ASMP: Winning collaborations between photographers and clients

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Winning Collaborations Between Photographers and Clients

There are countless stories behind every image and many parties who contribute to a successful assignment. On the path from a concept to the finished product, the image making process regularly hinges on skilled collaborations between a photographer and art buyers, creative directors, public relations staff, stylists, retouchers and designers in addition to the direct client. The images featured in the portfolio section of the ASMP Bulletin’s Year End issue all highlight situations where multiple parties formed a team effort to raise the bar and deliver a project that represents more than just the sum of its parts.

As an online supplement to this portfolio, we asked each featured photographer to provide further details about the collaborative aspect of their projects. This information is presented here in a Q&A format.
— JW

Ian Spanier

Website: www.ianspanier.com
Client: Double Down Media
Group Creative Director: Florian Bachelda
Other collaborators: Photographers Jimmy Nicol and Matt Furman
Subject: Morgan Freeman atop the wing of his private jet
Usage: Editorial article in Private Air Magazine

A little over two and a half years ago I restructured the photography department at a small publishing company, at that time working on two magazines. (Currently, Double Down Media publishes five titles — soon to be six in 2008). In my role as Director of Photography, I have two other photographers, Jimmy Nicol and Matt Furman, who work with me. We all collaborate directly with the client, and we shoot about 85 percent of the assignments for each magazine. The group creative director is the former president of the Society of Publication Designers and is well respected in the industry. I modeled much of the department in the style of the original Life Magazine; some days we operate as photographers and other days we are editors.

Each title operates with a budget that is about 1/5 to 1/10 what most magazine photo departments operate with, so at every turn, we have to creatively solve the visuals with minimal financial support and yet still create images that look like they cost two to three times what we produce them for. The system I created revolves around a photo assignment sheet that is required from each editor before we begin to work on any photographs, original shoots by one of the three staff photographers, assignments to outside photographers, or existing stock photography. This system also allows us to manage the lineup for the magazines, keep track of all of the stories, and enables us to quickly get the magazines’ visuals created. Generally, the magazines are closing about every two and a half weeks, and in 2008 there will be a magazine close every two weeks. Aside from the photo assignment sheets, we utilize Filemaker Pro to track all artwork. The database I created also monitors the photo budget, photo credits and status of when photographs will be arriving for each title. Every image that appears in the magazine appears in this database, allowing a visual confirmation that the images match the photo credit and story, invoice, etc. In 2007 the staff photographers shot an average of twenty in-house assignments to three outside assignments, and saved the company a cost of about $7000 per issue vs. if the same shoots were outside assignments. As busy as DDM keeps everyone, we all do freelance work during nights, weekends or any free moment, in addition to these editorial assignments.

In July, I was given the assignment to photograph Morgan Freeman for the redesign of Private Air magazine, a publication dedicated to private airplane owners, which was purchased by Double Down Media in early ‘07. I had the idea to have him stand on the wing of his plane. Earlier in the day when I was scouting the plane and airfield I asked his co-pilot about this idea. He said it would be OK, as long as we put some cardboard beneath his feet to protect the metal. Once we were ready to shoot I asked Morgan if he’d get up on the wing, and of course he looked at me like, “Are you kidding me?” I explained that Jimmy (his co-pilot) said it was OK. He shrugged and said, “OK.” Little did he know, I had a ladder standing by ready for him to climb (hidden behind my rental car!). I offered it to him, and no sooner had I turned to my assistant to retrieve it, he hopped up atop the wing on his own. Upon standing on the wing, put his hands on his hips, and proclaimed, “I AM GOD.” Just like the movie. I told him, “I knew you’d like it up there….”

ASMP: What is the most important element that made this particular collaboration a success?

