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Podcast Mania - Interviews with the Agency Access Consultants: Part 2

Part 2 of Podcast Mania is bursting at the seams with awesome advice for both emerging AND seasoned freelance artists.  Five of the top names in the creative consultant game sat down with Marc Harmon of Creative Grit Media to tackle every aspect of life as a freelance artist.  Last week we heard from Jennifer Kilberg and Andrea Maurio.  This week Amanda Sosa Stone, Lynn Kyle, and Karen D’Silva step to the plate to offer advice on everything from representation to personal branding to estimating and negotiating to promo targeting and beyond.

The Top Ten Most Important Roles of a Photo Agent

Question: What does a photography agent actually do for their artists?

When The Lab first approached me to write a blog post titled “A Day in the Life of a Photography Agent” I thought it was a great idea.  Well, it was great…until I actually sat down and chronicled my daily routine. My day to day is boring; it’s mostly filled with emails, estimates and therapy sessions with my photographers. 

Getting Noticed - How to Catch the Eye of a Rep

Question: What does an artist representative look for when sorting through their daily submissions for new talent?

     As a photo agent, my email is flooded on a daily basis with submissions from photographers seeking representation. I take the time to personally look through every single submission we receive, and after the many mistakes I have seen I wanted to share some very important aspects of approaching an agency that photographers interested in representation should keep in mind.

     Agents seek photographers with a strength - artists who really excel in their field. One problem I see in more than half of the submissions we receive is that

To Rep, or Not To Rep: That Is The Question

Question: What makes some artists work well with reps while others don’t use them at all?

You must have strong work that reflects what is being commissioned for the marketplace, but you should also be well organized and comfortable negotiating. You should know the value of the work for an array of markets and understand the rights that are being required for each project. If you have the time, energy, and skills to research and contact potential clients, then you will do just fine without an agent. It’s all about making the process smooth for all—meeting deadlines, negotiating fairly, understanding the contracts, and delivering beautiful work.


Can a Rep Guarantee Success in a New Market?

Question: I want to break into the market of a city that I don’t live in. Do I need a rep? How do I do this?

The real question is: Should you do this?

Before you actually move outside of your comfort zone, you need to really make sure that you should. Have you done a market analysis to understand whether you can be effective in that new region? Have you assessed the competition, your style and your capabilities and taken an honest look at the impact you might have there? Have you weighed the financial outlay you’d need to make to correctly market yourself, and calculated whether this investment will be worth it in the end?

How Reps Influence an Illustrator’s Portfolio

Questions: How much brand and/or art direction do most reps give illustrators for their portfolio?

I work for the illustrator and want to be on the same page, so I get pretty involved in showcasing each illustrator’s portfolio in order to brand or showcase his or her body of work.

Portfolios: Portrait of the Artist

Many times, I see artist websites that have too much work and too many styles, which doesn’t let us know who the artist is.

5 Ways to Make Long-Distance Relationships Work With Your Rep

Question: How important is it that I live near my rep? How can I acquire a rep in a major commercial city if I live in a small town?

Years ago, I would have said it’s very important to live near your rep and even more important that you live in a major commercial city. But nowadays, I wouldn’t say that at all. The world has become a small enough place that it doesn’t matter where you live.

Creative Collision: To Rep or Not to Rep

Question: To rep or not to rep?

Ask five creatives, and you'll likely get five different answers: When it comes to the hiring process, does an artist need a rep? Do creatives prefer working with the photographer or illustrator's representative, or do they want the talent to reach out directly? In this video, creatives answer these critical questions:

Artist & Client Relationship Q&A with Clare O’Dea, Owner, Clare Agency LLC & C20 Agency

Interview with Clare O’Dea of Clare Agency LLC. & C20 Agency

Welcome to The Lab’s third round of questions, interview style, with Clare O’Dea. With over 15 years of experience in the photography industry, Clare chats with us on what it takes to form those crucial, yet special bonds with the photographers she represents, and the clients they work for.

Creative Collision: Hiring the Unknown

Question: What motivates you to work with unknown talent?

How can you land a gig if you’re a budding talent without a big name, big rep, or list of clients as long as the Nile River? If you feel hopelessly caught between needing experience to get work - and needing work to get experience - keep your chin up: creatives do hire unknowns. In this video, you’ll learn right from the mouths of creatives, buyers and reps:

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