Maria Piscopo

Wildlife and nature photography is certainly a niche market but it turns out to be bigger than many think. According to our contributing photographers in this month’s column, photos of nature and wildlife can be sold for a broad range of uses, including stock, editorial, book publishing, interior design, fine art, and even assignment. Other important questions we ask our wildlife and nature photographers this month include what does it take to make your passion for these subjects a business? How do you market and promote your images?

This is one of my favorite topics: photographers doing good works by donating photography services to charities and other nonprofit organizations. In this column, I’ll look at how to make a living while making a difference. For starters, donating your photography to a good cause will help you develop business skills. It will also give you access to people and places for portfolio development and allow you to meet an amazing network of new friends. Organizations you can donate your photography to range from local to global and cover a variety of issues from healthcare and education to shelter animals. Sincere thanks to our contributors for their work: Luke Copping, Tim Courtney, Cathy Greenblat, and Isaac Howard (websites at end of column).

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 column is not about what to charge, it’s about how to get paid what you’re worth as a photographer. Much has been said about the changing of the client/photographer relationship and most working pros agree that we are not in the same game anymore. Both as individuals and an industry, we need to try new and different techniques to take charge of what we charge.