for JULY 1984
was a very good seminar but not necessarily full of meat. One could almost justify the $98.00 with these little gems
that I have recorded.
doing so, of course these people will not set up in business in
opposition to you. You
have really got nothing to worry about from them, but these people
will start to know what fine photography looks like and consequently
whenever they go, wherever they go, they will of course be looking
for what they will learn to recognize as the best.
YALE UNIVERSITY ART GALLERY
art adviser of the gallery who spoke to us about the collection
told us that English art was influenced by Henry VIII when he
broke away from the Catholic church, in so much that he forbade
any religious paintings, he forbade the Church sponsoring art
and right up to that stage and in the continent at that stage,
the Church had been the biggest sponsor of art.
meant that the artists in England had to turn to portraiture to
make a living. He showed us first the Elizabethan paintings which
were extremely flat filled the frames and lacked imagination altogether.
then went on to painting around the time of Charles 1 when Van
Dyck visited England and he changed the complete style of painting
with his technique of doing
the full length figure allowing space, creating form with shadow.
then saw how some English painters copied his style. He showed
us how they put various pieces of clothing, armory etc. into the
picture to show how important the person being painted was. In
just about every case, the portrait flattered the person. They
placed articles of clothing or armory or if he was a holder of
the knight of the garter, that was on the portrait. They were
then went on to show us the next stage of paintings and that was
of houses. This was the next stage that happened and the artist
used a birds eye view of the castle, painting massive large paintings
of the castle, the surrounding land that was owned by the castle
owner and the castle. It basically showed every little dent in
the brickwork. You could certainly see the turrets, the pinnacles
on the roofs, the cabbages growing in the garden, people walking
on the promenades, even to the stage of the field that they laid
the clothing out to dry in. There was of course a carriage pulling
up at the entrance.
paintings then developed into some that were almost turned into
landscapes but of course landscapes weren't bought by anybody
so they had to include the birds eye view of the castle and the
land to be able to get away with the landscape.
next stage of painting was the pictorials of the people outside
in a setting and what was called conversation pieces of people
chatting in a parlor,
playing cards etc.
was interesting to note that the portraits that were done of these
people outside the whole family, whatever the person's interest
was they had something to indicate that in their hands. For example
if one of the children was a keen reader, they had a book. If
one of the others was a fisherman, he had a fishing rod. The woman
had her fancywork, and so forth.
was round this time that Gainsborough made an appearance and Gainsborough
was self-taught. He was particularly keen on painting landscapes,
but of course landscapes didn't sell, so he had to resort to the
family group type portraiture, outside and build them into a landscape.
Of course, Sir. Joshua Reynolds was in this particular period
as well and his portraiture was extremely beautiful.
was interesting to note the way that the portraiture changed over
the hundred years, how it was influenced by the various artists
who traveled to England from the continent and how the portraiture
improved from a flat, badly cropped portrait through to the beautiful
portraits that were produced from the Van Dyck period on.
It was interesting to note that whilst most of them wanted to paint landscapes, etc., they produced what their customers wanted and would pay money for. There was a stage when people did not like sitting for the portraits and one of the painters used tailors dummies to get the majority of the portrait painted and the subject would come in a t the last minute and the artist would place their head on the various paintings. They certainly did not have it easy, yet they produced beautiful work to a standard that today other paintings or photographs are compared to.
FOR DECEMBER 1985 VOLUME 74
have just come across some notes I made while I was listening
to Paul Yaffe. Unfortunately, I did not sit through his whole
talk and I am sure there would have been many more notes had I
done so. Any notes in brackets are my comments otherwise the comment
is as I recorded it from Paul Yaffe.
photographers (portrait photographers) must make people look as
good as they can. They must be convincing, they must be spontaneous,
the portrait must flow and balance, it must flow in and out. It
must have sensitivity, in other words you must capture the tender
thirds of his portraits are pensive and one third are smiling.
He has soft music playing in his studio.
captures most of his clients from previous satisfied clients,
does P.R. releases all the time, has large displays that he puts
on twelve 8 x ~ foot panels. He advertises in the newspapers,
changes his window displays twice a week. In his studio,
he uses contemporary furniture and not reproductions. Contemporary
makes it easier to walk into and it is not what it costs but how
has navy wallpaper and uses 100 watt bulbs over each picture.
However he uses air-conditioning to reduce the heat that these
gives them a cup of coffee that is so hot they cannot drink it
and leave for ten minutes. His average order is 375 pounds sterling
and he deals with the home market and not the Arabs.
uses transviews and projects them through to 40 x 60 and sits
the people at the back of an ordinary room so that the print looks
taking appointments, his customers never ever see the diary, so
that they walk into the shop and the diary is out the back and
out the back it stays. He goes out and brings back two possible
professionals write down all the important details - the non-professional
will not do this.
who asks the questions controls the sales.
am sure there is a ton of new ideas that I did not hear. He is
one of the best speakers that we have had at a conference and
I am sure that even now that if you were to write to Don Buick
at Mayfair Studios, he would have tape that you would be able
I have just finished listening to the set of tapes by Paul Yaffe
and boy! was this guy good.
sales techniques, his approach, his philosophies are what I believe
and have been saying are the correct approach for years.
have been hearing reports from all round the countryside as to
his approach, how people like it and I have heard of people trying
to follow it.
is my belief that if you are setting your business up along any
lines, you could do a lot worse than follow Paul Yaffe. However do remember, he is an extremely good photographer. No, he is better than that. He is a brilliant photographer. So that when he asks for a high price, he has the product
with which to back it up. He has the premises that look expensive. The guy dresses so that you are left with no doubt that
he has seen a thousand dollars.. or in his case pounds.
don't just pull out one small portion of what he spoke
about, try to put it into your business and expect to get the
success that he has. Work on your total image. Read back through previous newsletters and start putting
into place some of the things I have described in fine detail. Do remember, if you are asking for a high price for the
product, you had better make sure that it is worth it.
FOR JANUARY 1985 VOLUME 75
idea is ludicrous. You can only do a "Paul Yaffe" in
an area that has a reasonably large population, like Auckland,
can only do a Paul Yaffe if you are one of the best photographers
in New Zealand. Or,
if you are one of the best salesmen in New Zealand.
can only do a Paul Yaffe if your clients recognize that your work
is worth more money.
can only do a Paul Yaffe if you have a large population to draw
upon so the that you can reach that five percent who are prepared
to pay more.
a country town of ten thousand people, that means there is roughly
three thousand families which means you have about one hundred
and fifty families to work with, working on the assumption they
have the city person mentality.
people don't usually spend money like city people on large single
any of the above paragraphs fits what you're doing, even remotely,
have a good look at it. I'm not saying it can't be done, I'm saying be very careful.
hate to see anybody go broke. Particularly one of my customers....
my last newsletter I spoke of how good the information Paul had
to give. said that he had a lot of good ideas to follow.
didn't say change everything now and do it his way. If you make any changes they must be made with the consideration
of the population you are working with, and your own ability.
A good example of this was when Joyce Wilson went to Salem, Oregon. She found that the people in that particular area were farm people.
were of a different stock to the people she had been dealing with
in Indianapolis, they were country people. They didn1t look elegant in photographs. She was not able to do very well in Salem.
went back to Indianapolis, had a different clientele to work with,
Indianapolis is a very large city in the mid-west, more sophisticated
that Salem, Oregon, of a different stock, they didn't look clumsy
in photographs and she is doing very well Which of these two area's fits your particular
area the closest.
does matter, and it does count. Be careful.