Seasons Scenic Photography Backdrops
Alpine climbing, Rocky Mountain Nat’l Park, CO

Many photographers pride themselves on how fast and efficient their workflow is. I’m sure you know the type- they go on and on about how quickly they can edit, process, caption, keyword and archive their digital images, how well they stay on top of tasks, and gloat about how organized they are.

Those are the same people who have nothing on their desks except a wireless keyboard, Wacom tablet and a pair of perfectly calibrated 24″ monitors. No scraps of paper. No little notebooks filled with ideas and concepts. No to-do lists. Heck, I’ll bet they even do their own accounting.

Well, I’m here to tell you that speed is not everything. In fact, in some States, speed will get you killed, or at least arrested. And trust me, being highly organized is highly overrated.

Take a look at Einstein. Was his hair “organized?” Of course not. We all know that messiness breeds brilliance. If you don’t believe me, go watch the movie Spiderman. When villain Norman Osborn remarks to wise Aunt May about how messy Peter Parker is, she answers, “All great men are.”

Fortunately, taking pictures is not such a dangerous activity as to necessitate a slowdown in the name of safety, except maybe in the case of wedding photography.

However, once you’re back in the office, blazing too quickly through your workflow will only make you miss those small things that make life just a little bit richer, like the mystery of an inbox full of unread messages, or the delight that comes from simply admiring all the photos you shot during your last photo shoot.

So grab a coffee, sit back and just enjoy surfing the web for awhile. Your work can wait. In fact, why put it off processing those images until tomorrow when you can get the done the next day? Hey, that should be Number 4: Put Things Off Until Later. Oh well, I already wrote “3 Ways” in the title, why go back and change it now? That’s just creating more work for myself.

1. Let Technology Pass You By

Getting behind the technology curve is the best way to ensure a slowdown in your workflow. It’s also the best way not to go broke. After all, who can afford to buy every new gadget, computer upgrade, or software update that comes along?

Using an older computer will save you money, and it will keep things simple, since you’ll be forced to do only one thing at a time. Don’t think this is a bad thing, in fact some people hold to the notion that multitasking is not actually efficient, it’s just ADD with a fancier name. And well all know know that most creative types have major ADD tendencies. Wait… I’m not the only one, am I?

And let us not forget the best thing about using an old system- it gives you the most opportunities to see the spinning beach-ball of death. Who doesn’t love to watch that pretty colored thing go round and round on their desktop?

So remember, you can’t stop the technology train, but you can always ride the caboose.

2. Let Un-edited Images Pile Up

You used up lots of hard work and creative energy to make all those images, so give yourself a chance to enjoy then for awhile. Let them sit in your “New Images” folder for weeks at a time. Really get to know and love them. And don’t be so quick to trash all those images that you think are the bad ones. Keep them around and learn to love them just as much as you love your selects. You created them, they’re your babies- would you throw your own offspring away? I think not. Besides, you never know when you might end up needing to use one of those “alternate” images in a project.

3. Spend Lots of Time Away From the Office

We got in to photography to spend time behind the camera, not behind a computer. After all, your photography revolves around your images, which you take out in the world, not while sitting at your desk.

Besides, it’s no secret that ADD creative types don’t do well in a structured office setting, so don’t fight it. Just get up out of your chair, grab your camera and go outside. Enjoy the sunshine. Be creative. Take some new pictures.

Sure, spending all that time outside might cause you to fall behind with your boring office tasks, but believe, me, it’ll be worth it!

October 8, 2010
See this post
3 Ways to Slow Down Your Digital Photography Workflow

I’ll just say it right off the bat. I have camera bag issues.

My main problem is that when I find something that works for me, I use the @$&! out of it and life is good for a few years. Then, long after it’s discontinued or radically altered in some way, it breaks, falls apart or just reaches the end of its useful life, which leaves me out in the cold. Or, I decide to change my methods, like buy a new lens and same thing happens.

Hmmm… this seems to be a regular pattern in my life. I say this after stumbling around the web yesterday and finding lots of great software that won’t run on my aging, non-Leopard G5 PowerMac, and then thinking about what won’t run on the new Mac Pro that’s on the way.

Anyway, the same thing keeps happening to me with camera bags. When I first started shooting, twenty and a half years ago, I carried all my gear around in this awkward, dorky looking square shoulder bag that I quickly outgrew. It worked well enough for walking around the city, but it wasn’t very practical for outdoor photography.

