Queensberry Connects


Posts Tagged ‘Packages’

Welcome to the second interview in our series featuring clients whose businesses are thriving despite the current economic climate. Click here to read the first interview with Christian Oth.

122 230 110

In the same year they had their first child, Chris and Darcie Siiteri started their Austin (Texas) photography business, Innovative Photography. Fifteen years later they’re still at it and doing better than ever.

I gave an initially nervous Darcie an early morning call to chat about how they approach their album sales, and what they do to ensure their clients have an amazing experience and to foster relationships with other vendors…

Making it good

Price wise, it’s fair to say they started low. Darcie says, “I thought that if we made a $200 profit on every wedding we’d be rich.” 98 weddings later they needed help.

They found a mentor who told them to do four things: raise your prices, simplify your sales, have a flat hourly rate and don’t overwhelm your clients.

So they did just that. They raised their prices and toned down their whole approach, which included clearing their studio walls of portraits to create a cleaner and simpler look. Now their biggest problem is keeping their Labrador from jumping all over their clients when they walk in the door. But changing their studio isn’t the only thing they’ve done to boost business.

e084

Making the sale

Album sales currently make up half of Chris and Darcie’s turnover. In fact, they went from ‘new client’ to what we call a ‘Top Tier’ client virtually overnight. But it wasn’t until they made a major change that they started to see increased returns from their albums sales.

“After digital came along we stopped offering large proof books with 5×5 prints in them. Clients were seeing them as a good (free) alternative to an album, and they weren’t buying. So we started to give our clients proof books of thumbnail images instead. Our album sales instantly went up.”

Chris and Darcie now include an Album Product Credit in their packages, which the clients can spend on whatever they like (enlargements etc). I broached the up-selling issue and she told me, “We’re artists. People love our work and they buy it, we don’t have to push it. I want every product we make to be unique and artful”. So she’s not one to push her clients, or look for the big sale, but Darcie says her clients appreciate their honesty.

Client experience

“We’re always direct and honest with them and give them our opinion, but I’m more concerned with the experience and relationship I have with my clients than with squeezing as much money out of them as I can.”

That relationship starts right from the first time they meet. Darcie says rarely do any of her clients have to ring the doorbell. “When we know there’s a client coming I’ve got my eyes peeled for when they drive in. I always greet them at the door and welcome them into our studio – it’s just a little way of showing that we care and we’re excited to meet them.”

056

Clients, Vendors and us

By this stage I knew Darcie loved making sure her clients have the most wonderful experience when they come to her – relationships are important. Chris and Darcie have also been fostering relationships with vendors in town, who they say regularly send business their way.

“We are constantly emailing vendors new images and updating their albums – we focus on taking extremely good care of them. Almost everything we give them is free and it’s worth it’s weight in gold.”

From hotels and florists to the local judge, they say the relationship goes both ways. For example they’ve set up a deal with a florist who, in return for product shots, sends flowers to Chris and Darcie’s top clients.

“We work very hard at maintaining our relationships with local top hotels and wedding venues”. In fact they’ve had so many requests from vendors to do their corporate photography that Chris and Darcie have set up a Vendors Rate: vendors can get their work or personal photography done at a discounted price.

Other than past client referrals, vendors are now Chris and Darcie’s largest source of referrals.

Darcie says volunteer work is a great way to build and develop relationships. “We work closely with a charity for disabled children, offering our services for fundraising and promotional work.”

353

Queensberry

So how did Chris and Darcie end up using Queensberry as their album supplier? Well it was Darcie’s 2am urge to look for ‘something different’. Sitting up late one night, surfing the net, she came across Queensberry and decided to check us out. She ordered a Queensberry album, unassembled, and put photos from a recent wedding in it to see how it would look. It wasn’t meant for the client, but the client somehow saw it and just had to have it.

Darcie says, “Queensberry beautifies our business. To see the beautiful albums they create for our clients keeps us grounded. They’re so elegant.”

When it comes to album design, Darcie gets Queensberry to do it. Why? “I’d rather not be designing albums when I know there’s someone else that can do it for me, and better than me.”

Parting words

“Have fun when you shoot, be really honest with your clients and always seek to do better,” was Darcie’s parting advice. Oh, and “Always give your clients the best products you can ever imagine.”

Click here to view Chris and Darcie’s website and portfolio

Cheers, Nigel

0089 535

 

People who like this post would also like:

  • Create your own luck
  • People: Christian Oth
  • People: Suzanne Black
  • Gerard read my posts on album marketing and asked if I recommend charging for coverage and albums separately or together. I personally think both options are viable; it’s what works for you that’s important…

    Here’s the fundamental QBY business* proposition, which you either agree with or you don’t: Queensberry albums add value.

    Display your work in them and you present your photography in a whole new context (you expect more money for it!)

    Which means you want your work in albums. You profit from the albums, and you profit from the perceived value they add. That’s why, at the time of sale, your goal is to hand the clients an awesome display sample and have them say, “Wow, how much is that?” Or words to that effect.

    So, if I’m pricing the album separately, I need to bear in mind that what clients really want to know is how much they’re spending, all-up. Obviously you shouldn’t hide that from them, but you don’t want to overstate it either. I’d certainly stress the difference between their minimum commitment (however you define that) and what they just said “Wow” to.

    If I’m pricing my coverage and the album together I’d take care not to commit the clients to a specific album (a 20-side 12×12 or whatever) because that will limit their thinking (discourage them from upgrading). That’s why a lot of studios frame the album component as a “deposit” or “credit”. I would certainly make it clear that they don’t need to make a final decision until after the wedding.

    One other thing.

    If you’re starting out , chances are you won’t be able to command the prices you eventually want to – but you absolutely must get your business headed in the right direction. An all-in price may accomplish that better because it ensures your work will be presented beautifully, and get you on that upmarket path. You’ll look great value compared with other people offering equivalent presentation – and you’ll be perceived as competing with THEM rather than with the bottom end of the market.

    To be clear, you’d expect me to say that, and it may amount to suggesting you offer albums rather cheaper than you might want to. It may not make you popular with your competitors either. But I think it’s good advice, and no-one said that getting started was easy.

    Cheers, Ian

    * Albums are not just about business of course, any more than you’re in photography just for the money. The nice thing about our industry is that most of us love what we do.

     

    People who like this post would also like:

  • Adding value … or reducing it
  • Caring versus compromise
  • The real thing
  • In my posts a couple of months back about album marketing I suggested that you need an entry-level price that doesn’t scare people. That prompted Darlene to tell a good story…

    “If a bride has a Mercedes budget and your prices start at Ford, she won’t even come look at you. I’ve seen that in action with some of my clients.

    “One guy from a rust-belt town was charging $1500-3000. He told me, ‘I can’t sell your albums – they’re too expensive and I can’t get $5000 for a wedding round here’.

    “I told him he’d be surprised to learn, then, that one of his competitors (20 minutes away) was using Queensberry albums, his packages went from $4000 to $10,000 and a good half of his weddings were in this guy’s town.

    “The brides with money didn’t consider him because he was too cheap. So he assumed there just weren’t any with money there.”

    Cheers, Ian

    PS Darlene added, “I personally discount many people’s initial budget because they just don’t know what photography costs.”

    True, but … whatever their misconceptions (too high or too low) or how you price yourself (too high or too low), if you get it wrong they may never call you. You need to constantly evaluate your prices and packages to ensure they’re delivering the results you want.

     

    People who like this post would also like:

  • Yes, but…
  • People: Darcie Siiteri
  • One happy couple