3 Strategies

to Sell Your
Photography
An IPS Road Map: The route to successful
in-person sales................................................ p.2

The Psychology of High-End Sales:

First, get your own head in the right place...... p.6

One Grand Plan: A packaged approach

to senior portrait sales.................................... p.10

These articles were originally published in Professional Photographer magazine, PPA’s award-
winning publication for working photographers. Discover more articles at ppmag.com or
become an official member of Professional Photographers of America at PPA.com.
IN-PERSON SALES
SUCCESS
IMAGES ©JULIA KELLEHER
AN IPS ROAD MAP
THE ROUTE TO SUCCESSFUL IN-PERSON SALES
by Jeff Kent THIS ARTICLE ORIGINALLY APPEARED IN THE OCTOBER 2017 ISSUE
u Even from the early days of her business,
Julia Kelleher, M.Photog.M.Artist.Cr., CPP,
saw the shift to a digital-only model loom-
ing. Ten to 15 years ago, clients would or-
der prints online but usually not large ones.
Increasingly, they asked for digital files, and
there were plenty of upstart photographers
willing to oblige. When Kelleher opened her
studio a decade ago, it seemed like the shoot-
and-burn model was the way to go. After all,
it was what clients wanted—or at least what
they thought they wanted.
2
Offering digital files as a final product is a
result of ever-evolving consumer buying hab-
its. As e-commerce became more accessi-
ble for small businesses, many photograph-
ers adopted online sales. That, in turn, shift-
ed how consumers began to purchase pho-
tography as well as what they bought.
“Consumers will only buy what they know,”
explains Kelleher. “Especially when buying
online, they will only buy what’s safe, what
they understand. So selling a large wall por-
trait online, when you’re not there to explain
Julia Kelleher
it, is difficult. Selling small prints or a set of
digital files is much easier.”
Consumers want to play it safe. However,
playing it safe may not be so safe. Most con-
sumers aren’t aware of the impermanence
of digital files, which aren’t archival, are
subject to becoming unreadable due to evolv-
ing technology, and eventually become cor-
rupt. Furthermore, simply delivering a set
of digital files leaves the artistic process un-
finished and prevents the photographer
from offering a full-service experience.
FOR MORE A R T ICL E S L IK E T HIS ONE, V ISI T PPM AG.COM
 THE BIG SWITCH and one or two specialty items. You don’t restaurants that offer an endless array of
For these reasons and more, Kelleher switch- need to offer everything under the sun. In choices in every possible combination. If you
ed to in-person sales early on. Almost imme- fact, in a high-end model, simplicity equates want to be the five-star option, trim down
diately, the change resulted in her sales av- to value. Think about the menu at a five-star the options to what you can do really well.
erage growing from $350 to $1,800. Perhaps restaurant. It’s limited to a just a few choic- CARRY PRODUCTS THAT MATCH YOUR
more important, it allowed her to build the es in each category that are fresh and in BRAND. Providing a vast selection of products
upscale, boutique-style studio she wanted. season. Compare that to inexpensive chain not only confuses clients by making decisions
Over the ensuing decade, she has fine-tun-
ed her systems as well as her recommenda-
tions for adopting in-person sales. She’ll be
speaking on this topic in detail at Imaging
USA 2018 in Nashville. Here, she’s shared a
primer on successfully ditching the digital-
only model and stepping up to the big leagues
with an upscale in-person sales process.
OFFER A TANGIBLE PRODUCT LINE. To
transform yourself into an upscale studio,
you need to sell high-quality, tangible prod-
ucts: prints, canvas, wall art, specialty me-
dia, custom framing, albums, etc. There are
many good labs providing these products.
Try to settle on one or two labs you can part-
ner with to get your full product line.
START OFF SIMPLE. Offer a narrow prod-
uct line so you don’t overwhelm clients. Pick
one or two wall art options, a couple albums,

