Exposure is the spotlight that shines on an artist to help their career blossom and grow.
In guiding artist’s careers the concept of “Exposure” can mean a great many different things.
It all starts with defining what to expose and to whom.
WHAT DOES A COMPOSER WANT SPOTLIGHTED?
Among the things a media composer might want to gain exposure on are:
Their Work Ethic
All Composer, including those just starting out and those far along, all have things in their careers that can benefit from the spotlight of exposure.
WHO DOES A COMPOSER WISH TO BE EXPOSED TO?
Among the desired targets of this exposure can be:
There is a a vast potential audience out there. Who are you trying to reach and why?
WHAT IS THE VALUE OF EXPOSURE?
There is not an overt, easily-ascertained cause/effect involved in enhancing one’s career and employment opportunities via exposure.
But that doesn’t mean it isn’t highly valuable.
Professionalism, a great reputation and hard work are also highly valuable, but equally hard to quantify as to how they directly help a career or increase employment.
But they do.
A career in media music thrives under exposure. Music needs to be heard. Films need to be seen. Biographies need to be told. Accomplishments need to be spotlighted.
PAYING FOR EXPOSURE
While some exposure comes naturally, it is often something that needs to be molded and designed and sought
Exposure can be so valuable that artists frequently pay publicists in hopes of achieving it and achieving it smartly.
NOT ALL EXPOSURE IS OF EQUAL VALUE
First of all, all exposure is not of equal value, just as a penny carries less value than a million dollars even though both are considered money.
Likewise, most exposure isn’t worthless nor is it a bonanza. It’s value is typically somewhere between those extremes.
THE ART OF ACCESSING VALUE
There is no chart calculating the specific value of exposure. It is highly unscientific. A myriad of factors come into play, starting with who is seeking the exposure and what are they hoping to achieve with it?
100 different situations with 100 different composers in 100 different places in their careers will yield 100 different speculative hunches about any potential source of exposure and about potential results.
GETTING FLUENT IN EXPOSURE TECHNIQUES AND BENEFITS
It just isn’t easy predicting what will come from exposure.
Each composer has a range of individual things they want exposed and which targeted audience they intend for that exposure.
A HUGE part of my conversations with composer clients is trying to weigh and judge the potential value of exposure in the overall mix of factors in deciding on taking on a particular project.
Seeing more of the spectrum of exposure does help make more nuanced and multi-dimensional decisions.
Knowing how to most wisely modulate and target exposure is an art typically improved by experience.
EXPOSURE IS RARELY EVERYTHING. AND IT IS EVEN MORE RARELY NOTHING.
It is one of those things that attracts risk takers and infuriates others because while its outcome can pay high dividends, exposure comes with no guarantees.