be happy. Rarely was any formal agreement signed beforehand, unless a corporate giant required a work-for-hire or confidentiality release. But lately, with business less certain and tightened budgets, I’m finding it’s getting more important to spell out what I will provide for any given job. I recently was hired for two different jobs—and both changed midstream with unspoken expectations that I would absorb and respond to the changes with no complaint (or additional charge). But maybe it’s because I’ve been around long enough that I’ve begun to feel less flexible (and a little crabby). I’m beginning to think that it is good policy to have a standard letter of agreement ready to fax or e-mail to a studio or agency that spells out my day or hourly rate, overtime, and cancellation policies for EVERY job. Once a client has confirmed a booking with me, the letter goes out. It may not be necessary to have it signed (unless you’re nervous about getting paid), but at least the studio or hiring agent has been notified of my most current rates and what services they cover—and what I expect if anything above and beyond is necessary.

I’m hearing from many stylists that job “holds” are increasing, with lots of last minute cancellations. I think that because jobs have become more uncertain and clients are waiting for budget approvals or multiple bids to come in, many studios want to be ready when jobs are inked (confirmed). So to ensure they have a stylist they’ll put more than one on hold for sometimes as long as a week or more. And they figure as long as the job is penciled (not confirmed), they won’t be held responsible for cancellation fees if the job falls through. But I think it’s important for both studios and stylists to be firm about the length of time they will remain on hold—and state that up front when the first call comes in.

I guess what I’m thinking is that clients need to know and understand that those of us that execute their projects are just as professional as they are. And deserve the same respect they expect. We won’t turn on a dime for them if we aren’t given good, timely information to get a job done well—or work under unrealistic time frames. Because every time we do, we set the bar higher for the next time, doing a disservice to ourselves and to the rest of our colleagues.

Image © 2008, Mette Nielsen/Lisa Golden Schroeder

Reprinted from Score Expert Questions (www.score.org)

© 2008, Phil Bode/Lisa Golden Schroeder

A nationally recognized expert on entrepreneurship, Barry Moltz has founded and run small businesses for the past 15 years, experiencing both great success and great failure along the way. His latest book, BOUNCE!: Failure, Resiliency, and Confidence to Achieve Your Next Great Success, offers entrepreneurs a new perspective on the concept of failure, and how recognizing and even embracing it can set the stage for bigger successes.

Q: How can entrepreneurs change their mindset about failure and develop their own “bounce”?
A: Forget about having “no fear,” or asserting that, “failure is not an option.” Actually, it is a very real option, and often happens. It’s okay to be afraid, and it’s okay to fail. Not everything works. Learn from failure and bounce to the next action and success. It’s about resilience.

Q: And if that action turns into failure, then what?
A: Grieve over failures if you have to, but don’t get demoralized. Being able to recover quickly and move to a new place where success is again possible is what matters. I use the analogy of a baseball team. Your opponent can beat you only once per game, whether it’s by 1 run or 15. But the next day, everything’s even and you have a new chance to succeed.

Q: Your book also advises against following one model or type of success? Why?
A: People want to find the easy, magical steps to success. In reality, success isn’t always a straight line, but a series of ups and downs. There are some great success stories out there, but they rarely apply to anyone else because those individuals have unique experiences and access to certain resources that may not apply to you. If you attempt to follow those same steps, you’re likely to be disappointed.

Q: What are some ways to create your own measurement systems for success and failure?
A: You should look for other things that are important to you—what I call “money-plus goals.” What is it that makes you want to do something to make money and have fun? Are you building customer loyalty? Are you learning things that will be helpful down the road? The key is to establish these systems from the outset so that you know what to work for, and how to recognize success when it arrives.

Q: You use the steps of preparing the business plan to illustrate your point that good process trumps good outcome. Does that mean business plans have no value?
A: Not at all. Business plans are valuable planning tools. But the process of creating them is even more valuable because it forces you to ask questions and search for information. You shouldn’t stop once you have the document, however, because business conditions are continually changing, and what you projected may be not be accurate in a matter of months or even weeks. Instead, you need to continue asking questions.

Q: How can a mentor such as SCORE help with resiliency and rebounding from failure?
A: Other people have traveled this path. Mentors like SCORE can help you assess a situation and figure out the best direction to take. Whenever you find people who can help you in this way, you will have better chance of success.

