The photography of natural disasters and human tragedy—from earthquakes to suicide bombers—is an area of photojournalism filled with challenges. Photojournalists often face both physical and emotional obstacles but still need to keep a cool head and continue capturing the images. While their photos will tell the story of the event, photographers have their own personal stories to tell as well. The accounts told here are mostly about business but also touch on the heart of why someone takes on this area of photography and keeps going despite the emotional toll. We discuss issues of privacy and model releases, working at a disaster scene, what agencies to coordinate with, handling injury and trauma, and the pros and cons of pursuing this work.
This month we talk with seven photographers pursuing their passion for action, adventure, and sports and find out how they are getting the work: Aaron Belford, Tegan Keller (Tegan K. Studios LLC), Chayce Lanphear, Joe Morahan (Morahan Visuals, LLC), Elli Morris, Jayms Ramirez, and Robert Snow.
As a way of building their business, photographers often ask me about working with a rep. As an art/photo rep, I deal with the commercial clients for the "talent" I represent. Being this rep means handling the selling, pricing, negotiating, and scheduling while the photographer concentrates on the creative aspects of the assignment. Most photographers are asking me...
When making your travel plans,
try to make time to attend a workshop. Here is an overview of the different
types of photo workshops. Some have diversity of specialty and some
offer variations on the workshop format such...
One of my favorite workshop topics is "sales strategies" and that's probably because I have not met many people who got into photography to become salespeople. When I give this workshop at photographic conferences and association chapters I am always impressed by the number of questions and concerns photographers have about selling. Without a rep, selling...
When photographers sell their work they are not only selling images. Fees also include the rights to the use of photos, so additional factors such as overhead, equipment, experience, and personal expertise must be considered. For sometime industry associations have recommended and referred photographers to books and other written guidelines that were dedicated to helping establish...
If you ask a dozen photo buyers to define lifestyle photography you’d get a dozen different answers. The most common reply might be “people doing everyday things, at home and at work.” Lifestyle images are valuable in stock, but what about assignment work? Our contributors this month validate the market for assignments—under certain conditions. The images should be natural and the models and situations realistic and believable. They should tell some kind of story or depict an emotion. As with any stock or assignment work, topnotch production values are critical as well as diversity in models of gender, age, and ethnicity. Whether stock or assignment, lifestyle photography is in demand in today’s market.
The stock photo business—making images on speculation and then attempting to match the image to a buyer—has seen major changes. The traditional business model of the stock agency serving as a photographer’s agent has shifted to the picture library model. Other changes have included companies hiring staff photographers to create stock—as opposed to using outtakes and spec...