3

more complicated, but some items will inev-
itably seem out of place. Zero in on products
that match your brand, complement your
photography, and appeal to your target client.
LET THEM TOUCH THE MERCHANDISE. Or
at least look at it closely. This means you
must have samples. Remember that clients
buy on emotion, and they won’t fall in love
with products they can’t hold. Show what
you want to sell.
PRICE THE PRODUCTS FOR PROFIT. This
is always tricky, but there are plenty of re-
sources available. Refer to the PPA Financial
Benchmark Survey (ppa.com/benchmark).
Calculate your cost of sales, and design stra-
tegic packages. You want to show clients the
inherent value of your products and incen-
tivize them to purchase more. When you
build packages that get you to where your
average sale needs to be (and you should al-
ways know what your average sale needs to
be), then all you do is go through your sales
process. When strategically priced packages
get you to that target sale, you’re much more
likely to be consistently and reliably profitable.
CREATE A SYSTEM OF SELLING IN YOUR
STUDIO. Develop a process that starts with a
PROFE S SION A L PHOTOGR A PHER | OCTOBER 2017
4
Sales &
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You need to show your clients
and prospects the value in
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photographer.
PPA is here to help with tools
that show the difference
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can make and help your
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Shareable Videos
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presession consultation. Ask clients why
they want the photographs. Ask how they Consumer Tips
envision enjoying the images five to 10 years
from now. Ask how they value photography. Photo Quizzes
Take those answers and formulate a plan for
the images you’ll need to create for the cli- Logos
ent’s desired products. Photograph each ses-
sion with the end goal in mind. Then by the
time you have your sales session, there isn’t
actually any sales involved; it’s just an order-
ing appointment because the client already
knows what they want, and you’ve already
created images for those specific purposes.
SET UP A SALES AREA. This doesn’t have
to be in your studio. Plenty of successful
photographers conduct sales sessions in their
clients’ homes. In fact, you can turn this into
an advantage by presenting it as a custom-
ized service. You’re making it convenient for
the client, and you’re also showing the work
in the space where it will be displayed. The
key to this process is the act of meeting in
person and going over the specifics of the
sale. It’s not about fancy equipment or soft-
ware; it’s about personal connection.
ESTABLISH POLICIES AND STICK TO THEM.
No one likes uncertainty, so it’s important for
PPA.com/FreeResources
 and then go over it verbally. Tell them you’re
agreeing to provide certain things and ex-
plain that they’re agreeing to abide by the
way you run your business. That way there
are no misunderstandings along the way.
Is the switch to in-person sales scary and
difficult? It can be, but the rewards will come
if you follow the road map.
“In-person sales offers you the opportuni-
ty to generate higher-dollar sales as well as
an enormous satisfaction that what you’re
doing as an artist means something,” says
Kelleher. “When you provide printed, ar-
chival products, you are giving your clients
something that will move them every single
day for years to come. Family, emotions, leg-
acy—they are all tied up in those tangible
products. If you want all of those things to be
part of your journey as an artist, then there
is no other choice than in-person sales.” •

In-person sales allowed Julia Kelleher to grow her

business into a six-figure studio (shown on this jewel-images.com
page) with a team of employees.

clients to understand what they’re getting and More on

what’s expected of them. Always use a con- ppmag.com
tract, which is nothing more than a clearly listed
set of policies that offers guidance and creates Avoid common IPS pitfalls
comfort. Vague arrangements make people ppmag.com/avoid-ips-pitfalls
nervous. Present your clients with a contract,

5
PHOTOGRAPHY SALES
SUCCESS
IMAGES ©BRY COX
THE PSYCHOLOGY OF
HIGH-END SALES
FIRST, GET YOUR OWN HEAD IN THE RIGHT PLACE
by Jeff Kent THIS ARTICLE ORIGINALLY APPEARED IN THE NOVEMBER 2017 ISSUE
u “Sales is really all about psychology,” says
Bry Cox, M.Photog.Cr., CPP. “A lot of people
want to make it all about tactics, but it’s not.
It’s about understanding people and social
dynamics.”
A 20-year veteran of professional photog-
raphy and a nationally known author and
speaker, Cox has spent years perfecting the
psychology of sales and helping other pho-
tographers do the same. The problem, says
6
Cox, is that most photographers are scared
to death of sales. “But it’s necessary,” he says.
“People don’t just come to us. We have to sell
ourselves. We have to stand out. We have to
show how we can do something better. That
doesn’t mean being pushy or aggressive; it’s
just a change in our state of mind.”
That change involves a shift in thinking
to the client’s perspective. It means under-
standing what the client wants, doesn’t
photographer, take advantage of what PPA can do for you!
Bry Cox
want, and what the common objections to a
purchase are all about. It also means better
communication to explain what makes you
unique and why your method works the best.
Cox will delve into these topics in detail
during his session at Imaging USA, Jan. 11-
13, 2018, in Nashville, Tennessee.
Here are some of his best tips for master-
ing sales psychology.
SIMPLIFY. A common misconception is
If you’re serious about earning an income as a
PPA.com

