Elizabeth Weinberg has talent and vision. PDN magazine called her one of 30 emerging photographers to watch in 2010, and they were spot-on. In this interview by Rachel Hulin, Elizabeth shares how she landed her agent, what it means, and why.
Tell us about your representation; when did you join your current agency, and how did you choose to partner with them?
I signed with Hello Artists in October of 2010. I was looking to switch reps and I had met with Rachel (based in Brooklyn) in the summer and then both her and Leah (based in Portland, OR) in October; We were having lunch and I didn’t actually know I was officially being asked to join until they said….so, you in? And I was! I was familiar with a lot of the photographers on their roster and they’d been recommended to me by another agent who knew I was looking for a new agency but couldn’t fit me into her own.
I think many photographers view getting a rep as somehow “making it”, rather than as just entering a new phase of their professional career. I imagine the footwork and self-promotion continues, if not as much as before, than just a bit differently. What has been your experience with that?
I don’t think having a rep means a photographer has particularly “made it.” There are a lot of agencies out there, some good and some not so good, and it’s the same with photographers. Signing with a bad agency is worse than being by yourself. Early on, though, I definitely thought getting a rep was going to change everything, but I’ve learned that there are no shortcuts.
It’s more about having a different set of eyes on your edits and someone on your side when it comes to negotiations and meetings. You’re now part of a team, a team that is dedicated to a common goal… the goal of getting great jobs and developing your craft. There is the same amount of footwork and self-promotion as there has always been. That has never changed, nor has it decreased, and it never should! A rep isn’t going to do all the work for you, they’re there to complement the work you’re doing.
Do you find having a rep validating? Does it give you more confidence? Do you feel the clients view you differently?
I don’t think clients really care if someone is repped or not. I see that time and again in interviews. I think they DO like having competent estimates put together and having all of the right questions being asked and no stone left unturned, especially for the big commercial jobs where a lot is at stake. It’s obviously great to learn that side of the business, in terms of the financials and fine details, but having a rep makes it so much easier. I also like being a part of the bigger picture, and I respect the other artists on the roster. That is really important!
What has been the biggest adjustment or biggest surprise about being repped?
There hasn’t really been much of an adjustment for me… but again, I was surprised when I had my first agent a couple of years ago and thought that I would magically be getting work. This time around I knew that the legwork was going to remain the same but would have the added benefit of additional promotion through the agency. We did an agency promo but we all have our individual promos too.
Anything you miss about going it alone?
Absolutely nothing! You give up a commission when you have an agent, obviously, but I probably wouldn’t have been able to negotiate the numbers as high without one anyway. And the peace of mind when it comes to doing those numbers and all of the other particulars is pretty priceless.
Beautiful shots, very well done.
The second question (“making it”) is not in bold. 😉 Thanks for this second post, as usual it is very insightful!
Keito, I feel your pain. I have spent almost a decade assisting, learning the ropes, trying to get my own clients, opening a small studio now etc, and I am still shooting weddings and babies to pay the bills and renting my studio hourly to every schmuck with a camera to keep the doors open while they constantly tear the place up. I land maybe half a dozen “commercial” assignments a year that I FEEL like I worked a 6 figures bill to land, and they barely pay 4.. I can do the work, I know its just a matter of marketing and my BARE rolodex. Look at phenoms like Joey L doing gigs of that magnitude at 19… It just proves that while talent is necessary, being at the right place at the right time, in front of the right person is 95% of the game.
It’s frustrating and I am tired of getting no responses from agencies/reps and I cant afford to advertise in places like workbook etc to get in front of the people who read it. I suspect those are a catch 22, you’ll make the ad money back on one or two big jobs from it very quickly, but laying out $6k+ up front to be in it for a year on a whim isn’t happening for my studio right now. I’m spending 90% of my time (and more money than I feel like I should be) doing my marketing myself and getting nowhere, because I havent got the same rolodex as an agency does..
I know it sounds like Im being pissy, but I KNOW some people are still making a good living as photographers, and I just cant seem to find the right connections to make that happen for me and I am floating around in the abyss of paycheck to paycheck, only mine doesnt come regularly on every Friday like most of middle class America..
I feel your pain…the jobs that come through are through personal recommendations. Otherwise, agencies look me up for a business estimate to show the client that they indeed called up a few photographers. frustrating. deeply!!! to say the least.
all the best to you 🙂
Ciao!
I see these interviews all the time with people who get with an agency but what I would like to know is how they got the oppurtunity to get with the agency. When did they know they were ready?, what did they have to do? mainly the process of going after such a thing.
Nice insight. Thanks Elizabeth (and Chase).