The Hawkins Axiom

It oughta be axiomatic: "Personally, when I give my services away, which ain't often, I assume I'll never see a dollar from that client, ever." (Josh Hawkins)

I think photographers should use the Hawkins Axiom as a rejoinder whenever anyone asks them to work for free in return for "exposure."

Nonclient: "Well, we can't pay for this work but it will be good exposure for you, and we'll consider you for paid work in the future."

Photographer: "Actually, it's well known in photography that the opposite happens. The only exposure you get from free work is a reputation for working for free, and, if you work for free, most often you'll never, ever get a paid job from that client. So it's considered unwise to work for free for people you respect and want as clients. The idea even has a name—it's called the Hawkins Axiom."

Would that work? Try it sometime?

Probably won't catch on. The takeaway, though: If you want to get paid work from a client, better not work for that client for free.

Mike

Original contents copyright 2015 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.

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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Mike Cytrynowicz: "Hawkins Axiom sounds good. Like Murphy's Law, etc. Photographer: 'The well-known Hawkins Axiom tells me that if you can't pay for this work, I shouldn't work for this pay.'"

Yvonne: "Perfect, and it could catch on if it spreads around enough. Well said, Josh Hawkins!"

Ed Hawco: "It needs to be catchier in order to catch on as an axiom. How about: The only exposure you get from working for free is exposure as someone who works for free."

Nick D: "The other strange thing I've noticed about clients is that those who want to spend the least are always the most demanding. Clients who have spent decent amounts of money are nearly always really relaxed about the outcomes too. Go figure. My designer colleagues seem to have similar experiences too."

Mike replies: Same with magazine advertisers. A big company that comes in with six full pages won't give you any trouble at all, but the the guy who's bought a $60 classified ad has all sorts of demands and will need lots of handholding.

Sietse Wolters: "In the thirty years that I have been working as a designer I always used three criteria:

1. You have to like the client
2. You have to earn money
3. You have to make good work.

"When you score only two out of three it is still worth doing the job. If you have a pleasant relationship with your client and it pays well, but the results are a bit disappointing, that’s not too bad. If you like the client and you can make great work and you don’t lose money on it, that’s fine. If the client is an asshole, but he pays well and the work is topnotch, that’s okay. But when you score only one out of three don’t do it. Of course starters have to fill their portfolio. And there are always moments when there is not enough work and you have to feed your family (and those of your employees) so you have to grab all the work you can get. But in the end only a nice relationship, only money or only good artwork is not enough if you want to operate professionally."

Mike replies: That's great—very smart. Good advice. Thanks Sietse.

bruce alan greene: "I'm in motion pictures, but it has always been the same situation in this industry: So many desperate hopefuls, that there are many opportunities to work for little or free. And I've had good and bad experiences working for little or nothing. I'll share just one.

"A producer at one of the major media companies was doing a personal project, a short film. There was some small chance that the personal project would lead to a professional project in the future, but that rarely happens.

"But, being an honorable producer, she offered to pay me a small amount. I turned it down and offered to donate my time and even donated $200,000 worth of equipment to the cause. And spent two enjoyable but hard-working weeks on the project.

"The project was completed, but never went anywhere. I have not worked with this producer since (it's been almost a decade now), even on projects for her studio employer.

"But, I am still friends with the producer and we keep in touch.

"CUT TO: three years ago. My daughter graduated from college with a degree in literature. She had no job skills, and no idea what to do. And then, the producer in this story asked me if my daughter might like to see what they do at the studio. Take a little tour. My daughter said 'okay,' not sure what to make of it.

"Two months later my daughter had turned that connection into a job as the lowest production assistant, but she was in. Two years later, she has used that position to get a job as a writer producer at the same company. To my family, this 'freebie' has been one of the best money making investments ever! (of course, all that writing practice in college hasn't hurt her:)

"And the lesson: Don't work cheap or free on a 'for profit' project, and rather than show that you are desperate to work 'cheap,' offer to donate your professional skills at no charge. Show that you are so successful, that you don't need the money.

"For all others, use the Hawkins Axiom."

Comments

[Armond Perretta]

You get (or don't get) what you pay for (or don't pay for). It's been like that since Judas Iscariot.

[Paddy C]

I was too late to jump into previous posts on this subject. The same problems are present in the graphic design field although perhaps not as prevalent.

There are three things I've found to be true about free or reduced-rate work:
1. Like Josh Hawkins said, don't expect to see any paying work from that client in the future.
2. Don't expect to get "exposure". This has only worked once for me. Once in 15 years!
3. Don't expect the client to reduce expectations of service or deliverables. Funny thing about discounts is that as soon as you give one I swear it is forgotten by the client. Expect to have to commit the same resources as you would to a full paying job.

I've found these all to be true through some repeated testing. This is why I only do free work for charities I believe in or good friends or family who need something like a wedding invite. And I only give discounts to long-standing clients.

[Richard Newman]

This dicussion makes me glad I declined a partnership in a commercial photograpy company way back in '69. In my real profession I sometimes had to deal with three or more competing 'bosses'. While annoying, not a problem I couldn't deal with. Had I turned pro I would have had to deal with the customer as 'boss'. But I wanted to do my photography to suit me, not a boss. And on the few occasions when I have done a 'job' as a favor (e.g. a wedding for someone who couldn't afford a professional photographer), I didn't have to deal with this problem. A fringe benefit of my no-pro decision.