AIM YOUR SALES PROCESS AT THE TOP 20 PERCENT
OF YOUR CLIENTS BECAUSE THEY’LL ACCOUNT FOR
80 PERCENT OF YOUR REVENUE.
7
that clients want more options. In reality,
they want quality.
Long photo sessions leave clients tired and
creates too many similar imges. This over-
whelms the photographer and will overwhelm
clients if they have to do the work of select-
ing images. Focus on shorter sessions, more
quality, and greater variety. Then dramatically
narrow down the images so you show only
the very best at the ordering appointment.
FOCUS AND STREAMLINE. The solution is
to offer fewer images but more variety with-
in those images. Guide your clients. Don’t
expect them to make all the hard decisions
related to image selection. Show them your
artist-selected images—the best of the best.
Then explain to them why this process is
better for them than viewing all the images,
including all the duplicate shots and every
capture of them blinking. Cox tells them,
“This is a hard process, but I’m going to do it
all for you. When you work with me, I’ll have
everything narrowed down to the best of the
 best. You just have to think about what you’d
like for your home and where it will go.”
Working this way leads to happy clients
who understand your process. Then, when
they come back, they already know what
they want, so the process goes much quicker.
CATER TO THE 20 PERCENT. Every busi-
ness exists under the Pareto principle, the
so-called 80/20 rule wherein 80 percent of
the effects come from 20 percent of the caus-
es. In terms of your business, that means
roughly 80 percent of your revenue will
come from about 20 percent of your clients.
Unfortunately, too many entrepreneurs de-
sign their products and processes for the 80
percent of clients who will account for just
20 percent of their revenue. Focus on your
top 20 percent, and design a sales process
around the needs of those important clients.
READ YOUR CLIENTS. Many people think
that mastering the psychology of sales means
possessing extensive psychoanalytical prow-
ess to read and interpret clients’ moods. In
fact, it’s much simpler.
The first thing to realize is that you’re al-
8
ready interpreting people’s moods in your
daily work. When you’re photographing,
you’re constantly reading and adapting. You
recognize if clients are uncomfortable, how
different poses or situations make them feel,
how you can change the mood and get them
to respond to you.
It’s the same process in sales: Read and
adapt. If people aren’t responding, then it’s
your responsibility to reframe the situation
and engage them. It’s not about looking for
mystical psychological signals. It’s about
paying attention to changes. Look for chang-
es in demeanor and attention. When you see
changes, use that as an opportunity to ask
questions and start conversations.
TAKE ACTION TO ELICIT FEELING. Encour-
age positive feelings toward your studio by
taking action. If you want to appeal to up-
scale clientele, then dress the part, provide a
high level of quality, and gear up to deliver a
superior experience. You can’t expect people
to view your offerings as more valuable until
you take action to present your business in a
better light.
ADDRESS CONCERNS. It’s important to
hear your clients’ concerns and meet those
worries and questions with explanations.
You don’t need a bunch of corny, canned an-
swers. You simply need to validate your cli-
ents’ concerns and explain how you’ll solve
those issues. You’re telling your clients, This
is my approach. Other approaches may be
less expensive, but here is how I do things
and why it’s a benefit to you.
Let’s say the concern is price. Sometimes
that means the client can’t afford what
you’re offering or it’s more money than
they’re comfortable spending. But other
times it means the client is not accustomed
to the price you’ve quoted because what
you’re going to deliver for that price is out-
side their previous experience and expecta-
tions. So ask more questions: What did you
get from your last photographer? What was
the experience like? What did that photog-
rapher offer? What did you like or not like
about that experience?
If a concern about price really means, I
don’t understand why you’re different, then
 you can address that. If it’s about breaking the client working as a team. Your job as a
up the charges into multiple payments, then salesperson is not to convince people to buy
that’s easy to address. The most important something they don’t need but to help them
thing is to get the client talking so you can get what they want in a way that leaves ev-
understand the root of their price objection. eryone happy. A big part of that process is
The more concerns they bring up, the more anticipating and solving problems for your
you can address. Try statements like, “I’m so clients. If you can make their lives easier and
glad you brought that up. Let’s talk about it.” serve as a helpful guide through the process,
PRACTICE “FEEL, FELT, FOUND.” When then you’ve mastered the psychology of
you respond to your clients’ concerns, show high-end sales, and everyone wins. •
empathy. You can practice this with a simple
“Feel, Felt, Found” formula to guide your ini- brycox.com
tial response. It goes like this: “I understand
how you feel. I, too, have felt the same way.
And what I’ve found is … ”
Phrasing your response in this manner or
something similar builds empathy into your
answer. It shows that you listened and that
you’re offering something to address their
concern.
BE SOMEONE WITH INTEGRITY. We all
want to do business with people we trust and
respect. Beyond listening, empathizing, and
offering explanations, it’s also important to
be transparent and accountable. Don’t hide
fees or charge extras just because you think
you can slip it by most clients. If there’s a
problem, take responsibility and make it
right. Your goal is to have clients walk away
feeling well taken care of with a sense that
they got good value for their money.
BUILD YOUR OWN CONFIDENCE. You can’t
sell something you don’t love. So whatever
price range you’re in, you need to be confi-
dent that you are the best option at that price
for that client.
BE A CONSTANT PROBLEM SOLVER. This
idea really sums up the psychology of sales.
A good sales process should involve you and

