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CHAPTER ONEBusiness BasicsG E T T I N G S TA R T E DOne of the most important things that I have learned about getting started in any business is that you have to spend money to make money—you cannot simply wait for business to come to you!In the early years, when myclients at no charge. I then blewchildren were very young, I hadup these images to 16" x 20"no choice but to start a homeprints. These images were dis-business. Money was tight and Iplayed in the salon for sixwanted to be there for my girls.months. After six months, theyI used a converted two-carwere given to the salon free ofgarage with a separate entrancecharge.as a part-time studio. In theincreased the visibility of mybeginning, high school seniorsbusiness. I also handed outwere my forté, and this contin-coupons good for significantues to be the case today.savings on packages and printsBydoingthis,ISince money was scarce, Ifrom my studio to the clients ofdecided to get acquainted withthat hair salon. This particularpeople already established insalon was a high-profile busi-successful local businesses. Iness with a large client base—decided to contact my hair-and as a result of these promo-dresser, and offered to photo-tions, my name became knowngraph the salon’s staff andpretty quickly!As a resultof these promotions,my namebecame knownprettyquickly!8 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

Next, I designed an inexpensive direct mailer to be sent outto local high school juniors tointroduce myself. I purchased alist from the American StudentList Company, who suppliedpre-addressed mailing labels,making it easy to get the wordout. Nearly 300 kids receivedthat first mailer. That first summer, I photographed thirty seniors on a very small budget. Theschoolswerenon-contractones—schools that had notsigned with a specific photographer to take student’s photos.My package prices were veryClients can relax and be themselves in the laid-back atmosphere I’ve created in my stu-low because my overhead wasdio—and this results in better portraits.very low.The seven years I spentworking from my garage taughtphotographing high schoolseniors.running a home studio.neighbors did not like thetraffic that I was creating inme much about the specialneeds—and perks—inherent in3. As my business grew, myUnfortunately, there werea residential area.also disadvantages.It took me several years to1. Many people felt that since Ibecome well known in my area.plined, keeping your busi-was a “home” studio myMy studio started small but,ness needs in check at allprices should remain lowafter seven years, I took stocktimes.and sometimes would bick-of my business, and decideder over prices as my busi-that it was time to move it to aness grew.storefront location. Making a1. You have to be very disci-2. Running a home-based business is very personal. Ifound that my clients loved2. My studio was located offtransition to a new location canthe easy, laid back feeling Ithe beaten path. I was sim-be risky for small businesses.had created in my homeply not located in a well-Franchises are very successfulstudio.traveled area, and my busi-all over the country becauseness was not as visible aspeople recognize the name andI’d have liked it to be.are immediately drawn to that3. Low volume allowed meto get very creative inBUSINESS BASICS 9

business. Unfortunately, manyyears. After seven years work-key to a successful photograph-mom & pop businesses fail—ing from a converted garageic operation!especially when their propri-and seven years in a storefrontI recommend that anyoneetors don’t understand thelocation, I finally purchased awho is starting out take coursesneeds of their clients or knowhistorical building in a high-in business, make solid busi-their area.profile commercial area. Goodness plans, and be prepared toSuccess does not happenbusiness growth takes time,put in much time, effort andovernight. My own photograph-effort and, perhaps most of all,endurance. Do not expect toic skills grew as my businessendurance. This is what I haveopen a studio and have every-grew and changed over thelearned over the years. It is theone beating your door down!Hard work is the key to anysuccessful operation.CONTRACT VS. NONCONTRACT PHOTOGRAPHYEvery area is cursed with contract schools. How do we handle it? My thought is, if youcan’t beat the school contract,then you may as well join it—orforget shooting seniors!My studio is surrounded byseventeen area high schools.This is a dream for most photographers, but remember—Iam also in competition withmany studios in my area.Several of these schools arecontract schools—they recommend that their students arephotographed by their owncontract photographer. Becauseit is illegal to force kids to useCreating beautiful portraits that clients love is just one part of building a successfulthe services of a particular pho-studio—camera skills must be paired with good business skills.tographer, we do shoot someyearbook images for students atthese schools (however, each10 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

ally three per season. We feature kids from local schools inour mailers. Additionally, werun several ads—whether inthe yearbook or school newspaper—at the contract schools.We also sponsor special studentevents. The whole idea behindthese efforts is to show ourinterest and to get acquaintedwith the yearbook advisor ateach of the contract schools.In truth, though, our biggestsuccess lies in not being thecontract studio. We succeed inshooting all their sports anddancessimplybygettingacquainted with the key peoplein charge. If this isn’t happening at your studio, evaluateyour networking skills. If theyaren’t top notch, you maydecide that you would be betteroff sending a spokesperson ora partner to represent you. TheWe succeed in shooting a high school’s sports and dances simply by getting acquaintedmore students you photographwith the key people in charge.in each contract school, thehigher the pressure will be onyearbook has its own particularfor the “head shot” that will beparents to accept your fineguidelines that must be fol-used in their yearbook, andphotography over the mediocrelowed, so we have to be sure tothen coming to us to do a com-photography offered by theget all of the information weplete indoor/outdoor session forcontract studio.need from the yearbook staff).the rest of their portraits.We are also perfectly happyHow do we attract studentsP R I C I N G I N F O R M AT I O Nimages.from contract schools? MainlyHow do I determine what toGenerally, kids do not mindby word of mouth. We also docharge? There are severaldriving to their contract studioseveral direct mail pieces—usu-thoughts on pricing your prod-doingnoncontractBUSINESS BASICS 11