Enter the Tamrac 515 Compact Zoom Pack. Great little bag, in fact, I used it for years. Took it Nepal in 1993 and used it to carry my camera during my trek up the Baltoro Glacier in 1994. The thing worked great. It’s durable, compact has a second pocket and it keeps your camera right there in front of you where you want it. Can’t really say a bad thing about it.

However, in 1996, I bought my first Photoflex Galen Rowell Chest Pouch. I fell in love. I’m talking the real thing here, with roses, candy hearts and all that other stuff. It was exactly what I’d been looking for all my life- at least all the years I’d been a photographer.

It was perfect for what I needed- a small padded pouch with a waist belt with a zipper and velcro closure that allowed you to carry it on your waist, where I usually carry it, or on your chest by using your camera strap and the velcro closure. I could easily wear it while running, climbing, biking or hiking and still have access to my camera. Of course it was, it was designed by the grand master of adventure photography himself!

Combined with the lens cases that went with it, I took that thing EVERYWHERE with me and used it until the first one fell apart. I bought a second one, and have used it just as much as the first. Probably more.

Unfortunately, the thing is on it’s last legs, and of course, Photoflex doesn’t make them anymore. I’ve sewed it up numerous times and last fall, I took it over to my friend Eric’s shop (He makes bike bags) who put it under his bar tack machine. That helped with the torn belt stitching, but the foam is still totally compressed and lifeless.

Enter my LowePro MiniTrekker AW. A few years ago, I made friends with the marketing director at LowePro. She saw what I do and gave me a bag to try out. I’ve been using it ever since and I love it. In fact, I love all the LowePro stuff, I think it’s all made really well.

The MiniTrekker allows me to carry all my gear, plus the other 6 essential items that always live in there, and head out into the outdoors for some serious photo shooting sessions. I’ve even run with it for a few miles at a time during some of my recent trail running shoots. I LOVE this bag, but it’s not what I use in the backcountry. That’s when I need the smaller pouch and lens cases. LowePro does make smaller bags, but I’m just so stuck on my old Photoflex Chest Pouch that none of their holster bags seem to work for me. That’s where I probably just need to get over my issues and try another one of their bags.

I do like the shape of the LowePro holster bags, but I’ve grown so accustomed to having my camera face outward as opposed to down in front of me. That way it doesn’t get in the way of my legs. The LowePro Topload Zoom AW is great, but I’m a little guy and don’t have a very big chest. That thing is just too big for me. Plus, it’s not a true belt back- the strap is attached by D-rings, it’s not sewed directly onto the pack. The smaller model, the TopLoad Zoom 45 AW won’t hold my big DLSR and Nikon 14mm lens.

Same goes with the Tamrac bags. I’m not saying that either of these brands are not really good bags, in fact they are. Lots of other adventure and outdoor photographers use them and love them. They’re built to last and they get the job done. Again, I just have issues.

I know that there are some other companies out there, like Think Tank, Kinesis and Mountainsmith that have good products, but I just haven’t found exactly what I want yet. I’m just too damn picky. The Mountainsmith Aurora actually looks like a pretty good choice, but I haven’t had a chance to try one out yet.

So, the search goes on, although, more and more, its looking like I may just end up taking my dying chest pouch back over to Eric’s shop this winter, where we’ll dissect it and completely remake it with fresh foam and fabric. Pretty much make a complete Six Million Dollar Franken-bag. We have the technology. We can rebuild it.

That is, UNLESS I can find another bag that works for me in the meantime. Help. (This is where you offer suggestions.)

And if anyone, I mean ANYONE comes across one of those old Galen Rowell Chest Pouches that are impossible to find, (believe me, I’ve looked on Craigslist and eBay) pick it up and contact me- I’ll buy it from you.

Edit, April 2012: My please have apparently not fallen on deaf ears. I have finally found a replacement!!

October 6, 2010
See this post
My Adventures Trying to Find the Right Camera Bag
Autumn on the Tundra, Chugach Mountains, Alaska

After the summer that produced week after week of rain and clouds here in the Anchorage area, the sunshine that has shone upon us this fall has been very welcome indeed. It has rejuvenated everyone’s spirits and filled everyone with the energy that’s usually needed to help us transition towards winter.

