In this installment of “Ask the Photo Business Coach,” I address a question I come across every day in photography blogs and forums, in one form or another: “Should I stay in the photography business, or is it time for me to get out?”
A Black Star Rising reader sent us the following question:
I recently found a photo of mine on the blog of a small business. The blog post that included my photo was published in 2007. Is there any “statute of limitations” on copyright violators, or can I pursue this issue whenever I come across one of my photos?
The popularity of boudoir photography has exploded over the past few years. It’s not only become a fashionable wedding gift for brides to present to their grooms on their Big Day (or the night before), but it also makes a great anniversary, Valentine’s Day, and “just because” gift. Along with the tremendous increase in demand, there’s also been a huge increase in the number of photographers offering boudoir as part of their services. Some are even specializing in it. If you’ve been thinking about breaking into this lucrative market, here are some things to consider.
After studying Tai Chi for the past 25 years, I’ve learned a few things about form, about discipline — and also about learning itself.
Specifically, I’ve learned that there is always more to learn. And I’ve learned that the deeper I go, the more subtle my learnings become.
In 2009, more than 2.1 million weddings were celebrated in the United States. Wedding photography and videography are a $3.77 billion business.
Sounds promising — particularly for newspaper and stock shooters who have seen their livelihoods wither. But is shooting weddings the right business for you?
Earlier this month, the threatened burning of a Koran by Florida preacher Terry Jones garnered an obscene amount of world attention and media coverage.
Photographers and videographers sometimes come into conflict with law enforcement and other government officials who try to stop them from making images in perfectly lawful places. The officials may believe they are protecting property or privacy rights, or they may simply be trying to exert their authority and control.
I come across so many photographers who seem to think good things should just happen to them — and if they don’t, it’s their “bad luck.”
To that, I counter with one of my favorite sayings, by the Roman philosopher Seneca: “Luck is what happens when preparation meets opportunity.”
If you want to stir up a hornet’s nest online, start a debate between pro and amateur/aspiring/prosumer photographers about charging a reasonable price for your work.
Whenever I take the “pro” side in this debate, I usually get responses like this one (from the comments on my “12 Excuses for Shooting Photos for Free – and Why They’re Bogus” post):
Second of two parts.
As we discussed in yesterday’s post, journalism jobs are disappearing at an unprecedented and alarming rate. The wave of newspaper layoffs has shocked an entire industry of writers, editors and photographers who’ve dedicated their careers to keeping their communities informed, and are now wondering if there’s any future in their life’s work.
First of two parts.
Regaining your career footing after being laid off from a newspaper job as a writer, editor or photographer is a particularly daunting challenge today, for two reasons.
First, in most cases, there is only one major newspaper in a geographic market, meaning that if you want to find a staff position at a different employer, you will probably have to relocate. Second, of course, is the overall decline in jobs in the newspaper industry, which has seen editorial staffing fall to its lowest levels since the 1950s.
Editors’s note: We are pleased to introduce a new series of photography tutorials from veteran Black Star photographer Stanley Leary. In this video, Stanley offers advice on using auxiliary light sources outdoors, including a flash, a reflector and a constant light source (e.g., an LED).
Write this down and post it near your phone, or print it as a label and put it on your cell phone where you can see it before you answer any incoming call:
THIS WILL NOT BE MY LAST PHOTOGRAPHY ASSIGNMENT.
Third in a series.
Every project has a starting point, which can come from a variety of sources: a fully developed brief detailing what a client wants; a scrap of paper with a couple of words on it; a verbal conversation with someone; or, quite often for photographers, an observation of some visual element in our environment.
Imagine two very different personality types. One likes authority and control and believes in order and security. The other is independent, inquisitive, and perhaps a bit pushy. Both are convinced they are working for the public good. Now, put a badge and a gun on the first type, and hand the second type a camera. Do you see a potential for conflict?
Increasingly, rights-managed and traditional royalty-free stock companies are having trouble finding photographers willing to shoot for them. Many of the star photographers from five or 10 years ago have given up shooting stock — or at the very least, dramatically cut the number of images they produce and the amount they are willing to spend on production.
Napoleon famously said, “An army marches on its stomach.” The same is true for photographers, clients and everyone else on a photo set.
When you’re called to shoot something, even if it doesn’t span a mealtime, food can make the difference between a good experience and a bad one.
I had the opportunity to interview Tony Messano, an Atlanta-based art director, for a presentation I gave at the NPPA Convergence ’10 educational event in July. In this video, Tony shares the qualities he looks for when hiring a photographer.
I had the opportunity to interview Tony Messano, an Atlanta-based art director, for a presentation I gave at the NPPA Convergence ’10 educational event in July. In this video, Tony offers some practical advice to photojournalists who wish to make the transition to advertising photography.
Are photojournalists unduly focused on the dark side of life — dead bodies, conflict, misery and the like?
Many people seem to believe this. They think we would climb over loving couples, cooing babies and content grandparents just to shoot the only negative scene at an event.
The myth I’m writing about today has undoubtedly caused thousands of excellent, award-winning photos never to be taken. It’s the myth of the model release for editorial use.
Photography columnists, unaware of their First Amendment rights, have been fanning the fires of this issue for years. A wall of mythology has built up around the subject, and I’ll make the first move to break it down for you:
On LinkedIn’s Photography Industry Professionals discussion group, Brooke Fagel recently asked: “What’s it like to be a freelance photographer?” These select responses provide a comprehensive picture of what a photographer faces.