IS: First and foremost is trust. Randall Lane, the president of DDM, as well as Creative Director Florian Bachelda both gave me a lot of latitude from day one. I remember after my first shoot for Trader Monthly, Randall proclaimed, “Wow, who shot this?!?” Nothing could be more complimentary…

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

IS: I believe that there are a number of factors to successful collaboration. First is a clear vision; if you are not clear about your vision, it won’t ever come to fruition. Second, ask questions. I have always been good at looking at a magazine and being able to blend my style to fit the publication (through lighting and overall feel). I knew I had a sense of the magazines and what they needed to improve visually, but I must have asked ten or fifteen times what each of the editors would like to see from their covers, and features. Third, communication. This is the hardest part. Everyone is busy, and often people just want you to “get it done.” Regardless, it is imperative that you force a conversation to happen. The client will never get what they want if you don’t communicate … and that’s a two-way street. Finally, attention to detail. I think there are a lot of good photographers out there, but many are not very good at the business of photography. Attention to every detail makes a huge difference, from the pre-production to presentation to post-production. I believe in the client’s mind they are hiring you to “get it done,” and that means you taking care of the details.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

IS: I think I have learned a tremendous amount at DDM. Patience is a key factor; as the company has grown, the staff has had more responsibilities than at times it seems like we can handle, but we always seem to get it done. Sure we push deadlines, but there is a deeper satisfaction when we get the first copies of each issue. From this collaboration, I think the biggest lesson I have learned is that, even if it is the eleventh hour, communication about the expected goals is an absolute necessity.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

IS: I think when you work in a scenario like this, and you see the same people on a regular basis, this can cause a familiarity that sometimes leads to a lack of communication. We talk to assistants and subcontractors on an as-needed basis, so there is a little more attention paid to the details. If that amount of detail could be given to those daily interactions, I think overall production would be improved. This is something I have to remind myself of regularly, it is equally important to deal at the highest level with both groups.

ASMP: With the success of this collaboration as a guide, are there any strategies you would use to encourage collaboration with other clients who are less inclined to take this approach to projects?

IS: 1) Know your product. I knew going into the job with DDM that I could help bring the visuals of the magazine to a higher level. I looked at their first year’s worth of issues, sought out the problem areas and went in with suggestions on how they could improve those areas without disrespecting what they had accomplished to date. 2) Build trust and never be satisfied. When our staff photographers do the shoots, there is an increase in the likelihood the magazine will get an image or image(s) that fit that magazine. Not every shoot is a homerun. That’s a reality, but if the client sees your success rate, their confidence in you only goes up. 3) Lastly, as I said before, pay attention to details.

George C. Anderson

Client: Ohio Business Development Coalition
PR/Public Affairs/Marketing Firm: Paul Werth Associates
Creative Director: Ken Waldron
Subject: Linda Abraham-Silver, President/Executive Director, Great Lakes Science Center
Usage: Wall Street Journal Advertising Campaign

We have worked with Ken over the past 10 years, first when he was an AD at an ad agency, then as a AD/CD for a real-estate developer, and now as CD at Paul Werth Associates. From the first day we met, he impressed us with his appreciation for the power of the photographic image as well as his desire to foster a team approach. He has always been interested in working with us for George’s vision and our professionalism. It is a highly respectful relationship. He is very open to input, an excellent communicator, and decisive. These qualities, of course, encourage great synchronicity amongst creatives. We are always thrilled when he calls.

For the OBDC project, Ken came to us stating they were undertaking an overall redesign of the project. The previous campaign had already run for a year, needed a change and needed to better reflect a work/life “balance”, so Ken recommended us for the assignment. He was confident that George’s enthusiasm and ability to collaborate would liven up the campaign. Ken explained how the shoots might go and why he specifically wanted our involvement. It is one of the best examples of true collaboration we’ve encountered in this business.

The campaign was to be based on the idea of how great it is to live and work in Ohio. The subjects would be real people who have had successful business experiences in the state of Ohio. Many times these people have lived elsewhere and chosen to relocate to Ohio or have simply had real success with the opportunities presented by living in Ohio. In every case, each businessperson also has a personal statement about how Ohio affords a rich personal or family life. Each ad would feature a business-centric and a personal-centric photo, maybe also a more generic portrait.

