Photography Sales: Are You Projecting The Right Image
Summary: "Photography Sales: Are You Projecting The Right Image"
Many photographers are converting to projection sales, either in their studios or at the client's home, but we need to know the reason why we're projecting in order to best serve the client and achieve the wall portrait sales we should be making. Otherwise, we could be making mistakes that sabotage these goals.
The days of paper proofs have been gone for a long time now, leaving two main camps of photographers: Those who sell through online portfolios, and those who sell through projection in a personalized portrait sales session.
Although this post focuses more on the aspects of projection sales, this is not a “projection vs. online sales” rant. In fact, I believe both sales models have a part to play in today’s digital sales world. For example, print sales to the extended family from a wedding or large event are probably better served through an online sales model. However, when it comes to wall portrait sales for families, high-school seniors, or children then projection selling is definitely the better way to go.
If you do already sell portraits by projection, how are your average sales? Are you happy with the purchasing decisions your clients are making? Do you feel that your clients are somehow missing out on the amount of enjoyment they could be getting from the small (in your opinion) photographs hanging on their walls?
These are all interesting questions that we all need to answer for ourselves. However, there’s a more important question we really should be asking, and the answer to it directly affects our responses to those other questions above.
The REAL Question Is: Do You Know Why You’re Projecting?
The answer to the above question might seem obvious, but have you really stopped to think about why we project? You might say, “well, it’s to sell more and larger prints, of course!” While that’s true to a point, it’s not the complete answer. If we conduct our projection appointments with nothing more than that rationale to go by, I believe we’re destined for poor sales performance.
You see, everything else we do with respect to projection portrait sales hinges on how we answer this question. It determines the physical set up, our approach, sales technique, philosophy, our expectations, the client’s perception of us and the portraits, and the client’s ability to visualize (and therefore justify) the sale.
The answer to the question of “do we know why we’re projecting?” is simply this:
Projection is the single best way to establish in the client’s mind the essential ingredients for a successful portrait sales decision: Beauty of the images, the emotional value of the photographs, the relative size of the desired portrait, and the value of the investment she’s making.
The answer is not just to make more sales! It’s simply to help your client make the right purchase for her and her home.
For example, she can clearly see (through projection) that an 8 x 10 is going to look pretty silly on the wall over her sofa, and that a 16 x 24 or larger might be more appropriate.
The Sale Is Made or Lost BEFORE You Project A Single Image
One of the key factors we need to realize is that the sale starts before the client even walks through the door. As she steps out of the car, her mind is going to be focused on the idea that she’s there in order for you to sell her something. She might not be consciously aware of the thought, but it’s there all the same, in her subconscious, which is the area of her brain that controls emotions. We all know just how important “feelings” are in the context of the sale, so she may already have resistance built up in the very area of her mind that’s going to be in control of her purchasing decision.
As she walks into the studio, her internal radar will be on full alert and she’ll be picking up every possible signal from the environment she steps into: The décor, lighting, music, freshness of the air, how clean the place is, the softness of the carpeting and furnishings, any clutter, the way you’re dressed, the smile on your face, your level of enthusiasm, how you greet her, your tone of voice, the firmness of your handshake, even your internal mood or any sign of nervousness…
I could go on and on, but it’s as though the space between us and the client is crammed full with millions of signs, signals and communicators that we’re 99.99% unaware of in our own conscious mind, but which our subconscious senses are working non-stop to interpret.
Furthermore, the way she interprets all those signals depends entirely upon her own deeply held paradigms and belief systems about selling, buying, portraits etc.
And to think that all this happens before she’s made it across the lobby…
It’s a scary thought, isn’t it?
With all that in mind, how might we now consider the projection space and the way we’re going to conduct the actual session?
Giant TV Or Projector?
One of the questions I see a lot (in fact, I encountered it again this week, which is what prompted me to write this), is the issue of whether to show the images on a giant TV or to use a projector?
