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.”
For a year or so there was this new sense of empowerment, freedom, creativity, and control. But then Ken and his team discovered that this new liberating technology could also be enslaving. “We discovered that not only did we now have the responsibility of shooting the picture and defining the desired artistic expression, we had to get involved in the technology of the photograph. We had to become the lab. We woke up one morning and said, 'We are the lab.'”
How so? Because digital cameras gave Greer the ability to download those digital images into a PC or laptop and, with a little magic software and hardware, perform all sorts of new functions. “So in addition to being the photographer, we had to become the processing lab and the color separator,” said Greer. Once the technology made that possible, Greer's customers demanded it. Because Greer could control the image farther down the supply chain, they said he should control it, he must control it. And then they also said because it was all digital now, and all under his control, it should be included among the services his team provided as the photographic creators of the image. “The clients said, 'We will not pay you extra for it,'” said Greer. “We used to go to an outside service to touch up the pictures-to remove red-eye or blemishes-but now we have to be the retouchers ourselves also. They expect [red-eye] to be removed by us, digitally, even before they see it. For twenty years we only practiced the art of photography-color and composition and texture and how to make people comfortable in front of a camera. This is what we were good at. Now we had to learn to be good at all these other things. It is not what we signed up for, but the competitive marketplace and the technology forced us into it.”
Greer said every aspect of his company went through a similar flattening. Film production went digital, so the marketplace and the technology forced them to become their own film editors, graphics studio, sound production facility, and everything else, including producers of their own DVDs. Each of those functions used to be farmed out to a separate company. The whole supply chain got flattened and shrunk into one box that sat on someone's desktop. The same thing happened in the graphics part of their business: Greer & Associates became their own typesetters, illustrators, and sometimes even printers, because they owned digital color printers. “Things were supposed to get easier,” he said. “Now I feel like I'm going to McDonald's, but instead of getting fast food, I'm being asked to bus my own table and wash the dishes too.”
He continued: “It is as if the manufacturers of technology got together with our clients and outsourced all of these different tasks to us. If we put our foot down and say you have to pay for each of these services, there is someone right behind us saying, 'I will do it all' So the services required go up significantly and the fees you can charge stay the same or go down.”
It's called commoditization, and in the wake of the triple convergence, it is happening faster and faster across a whole range of industries. As more and more analog processes become digital, virtual, mobile, and personal, more and more jobs and functions are being standardized, digitized, and made both easy to manipulate and available to more players.
When everything is the same and supply is plentiful, said Greer, clients have too many choices and no basis on which to make the right choice. And when that happens, you're a commodity. You are vanilla.
Fortunately, Greer responded to commoditization by opting for the only survival strategy that works: a shovel, not a wall. He and his associates dug inside themselves to locate the company's real core competency, and this has become the primary energy source propelling their business forward in the flat world. “What we sell now,” said Greer, “is strategic insight, creative instinct, and artistic flair. We sell inspired, creative solutions, we sell personality. Our core competence and focus is now on all those things that cannot be digitized. I know our clients today and our clients in the future will only come to us and stick with us for those things... So we hired more thinkers and outsourced more technology pieces.”
In the old days, said Greer, many companies “hid behind technology. You could be very good, but you didn't have to be the world's best, because you never thought you were competing with the world. There was a horizon out there and no one could see beyond that horizon. But just in the space of a few years we went from competing with firms down the street to competing with firms across the globe. Three years ago it was inconceivable that Greer & Associates would lose a contract to a company in England, and now we have. Everyone can see what everyone else is doing now, and everyone has the same tools, so you have to be the very best, the most creative thinker.”