PPM AG.COM

9
 IMAGES ©NATE PETERSON

One
SENIOR PHOTOGRAPHY PAYS OFF
SUCCESS

grand
plan
A packaged
approach to
senior portrait sales

By Jeff Kent T HIS A RT I CL E O R IG IN A L LY A PPE A R ED IN

T H E DECEMB ER 2017 IS SU E

10
 he greatest piece of advice I received early in
my photography career was that every im-
age should tell a story,” says Nate Peterson,
M.Photog., CPP, owner of NP Design & Pho-
tography. When he began planning a re-
structure of his senior portrait business for
better results, he recalled that advice and ex-
tended it further: If every image should tell a
story, then every client should have their story
told through a unique experience and a person-
alized collection of images. This became the
11
foundation of a new model of senior portrait
photography for Peterson, one that has led to
a more inspiring client experience, more co-
hesive image creation, and sustainable sales.
THE GRAND EXPERIENCE
About four years ago, Peterson, who’s based in
New Richmond, Wisconsin, re-crafted his senior
portrait program to provide an all-inclusive
experience designed to document this im-
portant chapter in each subject’s life. Dubbed
the Grand Experience, Peterson’s plan in-
cludes a three-hour session, full hair and
makeup, and a custom-designed senior album
for one price: a grand. Included in the $1,000
fee are events and an incentive program.
Peterson immediately found that the Grand
Experience pre-qualifies clients while boost-
ing sales. Instead of photographing on spec
and hoping clients would reward his efforts
 with big purchases, Peterson is selling the
full program up front while leaving the door
open for additional sales.