I’ve certainly taken advantage of the still long blue sky days recently, with a few days of playing hooky in the Chugach Mountains, as well as a series of photo shoots with some new models.

A couple of weeks ago, though, I skipped out for an afternoon of landscape photography- something that I don’t do nearly enough these days. I tend to focus so much on shooting the adventure and lifestyle stuff, which usually sells as stock more than landscapes, that I sometimes neglect just getting out in the late afternoon with my camera and getting back to my roots of shooting the natural world. After all, like many outdoor photographers, I fell in love with the craft by shooting landscapes just out of pure passion.

Landscape photography also gives me a chance to practice my photography in solitude, something else that I don’t do enough of, since I’m usually shooting assignments and stock with models. It’s always a welcome change to immerse myself in my photography completely by myself and reconnect with the outdoors. It almost seems ironic, though, since I spend so many hours alone in my office, writing, marketing and editing photos.

Setting out with trail running shoes and my photo backpack, I hiked and ran up the Williwaw Lakes trail looking to document the changing colors of the autumn landscape. As it usually happens, the moment I started shooting and really looking around at my environment, I rekindled my own sense of wonder and excitement about photographing pure, unpeopled landscapes and had a great time watching the sun set far over the Cook Inlet.

Afterwards, I packed up my gear and ran back to the trailhead, passing a few photographers along the way who were all out shooting moose. I didn’t see a single one during my outing on the other side of the ridge, and I didn’t even care.

October 5, 2010
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Autumn Landscapes, Chugach Mountains, Alaska
Looking towards The Ramp, Chugach Mountains, Alaska

I’d like to take a minute and thank all of my readers, (especially you!) for taking the time to check out my blog. Without you, this site would be just a collection of images and personal ramblings sitting largely unread on my server, which, for the most part, is what it was for the first couple of years.

Then, I started paying closer attention to what pages got the most traffic and what you were saying in your comments. I started noticing what posts kept getting retweeted and shared on Facebook, which helped me see the kinds of photography topics that people actually wanted to read.

This summer, I started refocusing my efforts less on continually advertising my own work and instead on trying to help other outdoor photographers. I started building what I hoped would be a useful resource for both amateur and pro shooters alike.

I seem to have succeeded on at least some level, because I’ve seen my traffic climb steadily over the past few months. Chances are, you first visited this site sometime during that time, and many of you have decided to keep coming back. Out of all the photo sites and blogs out there on the web, you’ve decided that this site is worth reading. Apparently you like what I have to say.

This blog is shaping up to be quite an adventure in itself, as well as a great outlet and journey for my own writing. I find that it’s also a great learning process for me, because as it turns out, I end up learning quite a bit from my own posts as well. Often times, it’s like I’m writing the post to myself, but I guess that approach works, because if I have a question or issue about my own photography craft or business that needs to be solved, chances are good that someone else has the same question.

Your readership keeps inspiring me to come up with what I think is valuable and worthwhile content. So again, whether this is your first time here or if you’re a regular reader, I want to thank you for stopping by.

The best way that I can think to do that is to ask you to take a minute to share your own imagery. Share the love, as I like to call it. Plus I could use a little break after all that writing I did last week on my 5-Part How to Become a Pro Photographer Series. Taking the time to check out of your work will actually be a nice change for a Monday. Maybe I’ll decide to do this every first Monday of the month. Let’s see how it goes.

If you have a blog or Flickr site, post a link to it in the comment section along with a few words about you or your photography. I promise, I’ll try to look at everyone’s work, you should the same if you’ve got time. If I find any that particularly jump out at me, I may contact you to do a guest post on this site one of these days.

I’m looking forward to seeing your work! And as always, pass it on.

October 4, 2010
See this post
Readers, Let’s See Your Imagery!

Prom Dresses UK

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

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Getting Started

When you’re standing at the very beginning of your career, things can seem rather daunting. You look around and see all the images that are published every day, or you hear about all the other portrait studios and wedding photographers who are constantly booked up and you wonder how you can possibly break into the market.

First, realize that it will take time. As I pointed out in the first lesson, you’re in this for the long haul, and it will take time to get things rolling. That said, the best way to get started is to jump right in.

Launch yourself into the mix and start promoting yourself. Research potential clients and make initial contact. If you’re interested in shooting stock, study what kinds of images sell and what agencies you think might be good outlets for your work and check out their submission guidelines.