Q: What can you say about the value of mentoring?
A: Having a mentor–someone who has been there and done it successfully–is absolutely invaluable. No one can, or should, do it alone. Even elite athletes have mentors and coaches. And, in my opinion, every entrepreneur should become best friends with SCORE.

Get advice from a SCORE business mentor today.

By Rachel Sherwood

The NRA Show 2008 and the inaugural International Wine, Spirits & Beer (IWSB) Event in Chicago this past May revealed the hottest trends in restaurant and hospitality industries. The restaurant industry is one of the most diverse in the world and the NRA Show gathers all of its aspects under one roof. More than 2,200 exhibitors showcased their products in more than 890 product categories to 71,500 industry professionals from all 50 states and 115 countries. Industry leaders and culinary artists explored the newest products and services in technology, equipment, food, beverage, alcohol and environmental practices. Here are highlights of what’s fresh and exciting to support you in your food styling ventures.

Picked at Sundown, Delivered at Sunrise

A staple of food stylists everywhere, tiny greens can be difficult to find especially in cold weather. Sid Wainer & Son (New Bedford, MA) is a leader in the produce and specialty foods industry. You name it, they have it or they will grow it for you. Their latest venture into creating inner city farming operations has everyone excited. This will result in a national distribution warehouse offering customers immediate distribution directly from the farms. Sid Wainer & Son is committed to sustainable agriculture, preserving open farm land utilizing inner city space and bringing the highest quality, fresh produce, handpicked from the world’s finest farms. They lead the country in exploration of international produce, and specialty foods.

Looking for miniature? Herbs like epazote, and aromatic lemon thyme will grow to about 2 inches high before being clipped, washed, and packaged. Pea greens will be harvested at 5 to 6 inches. The tiniest African blue basil is growing, along with other doll-sized plants: chervil, popcorn shoots, carrot greens, shungiku, peppercress, golden beets, arugula, and red shisho.

Their policy of “never say never” ensures that items can be shipped overnight for last minute photo necessities. All orders are triple checked before leaving the dock. Their facility is also available for tour anytime if you happen to be in the neighborhood.

Find stunning unique produce that is available all year by contacting Sid Wainer & Son at 888-743-9246 or visiting www.sidwainer.com.
Honey, I Shrunk the Lettuce!
As a stylist, we all know that size does matter. Iceberg lettuce, once the traditional favorite, gave up ground in recent years to romaine and leaf lettuces. Let’s face it – iceberg just wasn’t cool!
Boggiatto Produce has changed all that with their latest development of Garden Hearts® Iceberg Babies®. A reinvention of the classic, these single-serving size gems are smaller than softballs making them perfect for photo shoots. Create little lettuce bowls, unique salads, lettuce wraps, bite-sized appetizers and small plate specialties.
No more searching for that prefect little green. Garden Hearts® Iceberg Babies® are available year ’round. Order through your regular produce distributor or call 831.424.4864.
Looking Great and Going Green

Looking for new ways to be eco-friendly in the kitchen? Check out the new line of clothing from Chefwear featuring organic cotton, bamboo and hemp products produced using environmentally sustainable processes. I especially found great value in the aprons made of 100% Certified Organic cotton. Organic cotton plants produce longer-stable cotton fibers, which yield stronger yarn and more durable fabrics. The aprons feature an adjustable, flapless neck loop and roomy patch pocket. They are available in black or white with monogramming in a variety of colors. For more information visit www.chefwear.com.

A Saucy Situation Cleans up, Sauce Dispensing Re-Invented
No longer do you need to wait for thick gooey sauces to make their way to the tip when trying to finish the prefect shot.

The FIFO Squeeze Bottle features a bottom dispensing, no-drip silicone valve that keeps your sauce ready to squirt. Simply squeeze the bottle to open the valve and dispense product. Let go the valve and it automatically closes. Wide mouth openings on both ends make the bottle easy to clean and refill. Fill it from the top and it sits spout down without tipping over. Great for syrup pours! Choose from a variety of caps to best suit your styling needs. Also available with a precision tip ideal for decoration and detailed applications. To view a complete catalog, visit www.fifobottle.com or call 800-457-6454.