COMMUNITY MATTERS A MODEL FOR SENIOR MODELS

A successful small business doesn’t happen in a vacuum. It’s important for entre- Central to the Grand Experience is a senior
preneurs to attend to the surrounding community as much as their individual clients. model program for 30 rising seniors. Models
Nate Peterson offers two examples: pay full price, and their sessions are completed
early—in March and April of their junior year.
CREATE A REFERRAL BASE. Stay in touch with your audience by attending local This helps fill Peterson’s calendar during a
sporting events, donating time to schools, and participating in charitable causes. Pe-
traditionally slow period and gives him time to
terson maintains several high school sports photography contracts that allow him to
meet future senior portrait clients. He also suggests joining networking groups and include the models in one of his most impor-
partnering with local businesses. “Other small business owners are our main clien- tant marketing pieces, a custom-published
tele because of the relationships we’ve built,” he says. magazine called Seniors: NP Design & Pho-
tography Portrait Lookbook. Using images from
CAST A WIDER NET. Don’t assume your town is going to support you. Instead, estab- these portrait sessions, Seniors helps highlight
lish a presence in surrounding communities as the destination photographer for Peterson’s early-season adopters and promote
your area. his services to other high school students.
And by knocking out those 30 sessions

12
 early, Peterson’s ahead by a minimum of $30,000 when se-
nior season begins in May. Later in the summer, he opens up
his schedule for add-on mini-sessions that seniors can earn
through an incentive program.
The messaging for Peterson’s senior model program com-
municates the idea of limited supply and a sense of urgency.
Participants are accepted on a first-served basis through an
online application.

INCENTIVIZING SENIORS
In addition to the magazine and a gala at the studio, senior
models participate in an incentive program. Each model gets
15 $50 gift cards to distribute. New clients who bring in a
gift card can apply it toward purchases at the studio. And
for each gift card redeemed, the referring model receives
$50 toward their order. Additionally, Peterson allocates one
point to the model for each card, which can be used toward
prizes:

1 point = 1-hour summer portrait session or

48 announcement cards
5 points = $200 gift card to their favorite store
10 points = iPad
15 points = MacBook Pro

©Ben Shirk
These prizes are in addition to the studio credits, so each
senior model has the potential to earn up to $750 in studio
Nate Peterson
credit and a new laptop. The prizes are based on an ap-
proximate10 percent return on the value of the items. For
example, 15 referral cards would yield the studio $15,000 in
getting the experience and the base album. If they want ad-
booking fees for 15 new Grand Experience clients. So Peter-
ditional images—and every one of them does—they’re sold
son awards a computer worth $1,500 as the prize.
as an additional purchase. The Grand Experience comes
All booking fees are collected before any incentives are dis-
with an 8-inch hardcover album, which can be upgraded
tributed. Peterson finds there’s greater return on investment
in size and with additional spreads. Clients typically opt for
in compensating clients for their accomplishments than in
about $500 in upgrades. Ready-to-hang wall art accounts for
attempting to incentivize them before bookings are earned.
additional sales of $500 to $1,000, and gift prints make up
“We pay out our incentives as rewards for producing actual
a few hundred extra. Peterson’s average senior client orders
bookings, which encourages more participation and ensures
an additional $1,800 in print products above their Grand
that everything is paid for before we give it away,” says
Experience retainer.
Peterson.
“That initial retainer for the experience is almost out of
sight, out of mind, because they paid for it at the time of
SELLING THE PROCESS
booking,” says Peterson. “By the time the sales and album
Clients entering the studio are surrounded by high-quality
design rolls around a few weeks after the portrait session,
print samples. Large wall portraits, albums, and other items
people are ready to purchase more items to commemorate
are available for clients to browse. They get a close-up look
the full senior experience. I’ve heard it for years by speakers
at the quality of products they’ll eventually be buying, and
in the industry: Money spent is money forgotten. It is true.
even more important, their expectations are being subcon-
You just need to implement it.” •
sciously calibrated, explains Peterson.
“Our sales process is part of the entire experience,” explains npdesignphotography.com
Peterson. “We produce a fast-paced and inspiring Animoto
slideshow set to music. The images are 90 percent re-
touched, and clients help us narrow down the choices to 30
to 40 for their albums. Additional image choices can become
wall art, gift prints, or other items.”
Since the Grand Experience is the minimum package for
senior portraits, clients purchase it with the expectation of

13
Now
what?
More than 30,000 photographers
already belong to PPA, so what
are you waiting for?

Photographers pride themselves on their art, but few know how to run
a profitable business and many don’t know where to turn for support.
Don’t let that be you!

If you’re serious about earning a steady income as a working

photographer, then make PPA your new professional-
photography home!

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photographers and consumers!

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