The layout developed into a very composition-centric concept. Two shots on either side (one “business” and one “personal”) with a feature round overlapping between the two “sides”. Ken wanted the side shots to be mirror-like in their composition. The challenge, and where the most collaboration occurs, is in finding the “mirror” images. The challenging factors are these: the subjects are all real people, not models. They are busy, usually without much time to devote to being photographed. The sites are provided by the subjects and, generally, we do not have time to look at them before the shoot date. These locations can be anywhere in the state, from Cleveland to Cincinnati and all points in between. Weather is always a factor because there is no option to reschedule.

Ken and George usually know something about the person — perhaps how they look, what they do professionally and what they like to do personally — maybe even something about their business and personal environments to be photographed. But, on shoot day, our team usually loads up into a van — sometimes Ken drives, sometimes George — and rides off “to see what they will see.”

They scout front to back and shoot back to front. Meaning, they look first at Location #1, carrying compositional ideas for mirroring to Location #2. Then they scout and shoot at Location #2, and go back to shoot at Location #1. Along the way, they grab another tight shot of the subject for the overlapping round (which Ken calls “the portal”) found between the ad’s side segments. Lots of times, Ken will use low res jpgs from the shoot, working with them in Photoshop on George’s laptop to finesse the layout as the shoot day develops. Some of the subjects are more interested in being photographed than others. Some have more compelling business or life stories. Some are just plain more photogenic than others. This is simply the nature of a long-term campaign featuring real people. But Ken demands the best quality with every shoot possible. He and George get very excited working together to make engaging images come together in front of the camera. We have been very happy to work so collaboratively with Ken Waldron and we keep our fingers crossed that other, similar partnering opportunities will avail themselves in the future.

ASMP: What is the most important element that made this particular collaboration a success?

GA: Mutual respect; both Ken and I respect each other’s vision, enthusiasm, and commitment to this project.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

GA: Keep in mind, we are hired to make other people’s ideas tangible. Of course, we figure into the creative process, but a lot of discussion and decision-making happens before we get a job. You must have a flexible attitude, an open mind, and an interest in listening. Remember kindergarten — work and play well with others and share your toys!

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

GA: It has confirmed that being a good team player can come back to your business in spades.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

GA: Well, clients naturally receive “Most Favored Nation” status. And while we welcome all our team members’ opinions, some — like assistants and interns — are not always privy to an assignment’s background information. Their ideas and insights may or may not be applicable.

GA: Not really — you can’t change people. However, we are consistent in our approach, enthusiasm, and openness to working with others. We try to always leave the door to collaboration open.

Kelly Gorham

Website: www.gorhamphotography.com
Client: Greg Patent, award-winning chef
Usage: Cookbook, “A Baker’s Odyssey”
Publisher: John Wiley and Sons

I was hired by award winning chef-author Greg Patent to photograph his newest cookbook, A Baker’s Odyssey, slated to be released in December 2007. I set up a studio in his kitchen, then he baked and I styled and created the photographs for the book. The interesting point is that I used to watch his cooking show when I was a kid. A few years ago I sent him a letter stating that I would love to work with him on a project some day. He saved that letter for two years and called me when this book was ready for production. Fortunately the publisher liked my portfolio and went for it. We shot the photos digitally in Missoula, MT and, after each capture, transmitted them to the publisher in New York for art direction. The shoot took most of the month of January 2007. Greg and I have since been featured together in newspaper articles about the project and recently presented a pre-publication slideshow and discussion about the book at the International Festival of the Book. Greg talked about the writing process and background of the book, and we shared the story of how we came to work together. He’s a local celebrity so many people just showed up just to meet him and hear him speak.

ASMP: What is the most important element that made this particular collaboration a success?

