“Freelancers,” said Greer, speaking about these independent contractors as if they were a plague of locusts that suddenly had descended on his business, eating everything in sight. “We are now competing against freelancers! We never really competed against freelancers before. Our competition used to be firms of similar size and capability. We used to do similar things in somewhat different ways, and each firm was able to find a niche and make a living.” Today the dynamic is totally different, he said. “Our competition is not only those firms we always used to compete against. Now we have to deal with giant firms, who have the capability to handle small, medium, and large jobs, and also with the solo practitioners working out of their home offices, who [by making use of today's technology and software] can theoretically do the same thing that a person sitting in our office can do. What's the difference in output, from our clients' point of view, between the giant company who hires a kid designer and puts him in front of a computer, and our company that hires a kid designer and puts him in front of a computer, and the kid designer with a computer in his own basement?... The technology and software are so empowering that it makes us all look the same. In the last month we have lost three jobs to freelance solo practitioners who used to work for good companies and have experience and then just went out on their own. Our clients all said the same thing to us: 'Your firm was really qualified. John was very qualified. John was cheaper.' We used to feel bad losing to another firm, but now we are losing to another person!”
How did this change happen so fast? I asked.
A big part of their business is photography-shooting both products and models for catalogs, Greer explained. For twenty-five years, the way the business worked was that Greer & Associates would get an assignment. The client would tell Greer exactly what sort of shot he was looking for and would “trust” the Greer team to come up with the right image. Like all commercial photographers, Greer would use a Polaroid camera to take a picture of the model or product he was shooting, to see if his creative instinct was right, and then shoot with real film. Once the pictures were taken, Greer would send the film out to a photo lab to be developed and color-separated. If a picture needed to be touched up, it would be sent to another lab that specialized in retouching.
“Twenty years ago, we decided we would not process the film we shot,” Greer explained. “We would leave that technical aspect to other professionals who had the exact technology, training, and expertise—and a desire to make money that way. We wanted to make money by taking the pictures. It was a good plan then, and may be a good plan today, but it is no longer possible.”
Why? The world went flat, and every analog process went digital, virtual, mobile, and personal. In the last three years, digital cameras for professional photographers achieved a whole new technical level that made them equal to, if not superior to, traditional film cameras.
“So we experimented with several different cameras and chose the current state-of-the-art camera that was most like our [analog] film cameras,” Greer said. “It's called a Canon Dl, and it's the same exact camera as our film camera, except there's a computer inside with a little TV-screen display on the back that shows us what picture we're taking. But it uses all the same lenses, you set things the same way, shutter speed and aperture, it has the same ergonomics. It was the first professional digital camera that worked exactly like a film camera. This was a defining moment.
“After we got this digital camera, it was incredibly liberating at first,” said Greer. “All of the thrill and excitement of photography were there– except that the film was free. Because it was digital, we didn't have to buy film and we didn't have to go to the lab to have it processed and wait to get it back. If we were on location and shooting something, we could see if we got the shot right away. There was instant gratification. We referred to it as an 'electronic Polaroid.' We used to have an art director who would oversee everything to make sure that we were capturing the image we were trying to create, but we would never really know until we got it developed. Everyone had to go on faith, on trust. Our clients paid us a professional fee because they felt they needed an expert who could not only click a button, but knew exactly how to shape and frame the image. And they trusted us to do that.”