A friend of Henri Cartier Bresson once said to him, “you do not work, you take a hard pleasure.”
While I often feel I’m working very hard and certainly too long, I must admit I take a pleasure in the work. At its best, it’s inspiring to stare down the proverbial blank sheet of paper.
The work of crafting a simple, expansive idea that holds the power of attention and provokes the desired emotion is where it’s at.
A simple idea can be expressed in many forms and therein lies the charm. This is the hard pleasure, seeing the elegant idea.
As a photographer Bresson was credited with the idea of the decisive moment. He did not come up with these words, but he certainly delivered it with his eye and his camera. He could see and anticipate the decisive moment to press the shutter. To capture the emotion and energy of a moment.
I’m charmed by this. Working, searching out the ideas, seeing them come to form. When I’m lucky, I can admit to anticipating the outcome of my efforts, the moment when I click the shutter in the mind and the idea snaps into view.
Bresson would go deeply into his chosen subject, immerse himself completely for weeks, months, years. It is this devotion that allows the decisive moment to be understood. It is the same behind the cameras as it is behind a blank sheet of paper. Total commitment to the subject allows the ideas to surface, to be seen. It is not usually a happy accident. Ideas are a byproduct of the effort of immersion. Of a selfless giving over to the subject.
Whether I have a camera at the ready, a script in hand or a blank sheet of paper, it is a devotion to the subject that renders the outcome. The ideas, the images, flow from a river of details large and small, from vague associations, references, past experiences, seemingly unrelated events, the song of a bird, a passing road sign, overheard conversations, the sound of the subway, a cold shower, a book well read, or a film watched yet again.
Images… ideas emerge. Devotion, immersion, life.
The rise of Ai and its impact on image making has me rethinking what it means to create photographic work. It’s true that images have been easily manipulated since the earliest days of photography, but each day it gets tougher to tell the difference between fiction and non-fiction. It’s wonderful and discouraging at the same time. Photography is not illustration. Ai, to me, is more akin to illustration. This post image was captured approximately 23 years ago during a trip to Andros Island in the Bahamas. I was on a fishing holiday and during down time wandered the island with the Holga. For the uninformed, the Holga is a medium format camera (plastic lens, no light meter). Finding focus is no small task either. Everything by eye and importantly, feel. The B&W film was processed, and I pulled a contact sheet. I would scan the contact sheets because I did not have a film scanner. Other than scanning the contact sheet, no manipulation was done to the image. It is as I saw it, as I captured it. It’s an accurate representation of reality. It is non-fiction.
Ai as a tool of fiction does not diminish its value or potential but to me, it is not photography. It is commercial, it is industrial, it will change many things but for the moment at least, it lacks an easily achieved celluloid negative, proof positive of a life more tangible.
For brands seeking to connect with an audience seeking authenticity, like Gen Z for instance, Ai generated images represent the exact opposite. As consumers we may all get fooled once, but great brands deal in authenticity. It’s true that many a brand has leaned heavily into illustration to tell its value, but those illustrations are also authentic works aligned with the authenticity of the brand. Little opportunity existed for the consumer to question if the talent is a real person, no matter how retouched.
The Dove Real Beauty Campaign is a perfect example of consumers seeking authenticity. There is no room for a lack of authenticity with Dove consumers. Hint, hint, there’s none for your brand either.
An Ai rendering of a person is a complete work of fiction. Is the spokesperson, the influencer real? A lack of authenticity will eventually reveal itself as fiction. Even in the sugary perfection of most advertising campaigns, the greatest brands are anchored in their authenticity. If the lived experience of the customer does not align with the promise, the authenticity of the brand, the customers will vote with their wallets.
Ai generated images make a great case for film capture as a validating providence for images anchored in authentic origins.
The most important context of user experience design is consumer mindset.
