Category: Philosophy

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Business Curiosity Exposure Making Art Making Pictures Marketing Philosophy Richard Kelly Experience

Thinking Ahead

Last week in two separate conversations, I used the words “thinking ahead.” Conceptually we like to think we do this well, but most of us fail even with our best new ideas. Big thinkers take a small concept that exponentially expands. They gather interest, investors, partners, and collaborators to take that small idea to an extravagant completion. I hear from big thinkers almost every day asking me to help them create imagery. Though, some of them wait too long even after their project is already underway or practically completed.  

These conversations with filmmakers, real estate developers, technology entrepreneurs, and other innovative businesses making transformational changes all have stories that I want to help them tell if they had just thought ahead. They want photographs that they can now use to tell the story of their big idea. But there is no way to re-visualize their process measuring what they have accomplished because no photographs were made with that intention—not thinking ahead what images they will need in the end to tell the story. 

While living in New York City in the early ’90s, I thought I might want to make motion pictures. Not knowing that much about filmmaking, I offered to work on small indie films. I was working with many talented individuals. I learned that one of the many required “assets” film festivals ask for are publicity stills to assist in “promoting” the movies. As a photographer, I was a valuable asset on these indie productions and taught myself how to package these with other materials for festivals. One evening at a wrap party, a young filmmaker approached me. He had heard through a colleague that I created festival packets. And he needed some help with his festival proposal. So we went through my mental checklist – script, application, list of cast and crew, synopsis, check, check, and check he said – still photos? (cue the sound of film breaking in a projector). Ahhh! He said someone did make some snapshots with their camera, but no one was responsible for making those still photos. He asked if I could help. I shook my head and said, look, we could recreate a scene or two if you have access to the location and the actors, but it is not the same. 

I was preparing, before the pandemic, to deliver a “lunch and learn” session about documenting your startup story. I planned to say that good visual storytelling is critical to rising above the startup competition. Thinking ahead for visual stories requires commitment, discipline, and money. Yes, money! A business school leader reminded me that seed money is for the core purpose of startup culture. My reply, without planning for storytelling (READ marketing) images, no one will visualize the value you are building. Indeed, I am sure that some early-stage funders will disagree with me and point to examples of startups that prove themselves without marketing imagery. But in a global conversation of visual media, pictures and videos matter. Without visual images, you are only as good as your best textual metaphors with bullet points on a pitch deck. 

Once in a conversation with a client over a project launch. I told the story of being commissioned by a financial institution to create artwork for their new office. Their ask was for images of the city from their skyscraper point of view – not postcard-style photos but images that reflected their unique worldview. He loved this idea, and then I revealed that often the “process photographs” that I make for long-term projects also end up as artwork on the walls of their company Headquarters. These images can rise above the initial purpose and can be aesthetically beautiful as well. We closed the deal on the spot.

Learning about future-forward projects and the people who put these into action is my favorite part of my storytelling. Thinking ahead to craft a visual story for publicity, fundraising, and memorializing history is what I do. 

If your organization has an emerging story to tell and wants my visual point of view, email me at richard@richardkelly.com.

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Business Curiosity Marketing Philosophy Photography Richard Kelly Experience

Humans with cameras.

The camera allows us to see things we otherwise could never see as humans. However, the camera alone is not very useful. Ansel Adams, the famous American Landscape photographer, once quipped, “The single most important component of a camera is the 12 inches behind it.” without a human purpose, the camera is of no use.

Suppose you are a visionary chief executive wanting to illustrate to your potential investors that your leadership team is polishing the antique industrial company into a shiny new modern technology brand—the most efficient method is to contract with a professional photographer creating those transformational stories. Otherwise, you risk not telling this critical story because the cameras are still sitting in the box.

A professional photographer’s job is to make photographs that inform, educate, or emotionally connect with the viewer. Whether journalistically, for marketing, or advertising, a photographer with intention, skill and focus will use their camera to communicate the essence effectively to create compelling visual storytelling.

I love using photography to tell stories. I get to combine my curiosity and lifelong learning and translate those experiences into visual compositions that, when combined with crafted words and elegant design, moves someone to feel something, take action, or stay informed.

I create visual experiences. 

My team and I are available to produce your organization’s unique story and share it with the world. 

Richard Kelly is the President of the Richard Kelly Experience based in Pittsburgh, Pennsylvania. He and his team create visual stories for organizations just like yours.

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Business Making Pictures Marketing Philosophy Photography Richard Kelly Experience Uncategorized

The one about the CEO who bought professional digital cameras for his managers… a parable.

