The Cost of Exposure
“Do you do murals?”
“Yes.”
“Would you be willing to do one for free? It’s great exposure.”
Every creative has heard this line or a version of it. The worst part? Sometimes it doesn’t come from random strangers, but from people who genuinely respect your work without understanding what goes into making it.
The idea of “exposure” as having real value has become so normalized in creative industries that even well-meaning folks assume it’s a reasonable offer. But here’s the thing: exposure doesn’t pay rent. It doesn’t cover paint, printing, or gear. And it rarely leads to the kind of opportunities people claim it will. I often respond to these types of inquiries by asking whether they think my dentist would reduce my bill if I promise to name drop them whenever I get a compliment on my smile?
Every artist faces this dilemma at some point in their career, and there’s no universal formula that dictates which opportunities are worthwhile, and which are just opportunities to be taken advantage of. When you first start out you need to build a portfolio to showcase your talents, and prove that you can deliver on the trust a client extends to you. It’s something I’m currently navigating in my own photography practice. Weighing opportunities to flex my creative muscles and get practice to hone my skills, but also wanting to get compensated for my time and abilities. Figuring out where to leave room for the medium to still feel creatively fulfilling without completely neglecting the idea that I want to make it a career. An artist friend, Jeff Dekal, told me once: “You teach people how to treat you.” I think about that often. And in this situation it’s about whether I’m training people to undervalue my work. And worse, I don’t want to perpetuate the narrative that this is just how the system works.
The takeaway shouldn’t be that I’m saying there’s never a reason to work for free. But it’s crucial that it always be your decision, and it should serve your goals. Maybe it’s a cause you care about. Maybe it’s a collaboration with trusted friends where you’re aligned on intention and outcomes. But doing free work for clients who could (and should) pay is a race to the bottom (to take a line from Seth Godin’s book).
When creatives accept exposure as payment, we undercut each other. We set the market rate at $0. And if we don’t believe we’re worth more, how can we expect clients to?
Exposure can be a bonus. But it should never be the paycheck.