Posts Tagged ‘work’

Boom Times – Open Comments

Friday, September 4th, 2009

One thing about freelancing that is virtually unpredictable is that you can be nearly unemployed for months at a time, perhaps just have a few projects on your plate. Then, like a summer rain storm in New York, the skies open and more work pours down on you than you can reasonably handle. You have barely enough time to finish all the projects on your plate and have to turn down projects you would have jumped at only a month or two ago.

I am now in such a phase and thus may not be up to my full blogging levels, although I hope to find time to get pieces written in my few spare moments.

I would like to invite my readers to share in comments their experiences with such situations. How do you handle a heavy workload or multiple projects? What sorts of project management systems do you have in place? How do you deal with income fluctuating by a factor of ten or more month to month?

Or just pop in and say hello and tell me what you are doing.

Thank you for reading.

Freelancing and the Abundance Mentality

Friday, June 12th, 2009

I have been thinking a lot about how I relate to my Lighting Design work recently. I am talking not about the aesthetics of the work, but rather the business model I operate under. When I was in graduate school I took out a (relatively) small loan to supplement my scholarship. I did this as a means of using money to leverage my opportunities by making it possible to purchase the most up to date drafting technologies, seeing the latest plays, operas, dances and so forth. My education was greatly enriched by that opportunity I gave to myself.

Over time however, that leverage became a burden. Despite the fact that I kept diligently paying off the loans, my attitude towards them shifted over time. The benefits I had garnered from the money were still present in my work and experience, yet I saw the loans as a drag on my earning. Without the immediacy of the experience, the focus shifted to the debt incurred in that action. My mentality towards work, again speaking strictly at a business level, went from generating income to paying off debt. While paying off debts is a good thing, I found that having that be the focus of earning money limits potential.

When I relocated to the Bay Area over six months ago I reached out to all the designers and directors I knew to get a sense of the landscape. One designer in particular stood out. This person told me, in no uncertain terms that there was quite simply not enough work to go around. The subtext being, why don’t you go back where you came from and leave the scraps to the rest of us. His response bordered on outrage and was quite surprising. Because this was one of my first encounters with a designer out here, his perspective colored my vision and everywhere I looked I kept seeing that scarcity.

In fact, the scarcity mentality that this designer was operating under was very likely the cause of his not finding enough work to be satisfied. The scarcity mentality is very closely related to that same idea of working to pay off debt rather than working to build wealth. Not too long ago I came to the realization that this way of going about the world was not only unproductive, it was counter productive. By focusing on paying off debt and looking out with a scarcity mentality I was unconsciously limiting my potential market.

What I have found myself doing lately is shifting my perspective from a debt oriented view to a wealth oriented view. In short, a shift from a scarcity mentality to an abundance mentality. The economy may be way down, we know this, but people are still hiring. Companies are still producing and lights still need to be designed.

Greed is the logical outcome of the scarcity mentality. Or perhaps the scarcity mentality is a product of greed. It is a hoarding tendency born from the fear of not enough. Many people want to earn high incomes not because of a desire for a better life per se, but out of a fear of not having enough. This may seem like the same thing, yet in fact they are diametrically opposed points of view. Those who want to earn high incomes out of fear, tend to be laden with debt, broke at the end of the month, and constantly worried about how they will pay their bills, regardless of their income level. Those who embrace an abundance mentality tend to have more than enough for themselves to live the life they want.

What I am interested in and what I am speaking to here is expanding the pie. I am no longer interested in seeking out scarcity and eeking out an existence to pay off debt. Rather I am interested in generating value and wealth to raise the quality of life for the people around me. Be that through creating beauty, donating to charity or taking a friend out to dinner. The scarcity mentality has for too long held me and my loved ones back. From experience I know that embracing an abundance mindset is the first step towards generating true wealth. The days of scarcity are over.

Standing in the knowledge that there is enough work has in the past, and I am confident will in the future, create that reality. Our world is shaped by our perceptions and only through a fundamental structuring of our outlook towards abundance, comfort and peace of mind can we truly create those things for us and our loved ones in our lives.

