Journal
Death to the beige wall—or a guide to a great corporate portrait
by Jen Pennington
This little guide goes out to all photographers, designers, and clients. It is your chance to stand up and fight against the evil beige background that is often found behind so many uninviting corporate portraits. In the Rhizome world, beige walls are evil. They are subtle purveyors of sadness and a subliminal identification with the DMV (not a good experience normally). Mug shots at the police station at least have context and props! And for Pete’s sake, even the big department stores spice up their backgrounds (ok, the mottled texture is not so great either, but let’s not go there). So I invite all my fellow business people to stand with me and say, “Death to the beige wall!”
For the clients:
If you are a consultant or company muckity-muck, you are the face of your company and your brand. If you are still using a digital shot of yourself or your employees against a beige (or even gray wall) well, we’re here with an intervention. Of all the marketing you can do, your mug is the most important thing to get right! So put down that digital camera, send Jimmy the nephew home, (unless of course he is a professional) and call for professional help. It costs way less than you imagine and the benefits you reap are long-term.
For the photographers:
Help your clients and the designers who work for them understand what to expect from a photoshoot and what rights license usage means. Send the model releases ahead of time to review, alleviate any fuss there might be, and you’ll have relaxed, willing subjects, which translates into smiles and no sour expressions.
For the designers:
You are the keeper of your client’s brand look and feel. You are in charge of making your clients look good, not just their products and services. If you have to explain how a photoshoot works, make sure you clearly communicate the details, and how rights-usage works. Explain that a good photo is worth it’s weight in gold, and you’ll eliminate having to Photoshop out the bar sticking out of the top of their head, or worse, using a cutout and plopping it on—dare I say it—a beige background.
Corporate portrait examples by Robert J. Pennington
The Corporate Portrait top 10 arguments.
1. The “I’m not a model, who wants to see a picture of me?” argument
I am the absolute worst at getting my picture taken, just ask my husband, but even I know I need to let people know who I am. Look, the Heidi Klum’s or George Clooney’s of the world are not the average person. You just need to convey a presence that says, “I’m a good person, I’m approachable, and most importantly, I’m a professional.” You need to let people know that you care deeply about your own company image because it will reflect how your customers perceive your products or services.
2. The “why should I hire a professional? I have my own digital camera,” argument
Yeah, and I own a set of wrenches, but that doesn’t mean I’m a plumber. Do you come complete with a set of lights? Do you know how to stand or sit for a photo? Do you know how to get people to smile so it looks natural and not like you are gritting your teeth together, painfully? Do you know how to compose a photo so you don’t have a cabinet corner, picture frame or my favorite, another company’s brand like a Starbucks mug sitting in front of you? Trust me Starbucks doesn’t need any more advertising. A good professional photographer can capture you in your work environment and make it look absolutely natural. Good photogs have an eye for composition, look for the details, know how to work with people and bring out your best qualities.
3. The “hiring a photographer is expensive,” argument
So is losing a business opportunity to impress someone. You hand out business cards right? Well if a potential prospect meets you for the first time, there’s a good chance they are going to check out your bio on your website, so you better show off your best side. This is especially true in this day and age when so many long-distance business relationships are formed. You need to think of your photo as an investment and asset to the company. In the big scheme of things, it’s less expensive than having your designer try to retouch a badly done portrait, and charging you for that work.
4. The, “I don’t want my photo to look like everyone else’s,” argument
Now you’ve got the right idea. What is your brand about? Is it playful, industrial, serious? Do words like warm, clinical, or bright come to mind? Talk to the photographer you hire to brainstorm ideas. Stay away from cheesy, unless of course cheesy is part of your brand. Lately many of the portraits we do are environmental. This means placing someone in the context of a busy office, industrial setting or outside to convey a sense of vitality, energy, and location.
5. The, “I look terrible in pictures” argument
Self deprecation is not attractive. If you arrive with a defeatist attitude on picture day, guess what, chances are you won’t like your shot no matter what. Relax! Trust in the fact that you’re in the hands of a pro, and a good pro knows how to bring out your good side. If there’s something you really do not like about yourself, talk it over with the photographer and let them know you are sensitive about showing your teeth, a mole, or whatever else. Many will be sensitive to how you feel about something. But do be open to suggestion, have fun and who knows you may want to order some prints for your family.