I am not a widget photographer, but I am interested in innovative people and how they make things. For a handful of years, I had been photographing a multinational corporation that made widgets. I had made some pictures for them, and we had been discussing a longer-term project to show their “new and improved process and people for shareholders.” Not that long ago, I would have called these annual report photographs, but now I think of them as “core mission stories” – and by the way – organizations should focus more on these to tell their unique story to stakeholders. 

But I digress. For several years the CEO who was brought in to sell a new corporate perspective to their Wall Street investors about how “an old gritty industrial company” was transforming as a “shiny new technology industry leader” and I discussed using photography and video to show these innovative talents and techniques that the company was implementing. He knew Wall Street had yet to grasp this new point of growth, and I was presenting him an opportunity to reframe the story visually before turning the leadership over to a new team. 

The following year, as he and I stepped aside to make his leadership portrait, he excitedly told me, “you know the concept you pitched for telling the stories of our workers and processes? well, I solved that by buying my plant managers D-SLR’s and instructing them to take pictures.” My photographer’s soul shriveled up and went up to my throat. I was planning to convince him to put this project on the calendar finally. Instead, I was learning that an “everyone with a camera” scenario was replacing my idea. I thought quickly on my feet and rebounded by saying, you know, Mr. CEO, I teach workshops, and I can put together a custom program to teach your managers how to use these cameras. He waved his hand and said these cameras are so sophisticated that they pretty much take the pictures themselves. I finished the session, and my assistant knew I was mentally defeated, and she suggested we stop for lunch to talk about the end of commercial photography as we knew it.

The following year I was a bit surprised they scheduled me to make the annual leadership photographs. Figuring that one of the plant managers would stop by and “snap a picture.” The CEO, I learned, was retiring soon – even though the company didn’t have the positive turnaround he desired. He was ready to move out of the day-to-day operations. As we stepped away to make his final CEO portrait, I asked him how the manager’s photography assignments had worked out? He chuckled and said, “would you believe it if I told you that they have never even taken the cameras out of their boxes.”

Although I wasn’t thrilled that the CEO retiring, the story of the cameras still in their boxes reminded me that I still have value as a visual storyteller. 

Everyone might have a camera with technology that makes taking pictures more accessible and of decent quality. The managers didn’t make the photographs because that is not what they do; they manage manufacturing. They didn’t have the intention. Photographers craft compelling visual stories because that is what we do. 

Richard Kelly is the President of The Richard Kelly Experience, Creating visual stories for mission-focused organizations, framing their unique perspectives with compelling imagery for their stakeholders. 

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Curiosity Family Making Pictures Nostalgia Origin Story Philosophy Richard Kelly Experience

The People Collector

My wife, Jennifer, says I collect people. Through “collecting people,” I have made some great connections and, more importantly, built exciting relationships. In my experience, relationships are why people work with me as a photographer and image strategist. It is the chemistry of connections that builds a continuing trust.
I’ve realized that I am really connecting people beyond collecting people (which I enjoy even more). Introducing so and so to you know who, so that they aren’t just names in a Rolodex on my desk anymore, new relationships built on previous connections lead to something even better. I tell my students that the person who may help you the most in your career maybe someone who you hardly know. I know this because it happens all the time to me.
My grandmother once told me that I always asked people what they did and why as a child. “Hey, who are you, and what do you do?”
I want to add you to my collection, maybe even make your picture. I would really like to know you and what you do and even why?

Lets connect. https://sendfox.com/richardkellyexperience

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Business Philosophy

Professional*

A few months back, I was introduced to a new friend as a professional photographer. Inside I cringed a bit. I love being a photographer. It’s the word professional that sounded funny – maybe its the overuse of the word in the photography community. I am not sure, but the word “professional” used to mean something positive to me. Now it just sounds cheap.

In my business of photography class, we discuss that being a professional is someone who creates photographs for commerce on-demand or who carries themselves following established business practices. I often compare our work as photographers to bakers and lawn care professionals. Two professions that also have an “amateur” side. I can bake bread at home for enjoyment, which is different from the baker with a pastry shop. Interestingly, I am not sure that bakers are referred to by their friends as a professional. Or that the “professional” grass cutter down the street is asked what lawnmower they use. 

Confucius is quoted as saying, “Choose a job you love, and you will never have to work a day in your life.” they could have added, ” People will hold your passion over your head as a reason you should work for less money. “

There is a high rate of failure in “hobby-related businesses” like photography. Many people see what we do and think that if they can make a “professional-quality” photograph or own and operate a “professional-looking” camera, they can work professionally. Or even – “Semi-Pro.” A descriptive word that I will have to look up.

