As someone who makes a full time living working as a photographer I am often asked for advice on how to get started and how to make it in this career. Despite the seemingly impossible odds, it is in fact quite possible to make a fantastic living in this industry. Former assistant to Mario Testino, Alexi Lubomirski, has created one of the best videos I've seen describing the persistence and tenacity required to succeed. If you are looking for a dose of motivation I highly recommend giving this a watch.
Lately, I’ve noticed a huge surge in the number of emails I’ve received inquiring about my interest in partnering up with a website or app that claims to be shaping the next generation of holiday photo. One email even introduced its company’s services with a tagline of “the app that’s replacing selfie sticks.”
My high school enemy is my new best friend. I'm talking about a glorious thing called "tests." In the photo world, a test is a shoot set up for the sake of portfolio-building, experimentation, fun, or all of the above. It's not a paid shoot, but these suckers pay off big time. A test shoot is when you book a model (we'll talk about how) to shoot a concept that you put together. As I'm writing this, I actually have my journal open on my desk in mid-plan for a test that I'll be shooting later this month. Let's talk about a few reasons why testing is so important, how to find models, reach out to agencies, and what you need to do once your model is booked. Dig in!
Jeremy Cowart is a household name in the photography industry. Recently Jeremy was classified as one of the 30 most influential photographers on the web by the Huffington Post. After studying graphic design, he continued on to become a well-known celebrity photographer. We all know him from famous photos of Taylor Swift, Carrie Underwood, and even the Kardashians. But who is Jeremy Cowart? And what motivates him to be a photographer, an artist, and a humanitarian?
Do you have trouble keeping clients? Maybe you've had a few customers you thought would be repeat customers, but somewhere along line, they just weren't satisfied with their experience to come back. Even if you shoot the best photos of your life, simple communication mistakes, a lack of business knowledge, and poor planning can ruin a shoot or client interaction, just as easily as bad photos. In this eight minute video, Jay P. Morgan goes over seven ways you can loose clients, and discusses how to react properly to these common issues photographers face.
Even if you've never heard of Victoria Will, you probably have seen her awesome moving portraits of celebrities. These captivating images give a new take on celebrity portraits. Some might say they are simply amazing, but others might give a different opinion. We sat down with Victoria to give you this exclusive interview and discussed the inspiration behind these images.
Are you proud of every commercial photo or corporate video production you’ve done? Have you ever found yourself explaining to someone, maybe even a client, about how a project you worked on could have been better, but you were held back by the lack of a big budget? That’s understandable to a point, but I think there has to be a certain standard of quality with any production, regardless of budget.
If you ran a poll to find out what are some of the biggest pet peeves that a photographer experiences when dealing with clients, undoubtedly, requests for all raw files from a photoshoot would be up there on the list. Many newer photographers cave in to the pressure of trying to appease their clients but the reality is that this is, in most circumstances, an unfair request that could do more harm than good. Fellow photographer Jessica Kobeissi explains why in this video.
My name is Nico, and I'm a professional urban/street photographer based in London. In this article, I will show how you too can use Twitter to get more photography jobs, develop your network, and get your work seen by the right people. At least 90% of my paid photography work, including Adidas and Amazon, has come from interactions on Twitter, and anybody with a high-quality portfolio can do the same by following my simple tips.
The world wide web was set ablaze this week by the photography community when Brides.com published an article telling prospective brides which vendors they should and shouldn't be feeding, and this advice strongly suggested photographers should not be fed. Of course, anger ensued. Surely, in this day and age, the author would have crafted a rebuttal or an apology to the legion of photographers in the trenches that she had scorned. Nope. They silently covered it up.
I encounter lots of people who are torn between pursuing their passion for photography as a career or keeping it as a treasured hobby. There’s naturally that underlying paranoia that doing what you love full-time and taking on the pressure of monetizing it will kill your enjoyment. I’d like to say that years after going “pro,” I still love what I do every day. If you’re unsure and need convincing, here’s why I believe you too should take the plunge.
Email etiquette. Nobody tells us how it should be done. Much like taking photos, it's something we tend to learn as we go along, and our individual email style can take several years to shape. Here are many of the things I’ve learned through dealing with a multitude of different clients, including how best to address and engage with those with whom you’re doing business.
One key to longevity in filmmaking or photography is to have regular clients that you enjoy working with. What’s even better is when you have enough work coming in from those top clients, so that you can actually pick and choose the projects you take on, and even go as far as to expand your business or pass work off to qualified associates for a modest finders fee. It takes a long time to get there, but being savvy about building a client base can help tremendously.
Adobe’s last quarter results are out, and they’re better than ever. Adobe’s Creative Cloud and media business rose 35 percent thanks to a 23 percent beat on subscriber expectations, while the company’s overall net income more than doubled from $88.1 million to a staggering $222 million. Adobe’s fourth-quarter earnings report shot its stock to all-time highs. On one hand, that’s good business. But what does this mean for creatives who have felt an increasingly rocky relationship with the software giant?