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Commercial Photography as a career
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Photographer’s backgroundHow would you describe the type of photography you do?Predominantly commercial photography related to advertising, though I have also done quite a bit of work for the music and entertainment industry, and some more documentary type of work for companies and corporations. In the past, I did some architectural based work, though currently anything from fashion and lifestyle, to automotive, to more conceptual imagery. How long have you been doing this type of photography?My current commercial work has taken off since 2005, so not really that long. However, I have been using various cameras since I was little, and did some small commercial work in between design and illustration work I was doing. First commercial project was photographing a swing band for their first music CD, which went on to sell over 60000 copies as a self distributed album. What influenced you in deciding to become a photographer?I graduated from San Diego State University in 1998 with a degree in Fine Art, with Distinction. My speciality was oil painting, though I immediately went into doing illustration work and design for print. Quite often I took photos to use for my illustration work, which I sometimes included in my graphic design work. After a few years at this, clients started to notice the photography more than my other work. Then I got more requests to do photography than design or illustration, so now more than 90% of my work is photography only. Why did you choose this type of photography?After trying a few specialized forms of photography (architecture, concerts, corporate portrait), I found I needed more of a creative challenge. This led me towards advertising related work, and more conceptual images. I found that I enjoy controlling all aspects of an image, rather than just capturing a moment. Can you describe you career path up to this point?My only thought entering college (in late 1994) was that I wanted a creative profession. The idea was that doing something I was passionate about would enable me to stay with this profession for a very long time. Though my speciality was oil painting, I did learn photography, and more commercially related skills like design, illustration, and printing technologies. I really imagined that I would continue with graphic design after leaving college, since I did not imagine I would make a living as a painter. Along the way, my clients discovered they liked my photography more than my design work, and so I made the leap. Do you have another job or source of income?No What type of schooling do you have?San Diego State University - Bachelor of Fine Arts, Cum Laude, with Distinction in Art What type of schooling would you recommend for someone entering this type of photography? I would suggest choosing a college or university near where you might want to live or work in the future. Other than that, investigate their program to see how well it is tuned to portfolio development. I would place less emphasis on tools, other than they should have good lab facilities; though realistically you could fund your own gear to do your work and projects. An alternative would be to go immediately into assisting, though some technical skills (perhaps Community Colleges) might be a good idea. The downside is that you might miss out on the creative aspects, and place too much emphasis on technical skills. The biggest benefit is that you might learn some business skills for managing a photography business. Are you happy doing what you do?Most of the time. Until the bigger and more creatively challenging jobs roll in, you might find yourself doing not so interesting work to pay the bills. The other (sometimes) downer about creative work is unimaginative clients or art directors handing you an example of what some other photography produced, and simply wanting you to copy a style for them . . . while not common, it is something best avoided when possible. What do you like most about your career / job?Constantly changing creative challenges. I also enjoy the many creative people I get to work with on projects. What do you dislike most about your job / career?There is often more time spent in meetings, or doing paperwork, than there is actually on location doing a shoot. Time in post is also sometimes tedious, though I have somewhat streamlined my approach to this recently. On average, how many hours do you work per week?Honestly, I don’t even want to think about it. If I am not on location, travelling to a location, post-processing, doing pre-press preparation, in a meeting, writing proposals, or handling invoices, then quite likely I am working on my portfolio or on some self promotion, or possibly networking. There really are no set hours, which is why I think you have to live a creative profession . . . if you have that passion for this, and you do enough work you like (as opposed to work that simply pays the bills), then the hours you put into this become somewhat invisible. How much vacation did you take last year?I have numerous little getaway opportunities, sometimes between gigs, and sometimes worked into travel. Depending upon turn-around issues, travelling to a location can sometimes give an opportunity to work a little relaxation into your schedule. How many weekends did you work last year?Probably about half, though I had enough weekday time off that it all balances out. Is your work seasonal at all?Advertising related work has a few busy time periods, and some slow downs (like December), though largely things don’t change too much throughout the year. Musicians and concerts seem to be more active gigs during warmer months, though magazines seem to request images almost year round. How many people do you usually work with on a typical job?My preference is to work solo, or with 1 or 2 assistants. I have worked with as many as 6 assistants, but then it seems more like cat herding . . . you need to keep everyone busy and occupied. What types of non-photography duties are you responsible for?Paperwork . . . tons of paperwork. Then there are meetings. I also provide pre-press preparation of my images as a value added service for some clients, which can sometimes include checking proofs or going to do press checks. Other than that, I maintain most of my own gear. What characteristics / skills make you good for this type of photography?I enjoy working with people, being the centre of attention, and the creative challenges. Other than that, I live, eat, breathe, and sometimes sleep ideas and concepts . . . every aspect of my life is devoted to pushing my creative limits. Describe your primary work environment.Largely on location, usually outdoors. Sometimes dark nightclubs for musician photography. I rarely do studio work, because I don’t much like the static environment. Do you do much traveling for your profession? Sometimes it seems like it, though mostly