Professional quality photographs or cameras are descriptions of very different things, not the business itself. Doing work as a professional means to dedicate your life and career to finding clients. Building business systems to produce photographs on demand. Creating policies and protocols that govern business and then “wash, rinse, and repeat” every day. 

The internet photography community is enjoying a revolution of sorts, with the ability to connect with other image-makers we can learn new techniques, see inspiring images, and create connections to people like us all over the world.

But two things annoy me. Equipment obsession is the first, and the other is the “instant expert.” There are some awesome internet-based instruction videos, and not just about photography. But many equipment reviewers and their obsession with lens bokeh and counting pixels are quite humorous to those of us practicing photography for more than a few years. These “influencers” develop a following, and I do give them credit for that, while thanking their sponsors like Squarespace for their support; just click on the link below in the comments. This leads to a lot of anxiety for new photographers and this creates a false need to buy new gear. There is even a name for this “Gear Acquisition Syndrome” which sounds like it might need a vaccine.

From my perspective, the instant expert seems to have emerged on the scene out of nowhere; they usually have overcome a great struggle in their quest to live Confucius’s promise, and they now want to enthusiastically share what they learned with everyone. I have watched many of these videos, curious to see the common themes they have. Their language seems to follow a similar script. There is often reliable information in these sessions, essential business practices. But there is something about the tone. That anyone can do this just by following their method, and don’t forget to click the link in the bio.  

I am also surprised at the number of photographer websites offering education options to other photographers or a download link to their favorite Lightroom presets. There is no easy button” to a successful professional photography business, only hard work and more hard work.

It is also okay to practice photography at a “professional” level and not do it for money but for the enjoyment of making pictures. Some of my favorite photographers are creating work as enthusiasts. They love making good photographs the same as I appreciate my high-quality grass cutting.

*I love my work as a photographer; just don’t call me a professional. 

NOTE: If you want reliable and trustworthy photography business information, check out the ASMP.org. I have been a member since the early 90’s and they create the industry standards. They have new content weekly. https://www.asmp.org/join/

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Curiosity Making Pictures Nostalgia Philosophy Photography

The Gateway, part 1

Photography is a gateway to many things; I am not sure how else to say it. No matter when you first pick up a camera, the instinct is there. I joke that my daughter was introduced to the act of photography before she met her parents. Within a few hundred microseconds, I had made photographs as my daughter flew through the air from the doctor’s hands to my wife’s, ready to receive her.

I had decided to make black and white film photographs earlier that day.I liked the idea of having a physical object of that moment. The film receives light particles that leave a mark on the emulsion. With a digital sensor, photographers capture a binary representation of that light particle.

I know it is a little nostalgic to consider that on the negatives and slides in my archive, each piece of film was there when I made the picture. For a brief fraction of time, the shutter opened, and light from that place entered the lens and touched it. Not only was I was present at that exact moment, but the film was there too.

I can’t say for sure why I like my film photographs and have more emotional connections to them than my hundreds of thousands of digital images. It is not because the film images are of a higher quality or render the subject better than digital capture because I can say with certainty that they are not better, but they are different.

It is interesting that when photography enthusiasts, who’s gateway to photography was a digital camera, discover film they see every frame as beautiful. A magical quality draws them in to love look of film. They often confuse that magical feeling with quality.

I remember during a conversation with a professional wedding photographer who had recently discovered medium format film photography and was thrilled at how beautiful every frame was – they weren’t. Because they were using film, they were all the better in their eyes – they weren’t. Photographs captured on film are in and of themselves not always great. I can testify to the hundreds of thousands of poorly executed photographs I made on film. But I do understand emotionally what they were reacting too.

Film photographers experience two truly magical moments different from watching your images download from a silicon chip to another digital device. The universal reason many of us fell in love with photography, and that is observing a black and white latent image turn to a developed image in a tray of Dektol under the glow of an amber safelight. Another is the sensory experience of opening a freshly packed box of 35mm slides and holding them up at a time to a light to see what you captured, like opening a gift on your birthday. Then load them into carousel trays and turn on the projector with the whirring fan and the light projecting the color dyes on the film that was in the camera receiving the light from the space you were in when you pressed a shutter for a fraction of time. No LED Projector no matter how good can replace the brilliant colors from the film emulsion emitting from the screen.

I suppose this doesn’t reveal any of the reasons I like my film photographs better than the digital ones. But I do.