Offset Your Travel

Wednesday, February 11th, 2009

Do you travel a lot for work? I do. Four cross country flights in about a month seems like a fair bit of travel to me. I have often had an issue with the volume of travel and its impact on the environment. While this does not eliminate the carbon released into the atmosphere, it does help to reduce the impact of that carbon.

I would like to encourage any of you who travel a lot for work or fun to consider this or a similar program.

Change is Coming – New Home, New Year

Monday, November 10th, 2008

In three days I relocate my base of operation from New York City to the San Francisco Bay Area. Due to various timing things I had to cancel several projects in New York, but some of those gaps have been filled by projects in California. I land and go right into rehearsals and tech for The America Play at Thick Description. This is a fantastic play, but one that I had not read for years prior to this project coming along. It will be a wonderful thing to fall into immediately upon arrival.

This January I will be lighting Dracul: Prince of Fire at The Crucible. A few other projects early in the year are up in the air right now, but interesting stuff all around.

It will be quite a change moving from New York, the city I have called home for seven years to my (old) new home, the Bay Area. I am hoping that I will continue to work in New York and the Northeast on a regular basis and be out here for projects on a not infrequent basis. Based on some talks with friends, that sounds likely, but time will tell how things shake down.

The more things change, the more they stay the same.

I will be lighting the main stage season at The Barter this coming year so I will definitely be spending a fair amount of time on the East Coast, albeit the Southeast. It will be great to return there for my third season and I am really looking forward to that. Shows there include Joseph and the Amazing Technicolor Dreamcoat, Of Mice and Men, The Wizard of Oz, Ivy Gap, Frankenstein, and Heaven Sent. Thats a lot of variety right there, so I should stay entertained. And Of Mice and Men will be going on a brief regional tour around the Southeast in the Fall.

In more Barter news, they are looking for a new Master Electrician. If you or anyone you know would be interested in the job, drop me a line.

Work on my lighting design portfolio continues. I have been cleaning up pages, removing older and smaller shows and generally getting the whole thing a lot more focused. I am considering using some kind of blog software to totally revamp the site, though have yet to actually go there in terms a full redesign. Perhaps that will be a project for the new year.

My writing on this blog has been rather minimal of late with the majority of posts being quotes and excerpts from other writers. I hope to add back to the larger theatrical and design aesthetic dialog from here on out, but with all the changes that have been afoot in my life for the last year, the blog has fallen low on the list of priorities.

The time for change is now.

To My Lighting Designer Friends

Thursday, September 4th, 2008

New York Theatre Ballet needs a touring LD/SM for its tour of the Mid West. Dates are mid-September through late November.

Contact me at nytb [at] lucas krech [dot] com for more information if you are interested.

Financing Freelancing

Thursday, July 3rd, 2008

Of all the classes I took in gradschool not one of them focused on how how to organize your finances. We had a CPA come in one day and talk about taxes, but nothing on day to day cash flow management. It is surprising since that is rather central to freelancing. And given that this is what a large percentage of their students end up doing, it surprises me there was no discussion of it. I had to make this system up on my own, via some help from talking with friends and colleagues. My system will not work for everyone, it may only work for me, but perhaps some of the ideas will be useful to others about to begin the freelance design experience.

One of the trickiest things I have found freelancing is budgeting my money. The switch from regular to irregular income can be quite a shock to the system if not prepared. It has taken me a number of years to get the system I have working with most major kinks ironed out, but it seems to be doing well currently. Since some months I will be working constantly with a fairly high and regular cash flow and other months are like a river evaporating in the desert I have adopted a system that works no matter what volume my monetary intake is at. Most of it is based on percentages and that allows my budget to expand and contract as the intake does.

Obviously I have fixed expenses like rent, gas, electricity, phone, student loan payments and internet. Thus there is a minimum I must make each month to not go into debt. By and large making those minimums is simple. Everyone has these expenses. They are obvious. There are a few other less obvious expenses that stung me a few times through my not considering them necessary.

For the system to work, taxes, savings and a “dry month buffer” should all be considered necessary expenses. By looking at these as necessary expenses I make sure I have them covered rather than waiting until the end of the month or end of the year only to find out I spent all my income.