Before we start pushing pixels around, we should be working hard to understand consumer wants and needs. Gathering insights into their emotional desires is critical to creating an experience, throughout the entire customer journey, that in both subtle and direct ways will reinforce your brand’s ability to help fulfill their desire.
These learnings can inform all design in both form and content to help deliver effective consumer engagement.
Once prototypes are developed, conducting user experience research, including eye tracking, allow refinements to be made that work to optimize the user experience right down to the micro interaction level.
Creators need to find the right balance between being engaging-entertaining while also being honest about the fact that the entire purpose is to facilitate the customers acquisition of the product or service.
User experience can also be thought of as utility.
The utility of the user experience, as a lens through which to view the entire customer journey, offers designers the opportunity to apply their talents to enhance the performance of the entire team.
Understanding and tracking the entire customer journey is essential to a successful engagement. The fractured media environment today demands simple brand ideas that are delivered simply and always in context of consumer desires. When user experience design diverges from the brand idea, it is no longer doing its job well. There are often opportunities to chase trends and implement ideas, methods, and tactics that may create a short-term boost in sales, but at the same time are weakening the brand.
In the long run, a great, well-executed, brand idea will outperform clever transactional tactics. It takes a strong idea and the willpower to resist the temptation of short-term thinking to build a strong and enduring brand.
To connect the dots, the customer experience journey is an obligation to the brand idea and strong brands are anchored in the mindset of consumer desire.
As some of you may be aware, I’m currently teaching at Skidmore College as the F. William Harder Chair Professor of Management and Business. Being a place of higher education and a fine one at that, there are weekly guest lectures given by thought leaders from both inside and outside academia.
For the most part, these are highly intellectual and interesting discussions. I prefer to think of them as discussions because the Q&A that follow is often more interesting than the lecture itself. Students and faculty engage the speaker with challenging questions. The freewheeling endings, if Skidmore students are a barometer, gives me hope for the future of our country.
A recent discussion led by an extremely well-studied thought leader, presented years of data that pointed to a significant insight in the world of business. I’m not going to try to unpack the topic, my point of writing this post is the use of data.
The data was significant and overwhelmingly clear in what it implied and what could be inferred.
During the Q&A a student asked the million-dollar question. If the data is so clear why is nothing changing…why are the trend lines continuing as they were?
The speakers answer: The data is not enough.
The world has become overly reliant on data as an end point. Data alone is not enough. If it was, no one would ever smoke, Hillary Clinton may have gotten elected and maybe (if this applies to you) more people would buy your brand.
Compelling ideas move people. Ideas that slap folks in the face, stun them into awareness and seep into their hearts, turn ideas into action.
This is the work of creativity. Let’s get busy.
I recently came across this wonderful quote attributed to Ann Richards, commenting on the talents of the famed dancer Ginger Rogers.
“After all, Ginger Rogers did everything that Fred Astaire did. She just did it backwards and in high heels.”
The phrase “backwards and in high heels” struck a chord with me. It reminds me of camera work. Especially the hand-held or shoulder mount variety. I love this type of work, particularly in a less scripted context like a documentary project.
It gives the feeling of doing a dance with the subject and the subject matter, following the lead of the story. The work of following the action, framing, pulling focus is very much performance art. It hones the instincts and sharpens the senses. It also places me in the heart of the story, not observing from a distance but observing from the inside.
The intimacy of the viewfinder and anonymity of the camera are a strange and lovely paradox.
When I’m hired to produce a story, it is authenticity we are after. This is what is so powerful about documentary work. It’s an act of bravery. For people who have a story they want to tell, it’s essential that our relationship is anchored in trust and mutual appreciation. It’s all part of the dance that shows up on the screen.
As partner to Fred Astaire, Ginger Rogers was certainly his equal, if not superior, in every way.
Their combined talents achieve something more than either could do alone.
It was the second meeting. The first was a year ago. The client asked for the second meeting to discuss an update to their business challenges. The first meeting seemed to go well. The indications were positive.
