14.01.10
Special agents
Who: Lisa Pritchard Where: LPA
I think photographers need to establish why they want an agent. Questions need asking. ‘Does getting an agent mean I won’t need to do any work?’. ‘Does it mean I won’t have to cold call?’ If that’s what someone wants from an agent; they are the wrong reasons. However, if they think: ‘I need an agent because I’m getting too busy and I don’t really know how to compile estimates while I’m on shoots,’ or: ‘I’m too busy to promote myself and am missing out on jobs because I’m on a shoot and can’t send my book in,’ then it’s time to look for representation.
If a photographer says they don’t need an agent, I think that’s fine – if the circumstances are right. I once worked with a photographer who was very successful. He was a prolific self-publicist. He loved promoting himself and really enjoyed editing his own work. He didn’t really need an agent, instead, we now act as his producer at a reduced fee. But this situation is rare. The photographer concerned needs to have the ability to be really subjective about his work. I’ve just formed a new division called LPA Futures, which specifically represents up-and-coming talent. The idea is that we have five new names on our books for two years only. Even in these circumstances, these guys are not just fresh out of university; they’re all in their late twenties or early thirties and have been to college and assisted for four or five years. It’s a very slow burning process starting out. On average, it takes five years for someone to earn money that they can survive on. It’s really, really competitive but that is because it’s a fantastic career.
Who: Guy Harrington Where: Soho Management
I think some photographers can make the mistake of having an agent too early. Before employing an agent, you have to have a very established body of work and you need to be clear who you are creatively. A lot of legwork has to be done in terms of nurturing relationships before you sign someone up to represent you. Learning what it’s like to knock on doors is pretty important.
Experience does count for a lot and that’s why people pay more money for practised photographers. They’ve got a track record; a reputation for being able to deliver. If a new photographer is put on a demanding shoot too early on, it can be absolutely crushing. It all boils down to the usual thing: don’t run before you can walk. It’s an incredibly competitive industry and, at a certain level, taking a great picture is simply not enough. A lot is about how you come across in person.
If you’ve enjoyed a day spent working with a photographer, you’ll want to book him again. It’s all about forming relationships. You have to get something aesthetic out of someone, and if you haven’t got the skill set to do that, then it’s going to affect your book-ability, isn’t it?
Who: Suzanne Siriotis and Jason Eason Where: ArtMix, New York
If you’re not working, it will be tricky to get an agent. We look for someone who is already on that path, someone
who we think we can get better work for. And it’s great if a photographer fits more than one mould. All of our guys have an element of celebrity photography, but they have to be multifaceted within that genre. Ben Watts, for example, is primarily a fashion photographer, but he can also apply his work to musicians and film stars, which means he can work in more than just one field.
When taking on new names, we’re looking for someone that fits; someone with marketability. They need momentum, a good vision and a hunger to grow. We want to propel someone forward. That’s the fun part – expanding a photographer’s career. Your relationship with an agent is really like a marriage – you work side by side
in order to get the best results. If it’s one sided, then it isn’t going to work. Anyone who thinks that an agent is going to do all the work for them is not going to be successful.
Personality is huge in this game. No-one wants to work with a prima donna. A photographer’s bad attitude could potentially stop a project in its tracks. It’s often the case that you’re bidding against two, three or four other names for a job – and a conference call could make or break that. If the creative gets a bad sense of how a photographer behaves onset, then they’re not going to move forward. We don’t have direct tie-ins with British agents. There are many English photographers who have agencies in London but also want representation in the States,
so will look for a separate American-based agent independently.
TIP: Don’t know where to start when looking for an agent?
Check out Le Book 2009 for a comprehensive listing.
Visit www.lebook.com or telephone 020 7739 1155.
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