cheesy ads and marketing pieces going out to clients, despite the fact that the
studio location, photographer’s experience, and prices charged are very up-
scale. In both cases, the phone rings a great deal, but few callers turn into
clients.
Another problematic inconsistency occurs when you show work that you
cannot re-create for future clients. I can’t count the number of photogra-
phers I’ve seen displaying wedding photos taken in exotic locations where
their clients hired them to travel. Instead of impressing potential clients, this
can lead to uncomfortable discussions with future brides about why you can’t
provide the same looks for them that you showcased in your display.
Two good examples of this happened to me recently. As I was finishing
writing this book, we were getting ready to go on our family vacation to
Spain. My son is a senior in high school and wanted to take his senior por-
traits in Spain. My first thought was how amazing these portraits would be
for display—but the businessperson in me realized that for every one person
who might spend the $15,000 to photograph their child in Spain, there
would be tens, if not hundreds, who would be upset because they couldn’t
do photographs like the ones that impressed them.
As I was finishing my last book, I contacted the people who run the
Alumni House at our local university. Their building is set up as a very large,
very upscale home, and when I explained that I was interested in using theCONTROLLING THE SESSION—AND YOUR BUSINESS 109The images you show at your studio should
be shots you can actually re-create for future
clients.