European Essentials
One last quick note—check out Tellier, a French manufacturer of small tools for culinary professionals. Their unique cutting and garnish tools are what caught my eye at the show yet they offer much more. Take a look and find your next favorite little tool at www.tellier.fr.
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Rachel Sherwood is an independent food stylist in Minneapolis, Minnesota. A graduate of the Le Cordon Bleu Culinary program, Rachel founded Impressions Food Styling & Catering in 2003. She has been a featured food stylist for the Taste of the NFL cookbook in 2004 and 2005. Rachel specializes in both print and film for the consumer and food service markets. Some of her clients include General Mills, Schwan’s, Lake ‘O Lakes, Dairy Queen, Deli Express, Old Country Buffet, Green Mill, Target, and Cub Foods. She is a member of Women Who Really Cook and a volunteer for Kid’s Café.

Herb photo © Stef Culberson, 2008

By Lisa Golden Schroeder and Mary Holloway

Okay, so we’re exaggerating a bit here, but the point is we like this clear sticky stuff to help us style our food.

For those of you who haven’t used it, clear gel (also known as clear jel, piping or decorating gel, modified food starch or agar agar) is a food grade cooked starch or gelatin substance that can be used to thicken sauces or puréed foods, to maintain a glossy, moist look, and to create a barrier from air on cut surfaces of food, etc. Its applications for food styling are endless, and because gels are edible, you can use them even if your client prefers “natural” styling. My favorite example for this is using clear gel to repair cracked piecrusts, versus using another styling favorite, Vaseline (petroleum jelly), which is not acceptable to many clients.

Clear gel comes in several different forms and each is handled a little differently. We spoke to Dr. Julie Jones, a food technologist and professor at St. Catherine’s University in St. Paul, Minnesota. She explained the process of modifying food starches so they become very stable food thickeners. We won’t bore you with the food science (go to www.foodstarch.com for more technical information), but it helps to think of instant and cooked packaged puddings. Instant puddings have a modified food starch (based on corn, and chemically treated to make the starch very stable—in other words it won’t break down easily) added that has been “gelatinized” (cooked to evaporate the water, then dried to granule form). The starch in the pudding is now instant; just add liquid to rehydrate the starch and you’re ready to go.

Cooked puddings contain modified food starch that has not been gelatinized, so sugar is added to keep the starch granules separate (to avoid lumps when cooking), and the pudding is cooked with the liquid until the starch gels.

Clear gel powders come in instant and cooked varieties. The instant gel requires no addition of sugar to rehydrate it, it can be stirred into sauces to help thicken them and bind excess water (i.e. spaghetti sauces that bleed). Cooked clear gel requires some sugar to be added to avoid lumping (but don’t add too much, as sugar can decrease the starches thickening power), and then the gel is cooked until thick. It can take some experimentation depending on the kind of clear gel powder you can find.

For a really handy option, we like decorating or piping gel. It comes already prepared in tubs; its traditional use is in cake and cookie decorating and comes in colored forms, too. A large tub of piping gel will keep for several months, unrefrigerated. Commercial piping gel is made from agar agar, a gelatin derived from seaweed. This gel can be stirred into sauces to help thicken and bind them or to maintain a glossy surface. Following are more uses for clear gels, and no doubt you will have a few more ideas of your own.

MARY’S RULE #1: Always make up a supply of gel for a shoot - even when you don’t know that you might need it…because you might need it! (Isn’t this always a basic rule for all food styling—be prepared?)

*Mix a small amount of prepared gel in water to brush on sliced vegetables and sliced meats to maintain a fresh look.

*Use gel in pie fillings: this is the most common real-life use for clear gel, as a stable thickener for baked pie or pastry fillings. It will keep fruit fillings looking glossy, bright, and fresh—stir into fresh berries, sliced peaches, etc.

*Stir into cooked converted rice to keep the grains moist, but not oily. It allows the rice grains to hold lightly to each other. The grains can be moved as needed, without the grains lumping up.

*With shreds of cheese in the palm of your hand, thinly coat both sides of each shred. Place on foam plate (also lightly coated with gel.) Place individual shreds on styled food. Steam, if a melt is desired. This can be done ahead for pizza shoots—keep the cheese refrigerated until needed.

*Dilute gel to a medium-thin consistency and toss with pasta to keep pasta moist but not greasy.

*Add prepared gel to cheese sauce to keep sauce “spoonable” and glossy. This is particularly good for something like macaroni and cheese.