During the first credentials meeting, the client was highly engaged, asked tough questions, agreed vigorously with the answers. They seemed sincere when they stated their intentions to move ahead. Over a period of weeks, a scope of work was defined and agreed. Timing was agreed. Before the engagement could begin in earnest, there were things the client needed to sort internally first. We stayed in touch. It’s not unusual.
The sorting took time. At the second meeting, it became clear that not only did the client agree with many of the ideas put forward in the initial scope, but they also implemented some of them. There were struggles of course. They realized they needed more specialized talent. Some of the internal sorting and prioritization of business challenges remain. Regardless, they’re ready to commit. Handshakes all around. Let’s get started. We dig in and start brainstorming.
During the meeting, an accounting was made of effort against the prior year’s scope. They had made little progress. Certain aspects of their business and the competitive landscape had shifted. Their business is a highly profitable emerging industry, extremely competitive with little differentiation in brands. The opportunity is ripe.
A stack of empty coffee cups indicated we’d been at it for hours when we arrived at a new plan. During this meeting, we employed proprietary methods and worked out preliminary strategies to their top challenges. At the client’s request, we agreed we would send over our strategy and planning slides the next day, including the scope of work and timing we just outlined.
We shook hands and said our goodbyes. We followed up the next day as requested.
The client for their part did not return a single call or email. Crickets. Ghosted.
Clients milking agencies for ideas free of charge is nothing new. The new business model, be it pitching ideas based on a client supplied brief, written RFP, credentials presentation or some combination thereof, has corrupted the industry over many decades. Agencies put forth tons of time and effort and expense to demonstrate their skills with little to no comparative investment required by the client. The bigger the client, the bigger the investment, the bigger the risk.
There was a period when budgets were large enough and the cost of delivery manageable enough that, while painfully unfair, the winning agency had a chance of doing great work and making a decent profit too, even after absorbing new business costs. These days, the margins are razor thin, the cost of delivery extraordinary.
The agency world needs a contemporary model of new business engagement, one that respects both parties equally. It has been my experience that while procurement can do an amazing job of minimizing some of the risk of the agency selection process, in some cases, they have elevated the take.
Let me explain: A group of say 6-7 agencies are asked to respond in writing to an RFP. This is an extraordinary amount of work. It takes countless staff hours to do effectively. From the written submissions, a passel of agencies, say 4-5, is selected to come in and give a credential presentation. This is also a heavy lift and not something you just pull out of the drawer. Finally, a subset of the group, say 3, is then asked to make the final pitch. This is a scorching amount of work. The total time invested across all agencies is almost incalculable.
It’s nothing for agency costs to run into the hundreds of thousands of dollars to make it all happen. By the time an agency is selected, the client is in possession of extraordinary amounts of work and critical, creative thinking from the best minds in the business. All for the cost of lunch and perhaps travel accommodation.
Clients should expect to pay for this work. Period. At a bare minimum, the agencies not selected should be compensated commensurate with their time and effort for each phase.
This would improve the agency selection process for both parties. The agencies will recognize value from their efforts. In recognizing the value, clients will engage more proactively in the process. And in the taking the work will have paid, at least nominally, for the all the ideas now informing their thinking.
That’s an outcome that offers a margin of comfort for everyone involved.
To the untrained observer, walking a tightrope seems like a high-risk activity. To the well-trained acrobatic artist, the tightrope is a platform for their creativity. The risks are well-calculated and the practice so refined, that confidence brings buoyancy to their work.
In the world of ideas, clients and agencies must come to a mutual understanding of well-calculated risk. The goal is break-through creative that challenges norms, animates the brand and motivates the audience.
For many clients, there’s also an additional objective; “not to do any worse than the past brand manager or campaign.” There’s nothing wrong with a good dose of self-preservation.
To the unprepared client, work that appears as if on a tightrope is going to incite fear of doing worse. To the agency, it’s the platform from which to demonstrate their hard-won skills and highly developed talents.
