A panel featuring three of this year’s PDN’s 30 photographers discussed strategies for building a successful career and offered a wealth of useful tips to an audience of students and industry professionals at the School of Visual Arts theater in New York last evening.
The PDN’s 30 photographers, Bobby Doherty (still life), Billy Kidd (fashion), and Bryan Derballa (editorial/lifestyle), discussed how they found their visual styles, how they use social media to get noticed, build networks and land jobs, and the importance of learning and practicing good business skills. Photographer Tony Gale, a Sony Artisan of Imagery who has taught photography, and photo editor Emily Shornick of The Cut at New York magazine, also provided insights on navigating the industry. The evening was sponsored by Sony, Offset, Canson Paper and ASMP.
Describing how they launched their careers, Doherty, Kidd and Derballa all said they developed their visual styles by shooting whatever interested them a lot–even obsessively.
“It’s important to be making the kind of photos you would want to get paid to do, before you get paid to do it,” Doherty said.
Bobby Doherty’s early makeshift studio.
A 2011 graduate of SVA, he started by experimenting with conceptual still life work in his apartment at night. “I didn’t have any money. I had two flashes, and [bar] stools” and broom handles that served as stands (shown at right). Doherty says he was focusing on “how to accomplish an idea with as little as possible, technically.”
Kidd says when he moved from Arizona to New York, he did test shoots with models four, five, or six times a week–“whatever I could do,” he says. “I experimented with light, to find out who I was.”
Shornick emphasized the importance of developing a distinctive personal style. When it comes to hiring a photographer, she said, “”I don’t want to be surprised. I want to pre-visualize” what a photographer will deliver.
One of the biggest challenges for photographers is getting noticed. All the photographers on the panel said they take as much pleasure in sharing their work as they do in shooting it, and they use social media–particularly Tumblr–to build audiences.
Kidd said he posted images from his test shoots on a Tumblr blog. “That’s how my rep found me–from my Tumblr page,” he says. On his Tumblr page, he says, he posts “everything I shoot, and want to show people.”
“Be liberal and fun with your Tumblr,” advised Derballa. Years ago he started Lovebryan, a blog that features not only his work, but that of several other photographers whose work he likes. Derballa also noted that he uses Tumblr “to follow trends” by looking at what other photographers are shooting.
Panelists also discussed the importance of personal connections and face-to-face networking. Doherty says working as an assistant eventually led to a job with Lucas Michael, who shoots for New York Magazine. That led to a meeting with Director of Photography Jody Quon, and a couple of weeks later, Doherty had his first assignment from the magazine.
Kidd says he got access to models for test shoots through a friend who worked for modeling agencies. Derballa got his first assignment from The Wall Street Journal after a chance meeting with former photo editor Matthew Craig while Derballa was talking about a self-funded assignment at a bar with another photographer.
The discussion also turned to business practices, particularly the importance of good communication skills, dependability, and presenting a professional appearance in your emails and invoices.
Here are some tips the panelists offered:
Connect with everyone you can while still in school, including teachers, fellow photography students, and students in other departments.
Attend industry events and meet everyone you can, without thinking: Who can I talk to who can give me work?
If you’re shy, and feel uncomfortable schmoozing at events, force yourself to go with a goal of meeting just one person. Those connections multiply, Gale said. “Then you’re the person who everyone wants to meet because you can introduce them to other people.”
Be an assistant. By assisting, Gale explained, you connect to people and resources, “and you learn so many things it’s not possible to learn in school” about technique and business.
To get assisting jobs, a good attitude is more important than technical know-how, Gale said. “What I need is someone who is going to be paying attention, and not be upset that I said ‘everybody is going to need coffee’ or ‘sorry, but you have to stand out in rain and watch the gear.'”
When you send e-mails asking about work as an assistant, personalize them, Gale advised. “Don’t send an e-mail addressed to 30 other photographers.” And don’t talk about what a great photographer you are, he said. “I don’t care.”
On approaching photo editors:
“Email with a link. That makes it easy to bookmark you,” Shornick said. Mailers just get thrown in a drawer and forgotten. Email “every now and then” about a recent assignment or new personal work, she added. “Quarterly is a good approach.”
No cold calls. “I’m really busy, I just don’t have time,” Shornick said.
Don’t show up unannounced. “That’s really inappropriate.”
Make sure your web site loads fast, and is free of bells and whistles. “I hate Flash websites. I just want to see your work,” said Shornick, who has discovered photographers at portfolio reviews and through Flickr.
Provide multiple contacts and Indicate your physical location. “If I can’t figure out where you live I’m never going to hire you,” Shornick said.
On providing good service to clients:
Be dependable. “The most important thing is [meeting] deadlines,” Shornick said.
Be responsive. “I always pick up [phone calls]. It’s probably someone who wants to hire you, or wants to know why the photos aren’t there,” Derballa said.
“Yeah, pick up the phone,” Shornick said, or she’ll just call another photographer.
UPDATE: The School of Visual Arts has published a video of this talk:
PDN’s 30 2014: New and Emerging Photographers to Watch
9 Tips for Getting Hired (and Re-Hired) as a Photographer’s Assistant