Hiring a solid photographer for a commercial gig is usually an expensive proposition. Unsurprisingly, every commissioning client wants to mitigate the risks of an uncertain outcome.
The obvious way is to simply use a great photographer who will produce to the spec come hell or high water. The same artist will guarantee his or her work unconditionally and won’t accept a penny until the client is happy.
In the world where loss-aversion and consensus are paramount, trusting a commercial artist to execute is quite uncommon.
That means a million kinds of insurance policies in the form of tests, approvals, and contingencies result in spontaneity and experimentation getting short shrift.
In the commercial realm, the client deserves to get what they pay for. The irony is that they’re also getting what they deserve.
This session from Bryant Park didn’t involve any meetings, conference calls, pre-pro, storyboarding, focus-grouping or production management.
Maybe the results here are a fluke, like the other twelve hundred sessions shot for myself in which I let pure artistry guide me.
I readily admit that I’m quite lucky. Lucky to be able to make a living with a camera.
About the author: I am Stephen Kennedy, an experienced photographer with more than 2500 completed sessions in all 50 US states.