It takes a trusting client-agency relationship to explore boundaries and push the limits of creativity. The goal is to see the tightrope not as a high-risk activity, but as a well-calculated and desirable achievement that will deliver growth for their brand.
Confidence is the glue that binds us to big ideas.
When I put the camera on my shoulder and the brief is in my head, I’m looking for the truth. The deeper story, the stuff beyond mere words and pictures, the stuff that reaches the heart. Truth in performance; the essence of the idea to be communicated. The process starts again in editing, to polish the delivery of the idea, the emotion.
The brief is the framework, it establishes the context of creation. It impacts everything downstream; concept development, script, directing, photography, casting, location, tonality, mood, lighting, the entire production design…the works.
The brief is the springboard for ideas to take flight. A great brief is also anchored in the truth of the brand. The brief is a contract with the creative. The brief is also a contract with the truth. Not “truthiness.” The truth.
Occasionally, attempts are made to exploit “truthiness.” Savvy marketers know that great ideas communicate beyond the execution. They know the right ideas generate emotions that cannot be measured through any single ingredient that goes into execution. Truthiness can be tempting.
You can imagine the dismay when the client says, “The idea will not work because we cannot actually communicate that.” Discussion ensues.
It’s a mistake for anyone to use the brief as an opportunity to manipulate the creative work to communicate something that’s not entirely true. Creativity is a powerful tool and can certainly be made to imply things that are not the truth. Clever creative work, not anchored in truth, may achieve a temporary spike in sales but it’s a short money game. Disappointed customers, misled by “truthiness” will flee. Nothing sticks to a brand like the voices of unhappy customers. Truthiness does not build better brands.
Try making a better product.
Block, Light, Rehearse, Shoot.
It’s happened before, technology democratizes an industry and craft suffers before it rises again. There is a rash of technique over substance. We need a conscious return to the craft of story in the creation and execution of brand ideas.
The art of the story must be paramount to the art of the production. Thanks to the internet, there exists an insatiable desire for content. And thanks to the democratization of the technologies of content creation, everyone with a camera and a zoom recorder is suddenly a producer.
Content is delegitimizing advertising.
The skill and creativity of the story teller, not necessarily the gear involved, is one of the prime ingredients in the craft. In the right hands, the appropriate gear has the potential to make a great story that much stronger in execution. In and of itself, all the gear in the world will not make a better story. Flying cameras, movement for the sake of movement, outrageous POV shots are often senseless and usually add expense. If not integral to the telling, these production hijinks are significant distractions from your brand idea. In a very real sense these distractions cost you twice. The essential skills of blocking in support of the scene, lighting supports the performance and rehearsing action that will deliver the intended emotion seem to be a lost art in the world of brand content.
All the technical expertise in the world will not make a bad story better.
Most production companies are not built like agencies; most are built for episodic engagements, not brand stewardship. Building and safeguarding your brand story takes a long-term view, it takes insight and planning and strategy and great creative ideas, smartly executed. This is the work of brand agencies.
Today there is a profusion of production companies that have technical skill because the technology has made it much easier to look and sound good. Technical skill does not make them effective at decoding your story. A direct engagement with a production company may make your marketing budget look cheaper on paper but the long-term cost may be significant.
Insight driven strategy liberates creativity.
Really good agencies know this, and really good clients know this too. Really good production companies know this and expect to partner with brand agencies. A great commercial director wants to understand your brand and its audience and she wants to partner with your agency. This is where your brand agency insight and executional expertise will guide the production team and help them tell your brand idea in the most compelling way.
This is the work of producing content; to tell your brand idea, and it is why brand agencies employ creative directors, writers, art directors, strategists and producers, to define your brand idea. And then in partnership with the director working to a clear idea, shot by shot, adding and building scenes, intention upon intention, the entire production is aligned with the purpose of your brand.
This is the craft of vocal pictures.