Queensberry Connects


We’ve just spent a great Monday afternoon browsing through the submissions for our Bragging Rights campaign, which closed last Friday. Thank you to everyone who participated!

We had a terrific response from friends old and new. Plenty of weddings of course, but also engagement shoots, family portraits, maternity, pets, you name it. Different countries, cultures, locations and styles.

So that was inspiring, but now comes the hard part – choosing!

We’re looking for twelve sets of images to showcase on our website, in our new season sample albums and books, and in our blogs and marketing pieces.

As Anna said, we’re not choosing just on the basis of image quality, either – all the more reason to say that some awesome photography is going to miss out.

We’ve been swamped with riches, thank you!

Cheers, Ian

 

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  • The Queensberry phone server is down right now due to an external fault – no idea yet when it’ll be back up again, sorry.

    We’ll let you know on Facebook and Twitter (links to your right).

    Sorry for the inconvenience.
    Ian
    UPDATE: everything back to normal – Ed ;)

     

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  • If capturing a fleeting moment thrills you … if beautiful colour makes your heart beat faster … if you dream about composition in your sleep… if you love telling stories with pictures – we’d love to hear from you.

    We’re after images to showcase on our website and in our new season sample albums and books, as well as in our blogs and marketing pieces.

    We’re looking for sets of around 80 images, but to enter all you have to do is send us TEN low-res images* from up to TWO different events – a wedding, portrait session, or whatever you happen to shoot – and email them to us at showcase@queensberry.com.

    That’s 20 images in total. You can include a paragraph of supporting information if you like.

    This isn’t a competition, but we can’t pick everyone either, so here’s what we’re after…

    Technically brilliant imagery, yes, but more than that. We’re after images with something special to say about love and laughter, a vibrant culture, a dramatic environment or a compelling story. We want to represent the various markets we serve as widely as possible. And the events don’t need to be weddings.

    Sharing the love

    In return for the use of their gorgeous images we’ll give up to twelve selected photographers a US $1000 credit (or the equivalent) to their Queensberry account. Plus bragging rights of course!

    The deadline for submissions is 15th July 2011.

    We can’t wait to hear from you!

    Cheers, Anna

    Terms of submission:

    1. * The initial images should be low res jpegs, and the entire upload (20 images) should be less than 5MB. If you make it to the short list we’ll ask to see hi-res images, a set of around 80 from each event.

    2. To avoid delays, you must already have the permission of your clients to use the images for promotional purposes.

    3. We’re looking for images to feature for the above purposes for up to two years. If selected, you will retain copyright in the images, and we will only use the images for the stated purposes. Final acceptance is subject to agreement with our terms. The hi-res images must be sent to Queensberry within one week of notification. If your images are not selected they’ll be deleted from our servers and not used for any purpose.

    Any questions? Please email me.

     

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  • Our email list goes back well over a decade. A scary thought when you think about it!

    People could have been shooting film when they signed up … or still at High School.

    Mac OSX and Win XP could have been in the future, let alone Facebook and Twitter!

    (On the other hand there’ll be people on it who signed up for Photojunction only yesterday, but in order to design albums from Brand X.)

    The fact is we’ve been changing just as much as the world has, but I’ll bet many people won’t know about the Queensberry Press, for example, or Musée, or our Apple® connection.
    Or that that you no longer need to buy a starter kit to do business with us. ;)

    To get everyone on the same page we’re sending a few emails to introduce the new Queensberry, and we’re going to copy in our valued clients, so everyone knows what’s going on.

    If you don’t want to hear from us, you know what to do – but hopefully you’ll stick with them for a while: we have a lot of catching up to do!

    Cheers, Ian.

     

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    I’ve never met Crash Taylor, but I’ve been looking forward to interviewing him because of this endearing habit he has of poking his head above the parapet and getting shot at.

    As in this post, for example, which I published because he was nice enough to call Queensberry “the Tiffany of wedding albums”. I didn’t mean to buy into a storm, but I did anyway – as you can see from the post comments. You can read the full brouhaha on DWF if you’re keen.

    For the record, I think it’s hard to argue with “cheap publicity” (is there any other kind?) and when I spoke to him Crash came across as an energetic, engaging guy with interesting ideas. Not having heard him speak, I thought he was a Brit, but he’s actually from LA.

    I talked with him about LA and Nottingham; hard work; controversy and criticism; creating that ‘wow’ factor; getting booked; Lightroom vs Photoshop; story telling; being aware; albums and album design; workshops; realistic expectations; personal projects and work/life balance. I asked him about his workshops too.

    Crash operates on the one website per subject principle, but you can get to his studio work, blog and workshops through crashtaylor.com or his Facebook page.

    His photographer interviews are definitely worth checking out.

    Enjoy!

    Cheers, Ian

     

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  • Simon Woolf is one of my favourite people. One of our longest-standing clients and quite possibly the most energetic person I know (if you don’t believe me check out his Facebook page). He sells beautiful landscapes from his shop in Wellington’s Cable Car Lane – access way to one of Wellington’s top tourist attractions. One day Simon saw a tourist photographing one of his landscapes through the display window, and posted about it on Facebook.

    “I asked her for a look, and she stated, ‘It wasn’t a bad copy but was a little light’. I then told her I was the photographer, and she was being a bit naughty! Her reply was that at least half a dozen other people queueing for the Cable Car had done the same thing!”

