"Going Pro"

[kiev4a]

I see lots of posts on other forums from folks who are talking about "going pro." The line is much the same with most of them. They've shot some pictures and family and/or friends think they look professional so they have decided to make a living doing something they love.

This isn't something new. It was going on back when the Nikon F was a new camera. One of the big differences today is that the market for still photos isn't as big as it was in 1969. Back then there were scores of magazines that needed photos. Now magazines are disappearing faster than film displays at Walmart.

Even if the market wasn't shrinking most of there folks seem to think, "I'll shoot what I like and customers will automatically buy it." In reality it's usually a matter of the photographer shooting what the customer wants--which usually doesn't excite the photographer.

I spent three years as a newspaper photographer. Once in a while I got to shoot something where I could try to exercise my creativity. But for the most part I shot "grip and grins" (award presentations and grand openings) and photos of everything from pencils to electric drills to run in newspaper ads for local stores. Not exactly intellectually-stimulating fare. One thing I did was sell several stories to photojournalism magazines on how to turn those newspaper photo cliches into something creative--although I was seldom allowed to do that at the newspaper where I worked.

What most of these would-be pros don't understand is that photography seldom is as much fun when it's connected to your next house payment.

[doubs43]

kiev4a said:

What most of these would-be pros don't understand is that photography seldom is as much fun when it's connected to your next house payment.

Truer words have rarely been spoken. I did weddings at one time, many years ago. The first few were fun but it quickly became REAL WORK and I've only done a couple since I gave it up.

The vast majority of those who actually take the plunge will find that many amatures just like they used to be will under-price them badly and make it even more difficult than competing with other pros. Few will survive for long.

It's much more fun just being an amature.

Walker

[nikonbob]

I can't agree more with what you two gentlemen have said. I will only add that as the market shrunk there are likely more shooters and images out there today than there were in the 60's. Too may images chasing fewer openings. I took a few 8x10 prints to work and was told by one fellow that I should sell them. I called his bluff and told him sure you can have that one for $20.00. I won't bore you with his answer but I am sure you know it. Never listen to family or friends in making a decision to go pro. Better a hobby than profession.

Bob

[PeterW]

Wise words, Wayne

As well as imagining that the world and his wife will beat a path to their door to buy pictures, many amateurs are attracted by adverts from correspondence schools of photojournalism which hold out enticing visions of working at your own pace and selling lots of pictures to magazines and to callendar and greetings card publishers who are "crying out" for good pictures. Just work through our course ...

Yeah. All pigs fuelled and ready to fly.

When Valerie decided to become a freelance photographer she had several advantages that few amateurs have. I was already an established journalist in the motoring and industrial field and had a large number of first-name contacts which at least ensured that Valerie's pictures were looked at.

She was also a helper at a pre-school nursery group and took lots of pictures of young children at play and being creative in the group. Quite a few mothers wanted copies, and after getting the necessary releases from mothers Valerie tried sending pictures to small circulation magazines like Mother and Baby and Nursery World. They didn't pay a lot, but at least she sold quite a few. Later, some of the higher circulation womens' magazines asked for copies of some of her children pictures.

It took a lot of hard work, and quite a time, before commissions started to come from motoring and transport magazines which paid well, and later from vehicle and component manufacturers who paid high prices, and expenses, for pictures to send out with press releases.

With the commissions from magazines came press passes which enabled her to get to places on race circuits and rally venues denied to amateurs from the general public. This meant she could get pictures they couldn't. And, as a registered Canon-using freelance she got a lot of support at events from the Canon service caravan ranging from the loan of special, and sometimes very expensive, lenses for a particular shot to the offer of a back-up camera should either of hers ever give problems halfway through an event.

I also wangled her press passes to press days at motor shows and industrial exhibitions before the official opening day. The general public wasn't admitted to press days so that professionals had room to work and space to set up tripods.

After some years she was making a very good income, but it was a long hard slog. The cardinal sin was failing to meet a deadline, which often meant very long working days. Maybe it was easier to sell pictures in those days, but it was harder work then with film cameras; late night sessions in a darkroom for black and white pics, or sitting in a all-night cafe on a Sunday night while an all-night pro laboratory developed your transparencies. Then driving to a publishers to leave the pictures so the editor had pictures from a Sunday event on his desk Monday morning. That sort of service sold pictures and brought further commissions.

I would imagine that today with digital SLRs, spare memory cards and a laptop you can connect to the internet in the press room, or even send the pictures off when you get home, life for a freelance may be a little easier.