KG: We both really love food, and that passion made us fast friends. Greg always comments on the history regarding how I used to watch his show and was familiar with all his previous books.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

KG: As simple as it sounds, be nice. I’ve come across many photographers with egos so large it ruins the collaborative process. You need to listen and be open to ideas and criticisms.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

KG: Only in the sense that I prefer assignments where there is an element of collaboration. I benefit from having been a staff photographer for a good portion of my career. Working on staff is all about collaboration.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

KG: Absolutely. I give much greater consideration to the opinions of the client or creative partners than I do others. I think this is because I obviously want to satisfy the client, but the client and creative team also have more invested in the project.

KG: Over the years I’ve learned to recognize whether clients will be good collaborators. If I don’t think they will, then I tend not to take those assignments. I really approach all my work as though I’m a staff photographer, so I want to be part of a team. That’s really my marketing; when they hire me, they don’t just get a hired camera, they get someone who can see the big picture and is willing to do what’s best for the client in the long run. I also think this dynamic produces the best work. I really value client input and that of art directors, designers, editors, etc. Once again, I’m also nice to my clients and I think they appreciate that.

Michael Winokur Photography

Website: www.winokurphotography.com
Client: Dean Donna Perry at Santa Clara University Business School
Project Manager: Mimi Fillizetti
Designer: Michael Coman
Retoucher: Michael Horvevaj / Pixel Refinery (Kate Chase Represents)
Stylist: Shanon Amos / Artists United www.artistsuntied.com
Assistant Stylist: Lisa Wiseman
Usage: Annual Report

I just finished an annual report for Santa Clara University where I worked with the client from concept through post-production. The client has a project manager who was the point person for writing, design and photography. I managed all aspects of the photography and worked with their designer to keep the look and feel of the photography and the design cohesive.

ASMP: What is the most important element that made this particular collaboration a success?

MW: Trust. I have worked with this client on smaller projects for several years, so when they were ready to try something new and more elaborate, they were willing to accept lots of input on the photography from our team.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

MW: The ability to put the communication needs of your client above your own creative desires. Checking your ego at the door helps.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

MW: The work of a photographer these days is more like a movie’s Director of Photography. Keeping a group of people moving in the same direction towards a finished project takes management skill as well as creative skill. Also, every project is different and requires unique teams of people with varied skills. It’s the photographer’s job to know who to bring in to work on a given project and how they will work together. Getting the mix right can mean the difference between a smooth production and a huge headache.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

MW: Knowing where you belong in a team is just as important as your willingness to be flexible. I like ideas to flow around freely during a project and I look for input from everyone involved. However, just like an agency is in the middle between the photographer and client, the photographer is in the middle between stylists, retouchers, models and the client. Knowing when to loosen the reins and accept creative input is just as important as keeping everyone (including the client) on task.

MW: As mentioned previously, no two productions are the same. Sometimes I feel like I’m the director and sometimes I feel like a technician on a creative director’s production. I think being ready with ideas and resources and letting the client know early on in the project that you can help creatively is a good start. Really, everything comes down to personal relationships and trust. If you can build up a group of clients and vendors you work with repeatedly I think there is a better chance of useful collaboration.

For better or worse, focus groups play such a large role in creative decision making that many jobs are creatively locked up before the photographer is even hired. In these cases we are responsible for brilliant and painless execution, attention to detail and visual style. The finished work may not feel as personal as work you helped concept, but a project like this requires just as much collaboration and teamwork as one where the photographer is involved from the beginning.

Rhea Anna/Aurora Photos

Website: www.RheaAnna.com
Client: Praxis
Agency: Crowley Webb and Associates
Art Directors: Pete Reiling, Kevin Karn
Producer/Stylist: Jude Oliveri-Burde
Usage: Advertising, Direct Mail and Client Website

Making pictures on assignment is always a collaborative process, but when an art director brings in pencil sketches I get really excited because it’s so rare these days. With drawings rather than already produced photos to communicate an art director’s ideas, it’s automatically a much more invigorating process with so many more possibilities. In the case of the first Praxis series, that includes this image of the ballerina fixing a flat (or something automotive like that), I was graced with just words to communicate the concept. The agency’s creative team called me with the line that helped me truly begin to visualize the imagery and understand the need for humor and paradox within the photos: “Isn’t it wiser for people to spend their time on the jobs they’re good at?” At this time they also told me about several possible scenarios and asked which ones I thought were most interesting and feasible within their budget and timeframe. The collaboration ran from there. I hired a producer with lots of versatility and we began to round up places and people, costumes and props to consider. We presented this piece-by-piece to the art directors, who responded with openness to all of the options.