6. The, “I have nothing to wear” argument
That’s right, you go to the office everyday in your birthday suit. Just be yourself. Keep clothing and jewelry simple. Try to stay away from stripes, bright patterns, or plaid. Unless you coach rugby or look like Charlie Brown, big striped polo shirts might not be the right look. Understand how you will be shot. In your office? Outside? A hint of color might be nice, or a well-tailored shirt with a sweater, or jacket. Business casual works great, but just be sure you don’t look too casual if you are a professional consultant or overdressed if that is not appropriate either. Unless of course you do environmental work and you’re out in the field in mudboots and a fly-fishing hat. Then the look totally applies. Ladies, keep the make-up clean and simple, and watch the cleavage, or you might have different types of prospects contacting you for reasons other than your fabulous mind. Tammy Faye makeup is out, and you’re not posing for the red carpet. Gents, a little grooming goes a long way. Do I really have to tell you to shave that morning?
7. The “I own the copyright to my photo” argument
Okay, now we’re into the nitty gritty. No, you do not own the copyright to your photo, unless you want to pay an exorbitant amount or you’re dealing with an amateur photographer who doesn’t know better. Owning the copyright to your photos whether it be your portrait or a product is not worth it unless you’re a really, and I mean really big company with plenty of big bucks. Buying out a copyright can be multiple times the creative fee. Talk to your photographer and understand how a license for image use works. Photography is an artful service not a product you buy off the shelf. It is like music, books, or film, all artists have copyrights. You read, listen, or view them but the artist owns the copyright.
8. The “I don’t need a model release, I’m not a model,” argument
What? Of course you do, don’t be silly. Believe it or not, this protects you, your company and the photographer. Generally, it will say you will not be paid as a model, (for valuable consideration) and allows the photographer permission to alter your image or retouch a photo of you to remove blemishes, fix stray hairs, or whiten teeth, for example. Basically to give you a natural, cosmetic makeover so your portrait looks great. Below is a typical model release example:
For valuable consideration received, I grant to Name of Photographer (“Photographer”) the absolute and irrevocable right and unrestricted permission concerning any photographs that he has taken or may take of me or in which I may be included with others, to use, reuse, publish, and republish the photographs in whole or in part, individually or in connection with other material, in any and all media now or hereafter known, including the internet, and for any purpose whatsoever, specifically including illustration, promotion, art, editorial, advertising, and trade, without restriction as to alteration; and to use my name in connection with any use if he so chooses. I release and discharge Photographer from any and all claims and demands that may arise out of or in connection with the use of the photographs, including without limitation any and all claims for libel or violation of any right of publicity or privacy. This authorization and release shall also inure to the benefit of the heirs, legal representatives, licensees, and assigns of Photographer, as well as the person(s) for whom he/she took the photographs. I am a legally competent adult and have the right to contract in my own name. I have read this document and fully understand its contents. This release shall be binding upon me and my heirs, legal representatives, and assigns.
Most photographers have some version of this in their records. Trust me Bob Pennington had 20 lawyers he was shooting sign this at one sitting and with no hesitation. This is standard procedure.
9. The “I’m going to wind up in Getty, Flicker or Corbis,” argument
In rare cases, a smarmy photographer might do that, but the professionals would never do that without first obtaining permission from their clients. It’s just ethical, good business. This is also why you hire a real pro. It’s in their best interest to have a good ongoing relationship with their clients. So why would they do that? And let’s be honest here. We love our clients, and no offense, but many of you are not professional models. Those business people you see in pictures. Well, um, most of them are staged and the professional actors or models are compensated for that purpose.
10. The “I don’t have time to find a photographer,” argument
Ask your designer or an outside agency (someone who is used to buying art) to help you with this. Have them email you websites of the photographers they think would be a good match. Look at their online portfolios. Do you like the lighting? Do the photos compliment the person? These are the things to look for.
I hope this little guide has helped, and if I see any one of you against a plain beige wall, I’m coming after ya.
Okay, so as much as the above is a good overview, I’m not lawyer, I’m an artist and none of this is legal advice. Always discuss this with the photographer you hire and if you still have questions, run it past your own lawyer.
All photos are copyright Robert J. Pennington, even this one of me.
One Response to “Death to the beige wall—or a guide to a great corporate portrait”
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Great advice! We just redid our photos and I think we went to outside the box. We should have discussed with our photographer what we had in mind. I think the sample photos are really helpful.