Since I do not get W2′s there is no income withholding which means I must do that on my own. I am also under no illusion that I will “strike it rich” as a theatrical designer, so I have an IRA that I feed regularly. Both the taxes and the IRA follow the same model. As soon as I deposit each check for a project I take a percentage(currently ten percent) of that and put it towards my IRA(and to a savings account for taxes). So if I get a hundred dollar check that’s $10 to my IRA. A $3,000 dollar check and its $300. Simple.

The “dry month buffer” is less precise. Rather than a strict percentage I simply try and maintain about 1-2 months worth of necessary expenses in my savings account. This has been the most recent addition to my system and probably the one most needing of refinement. My next major tweak to the system is to make this more precise and methodical.

By doing all this before I even look at balances for necessary spending I have been able to save a decent amount of money on what can, at times, be a very meager income. There are two things that make this successful. One is knowing that almost anyone can adjust -10% of their income. It’s just enough to notice, but not significant enough to truly impact daily life.

One further trick I picked up from a friend of mine who uses a similar system has to do with money for taxes. In March he takes all his savings for taxes and puts it in a 9 month CD. In June does the same in a 6 month CD. And again in September with a 3 month.

It looks like an online savings account actually provides a higher rate of return than a short term CD. So this afternoon I will be opening an online savings account to hold my tax money until the end of the year.

The final element to the percentage system is discretionary spending. I give myself a monthly allowance, alternately called a flexible budget or spending plan, for excess income every month. By again treating it as a percentage of income I am able to allow it to expend and contract based upon earnings. And since all my credit card spending is accounted for in that spending plan I am able to pay off credit card bills at the end of the month(or weekly when I am really on top of things) to prevent that from getting out of control.

This all may fall into the over sharing category for some. But to me I would have loved to have this information at my disposal when I started working regularly on 1099 income. I hope this might help you out.

No time like the last minute

Monday, April 14th, 2008

I just got offered a really interesting gig in New Jersey for a show that opens next week. Dovetailing perfectly with my schedule for Camino Real that I am lighting up at Columbia(opens Wednesday).

Oh yeah, and I have several lightplots due for upcoming shows.

So much for today being a “day off.”

Thoughtful accidents

Monday, January 21st, 2008

I have been corresponding with my friend Jeff recently about the implications of this post from a little while ago. He brought up a good argument that in light of how the post was written makes a lot of sense. Essentially his contention came with my use of the the word thought, or rather the necessity of “thinking” in art. His reading of my words came down to me espousing the pre-thinking of a work through to its conclusion without variance. In this sense I wholeheartedly agree with him.

Because, he points out, the accidental or the “mistake” is one of the greatest elements of the creative process. When a plan for a work is set in motion and some rupture or other occurs that breaks the flow and redirects the work into another direction the artist must be able to respond to this situation or the work begins to falter. Not only do I think this is good, I think it necessary. At the same time it means thinking through the whole meaning of a work such that when those moments arise, the challenge can be met.

Thinking need not be an abstract intellectual pursuit either. I use the word thinking in a broad sense here as a reasoned awareness towards the work. After all, I have been violently accused of being unthinking in the past because of my belief in the importance of action before theory. Becasue theory must be grounded in practice. The former derived from the latter.

One of my favorite artists is John Cage whose work centers around the unknown, the accident. His works allows for accidents to occur within a clearly designed and well thought out framework. In so doing he allows for random ruptures to occur, while at the same time intelligently thinking through the entirety of the work.

Randomness is something I not only enjoy but encourage in my own process. Although much of my training had to do with figuring through every detail of a design, I like to construct my light plots such that there is a lot of flexibility in them. During the process for any play some preconceived notion is going to fail. It just happens. That is the nature of the work itself. By allowing for sufficient movement within a predetermined structure, when these moments inevitably happen, they can be responded to quickly and intelligently rather than causing the entire process to break down.

Making space for the inevitability of accidents allows a work to grow in response to its environment. It makes the whole thing dynamic and expansive in a very necessary way. How these allowances are made and what happens when accidents arise necessitates a strong visionary thinking artist to best craft the situation to enhance the work as a whole.