While, as a photographer, your product is artistic, your bottom lineis still financial. After all, in order to create images, you have to stayin business!12 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

How do you put a price on images like these? Several factors have gone into the development of my pricing strategy, and each is integralto my financial goals.uct properly. My ideas on pric-for myself. I have made a long-what actually constitutes suc-ing are as follows: First, you areterm plan. Several factors havecess. Personally, I want to havein business to make money—gone into the development ofa successful business, a beauti-your goal is to make a good liv-my pricing strategy, and each isful home, nice cars, etc. How doing for yourself and yourintegral to my financial goals.I achieve this? Well, I’ll tell youemployees, not to lose money.Together, these strategies willthis—I cannot do it by chargingSecond, this is not a hobby.enable me to retire early, if I so 12.95 for one 8" x 10" printAlthough I still love what I do,choose.unless my volume is exception-and assume you do as well, thebottom line is financial.My first piece of advice isthis: you should never lookally high.You’ll want to consider theHow do you put a price onat what your competition isfollowinglistofquestionsyour product? Through thecharging. After all, everyonebefore you decide on a priceyears, I have set several goalshas his or her own idea aboutschedule for your product:BUSINESS BASICS 13

Before you get behind the camera to begin making images, there are a lot of questions you need to ask yourself—How much money do Iwant to make as the owner of this business? How many employees do I need? What will I pay them?1. What do I want to make asthe owner? How high willof retirement fund will Ipricing is the cost of goods ver-need for the future?sus the charge for the print. Formy annual salary be? The4. What is my overhead (thisinstance, if 300 seniors averagefirst year is usually a base-includes rent, utilities, all 500 a sale, that’s 150,000.line for the future years.insurances and vehicleThirty weddings at 2500 eachAlways keep records!use)?totals 75,000. Seventy-five5. How much will I need tofamilies averaging 500 a salemaintain on a full-time orspend on camera equip-makes 37,500. That makespart-time basis? What willment, new supplies, film,the volume of the studiotheir salaries be?etc.? 262,500 for that year. Out of2. How many employees will Ithat 262,500, you have to3. What kind of health benefitswill I provide for myself andmy employees? What kindAnother factor to considerwhendeterminingdeduct your expenses.product14 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

Revenue generated: 262,500Now calculate all of your costs:Materials & supplies: Folders/albums Rebates to schools Camera room & outdoor sets Color labs Shipping & freight Film equipment, digitalcamera, hardware andsoftwareOperating expenses: Independent contractorwages Part-time and full-timesalaries (including your ownsalary) Medical insurance Membership costs Advertising Automobile expenses Bank charges, including allfees Cleaning Donations Heating/utilities Professional fees (legal &accounting) Office expenses (replacingoffice machines, servicerepair calls, etc.)The price you charge for your images must be structured to include a lot more than justthe cost of your time and film—there are many operating expenses, materials and supplies that also need to be covered. Rent/mortgage Repairs Waste removalBUSINESS BASICS 15

Facing page: Attending seminars and reading photographic magazines will help you tocreate better images by keeping you on top of the latest artistic styles. It will also helpyou build your business by learning from the success of others. Securitywell as state and national asso- Suppliesciations. The Professional Pho- Telephonetographers of America (PPA) Miscellaneous expensesand Wedding and Portrait(petty cash, coffee, soda,PhotographersInternationalbottled water, etc.)(WPPI) will not only help youto expand your talents, but willSubtract your costs fromcreate the potential for cama-your revenue. Are you showingraderie with other professionala profit?photographers. Another bene-As you can see, there arefit? These organizations havemany costs involved in operat-experts on staff that will helping any studio. If the moneyyou to determine your needsyour studio generates doesn’tand develop a successful busi-cover your expenses, you’ll findness, so it’s best to join early onyourself in deep when it comesin your career.to debt. While this guide willLocal seminars are alsohelp you calculate what yourinvaluable. Attending them willcosts are, keep in mind thathelp you to stay on top of yourthese costs must be based onfield and will subsequently helpprices in your area. Also, whenyou to grow your business. Thefiguring your costs, make surephoto industry is changing rap-you include your salary.idly as we continue to moveMany failing studios don’t evenahead digitally. You’ll need topay themselves! You must askstay current to stay on top.yourself, am I in this as a hobbyor as a lifetime career?You mustask yourself,am I in thisas a hobbyor as alifetimecareer?Finally, subscriptions to photographic magazines are also agreat source of education. I alsoC O N T I N U I N G E D U C AT I O Nfind it helpful to subscribe to& RESOURCESdesign magazines—they helpOne of the most valuable thingsme develop creative ideas foryou can do as a professional isimplementing new and excitingto join your local affiliates assenior sets.BUSINESS BASICS 17

