Want to create work that attracts your ideal photography clients? In this PPA favorite episode, internationally recognized photographer Lindsay Adler explains how creative play days have become one of the most powerful marketing tools in her business.

Lindsay shares practical advice for photographers in smaller markets, proving that creativity isn't limited by location or budget. Whether you're photographing portraits, weddings, seniors, or commercial work, these strategies can help you build a stronger portfolio, grow your audience, and attract better clients.

Watch the full episode on PhotoVision.

So obviously I'm a photo educator, so that's part of it, is it's just even if it's real or behind the scenes or just little snippets of what my life looks like. But also even in the commercial world of photography, it has suddenly morphed where people really do wanna see you on set. They don't just wanna see the final images.

They wanna see what kind of productions you can handle, what your creative process looks like, who you are as a person, and so my creative play days are another way for me to do that. Yeah. So it's actually kinda hits it from all points. It's great. Yeah, it's like a reality show. I, I swear some of the characters that I have on set would be perfect for that.

I think, I think all the time something like that happens, because someone's peeking in on something, and, and everyone's coming from a, a different perspective. Uh, I actually think it will happen sometimes with a commercial job, when they're going back through my stuff, just like doing their research, and then they might not be photographers, so they're catching, "Oh, I loved when you did X, Y, Z.

Can you do that for us?" Yeah. Um, it, it all feeds into each other. It's like, it's one giant machine. Yeah. Let's talk about the day itself, because, like you say, you're planning it a month out, you're bringing in other professionals. Yeah. And you're purposely, you shared with me that you're purposely mashing yourself up with people that challenge you.

Like, that's how I got out of shooting babies, is I did creative high school senior portraits, and then I marketed that. So first and foremost, that. It has evolved into something that are productions, and so I work- Mm-hmm ... with a hairstylist, makeup artist, and wardrobe stylist. And what I usually do for a creative play day is, I

Like, I can get specific. We're basically, we're showing up at 8:00, and we're there till 6:00. Like, it is a- Day ... long, full day. And we shoot a minimum of six different concepts, like sif- or six different executions. Honestly, we've probably hit 12 in a day. Yeah. But what I do is, no one's getting paid. Like, everybody is working for the images.

And then I say thing, the same thing to makeup, or the same thing to wardrobe. So what it means is not all of the creative concepts are on me, and it also means everybody feels like they are being compensated. It's not just like, "Let's just play." They're getting something out of it they can use. So we shoot, I usually shoot two to three different models, six to 12 different looks, and we just- knock it out, but it's nice 'cause I don't have to get a certain number of looks.

Like, there's no one, you know, breathing over my shoulder. And so if we go one direction and we're like, "This is awesome. Let's evolve this," then we'll scrap the rest of the plan for the day and, like, just follow where that was taking us. Mm-hmm. And that's where I get some of my favorite images, honestly.

The makeup artist goes, "Oh, I'm gonna build some makeup off of that piece and, and bring in the color." And then the hairstylist goes, "I think this shape, this silhouette's going to be perfect." And then there's something incredible in front of my lens, so again, I'm not ... Like, they did the work for me. They put something amazing in front of me, and then I'm figuring out what photography does to complement rather than overtaking it.

And is it a more is more situation, which is true with me a lot? Where I'm like, "Let's do gels, let's do sparkles, let's do smoke." Or is it just about, wow, that amazing sculptural hair. Let it speak for itself, and I'm just gonna do simple lighting, which does happen sometimes. I want you to think back to the last time you all creatively jammed.

Yeah. So I am, like, as soon as we're done ... Well, it's funny 'cause I'll be in the shoot and I'm really hyped. Yeah. And then it goes off. Then I am just a zombie in the corner. And I'm just melted, slowly eating like a Reese's Peanut Butter Cup. And like waiting for people to pack up. Like, that's what it looks like.

Yeah. And it's also true, just as a side note for people, when I do workshops, I'll give like, uh, 110%, and then as soon as I'm done teaching, then I just melt in the corner and yeah, that's just how my brain works. It's, it's on or off- Yeah ... for the most part. We're learning from you on your website. Mm-hmm.

You're showing people how to do this stuff. But sometimes it can feel a little intimidating because, well, I live in Milwaukee. Sure. I don't have fashion designers. I don't have someone that I collaborate with consistently- Yeah ... for hair and makeup. Talk to that person about how they can take your concept and make it work for them.

I started in a small town in Upstate New York, and I still did the same thing. So I would take high school seniors, maybe somebody I already shot, and we would do a play day. And what we would do is I would either, I'd go to the florist around the corner and be like, "I'd like to collaborate. Let's make a, a flower wreath around the head."

Or I'd go to the local vintage shop, or I'd buy and return from someplace. Like, um, or, I, I've since learned how to drape fabric to look like a dress, and I've collaborated with, um, cosmetology students. Like, a- and I, I don't mean this to be mean, but whatever... Like, there are restrictions in small areas, but if you let it stop yourself, you, you put that restriction.