Again, this is not a discussion on the technical merits of either case, since they’re apples and oranges anyway in the context of portrait sales. The reason I say that is because I believe the answer is plainly obvious, especially in light of the answer to our original question of “do we know why we’re projecting?“
I have nothing against large-screen TVs when used for their proper purpose. They’re perfect for an incidental display of slideshows or videos but, in my opinion at least, they are singularly unsuitable for the sale of wall portraits. I don’t care how large the TV is, it’s still just a computer monitor in the mind of the observer, which puts them in the very same mindset as they would be in if you were selling online. Secondly, there’s nothing emotional about a TV, and it does nothing to convey the warmth, elegance or feel of a wall portrait.
Screen, Wall Or Canvas?
Having settled on using a projector, the next question that comes up is, “what type of screen should I use?“
Again, this is the wrong question to ask!
Take another look at the answer to our very first question, and then ask yourself how the portraits should best be presented in order to satisfy that answer…
Don’t you think that the client is going to get a better appreciation for the elegance and emotional properties of a finished wall portrait if she can see exactly how it might look in her home?
In that case, we want the displayed projection to be as close an approximation of the finished product as possible (remember, we sell what we show).
A blank white canvas, with a beautiful frame and its interesting texture, makes the perfect screen on which to show your portraits off to their very best. I use a square canvas (50″ x 50″ is a good size), mounted over a fireplace to provide an idea of relative size, but you can also mount it over a sofa, love seat or other furniture; anything to provide something to make a familiar comparison.
Now I know that certain projection software is very smart and can show images in frames and on walls with furniture etc. so that a screen can replace the framed canvas, and that’s fine up to a point. However, I would urge you to bear this one fact in mind: The physical frame is there for a reason, to provide scale. Since the physical frame never changes in size, it demonstrates very clearly to the viewer a sense of perspective when we show smaller images. This is not meant as a sales tactic or gimmick; it’s a genuine way to remind her that an 8 x 10 or 11 x 14 really is small, and may not be appropriate for her. When the projection software allows us to shrink the photographs and the frames at the same time, that relative perspective is lost.
Don’t Be Cheap By Projecting On A Wall!
Before I close on this one, someone also suggested simply projecting onto a blank wall because it’s cheaper to do. Given everything else that’s been said here, I hope you can see what a terrible idea this is. Nothing does more to say “I’m can’t be bothered to show you the real quality of what I do” more than showing your portraits on a plain wall, even if it is painted white with a frame stuck to it.
Asking your clients to make a significant investment for a wall portrait, but then demonstrating such blatant disrespect for your own work clearly communicates a very mixed message to the client, again resulting in compromised sales.
Finally, for those who might dismiss some of this as being pretentious in any way, consider this: Are you an artist, or someone who sells snapshots? Are you just in it for the sale and the money, or to help your clients cherish their memories forever? You can’t have it both ways…
I’d love to hear your thoughts on this, so please do leave a comment and join in the conversation. I’m sure there are things I’ve missed or that you disagree with, in which case, I’d be thrilled to hear from you. Thanks for reading, and I wish you success and peace in your business.
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Thanks Nigel. That’s it I’m staying with my projector. I was thinking of going to a plasma for more resolution but I see that’s not that important here. So do you sell square portraits a lot or is the square so you can project vertical and horizontal as well. I’ve learned this through Charles Lewis and your explanation has really added to his. Chuck recommends mounting the frame on a lazy Susan and rotating it; sounds like a pain. And do you leave the blank canvas up in your sales room all the time or do you take it down? I primarily use my office to sell so I’m guessing it stays up.
Hi Michael
You’re more than welcome and thank you for the comment. I use a square canvas because I really don’t want to have to bother with a lazy Susan (motorized or otherwise) to switch from horizontal to vertical etc. I still sell mostly regular portraits, with a few square ones here and there (mostly composites). I do leave the blank canvas up all the time at the moment, but I do plan to replace it with a framed piece at some point soon.
Thanks again, and all the best to you!
Nigel