*Add gel to a white sauce - great for using on scalloped potatoes with a cream sauce, Alfredo pasta sauce, etc.

*Use when styling frozen convenience entrées—gel can enhance the sheen of sauces or re-create the look of a smooth, warm sauce when the sauce is actually at room temperature.

*Use gel to help adhere crumbs to breaded foods, or to repair broken or cracked piecrusts.

*Use to “crumb” sliced cakes or repair holes in baked goods by adding a touch of gel and added crumbs if needed to fill holes or give a more textured appearance.

*Stir instant clear gel into tomato or pasta sauces. It will bind up excess liquid that usually separates from sauces and pools on the plate.

*Stir into yogurt or puddings if you need them to mound nicely on a spoon for a lift shot.

I buy powdered Mira Clear Gel in 1# plastic bags from Glen’s Bulk Foods of Hutchinson, Kansas. Glen’s Foods is a bulk foods store frequented by the Mennonites of the area (telephone: 620-662-2875). They will fill orders by mail order and the gel is very inexpensive. I make up the gel, using about 2 rounded tablespoons per cup of water and cooking it in the microwave until bubbling and thick. It can then be thinned with hot water to desired consistency. It sometimes gets watery when kept in the refrigerator longer than a few days and will grow mold if left at room temperature for several days, so I make up a fresh supply every 2 to 3 days.

OTHER SOURCES

*www.sweetc.com (Sweet Celebrations; prepared clear piping gel from baking supplies)

*www.thestylingstore.com (they carry instant Clearjel powder + other thickeners)

*www.sugarcraft.com (Sugar Craft; prepared clear piping gel in a small tub)

*www.barryfarm.com (Barry Farm; instant Clearjel powder)

*www.foodstarch.com (National Starch & Chemical Company; order a sample of powdered Clearjel)

*www.kitchengifts.com (Kitchen Collectables; piping gel in tub)

*Local bakery suppliers or distributors

*Check out craft stores that carry cake decorating materials (especially for prepared piping gel)

DECORATING OR PIPING GEL
Try making this easy version of gel…

2 tablespoons unflavored gelatin (Knox)
2 tablespoons cold water
2 cups (500 ml) light corn syrup (Karo)

1. Soak gelatin in water. Heat over low heat until clear and dissolved. Do NOT boil.
2. Stir in corn syrup and cook just until simmering, but not boiling.
3. Cool completely. Store refrigerated for up to 2 months.

______________________________________________________________________________________________________________________________________________________
Mary Holloway, a veteran food stylist in Orlando, Florida. She has styled for magazines, cookbooks, and major food companies for nearly 30 years. She’s also written, produced, and distributed 20 educational videos on ethnic foods and cooking equipment.

After our last weekend workshop in San Diego (with photo stylist Susan Linnet Cox of Photo Styling Workshops and food photographer Greg Bertolini (search our Talent Profiles to learn more about Greg) , I asked our students what they got out of our time together. Here are a few bits and pieces they shared with us…

From Lisa Monahan, a budding food photographer from Ann Arbor, Michigan (she and her husband own a fish market/restaurant as well):

“I learned so much from Greg! But here are 3 tips that stand out”…
1. Try using a colored gel on a bare bulb for reflections on glass, also different colored gels can be used at the same time.
2. Don’t be concerned about buying the latest, greatest piece of equipment- save your money! You’ll know when you have outgrown what you have.
3. Building a tent over your set for nice diffusion can be done with conduit and elbows from Home Depot and then draping a large scrim or fabric over it.

From stylist Cindy Epstein, who stepped away from the business for a while and is trying to brush up her skills…

“The most important things the workshop gave me were: a sense of self confidence in my skills, inspiration, and a terrific a feeling of comradery and synergy among my peers. I walked into the weekend with wavering confidence in my styling skills with the hope that the class would help me make a career decision about my next steps, and the message was loud and clear. Go for it!! I walked away with a real sense of self confidence. The validation I got from you was just phenomenal! I’ve still got my head in the clouds!” (Editor’s note: we concur with Cindy about having confidence in yourself. If you can’t believe in what you can do, no one else will either. The sangria shot below was shot by another student, Carl Kravats, who collaborated with Cindy after the class.)