ASMP: What is the most important element that made this particular collaboration a success?

RA: I think the biggest factor in the success of the collaboration was the art director’s willingness to explore the ideas through words rather than already existing photographs. They also put lots of trust in me and my team to just let us freely round up resources that we felt reflected the right balance of humor and authenticity.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

RA: I think a photographer has to be open-minded and welcoming of the ideas that everyone involved in the team can bring to the process, at every stage in the game. Thoughtful consideration of the objectives of the client and agency, along with a willingness to let the experts that you hire shine, can really push a project beyond the boundaries.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

RA: It all really depends on the project and who is on the team for that particular set of pictures, what their experience level is and what their strengths are. This is what makes this profession so dynamic; every situation is totally unique. When there is an open-ended project at hand, I assemble a team of people who I feel will be really creative and bring more to the table, and I ask more of them by way of collaboration. So sometimes there’s not too much difference in how I’m collaborating with the client or the subcontractors, but the difference lies in how I’m tapping into their goals and ideas (with a client) versus their skill set (with subcontractors).

RA: I would encourage collaboration by trying to connect up and work together as early as possible in the idea stage, and also by trying to communicate ideas with loose visual references (i.e., drawings or collages).

Jackie Shumaker Photography

Website: www.jackieshumaker.com
Client: Metropolitan Glass, Inc.
Project Coordinators: Curtis Thomas & Amanda Hamill
PR contacts: Patricia Frisoni, Architectural Lead, Planning and Business Development, The Children’s Hospital of Denver; Charles Reyman, Public Relations Director, The Children’s Hospital
Location: The Children’s Hospital, Aurora Colorado
Usage: direct mail, in-house display and client Web site

We have a great story about a project involving extensive collaboration that just won two awards for our client. The Children’s Hospital (TCH) in Aurora Colorado opened a six-million-dollar facility in October 2007. The collaboration with our client and TCH was an amazing process. The building was still under construction at the time of our shoot. Our client tried to have the General Contractor help in preparing the area for our shoot with no success. It became clear this was not going to happen, so I put in a call to the Public Relations Department at TCH. I explained our position and how the images would be used in an award competition to promote TCH. We offered to donate our images to the TCH Foundation to be used in fundraising efforts. As a result of our offer, the TCH PR department advanced the time line on the construction schedule by one month so to have the area ready in time for our shoot. The images won an ACE award and the Peoples Choice Award for the 2007 Associated General Contractors of Colorado ACE Awards Competition. Out of fourteen categories in the competition, our clients took home five ACE awards, three Silver Awards and the Peoples Choice Subcontractor Award.

ASMP: What is the most important element that made this particular collaboration a success?

JS: Winning over the support of The Children’s Hospital (TCH) PR Department and inspiring them to become an essential part of our team. The construction timeline and the award submission due dates were off by a full month. The subject matter was a five-story Art Glass Wall in the main entrance of the Hospital. This area was being used as a construction staging area filled with construction workers and their equipment. Our client’s communications with the General Contractor to move the construction out and clean the Art Glass Wall were futile. The deadline growing ever close I had the bright idea of making contact with TCH PR Department. If we inspire the PR Department to join our team, the General Contractor will perform the tasks we need on our timeline. We made a licensing grant to the TCH foundation and PR department and they in return moved mountains. Our client was ecstatic with the results and won the ACE award and the People’s Choice awards in the 2007 Associated General Contractors annual ACE awards competition.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

JS: Successful collaborators are first and foremost masterful problem solvers with the ability to inspire others to perform extraordinary actions.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

JS: Yes. The key to inspiring others is to find their hot buttons and push them.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

JS: No. I do my best to treat all clients, creative partners, assistants and subcontractors with the same level of respect. I am always open to new ideas, viewpoints and camera angels. Collaboration breeds the best images. I never limit my creative process to my vision alone.