Free to choose

Thursday, January 17th, 2008

I had coffee with my friend Mark yesterday and we had a great chat about what it takes to be a lighting designer. Mark was a year a head of me at NYU and it was good to sit down and be able to go through everything that is going on for me in relation to my current questions about design and being a designer. Largely, his thinking was very much in line with my own and it was comforting to know these questions I currently find myself asking are pretty much par for the course in this crazy freelance design world.

There is a certain narrative that was driven into us in grad school. Essentially that came down to one’s design work and the “being a designer” as a kind of existential statement upon ones self. One IS a designer. As if the very core being is that of a designer rather than design being an activity one engages in, an attribute ascribed to ones being.

We talked of practicalities, things like how to manage a fluctuating flexible income. But of more import was looking at our relation, as people, to the work that we do. A question one mentor of mine always asks is “What kind of life do you want?” There are many paths one can take with regard to being a designer, or not. How do you want to live? It is important to refocus the question upon one’s larger self and to maintain some degree of distance from the work. To not get so bound up in it that there is nothing but the work. In essence, one must live.

It is so easy to get bound up in the work to the point that this reflection never happens. But it is important to engage in it. To realize that the self and the work are two different things. That I could walk away from it and not suffer some existential loss. Rather it would just be change. And change can be good.

Doing projects because I want to rather than “need to” has been an important realization for me. It has an amazingly freeing quality to it. Taking on those projects that are interesting to me rather than everything that can fit into my calendar makes the whole process feel a lot more sane. Rediscovering for myself why I do lighting design and what I want out of life is a wonderful feeling. Rather than the sense that it is a closed statement, it now feels like an open question. So much can happen. And that is wonderful!

Quality Control

Sunday, January 13th, 2008

I went to see Terminus yesterday with my friend Gisela the director of the Antigone that I lit this past summer in Rumania. Terminus was a very good show, I was pleased to get a chance to see it.

Afterwards we got to talking about theatre and why we work and the work that we do. A lot of the discussion centered around what I was talking about the other day. Not so much the money part as the art part.

As an artist I am limited in the work I do by the jobs that I am hired for. Given that, how do I do the work I am interested in? Some of this is the professional equivalent of putting light where it is supposed to be. Or rather, taking it away from where it shouldn’t be.

This comes down to a matter of quality control. Branding. That is, rather than taking every project that fits into my calendar, only taking those projects that fit into my larger vision. My penchant for the philosophic may lead some to think this means I am only interested in abstract intellectual work. This is not the case at all. I have done and am interested in a wide range of material and find the dynamic range of my projects to be exciting. Currently I am seeking out commercial work to balance against the more artsy stuff I have done until now. It is important to me that the projects I work on are both artistically and financially satisfying.

I have mentioned before a piece of advice given to me by a former teacher, “There are three reasons for doing a show; the art, the people and the money. So long as any two are present it is worth taking the project.” I have been following this advice since hearing it and find it to be a generally good rule of thumb. The interesting thing in relation to what is going on for me now is not so much that I am changing the rules upon which I operate. Rather, I am reevaluating the underlying criteria upon which I base decisions made by those rules.

I feel that the lighting design I am most interested in has a distinct underlying sensibility to it. This is not necessarily the compositions per se as that varies by the specifics of the projects, but more as an outlook upon the larger work. A worldview.

Maintaining that viewpoint in my work, while operating in a freelance situation, necessitates being selective in terms of the contracts I take on. It means holding all the work I do to certain aesthetic and production standards and ensuring that my name only gets associated with projects that I am supportive of.

Some of this is what led me to redesign my portfolio and blog layout. I wanted to ensure that the public face I am putting out to the world reflects more accurately the work that I do. The new looks gives better focus to the images and shows them off to much greater effect.

This new look is more selective. It gives a cleaner and clearer focus to the content. And this focus is what my work is about. Much like photography, my lighting is a framing device to give clear focus to the moment at hand and show it off for all its depth, complexity and precision. Such a vision needs work that allows that vision room to play. The production standards must be high enough and/or the content must be sufficiently deep, complex and precise in order for the lighting to have the most significant impact.


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