concept through execution on finding the right talent,
doing experimental photography for new or innovative techniques, working on building relationships. As
the years have progressed, from my experience, it is
more about paper work and legalities. There is so much
process involved that the best part of the job—finding
the right person—is such a small part now.
PDN: How has the economy affected the job you
do, or the work that goes into creating ads?
JA: It has had an impact on how we approach jobs up
front. We work with cost consultants now and have to
justify numbers across every line item for some proj-
ects. The difficult part is explaining that hard costs are
hard costs, which leaves the fee as the most negotiable
line item. Usage rights have gotten bigger and broader
but [those] are not being reflected [in the fees].
PDN: Is there anything you wish photographers
understood better about advertising and how to
work with ad agencies and brands?
JA: It is so much different inside an agency than pho-
tographers think. There are so many rounds and rounds
of revisions and presentations before we even get a
photographer involved in a project. There are many
people on both the agency and client side who have a
say in who is chosen, and budget, schedule, creative all
play into how a job gets put together.
PDN: What advice would you give photographers
about presenting their work?
JA: I don’t mind e-mails at all. A quick reminder of who
you are, if we’ve met, what you’ve been up to and an
easy-to-open PDF is fine. I love a beautifully printed
piece as well. Getting promos is part of the job, but it
needs to not be invasive in my day.