It sounds a glamourous life, going out, taking pictures and getting paid for it, but it wasn't all gravy, and Valerie knew full well that a freelance photographer, even with a good reputation, is only as good as yesterday's pictures - as I did with regard to freelance feature writing. You can't afford to relax as a freelance because there are a lot of newcomers snapping at your heels.

I'm sure Wayne will agree that in photojournalism the pro's world is completely different from that imagined by most amateurs.

We stayed the course for nigh on 30 years and, looking back, I wouldn't have had it any other way.

As Valerie often said, "It's better than working for a living."

PeterW

[herron]

It's a tough business, but my son is making a go of it as an architectural photographer. Jeff Herron Photography He always seems to be busy, and he's been hired to shoot in a lot of places. He's at some winter resort right now in Wisconsin, just left Cancun and, before that, San Diego, heads for Miami from the shoot in Wisconsin, and then on to Trinidad!

It's not a life for the squeamish however. To some, his day rates sound high, but not to the companies who hire him. Trouble is, he never knows how many days he will actually be able to bill for in any given month. But business seems to be picking up for him, as he gets known...so the former "Bank of Dad" is delighted. It does make it hard for him to keep his web site up to date.

[kiev4a]

Saw a post on a forum the other day from a guy in his 50s who hates his job (went through that myself) who is considering pitching it all and starting over as a wedding photographer! I wish there was some way I could reach out on the internet a physically slap him! In many respects wedding photography is one of the toughest jobs you can do with a camera--and one of the least creative. Most brides and bride's mothers don't want creative. They want well exposed photos with poses nearly identical to those they have seen in cousin Jenny's wedding album. And if you are lucky the newweds will get their photos ordered and paid for befor they split.
Ron: Your son has the right idea. He has found himself a niche where there isn't as much competition but he is supplying customers who are willing to pay for quality.

If people would read their photo history carefully they would discover the work of many of the great names didn't fetch decent prices until after they were dead. More than one photographic icon pawned his equipment on more than one occassion in order to eat.

[doubs43]

Back in the 1970's one of the two photography stores in Frederick, MD, was sponsoring a photo contest. The owner asked my father if he would enter a few "good" pictures. My father said "Bill, do you know what a 'good' picture is?" Bill looked puzzled so my father explained that "A good picture is one that someone will pay money to own." Contests didn't sell pictures.

My father made extra money doing weddings, anniversary parties, copying old photographs, family portraits and the like. His reputation in the area kept a fairly steady stream of customers coming his way but he never considered becoming a pro because he knew how difficult it was to succeed.

After he retired at age 62 from working, a man he knew offered to put up the money to buy the camera store if he'd manage it. He didn't think he could get along with the fellow as a business partner so he turned the offer down. When he later told me, I considered that it was a smart move on his part.

IMO, when photography becomes a profession, it ceases to be fun for almost everyone. At the moment it's an interesting hobby for me. Why would I purposely ruin my fun by trying to go pro? I emphasize the word "TRY".

Ron, your son has found a specialized field that not everyone is equiped to do either equipment-wise or artistically. I hope he continues to do well.

Walker

[olroy2044]

Having been a photographer as part of my profession, as opposed to being a "pro" photographer (ie: evidence and crime scene photography during my time as an officer), I can attest to the fact that when photography becomes work, it loses its charm for me. Couple that to a few weddings, etc., and that led to a 20 yr hiatus from photography for me. I would never even consider trying to become a pro now. I'm having to much fun to turn over control of my cameras to someone else. As soon as you accept remuneration for your efforts from someone else, they own you. Never again! Roy

[GeneW]

'Going Pro' seems to afflict a lot of photographers when they get excited about the craft. It's funny but I never wanted to and after doing a couple of weddings as favours, I wanted to even less. It's more fun to follow your Muse, or at least your whims, and not be accountable to anyone for the results.

Gene

[Reiska]

I could quote everyone!

It is common to have golden dreams about the professions, that we don't personally know backwards. For an ordinary wanderer starting to work as a General Manager of the fashion company is only possible in the Bold and Beautiful. When the work starts the illusion fades. Success seems so easy on the TV screen but you have to decouple the life and the fairytale.

It is nothing wrong to be a handyman but to day success requires specialization (Jeff Herron) It is risky but a necessity at the same time. Ambition and confidence are required but it is also advisable to keep a realism in the mind.

For a fun and totally out of topic: