Re: Message VS Medium--It Ain't the Camera

[Ted Grant <75501.3002@CompuServe.COM>]

Donal Philby wrote:

<<<Well, here I am with a degree in photojournalism and mostly what I learned
was how to be a good journalist.>>>>>

Hi Donal,

I have heard similar stories from those taking photojournalism at various
academic locations. I think part of the problem is the the term
"photojournalist" is a miss interpreted word and is perceived to mean,
"writer-jounalist- with photographer capabilities".  This may not be true in all
cases, but over the years I have lost count of how many times I have been asked
"what have I written", more than "what photography assignments/projects" I've
had published.

<<<My major complaint, and it is a huge one that I have written about to the
university where I graduated, is that I didn't really understand how the
business of photography worked.  I don't mean how to balance a checkbook, but
how you freelance.  How you make contacts, develop
specialities, generate momentum.  Get things published.  Get paid.>>>>>>>>

Heard that one so many times I've often thought that it might be an idea of
putting a special course together and trying to sell my services to some
photojournalism school. And when I do lecture to students attending academies
the predominant question is? : 

<<<<<<<< how you freelance.  How you make contacts, develop specialities,
generate momentum.  Get things published.  Get paid.>>>>>>>> 

I'm amazed that this aspect seems to be lacking in the curriculum.  I imagine
there are some who teach it, however given the numbers of times I have heard the
question asked or stated as you have, it can't be explained too well!  This is
either the "teachers" have never been independent photographers and don't have
the on the street experience or they don't hire independent photographers as
part of the course to teach how they do it and succeed.

<<<My firm belief now is that learning to "do" business is the hardest
photographic skill there is.>>>>>

Absolutely right on the mark without question!  

Virtually anyone with a dimes worth of brains can learn the mechanics of
photography, that doesn't mean they will be successful (read wealthy and well
published), as many muddle along barely surviving in the low end economy of
photography. Some give up and go back to what they were doing before taking a
course and loosing out because of the learning element you explained.

<<< Sure, you can take a job at the local fast food joint and do documentary on
weekends, but how much are you really going to produce.>>>>>

Donal I worked for Hobart Manufacturing Co. when I was learning about this
wonderful medium of photography and earning about $50.00 a week and my wife a
somewhat similar amount. I shot everything I could to earn bits of money, kids
portraits, friends weddings, parties, stock car racing and anything I could to
get money and learn on the job, so's to speak. 

The Sunday afternoon stock car race and crash stuff, I would be at the local
newspapers 5.45 a.m. Monday with 8X10's of anything good and got paid $3.00 per
photo.  That money went to eventually buying a better camera and some times
food, as I would spend household money for film, developer and paper. :) 

All I wanted to be was a news-photographer and getting my stock car pictures in
the paper each week gave me an incentive to go harder by chasing fire trucks and
ambulances when I heard them. Imagine doing this long before police scanners of
to-day and still getting to some scenes before the police and many times before
the local newspaper photographers! 

I eventually got a job with the government for a couple of years, but every
evening and weekends I was shooting something and improving. An eventual break
came due to a train crash that I scooped everyone on the disaster.  This in turn
got me an offer to work for a news/commercial photo studio who were contracted
to the Ottawa Citizen as the staff photographers. Man I was on my way!  I left
the government, for a job of $5.00 mare, 6 1/2 days and two evenings a week, all
for the grand some of $75.00 a week. :) But man I loved it!

Eventually I went on my own with a couple of partners where I started putting my
work in front of every agency, newspaper, government department, wire service
and magazine I could. I never stopped, there wasn't any 9-5, it was being
available 24 hours a day ad infinitum and eventually the quality of what I was
producing began to pay off. I started being assigned by magazines and wire
services regularly. 

My main client became the National Film Board of Canada.  We were paid $40.00 a
day and $24.00 a day when it rained and we couldn't shoot. We supplied all our
own equipment and they the film and expenses. During a 12 year period as a
freelancer with NFB I traveled all over the country and overseas shooting B&W
documentary photo essays. In between their assignments I was shooting for Time,
Canadian Press, several weekly rotogravure and trade magazines.  As well as
anyone crazy enough to hire me.

During all this time no one told me how to cost out things, how to charge more
efficiently and much of the "business" monetary side of photography was a major
failing for me in amount of income produced over the years. I'm a little better
now, only due to learning from primarily my own stupid mistakes.

Being a good photographer quite honestly came naturally, but the business side
was a horror story. If I could have the time over again, the only thing I would
change is either me taking a business course (never happen I just want to be a
photographer) therefore I'd hire a very sharp business manager and be laughing
all the way to the bank.  

Then I would become one of those,  <<< great names in photojournalism were
independently wealthy and were working at a time that the market actually
paid.>>>>>>  :)

<<<Today, making a living in photography requires enormous energy,>>>>>>

For those who are not shooting professionally or they have staff jobs with all
the perks, they have no idea what it entails being an independent
photographer/business man today. I have the greatest sympathy for younger men
and women who are struggling with the complicated world of dealing with buyers
of photographer talent, as most of the buyers don't care about the end product,
but the damn bottom line of the bean counters who are now running the world.

I wont get on that box or I'll loose it about what this post is all about. 

There is only one school lesson I can give. And that is, assuming one is a
reasonably talented photographer,  "There is only one way to get assignments and
that is keep putting your photography in front of people until you are sick and
tired of it!  Then start all over again with another bunch of folks and return
to the beginning after you are finished with the second batch!!   And if you
can't sell yourself worth a damn, get someone who can, however that can be
arranged." 

As far as the "tax button on the computer"  just press delete! :)

ted
Victoria, Canada
http://www.islandnet.com/~tedgrant