People that have “done it” will be able to do it again. Whether it’s shooting a successful commercial assignment, hanging in a museum, making a music video, or whatever. It may not be a de-facto truth, but that’s what’s believed on the open market. It’s SAFER for the person hiring a creative if they can point to something that you’ve already done. One reason I get a lot of work is that I’ve done a lot of projects. They’re banking on my portfolio–work I’ve actually completed, work that I can point at, not a “resume,” or work that can be surmised.
I’m not saying it’s right or fair. It’s just the way it is.
But what if we’re not on the up-side of experience? For someone trying to get their first chance at anything where the keys to the kingdom are closely held by someone else, this can be a huge paradox.
If what you think you need is a new platform to show you can do something, you’re barking up the wrong tree. “Just gimme a shot and I’ll deliver” won’t cut it, no matter how loud you say it or how much you hope for it. The people making the decisions want proof. After all, if you fall flat, it usually means their ass is cooked.
So instead of lamenting “woe is me”, try this: Don’t create a resume, create a portfolio. Create actual WORK that looks like what you want to get “discovered” for. And make that work very strong.
Stop waiting for someone to take a chance on you. Do the work. And then show it to whomever’s got the keys to the kingdom. Once you’ve “done it”–and done it well–the phone will ring.
[inspired by a recent post featuring Randy Nelson from Pixar]
Well said. It’s advice like yours that pushes me beyond my safety zone.
Hate to “rain on everyone’s parade here”, let me play devil’s advocate. Number one, a resume is rather pointless…art directors/buyers, want to see what you can do, not where you went to school, who you assisted etc. So far we’re in complete agreement here. Now, here’s where I play devil’s advocate. You put together a nice website/portfolio. It can’t be tear sheets of previous jobs, or we wouldn’t be having this discussion, so it’s beautiful shots that you’ve set up, but they’re still not jobs. Here’s what happened to me within the last month or so. After looking at my website, an out of state art director asked me to bid on a job for Target. They loved my work, but went with the person who shot it last year. Shortly after that, I had an art director from a major ad agency tell me that he “loved my work, as a matter of fact, some of your work is breathtaking” and then this “but how much of was shot commercially?” I was honest…”none”. I have a friend who is a producer in NYC. I asked him what he would do, and he said “well, I’m not against lying a little”. I really don’t want to come off as either bragging or resentful, but to rather convey what is going on “out there in the real world”. Chase did say it’s not fair. Put yourself in the AD’s shoes. Do they take a chance on the new exciting photographer, or stick to the person whose been delivering very adequate jobs. There’s both a sense of loyalty and fear(and don’t get mad about this, because when you become that shooter, you want that same loyalty shown to you). Just to let you know, I’m no rookie. Back in the early ’80’s, I had a studio and shot for some well know clients. I do have tear sheets, but they are very out-dated. I dropped out over 16 years ago to be a “Mr. Mom”, and started back, just when the economy was “going south”. This means I’m like a “rookie with experience”. When I really did start out, ad agencies would give you the small jobs, while their “tried and true” shooter would do the big jobs. Once they got confident with you, you moved up the ladder. Now, a lot of art directors/designers will shoot the simple stuff themselves with their own digital camera, add to that RF stock, and it makes for a tough situation . Believe it or not, I’m an optimist and I think that eventually things will work out for me and you if we keep at it.
Oh, Chase, I didn’t mean to hi-jack your blog and turn it into a rant 😀
To dovetail with what Jon said, I think this also speaks to the fact that there are other factors at play when “getting the job” than just whether or not you can deliver the goods.
Don’t get me wrong, I totally agree that in the end, that’s what usually matters. However, we also know that the old adage still holds true, in a corporate environment, that the competent people are not always the ones who keep their jobs, it’s the people who know HOW TO GET ALONG with others. Seems unfair as well, but also true.
It’s possible that you could be the best photographer/videographer/cinematographer/etc in the world and produce the best work, but if you have a reputation of being a total jerk to work with, you may still find yourself unable to “seal the deal”.
People skills are probably the most overlooked aspect of ANY job in any field, yet my belief is they are probably the most important, even more-so than technical ability.
Chase, a tech question on portfolios if I may. You’re using the iPad a lot for questions to be recieved when you do your videos, do you use your iPad to show any of your work to Art Directors, clients, friends etc. If you do, how are you doing it?
yes. i’m just loading it up with photos and videos and either leaving them with the prospective client or giving them a tour myself. quite handy. people seem to love it.
Great perspective!
i second that!!!!
Thank Chase, You have backed up my thoughts and what I’ve been telling my self. Its time to push harder. 🙂
Whenever I’m feeling discouraged Chase always comes through with a nice little fortune cookie of a blog to make the day a little brighter.
Thanks!
Spot on Chase. Just one question. You aren’t saying it’s right or fair. That’s okay until you try and think of something that would be more right or more fair. I don’t think you could.