[c.d.embrey]

Also, don't discount your price. As in we don't have much money for this project, could you cut your rate in half? Do it once and they will always expect you to work for cheap.

What I've found best is to to jack up your rate to an unconscionable level, than double it!

[Joe Holmes]

I have an excellent rejoinder to those who ask me to work for free. And I will disclose it for a very reasonable fee.

[Kurt Kramer]

I have slightly re-phrased this, "Yeah, I'll get a lot of exposure to more people who want to use my work for free. That doesn't accomplish much for me."

[Alvin]

Any company/individual who'd ask you to work for free is not worth working for anyways.

[Ken N]

Mike, considering that you are the father of Bokeh and a few other photographic pop-culture things, I'd say this has a pretty good chance of catching on. Consider me on board with it and will share it on my website.

[Dean Z]

Onr thing I have debated using in situations where one is being asked to giving away time would be this. Ask what that person's hourly, or equivalent, is. After a quick "I could charge that," give them the number of hours. One might be giving something away, but at least the idea of your-time-equals-my-time gets on the table. You could legitimately serve someone less well off, if you wished. A little too socialist for some, I suppose.

[Ranjit Grover]

I suppose Hawkins Axiom holds true for all professions and services. Now on I shall take it as a given truth.

[T Bannor]

Right on, Josh. I've only worked for free once and it was back here in Josh's home town. I was talked into waiving my creation fee for an event with the promise of tons of print sales, which never materialized.

[Bob Rosinsky]

"Sure, I'll consider doing free work. But you first have to hire me for ten jobs to get the free job (limits do apply). Here's your loyalty card."

[Merle]

I'm a very amateur photographer, but I also play music solo and with a band as a hobby. My philosophy has always been that "I shouldn't have to pay to play." Most gigs require some cost to me - strings, sound equipment, mileage, food, overnight stay, whatever. I've pretty much stuck to that philosophy over the years. Often, the customer can come up with something to offset my costs. On some occasions, we've turned down gigs when they can't/won't.

Also, it doesn't mean I don't do gigs for free. But I do it as my choice, always with that little saying in the back of my mind.

"I shouldn't have to pay to play."

[Sarge]

Too long. A laconic and diplomatic answer to a prospective client's freebie spiel, may go thus:

Photog:   Hawkin's Axiom.

Client:     What?

Photog:   Google it. See ya.

[ann]

Newspapers here (Australia) have sacked most of their photographers, just relying on a core overworked group and reader's "contributions". Some of them also run photographic competitions and charge a fee for entry. Travel, Sport etc. So the paper ends up with some great shots (and not so great of course) which they can use as filler. The share holders must be laughing all the way to the bank.

[Paul Colclough]

Mike,
My response in the past when asked to work for free was to offer the sage advice offered to me when I started out in this industry a life time ago ( over 40 years ago ) the person who works for nothing will always be busy.
Keep warm and keep well.
Paul Colclough.

[beuler]

All counter intuitive phenomena intrigue me. In the case of "Hawkins Axiom" it is quite simple to understand the underlying mechanism that makes it true if you have be on the other side (hiring photography services) as I have.

In the majority of instances, photographers work for agencies that in turn are working for a client that actually pays for all expenses. If the client has given the agency a healthy budget for photography, should the agency hire great (expensive) talent, or should they hire "that guy who works for free"?

The "guy who works for free" only gets called when the agency forgot to negotiate a photography item in the production budget. So it is actually worst than it seems, since the only exposure the photographer is getting is through an incompetent agency for a low budget production.

There is also the opportunity cost to consider. The time spent making low budget images for free could have been spent making an artistic addition to the photographer's portfolio.

If the aspiring young photographer wants to learn the trade and get some exposure, the best route is to become an assistant to an established photographer.

[Mark Roberts]

When anyone asks to use my work free for "promotion" I tell them that the fact they found my work, like it and want to use it is evidence that my current promotion is quite adequate. What I need more of is money.

[George Sinos]

Mike - how many of the pro photographers that refuse to work for free have unpaid interns?

[Mark]

I don't need your free exposure. You found me, didn't you?

[mike plews]

"quality is remembered long after price is forgotten" unless the price is zero in which case price is all that's remembered.

[Armond Perretta]

I wrote earlier, but having just read Brady's 2011 bio of Bobby Fischer, I am compelled to jump back in to note that Fischer demanded what he thought he was worth. Chess fans know where that got him. IOW, life can be hard.

[Yonatan Katznelson]

I would only change one thing - call it Hawkin's Law... I think that it rolls off the tongue a little better (like Murphy's law, mentioned above).

As an added benefit, you get the standard reply to the request for free work: "I'd love to, but I'm afraid that it's against the law."

[Shawn]

If you want exposure then you should pick a company or client you want to work with in the future and offer to do a modest project for him at a reduced rate or for free. That way you can choose to introduce yourself to what might become a lucrative account.

[Mike Cytrynowicz]

@Nick D.

My experience (as graphic/interaction designer) as well (during the 5 years I had my own design shop). Some clients actually felt very strongly they were doing you a favor. As I had the tendency to "own" my clients and want to make them happy, I suspect I was less than a smart businessman. It has to work both ways, and Sietse is right. Actually, my canadian friend Doris would charge _more_ when the clients were difficult, so she would not regret having shaken their hands.

If it is not a very experientially rewarding collaboration, then at least you have to make some good money out of it.