Same thing with editorial photography. If you want to shoot for magazines, contact the ones that seem most likely to publish your type of imagery. As with stock agencies, most magazines have submission guidelines posted right on their website.

If portraits or weddings are your line of work, then advertise and market yourself locally and start talking up your business to as many people as possible. With this kind of photography, word of mouth is key, so make good use of Facebook and other social media where people can share and pass your name around to their friends.

Consider “friending” your customers so that you can tag them in photos that you post. That way, their friends will seem those images and word will spread even more about your work.

If you’re looking to get into to commercial photography, put together a good looking portfolio and contact some ad agencies, graphic designers and marketing firms. Go local at first, that’s usually your best option if you’re just starting out.

If event photography is your niche, then get your rig together and start shooting local races and events, or contact the event coordinators and see if you can be the ‘offical’ photographer for the event.

Of course, you will undoubtedly run into roadblocks, especially at first. Sometimes it seems that noone cares about a brand new photographer, but don’t worry, we’ve all been there. Just keep plugging away with a positive attitude and lots of energy; things will get easier the more you get your name and imagery out into the marketplace.

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Want the rest of the info? Get the eBook.

October 1, 2010
See this post
How to Become a Pro Photographer, Part 5- Finding Success

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

————

The Business of Photography

Most of us became photographers because we love the creative process of making images that tell a unique visual story about the world around us. When we first started out, we were drawn by the excitement that comes from making a permanent reflection of our own artistic drives and perceptions.

As our technique and craft improves and our personal vision becomes more defined, some of us decide to make it our profession. This is were the trouble starts. This is where the business part comes in.

We’re primarily right brain people. We’re creative. We focus on the subjective, the random, the visual and the intuitive. We tend to focus on the whole picture first, then focus on the details later. That’s why we bought cameras and chose a career that revolves around creativity.

Business, on the other hand, is analytical, sequential, verbal and it focuses on the details. These are all left brain ways of thinking. Often times these clash with what may come more naturally to us, and the result is that we’re just not always the best business people.

That’s not to say that all photographers are right brain people and can never become good at business. In fact, I would argue just the opposite.

Photography is a very technical craft that requires significant left brain functions, like calculations, numerical values and estimations. It attracts all kinds of left and right brain predominant people. It’s no wonder that so many doctors and lawyers take up photography as a hobby, it probably allows them to be creative while still using the exacting analytical aspects that are familiar to them.

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Want the rest of the info: Get the eBook.


September 30, 2010
See this post
How to Become a Pro Photographer Part 4- The Business of Photography

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

————

Marketing

Marketing is where things start to get scary for some photographers. After all, we’re passionate enough about our imagery to want to make this our full or part time profession, and we’re certainly adept with technology and digital imaging gear. However, this is where photography starts enter the business realm, which, unfortunately, doesn’t always come easy to some creative and artistic types.

However, photographers are good at creative problem solving, right? We problem solve apertures, shutter speeds, lighting conditions, subject placement in the frame and tweaking our shots in post processing.

Well, marketing is the same thing. It’s solving a very simple creative problem that can easily be summed up in one sentence.

“How can I convince clients to hire me?”

Marketing is simply finding creative ways to get your name and imagery in front of potential customers enough times so that they remember you and eventually find a reason to hire you. In that sense, marketing is a long term solution. It’s laying a foundation that you build on each time you make a contact.

They say it takes seven impressions until someone remembers you. Sometimes more, sometimes less. It takes longer than that for them to need your services, and it takes even longer for them to actually pull the trigger and call you for a job.

I send promo cards to my clients on a regular basis. Then one day, after about seven years of that, one of my cards landed on the desk of the Outdoor Photographer Magazine editor right when he was trying to decide who to feature in the next issue. I got the call, and it not only turned into a feature story about me and my work, he also assigned me to write a feature article and photo package about the stock photo industry for their sister publication, Digital Photo Pro.

That said, there are definitely times where someone will come across your website, see what they like and call you right away. In fact, these days, with websites becoming the primary way to view a photographer’s work, it’s happening more often.

Whether someone calls after seeing your website once or because they’ve seen your promo cards for ten years, the basic rule of marketing is the same. You have to make each impression count, ESPECIALLY the first one.

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Want the rest of the info? Get the eBook.