JS: With this project, it was not the client with the willingness to take this approach; it was us, our studio. We had to go way out on a limb to successfully pull this off, as did the PR department at TCH. The end results provided a big pay-off for all involved. Every assignment is different and has its own set of obstacles. Would we do this again? You bet. It was a win-win project all the way around.

Sarah Small

Website: www.SarahSmall.com
Client: Jan Vogler, Classical Cellist
Art Directors: Sarah Small and Jan Vogler
Retoucher: Stephan Sagmiller
Usage: CD Cover for Sony Music

A German cellist, Jan Vogler, contacted me out of the blue this summer, three days before he needed the shoot finished. He also had a somewhat limited budget. Although Vogler is represented by Sony Music, he opted for the shoot to be artist-funded so he could have the freedom to break some traditional classical photography bridges.

He found my Web site through a friend and, if I remember correctly, he originally wanted to shoot with Annie Leibowitz. He wanted the images to be somewhat elegant and dark, but also a little strange and striking. He suggested we work with a taxidermy animal, because he saw a lot on my Web site. We didn’t have any production or location or styling. We just sort of brainstormed a bunch of ideas.

We borrowed some birds and a pheasant and a location and got some fabric backdrops to nail to the wall. We worked very intuitively with the different elements bouncing ideas back and forth. There was no storyboard or clear idea of the final result. We just sort of built the concept throughout the shoot. I found it to be one of the most synergetic shoots I’ve done in a while. The rich sound of his antique, three-million dollar cello was inspiring and full of passion. It was an emotional synergetic experience. After the shoot, he was able to convince his publicist to convince Sony to roll with the concept. The album is out and we are planning the shoot for his next album right now, this time to be funded by Sony.

We are happy with the shots for the album, especially because it’s a Classical album with a style of photography that is rare for this concept, especially considering the insanity of how the shoot came about. We both feel there are tons of things we can do differently for the next album, when we actually have the time and money to improve our production efforts.

ASMP: What is the most important element that made this particular collaboration a success?

SS: We had never met before and, given the fact that it was such a last-minute shoot, we were very lucky to have such good personal synergy. Our back and forth energy lent us a safe, inspiring place in which to freely explore ideas.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

SS: Openness to exploring other people’s new ideas without judgment, in tandem with focus and the strength to stick with one’s personal vision, as well as to follow through completely with each idea (even if no one else understands what you’re doing or why you’re doing it). A photographer must trust their own instincts and let nothing get in the way of this, not self-doubt or an outsider’s opinion.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

SS: One thing I am not good at is styling. We were so last minute that we figured we could do the shoot all on our own. I was managing lights, props, backdrops and making clothing choices. I was so focused on expressions and composition that when things were wrinkled I wouldn’t see folds out of place. So, one thing I have learned and that I keep on learning (but still haven’t got stuck in my head yet) is that I can’t do it all myself. I mean, I can, but it sure does distract from my primary purpose. I wonder what creative thoughts slipped right by me when my flow was broken in order to fix a falling sheet nailed to the wall. When something is last minute, helping hands are really needed.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

SS: One-on-one collaborations are generally more enjoyable and more successful for me. What is that cliché — something about too many cooks in the kitchen? One-on-one collaborations are fun because you can learn each other’s language pretty quickly, learn how to throw ideas back and forth, share opinions and answer questions. When a lot more people are involved, it seems there are too many questions being asked and not enough space and time to deeply explore any one of them. Explorations that get stunted before the ideas get to develop completely yield images that are not fully realized.