M I S S I O N S TAT E M E N Tfor life. We have come to realizeIf your studio does not have athat we are not only creatingmission statement, then gettimeless art, we are selling theone! Figure out what your mainentire senior experience. At thegoals are, what you want toend of each senior season, youaccomplish and what servicesshould ask yourself the follow-you want to provide to youring questions:clientele. Consider the following points when developing Why am I in this business?your mission statement, then Am I selling excitement?put them to work! Do I see financial growth, asIdeally,you wantto makeeach oneof your clientswell as artistic growth? Do the best job possible Offer only the best quality Provide the best in customerservice Am I seeing repeata customercustomers? Can I be proud of what Ifor life.have accomplished? Give as much back to thecommunity as possibleAt the end of a photo sessionyour senior client should be soCLIENTS FOR LIFEexcited about the experience ofIdeally, you want to make eachworking with you that he or sheone of your clients a customercan’t wait to see the images!18 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

CHAPTER TWOAdvertisingMarketing plays a significant role in the success of any photography studio. After all, if people don’t know about your work, they can’t purchaseit. The first principle to recognize is the age-old cliché that money spentis money earned. Spending money on advertising makes the publicaware of your product—andness. I found that direct mar-more likely to invest in it. Asketing, specifically, was theyou budget for advertising,best and most effective way tokeep in mind that you’ll makeadvertise my home-based por-the most of your money bytrait studio.specifically targeting the audi-Direct marketing is the mostence most likely to make pur-effective method of drivingchases, then presenting themsales. It targets the particularwith eye-catching pieces thatclientele you need to attract inquicklytheorder to help your businessnature and quality of yourgrow. Advertising directed atwork.high school seniors should becommunicateAdvertisingdirected athigh school seniorsshould bevery visual.very visual. We found thatDIRECT MARKETINGwhen we filled our mailers withWhen I began Ellie Vayo Pho-colorful pictures of local stu-tography, I realized that suc-dents, our phones really startedcessful advertising was key toringing, resulting in lots ofdeveloping a successful busi-appointments.ADVERTISING 19

To this day, and despite therethink your mailer’s conceptgrowth of my business, directand come up with a few newmarketing continues to be aideas.favored resource. I’ve learnedMailers. Many examples ofthat if the direct mail piece isthe successful direct-marketingeye-catching, the recipient willpieces used by Ellie Vayohold onto it for a very longPhotography are shown in thistime. Even if the student does-chapter. Looking at them, youn’t decide to make an appoint-can see how they have changedment immediately, very oftenover the years. There is onehe or she will eventually callconsistent aspect in all of theyou to book an appointment.pieces, however: they are allThrough years of research, Ieye-catching. After all, we livehave found that direct market-in a society that bombards using (if handled properly) will gowith advertisements—in thefurther than any other meansmail, on TV, pasted on bill-of advertising. Of course, youboards, on the Internet, etc. Ifmust handle direct marketingyour direct mail piece is toin a smart, cost-efficient way.serve its purpose (i.e., interestBegin by looking at all the suc-a potential client), it must grabcessful magazine ads and ana-their attention and hold it longlyzingthemenough to communicate yourwork—then bring that insightmessage. To be successful, mar-to your mailers. What elementsketing pieces should meet thewill you use to catch yourfollowing criteria:whatmakesWhatelementswill you useto catchyour client’seye?client’s eye? How will you makesure that potential clients do Impact. Your direct mailnot throw your ad away? Directpiece must grab the view-marketing only works when iter’s attention. This can beis eye-catching and easy toaccomplished in manyread. If your ads do not satisfyways—with an eye-catchingthese criteria, not only will youphoto, a creative design, afail to get a favorable responseunique color scheme, etc.(i.e., your phone lines ringing), Style. Your piece should con-you’ll have wasted your timevey your style—is yourand money. If your mailer does-work contemporary?n’t succeed, you’ll need toClassic? Off-beat? Elegant?20 THE ART AND BUSINESS OF HIGH SCHOOL SENIOR PORTRAIT PHOTOGRAPHY

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color(s) that contrast withareas that you want to attract.your style, your marketingthe background (black onThey will use their expertise topieces should appear pol-white is much easier tohelp you market to your area,ished and professional. Ifread than yellow on white,making your job much easier.you are not experiencedfor example).Most companies charge a set Professionalism. Whateverprice for a list of the names andwith graphic design, considMailing List. My studio nowaddresses of 100 students, butor collect and use ideasmails to twenty-three differentthe more students you mail to,from other direct marketinghigh schools within a fifty-milethe cheaper the list. Ordering

Ellie Vayo AmherstMedia PUBLISHER OF PHOTOGRAPHY BOOKS T H E A R T A N D B U S I N E S S O F