    It’s not my image, of course, but, after coming up relatively clean on a quick internal audit, I appreciate his indignation – knowing Simon I’m sure it was good-humoured – but I don’t really think there’s a problem, for two reasons:

    1. He’s selling a relatively expensive product. If people are content with a photo of a photo (shot through glass) they’re not his customers. Just like those people who’re content with prints from your low-res web images. Nothing lost. And it says good things about the image!

    2. In an online world there’s no choice but to put at least some of your images, in some form, in harm’s way. Call it paying it forward, or the price of online marketing. The people that don’t buy are still marketing for you. Even via a crappy home inkjet print they pass around with your watermark on it. The challenge is how to monetise what you’re giving away. Simon knows this, and practices it by the way.
    I wrote this hoping he’ll comment ;)

    Cheers
    Ian

     

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  • This post won’t mean much to those of you who’s knowledge of social media is limited to, “You know, Facebook and Twitter etc”. But the rest of us are trying to get good at it without feeling like it consumes all our time.

    Anyway, I’ve just been asked my opinions about automation and social media. It’s something I feel strongly about, and my advice is to “approach with caution”. Here’s why.

    1. We’re in the ‘intimacy business’, and automation is usually the the enemy of intimacy. If I skype my wife, “Hi darling – love you!”, we both feel good about it. It was impulsive and heartfelt. Automate it and I turn it into marketing. I lose trust instead of gaining it.

    2. Social media is about “making connections”. That could mean making friendships or simply “getting noticed” (what Seth Godin calls “interrupting people”). Automating tweets to re-syndicate old posts is just advertising. It may have some value, but let’s call it what it is. You don’t see Seth recycling his old content, and he posts every day. We don’t recycle either.

    3. I don’t want to see the same tweet from you multiple times a day just to “make sure I see it”. As soon as I pay you the compliment of adding you to my insider list (instead of reading your posts in my timeline) I’ll see the game you’re playing. A big turnoff. You’re no longer authentic and I will probably “unfollow”. Especially if you’re pumping out a constant stream of stuff.

    4. Who am I following? Three times in the last week people have asked me, “Who d’you think is behind Jasmine Star?” (on Facebook). Their point was, it feels automated because there’s no dialogue with readers. Don’t get me wrong: I admire her, and what’s she’s done, and I’m jealous of her following. But you don’t want people wondering if you’re for real, and automation makes this much more likely. Compare Jasmine with @garyvee (Gary Vaynerchuk). Not saying his is the only way to do things, but there is no doubt he’s real. Check out “The Thank You Economy.”

    5. There is a slap (cost) to automation. Facebook especially makes your content lower priority if you automate it. We used to do this with blog posts but not any more. Now that we handcraft the posts, they get much more traffic and interaction. There is plenty of content on the web about this – this, for example.

    As I said we’re in the intimacy business. Most photographers need about 30-50 weddings a year. That’s 50 odd relationships to be treasured, talked about and shared. The real key to success is not for you to jump up and down more, but for your fans to spread the word. It’s not the size of the audience but the degree of engagement that counts.

    Having said all that, we do use automation, Tweetdeck in my case. It makes life so much easier. Give it a try, but please please please don’t turn your tweets into spam.

    Love to all, and have fun.

     

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    In the second half of our conversation I talk to Kristie and Brett Harkness about:

    • dealing with high-end clients

    • word of mouth

    • the importance of tangible products

    • building a relationship with venues

    • maintaining your business in the the recession

    • avoiding being a “busy fool”

    • changing, adapting and diversifying, and
    • working together as a couple – the last but not the least ;)

    Oh, and Brett explains why their workshops and DVD aren’t for beginners or the advanced, but those in between.

    Cheers, Ian

     

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  • My two children are getting married, and In Part 1 I talked about how my eyes have been opened by the experience.

    What would my kids get if they hired a “professional photographer” for $3500.00 or so? Generally the photographer’s time on the day, a DVD, no post work, often from someone who doesn’t know how to give a “wedding day experience” on top of everything else.

    $3500 feels like too much money for that, but as I pointed out, the wholesale costs involved are too high to expect much more.

    Prices like that encourage couples to go shopping with unrealistically low budgets for photography … but still often expecting everything under the sun.

    And yet these are my kids getting married and I’m not trying to cut corners. I’m focused on how much they’ll miss out on.

    How can we get across to consumers who want “everything under the sun” that their budgets are unrealistically low given the actual costs involved, and that the shoot and burn deals they end up settling for often aren’t a bargain at all?

    People with unrealistic budgets have always been with us, as have photographers selling at unrealistic prices. There’s not much difference between “shoot and burn” and “selling the negatives” in the old days of film.

    What’s new is the idea that this is a pathway to success. I agree with a comment on my previous post, that photographers are artists and should be paid for their talents, but when the penny drops that $3-4k is a helluva lot of money to pay someone for a day’s work, there’s going to be a lot of pressure on prices. Meantime, it’s hard to compete against, I know.

     

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    My father’s family came from Westhoughton, only twenty miles or so from where Brett and Kristie Harkness have their studio in the North of England, so we’re practically neighbours.

    Brett’s a northerner born and bred (Newcastle), but Kristie’s from Saskatchewan, where the population density is only slightly more than that of New Zealand supporters at an English rugby match.

    In the first of a two-part interview Kristie and Brett tell Ian how they got from working on a cruise ship to their high end studio, and: learning the business side of photography; letting the experts print for you; working your butt off as a recipe for success; finding your own approach; photographic style and inspiration; adapting to your clients; the role of Photoshop; getting it right in the camera.

    Enjoy!

    Cheers, Ian

     

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