Reps and Photographers: Creating A Marriage That Works

Most professional photographers who have been in the business even a couple of years have a horror story or two about bad reps ripping them off. There seem to be almost as many stories told by reps about photographers who owe them money or didn't honor agreements. Lawsuits and lots of sniping by both parties demonstrate clearly that when a rep/photographer relationship goes bad, it's ugly indeed.

In the hopes of offering tips on how photographers and reps can build productive relationships without the hassles or bitterness, we asked working professionals on both sides of the divide for some advice on choosing the right rep and understanding what an agent can and can't offer.

Los Angeles-based celebrity photographer Kwaku Alston says signing with an agent is like entering a marriage: finances are merged, contacts are shared and both sides have to make compromises. Alston says one of the most important things a photographer should do when signing with a rep is to let go of his or her ego.

"That's a huge thing, the ego," the photographer says. "That can kill you."

That means more than just staying open-minded to the possibility that an experienced rep may have a better perspective on you, your career, and your place in the photo business. Alston says that may mean giving up the job of handholding clients you've come to see as your own, but your agent may have a better handle on. "Pepsi and Rolling Stone aren't your clients," Alston says. "Recognize that they [reps] have contacts you donít have." Signing with a rep, Alston says, has to be "the merging of business and ideas and ethics."

Alston has had four different reps in his career, but has been happily committed to Stockland Martel for the last two years. He says he now knows that younger shooters shouldn't expect to land a rep right out of school. Photographers need a little bit of seasoning first.

"When I was starting out I was overzealous," he says. "When I was struggling, I thought a rep was the key to success. I thought it gave a sense of importance, which was wrong."

Alston says photographers should first find out who they are as artists, what their strengths and weaknesses are and where they want their career to go before hooking up with a rep. And when it's time to tie the knot, "find one that loves your work as much as you do."

Darcy Hemley, who is repped by The Clare Agency, believes photographers should "make sure your esthetic is not duplicated ten times within the same agency."

And take note: Just as not all photographers are created equal, not all reps offer the same services. Which responsibilities the agent will and won't handle should be discussed in advance and spelled out by the rep contract.

"Some reps offer to do all your billing for you and some say you're on your own," Hemley says. "If you feel like you're really on top of your own accounting and get it out on time, then you should be doing it yourself."

Photographers should also consider whether they want an agent who can help produce their shoots or simply one who will concentrate on getting them work. "I don't want my agent doing my production for one reason: I want them out there selling my work," Alston says. "I can hire a producer. When they do production for you they're taking time away from selling your work."

But Michael Prince, who is with the Korman & Company agency, describes a good rep as someone who is involved with every aspect of your business, including negotiating better rates in source books, editing portfolios, estimating jobs and invoicing. Liz Baugher, the Chicago-based partner in the Virtu agency, says she doesn't do billing or production for her photographers as a rule, but will help out as needed.

Baugher agrees with the marriage analogy, even though it has been repeated so often it's now cliche.

"I had a photographer tell me that he felt like he talked to his agent more than his wife," she says, so "you definitely better like that person."

And like any couple, before you make the deal permanent, you should have in place the equivalent of a pre-nuptial agreement. A good contract defines and clarifies which clients are considered a photographer's "house accounts," who will pay for things like self-promotion and new portfolios, how responsibilities are divided and much more. Many photographers and their reps operate on only a hand-shake and a verbal agreement. But when it comes to the break up?and the relationship will break up eventually?a contract can make the whole process simpler, less contentious and a whole lot better for the next rep you work with.

The process of drawing up the contract can also help you and you rep clarify what you want from a relationship?a good first step to creating a healthy collaboration. Just as in a marriage, rep Bauer urges photographers and reps to keep the lines of communication open, so problems don't fester.

"I'm not sure you can say with certainty a relationship will work because I've definitely been surprised over the years with what works and what doesn't," Baugher says. "But I try and have a lot of conversations and get to know the photographer as best as possible since it's such an important relationship."