shorter distances. A few times a year the travel time is longer than the actual on location shoot time. If you didn’t do this type of photography, what other type of photography would you prefer to do?I might do more work with musicians, bands, and entertainers, because they are often very enjoyable people to work with on projects. Unfortunately those industries are not doing as well as they were several years ago. Competition / $ Is your market local, or national?Both . . . . though I would like it to be more national and international How many people in your town do what you do?Judging by the local ASMP and APA turnout at their various events, it seems that most are wedding and portrait photographers . . . . So, really not many locally doing advertising based work, though the handful that are seem to be getting some quite good accounts. Who is, or how would you describe your target markets?Corporations and companies directly. Where I am trying to expand more is with various advertising agencies. The only exceptions are musicians, bands, and entertainers, since I usually work directly with them, as opposed to working with recording companies. To what do you attribute your success?Get yourself out there, meet as many people as you can, and let everyone know what you do. After that, continue to drive yourself to refine your style and approach to photography. Listen to what others have done that has worked to make them successful, then apply the best aspects to put yourself where you want to be in the future. Find and understand your creative vision, and how to control your images. What would you say is the biggest mistake most photographers make in your type of business?Jumping into large shoots without being fully prepared. In college you can get B or C grades, but in work you better be getting all A grades to keep that work coming in. What would you estimate as an income range for the type of photography you do?Judging by the latest surveys through PDN (Photo District News), advertising photography seems to pay in the upper middle class realm and higher. What would you estimate as the average income for the type of photography you do?Decent, though it could always be better. The idea is to work smarter, not harder; replace lower paying accounts with better paying gigs, and spend the same amount of time doing it. What do you think of the future of your profession?It will be more like performance art: what will you be like to work with . . . how can you become a better creative partner . . . what makes your work, or working with you, unique . . . the experience for the client or art director might mean more than the final images, but you still need to deliver on the brief/concept. Unless you are looking into doing wedding and portrait work, or product photography, then I don’t think technology will have much impact. Budgets will likely have a greater impact, with either in-house photography, temp workers, or client done imagery replacing some lower end work. Technology cannot replace ideas and concepts. Would you recommend a career in photography to your friend or child? Why?If you want to do it because you like playing with cameras, or with PhotoShop, then I would suggest keeping it as a hobby. You need to have a passion for the creative challenges. You also need to have a desire for constantly changing environments and working conditions, and enjoy working as a creative partner more than actually handling the gear. If you have that passion for the images, more than for the tools, then I would recommend it. The only other thing you will need is Teflon skin, because many will criticize you along the way, and if you let it get to you that will eat you alive. Is there any specific advice you would give to someone entering into your field?Know as much as possible about what you are getting into. Place more emphasis on business and understanding Copyrights than on the gear. Besides, the gear changes so fast there is little point in constantly checking on new things. You only need tools, and enough skills with those tools, to be able to realize your creative vision, and deliver what the client(s) expect. Continuing Education for the professional PhotographerWhat do you do to advance your skills?Constantly reading and looking at the work of others. Checking on legal cases affecting creative work. Attending seminars on printing technology, since this will be the technology limitations on where you images finally get published/produced. What industry publications do you subscribe to?Creativity, PDN, CommArts, Lürzer’s Archive, Picture Magazine. However, I also constantly review, and sometimes purchase, other magazines that show many different styles of images, latest trends, or just what I consider more cutting edge. What on-line forums do you frequent?PDN OnLine Creativity and AdCritic Large Format Forum Ferrari Chat Do you intend to continue your education in some way?Mostly seminars, though I have been considering getting an MFA. What trade shows / seminars have you attended or plan on attending?The next one coming up is the Annual Printing Industry Trade Show called Print Week, which I have been attending annually for the last eight years. Hobby questions for the Professional PhotographerWhat’s type of cameras do you use most?Mostly 4x5 (large format) What type of computer do you use most?Mostly an Apple laptop, because there is still a distinct advantage for pre-press preparation. Does most or your work involve available light, on-camera flash, studio strobe, or hot lights?This has been changing a bit in recent years. I shoot available light, or available darkness, most of the time, though I like to use fill in lighting. After years with monolights, I now use battery powered strobes when I need fill lighting, largely because this eliminates some wires and the need for generators on location, though also because it creates a lighter and more portable lighting set-up. What type of computer software are you proficient with?I can do anything I or my clients can imagine with PhotoShop. I also sometimes use LivePicture for complex composite images. Other software includes Adobe Illustrator and InDesign, and Quark XPress. I also use the full Adobe Acrobat package quite often to create PDFs. Some of this is more printing related, since I think many photographers could just get by with only using PhotoShop, though I highly recommend learning CMYK to understand how and why your images turn out the way they do in print. Are there any photographers in your field that you particularly admire?In no particular order: Marcus Doyle Chris Gordaneer Stephan Romer William Huber Frank Le Petit Olaf Veltman Steffen Jahn Cosmin Bumbutç Andric Michael Prince Frank Schott Adrian Tyler Andreas Gursky Edward Burtynsky Mark Laita William Lamson Mats Cordt Heidi Hartwig Hunter Freeman Alexey Brodovitch Paul Bourdice Karen Kuehn Nick Knight Craig McDean John Konkal Dana Neibert Gordon Moat Photography |
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