SS: I know that I like to shoot one-on-one, with just myself and my subject(s) in the room. It is so much safer for both of us to take risks, make mistakes, be vulnerable and uncover happy, accidental truths. I guess what I’m saying is that, for me, good collaboration strategies involve having a safe space to take risks, while balancing an openness to explore new ideas and remembering to stay focused in order to explore each idea fully, until there is nowhere else to take it. Simplicity is helpful as well. Having fewer elements to explore leaves more room to explore each idea more fully. For me, the creation of an image happens in the process of shooting. I am not good at making up a detailed storyboard ahead of time, so it’s important that there is space to let the image create itself during the process.

ASMP: Do you have anything else to add?

SS: I think collaboration is important because other people always think of things that you would not. A good collaboration doesn’t stop building on itself the whole time. I like when other people give me a strict structure to work within from the beginning, something I wouldn’t have thought of. Strict rules give shoots more room to be free. The tighter the structure, the more freedom there is to work within the framework, and then break out into new creative territory.

Richard Kelly Photography

Website: www. richardkelly.com
Client: Pennsylvania Supreme Courts Interbranch Commission for Gender, Racial and Ethnic Fairness
Design Firm: ThoughtForm Design
Creative Director: John Sotirakis
Design coordinator: Tom Reay
Client Liaison: Lisette McCormick, Executive Director, PA Interbranch Commission for Gender, Racial and Ethnic Fairness
Usage: Annual Report

The project was for the Pennsylvania Supreme Courts Interbranch commission for Interbranch Commission for Gender, Racial and Ethnic Fairness. It was an annual report showcasing their recent success in the court system regarding interpreters. From initial concept through planning, photography and design, we met face-to-face in addition to communicating by e-mail and tele-conference — the whole nine yards. We shared ideas, exchanged text and photo ideas and then we went out and pulled it off.

Here is the link to the full report: http://originwww.courts.state.pa.us/index/InterBranchForFairness/Default.asp; you must go to the publications sections and pull down the IBC 2006 report.

ASMP: What is the most important element that made this particular collaboration a success?

RK: Team communications, using e-mail, tele-conference, and face-to-face meetings. We communicated regularly on all of our action items and results. The entire team — creative director, client, administration assistants — were involved in all communications and meeting sessions, which resulted in exchanges of ideas and resources from all levels. I think it allowed us to find innovative solutions on everything from the subjects to potential locations, to the photography selections, and even to the way the stories were ultimately told.

ASMP: In your opinion, what is the most important attribute a photographer needs in order to be a successful collaborator?

RK: I think it is probably a suite of attributes that all relate to putting the needs of the project ahead of their (the photographers’) own needs, including a combination of curiosity, enthusiasm, respect, and the ability to listen, to see the big picture beyond the photograph. It is about how to communicate my ideas to a team of communication professionals.

ASMP: Have your experiences on this project impacted your general approach to collaborating with others?

RK: Every project offers me an opportunity to improve my collaboration and communication skills, to learn how other creatives and non-creatives work together. As an example, when I am in the field making pictures, developing relationships and learning more about the subjects, I am able to report back to the team about how these experiences relate to the overriding mission for the assignment.

ASMP: Do you find there to be any difference between collaborating with the client and with other creative partners or with people who report to you (assistants or subcontractors)?

RK: I lead my team by example, the same as the creative design team on the project level. We use multiple communication platforms, phone calls, e-mails, planning sessions and project autopsies. This allows my support team to see the big picture and realize the role that they are playing in the success of the project. They perform better when they have a slice of ownership in the project. I set the tone for what is appropriate and when it is appropriate. Early in my career, I worked with a photographer who taught me many things. As the photographer — like the captain of a ship, who points the ship in the right direction — it is my job to be a leader, to listen to the crew and trust them to do their assignments, and not to over-manage them.

RK: Yes. I am able to say, “In my experience, this approach can work.” This confidence, experience and a new body of work from this new perspective are paying off. Clients are encouraged to be more inclusive, to bring me into the discussion earlier and to realize that I can be a partner, not just a line item. This has resulted in more referrals for work, higher fees and peer-to-peer respect.

Winning Collaborations Between Photographers and Clients

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Richard Kelly Photography

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