September 29, 2010
See this post
How to Become a Pro Photographer, Part 3- Marketing and Self-Promotion

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

————

In order to become a pro in this industry, you need to start acquiring professional grade equipment and expertise. The first part of that is easy- simply head to the camera shop or to the B&H site, fill up your shopping cart and plop down your credit card, right? The expertise will take more time, but let’s push that aside for a bit and talk gear.

Camera Gear

They make professional grade camera gear for a reason- it’s fast, accurate and durable. It gets the job done and it doesn’t break very often. If you plan on being a pro shooter, you’re going to need pro gear. It’s a simple as that.

Of course, pro gear is expensive, and the last thing you want to do when you’re first starting out is to put yourself in debt up to your ears, or blow through all of your savings on big glass and top shelf camera bodies. It’s stupid to go completely broke before you even start, you’re going to need some of that money later on.

Nor do you want, or need to simply fill your cart with all the absolute best gear available, just because it’s rated the best in pro shooter magazine and that’s what ProBob uses when he’s on assignment. You need to get the gear that works for you.

Start with the essential items. If you already have a digital SLR body, consider it’s capabilities against the kinds of subjects you intend to shoot. For example, if you want to be a sports photographer, a camera body that only shoots one or two frames per second simply won’t serve your needs. If you want to do high end studio work, you’re going to need a camera system that works well with multiple lighting units.

Like I said, you don’t need to rush out and buy a $5,000 body, but you should be prepared to spend AT LEAST $1,000 on a DLSR (body alone). Anything less than that won’t give you the kind of quality and versatility you’ll need.

When it comes to lenses, this is where you must not compromise. Lenses are the gateway to your images and if you’re a pro, you need top quality glass. I’d recommend staying away from the kit lenses that come with many DLSRs. They’re usually not fast enough or sharp enough to meet professional standards. Buy the body alone and then build a collection of pro quality lenses.

Again, evaluate the kind of photography you intend to specialize in and go from there. If you shoot sports, you will absolutely need a fast telephoto. Big glass is indeed expensive, but it’s essential for many types of work. As with a DSLR, I’d plan on spending no less than $1,000 on a f2.8 telephoto.

If you want to do portrait, wedding or studio work, you may not need such a long telephoto, but you’ll certainly need a fast, short telephoto, like an 85mm, or a 105mm, again, at least f2.8 or faster. You may even want a defocus control lens, and probably a couple of medium to short primes, or fixed lenses.

I’m a big fan of fixed lenses. I own six lenses and only one of them is a zoom, my 80-200 f2.8, which is my workhorse tele. All the others are primes. They’re WAY smaller, faster and sharper than anything I could get in a zoom in that range. However, that’s just my preference. Choose the lenses that are right for you.

Depending on what you do, you may also need flashes or external lighting gear, tripods and stands, wireless slaves, sync cables, soft boxes, and of course a good camera bag setup. Again, get what works for you and your style of photography. Shop around. Talk to other pros and see what they use. We’re pleased to share our knowledge and expertise with the younger photographers. Most of use got help from the big boys and girls when we first stared and we’re more than happy to pay it forward with people like you.

How quickly you acquire all this gear is up to you. Prioritize. Think about what you need NOW and what you’d like to have down the road. Believe me, I know it’s very expensive to get all this stuff and it just may not be feasible to acquire it all at once.

That said, don’t feel guilty about charging some or all of your gear. After all, you’re going to need it eventually, right? The week I got laid off, I dropped a Nikon N90, my 80-200mm lens and an SB-25 Speedlight straight onto my credit card. The reality is that almost all business startups take on some kind of debt of financing and you should not be averse to doing the same. Believe in yourself enough to feel good about investing in you and your business.

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Want the rest of the info? Get the eBook.

September 28, 2010
See this post
How to Become a Pro Photographer, Part 2- Getting The Equipment and Expertise

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

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Fifteen years ago, almost to the day, I got laid off from my day job as a scanning and imaging tech at a digital photo lab. Never mind that I was actually the second guy to be let go that week and that I didn’t have much respect my boss, I was still devastated. No matter what the circumstances, it sucks to get fired.

I cleaned out the area around my Kodak PCD workstation, mostly music CDs and a few of my own climbing photos that I had scanned and printed, said goodbye to my office mates and rode my bike home, feeling utterly dejected and wondering what the heck I was going to do for money. Serendipitously, my landlord had just started re-roofing the house I was living in and since he was doing the job alone, I easily convinced him to hire me.