From stylist/food writer Mary Margaret Pack, who is trying to bump up the amount of food styling she does as part of her writing assignments:

“It was an opportunity to re-acquaint myself with basic techniques and methods—as well as learn plenty of new ones—particularly since I don’t get to practice what I learn as often as I’d like.” Here are some favorite tips:

1. Reinforcement that serious and thoughtful food handling and preparation trumps “tricks” every time.

2. Using Rain-X as a moisture-beading agent;

3. Using a chamois to clean glass and china surfaces;

4. Putting salt in beer (carefulllly!) when the head begins to diminish;

5. The myriad uses of piping gel (Editor’s note: clear piping gel is available through cake decorating/supply houses. We’ll post an article soon about the many handy ways it can be used in styling…)

6. Using dental tools for fine work.

7. Great idea about including a photo in e-mails to clients and colleagues, within the larger context of follow-up and creating/maintaining professional relationships.

8. The fact that a mini-steamer exists; how to prep and drape fabric…(Editor’s note: we’ve found a hand-held version of the larger Jiffi garment steamer…search online for the best deals.)

9. How skills developed in other professions can apply to food styling. Example: chemistry with clients, knowing how to read and set boundaries, and discretion are all extremely important in both private cheffing and food styling.

10. It was a revelation to hear from Greg that food stylists don’t contact him enough. Definitely an “ah-ha” moment for me!

11. The importance of consistency in self-marketing efforts…timing, branding, etc.

“I could probably go on, but I hope this is the kind of thing you’re looking for. I did neglect to mention what a nice lagniappe the subscription to Tweezer Times™ is. Thank you for that along with everything else.”

Thank to all our students who made the weekend as inspirational for the instructors as we hope we did for you…Lisa Golden Schroeder

By Jeff Hage

When you opened your own photography studio, you probably didn’t plan on becoming a bookkeeper, janitor, manager, or sales and marketing expert. Yet, to make a business successful you often need to perform all of those tasks and more. You learn to be resourceful, asking the advice of friends and using trial and error to learn what works, and what doesn’t.

Keeping in touch with a long list of clients takes time and energy. It’s great to have a rep that can do the sales and marketing for you. Since I don’t have a rep, I’m always looking for new ways to reach clients more effectively and efficiently. What do you do when the marketing department is YOU, and the budget is tight? Reaching clients by mass mailings can be expensive, impersonal and the results are hard to track. Ads in resource books can be costly, and with the Internet they are falling out of fashion. E-mail can be an effective way to reach people, but again, it can seem impersonal if you send a simple message to a long list of people. Personalizing a message for each client can be time consuming.

There is a way to keep in contact with clients while researching what they like — and showing off your latest work —all at the same time. It just takes a bit of thought, some extra time when you’re shooting and tracking your results with a spreadsheet. It’s as easy as sending an email.

The next time you’re shooting, after you get the “client’s shot,” do a second version. Change the style: the light, some props or whatever you think will make a shot different enough from the original to prompt discussion. Or go from a high key scenario to a low-key one, use a shallow depth of field instead of a wide one, or change the viewing angle. Make sure the second shot is up to your standards and it’s a style you’re willing to use in the future.

Once you have the two shots to compare, you’re ready for clients to help you with your marketing. Send out an e-mail with the two shots and ask clients which they like best and why. Be sure to use the blind addressing so that the addressee doesn’t know others are getting the same e-mail. That will make them feel like you’re seeking their guidance.

A new business approach: the client as the target audience

When clients respond to the e-mail, sharing their thoughts and opinions of the new style, they are giving you valuable information. Information you can use to target your next marketing message toward their preferences. If you craft your messages well, you can have your clients answer all sorts of questions and even help solve a few problems. By creating a spreadsheet, you can track the e-mails sent and the responses received. The information in your spreadsheet allows you to tailor your marketing to be more effective, more targeted. The spreadsheet will also help you track who you contact, when, and how much work they assign you.

With a little extra effort you can collect the research needed to segment your marketing efforts while connecting with clients — and showing off your work. It also shows clients you value and appreciate their opinions.

Jeff Hage is an award-winning commercial photographer specializing in Food, product, and location shooting and has been in the business since 1986. Operating his own studio until 1996, he is now one of the owners of Green Frog Photo in Grand Rapids, Michigan. Green Frog has an extensive client list, from blue-chip companies to ad agencies. Jeff attended the Center for Creative Studies College of Art and Design.