Original Articles Written by Mike Wilkinson

If you work in a competitive area for your photo or video work, chances are that you’ve experienced losing a client at some point. Whether there were creative differences, budget issues, or you weren’t available, there are some things that you can do to alleviate some of the sting from breaking up with a client, and perhaps put you in a better position to work with them in the future, even if the root cause is simply that they couldn't afford your rates.

I recently earned my Remote Pilot Certification, which allows me to fly a small UAS (drone) for paid photo and video work in the USA, under the FAA’s Part 107 rule. With no background in aviation, passing the test was no easy feat for me. If you’re considering taking the test yourself, read about my experiences to make sure you’re well prepared.

The filmmakers of “The Muir Project,” known for their first documentary, “Mile… Mile and a Half,” have just released their latest film, “Noatak: Return to the Arctic.” I interviewed Director Ric Serena who told me about the production challenges his team faced when working on a remote river deep in Alaska and why they chose to go with the Canon 1DC as their camera of choice.

I know that I’m preaching to the choir when I say that personal projects, free from the constraints of commercial clients dictating production details, are an important outlet for creativity and staying sharp on your skills. Photographer Ray Demski just dropped his latest passion project, "Fireball," combining parkour, football (soccer), and beatboxing.

Any seasoned filmmaker or photographer will tell you that it’s not the size of your camera, sensor, or lens that matters, but how you use it (or craft your supporting elements like lighting, composition, etc.). But what I’ve come to realize is that size does matter– because impressing a client on set is just as important as impressing them with the final product.

Lots of skilled videos editors have started to see the value in being hired for contract work. It’s a great supplement to other income, you can be picky about projects, and most of us enjoy the work. But what about negotiating rates, estimating time, and dealing with files after the job? Here are some tips for the business-side of being a freelance video editor.

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.

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.

No stranger to unique and challenging photography pursuits, Ben VonWong's latest adventure sent him across the Western United States in search of summer thunderstorms, with an entourage of assistants, filmmakers, and models helping along the way. VonWong shared this behind-the-scenes video, but also some insightful information as to the conversation he hopes to start– one about the seriousness of climate change.