A week of manual labor in the sun gave me plenty of time to consider my options and that’s when I decided to try to become a pro photographer. I had already sold a few photos and had worked for a year as a stock agency photo editor, so I had a working knowledge of what I needed to do to get started.

I figured that the worst thing that could happen is that I’d find that it wasn’t for me and move on to something else. I was right.

Here it is, fifteen years later and I’m still going strong. Am I the most successful outdoor adventure and travel photographer around? No. Am I living my own dream? Yes. Is it easy? By all means, no, but to me it’s worth everything and I wouldn’t trade my career for anything.

Photography Today- The Realities

The photo industry looks a whole lot different today than when I first started out. The global economy has gone from boom to bust to it’s current state of terrified trepidation as it inches forward towards a slow recovery.

Like just about every other business model, photography has been severely affected. Photo and advertising budgets have been slashed. Print publications have shed many staff photographer positions. Competition is fierce. Internet commerce has caused a dramatic increase in content.

Put these factors together and you have a textbook example of the basic laws of supply and demand. In photography, this has meant dramatic decreases in some pricing structures, which has left many photographers struggling to keep their businesses afloat.

Put simply, it’s a tough time to try and be a photographer.

That said, photography has always been a highly competitive field, and there is almost no business model that hasn’t been hit hard by the recession. If you’re one of millions of people who has lost their job, you know this as well as anyone. Putting your professional destiny in your own hands may very well be an attractive option for you.

And, as I’ve pointed out in previous posts, it’s actually a very exciting time to be a pro photographer. Digital imaging technology, the internet and an enormous media appetite for images have created more opportunities to photographers than at any other time in history. However, those opportunities don’t come easy, by any means, you still have to work just as hard, if not harder to find them.

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Want the rest of the info? Get the eBook.

September 27, 2010
See this post
How to Become a Pro Photographer, Part 1- Making the Jump

Edit, November 2010: I am pleased to announce that I have condensed the content of my How to Become a Pro Photographer series into a concise, richly illustrated 27 page eBook that contains all the info, professional insight, links and resources included in the blog posts.

The great benefit of having it in eBook format is that you can have all the info at your fingertips, in one place, right on your computer or iPad.

Get the eBook.

————

With so many visitors stopping by to read my recent post, 5 Reasons Why You Should Be a Pro Photographer, I’ve decided to run a one-week series of posts on how to actually begin that process towards becoming a professional photographer.

The simple fact remains that even though the photo industry has been severely affected by the recession (what industry hasn’t?) it’s actually a very exciting time to be a photographer. Digital imaging technology and the internet offer unprecedented opportunities for creating and marketing your work, and in our multimedia driven world, the demand for imagery has never been higher.

I’ll be starting the series this coming Monday and it will run through the week with a single post each day. I’ll be covering topics such as what to realistically expect from a starting a career in photography in this day and age, how to approach towards shifting to self employment, what kind of equipment you’ll need, how to find clients and market yourself, and how to and take advantage of the variety of online media and social networking outlets.

I’ll also cover the business aspects of photography and what you’ll need to know in order, not only to start making money from your photography, but how to lay the groundwork so that you don’t shoot yourself in the foot professionally or undercut other photographers.

If you’re someone who wants to get started in a photography career but aren’t sure how to go about making the jump, then this series is for you. If you know someone who is in this position, please share this link and refer them to this site.

If you’re already working in the photography field, be sure and tune in next week as well. Maybe you’ll learn one or two things that you didn’t already know. I always learn new things even as I write these posts, so perhaps reading the series will help you look at a particular issue in a new way or answer a question that you may have.

Or, if you have further insight into any of the topics that I cover in the series, feel free to comment and share you own knowledge about what it takes to be a pro photographer. Although I consider myself experienced and well informed from fifteen years as a working pro, I don’t know everything. No doubt, some of you may have more experience in different areas of the business.

In no way am I saying that it I’ll provide all the necessary info, or that it’s easy to become a freelance photographer. It’s not. It’s still a very tough business and it’s not for everyone. However, it’s still a viable career for many people out there. I’ll just lay out what you should expect and then you can make the judgement for yourself whether it’s something you want to pursue further.

Click here to read to the series.

September 24, 2010
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Coming Next Week: 5-Part Series on How To Become a Pro Photographer