Tag Archives: british columbia

Interview Series: Editorial Photographer Andrew Querner

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Andrew Querner grew up in British Columbia before moving to Canmore, Alberta, to pursue his passion for climbing photography. While his home hasn’t changed, his work has and Andrew now focuses on social interest work. His new approach takes him around the world and his current portfolio includes a photo essay from Kosovo’s Stan Terg mine, Yellowknife, and the Athabasca glacier.

Fresh off a trip to Europe, Querner took the time to answer my weekly photography interview and sheds light on life behind the lens and the longer-than-anticipated transition process from part-time photographer to full-time shooter.

9 Questions with Editorial Photographer Andrew Querner

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

AQ: Since the end of high school I’ve played around with photography, never giving it much thought. It was not until I started rock climbing though, that I had a subject that compelled me to take it more seriously. At some point, the desire to make a good picture surpassed any athletic ambitions I had. I began to put my work out there and to my surprise, some of it was published. This was the beginning.

2. What was your last non-photography related job? How long did the transition take and what lessons did you learn during the process, and what finally made you quit?

AQ: To be clear, I have yet to make the transition to full time photographer. While not always the case, typically I’m holding down some other kind of job on the side. For several years now I’ve dabbled as an arborist. I used to be in quite a rush to adopt the “full time” label but I’ve realized that there are as many different paths to becoming a photographer, as there are photographers.

3. When you begin a personal project, do you already have a destination in mind for the final product or do you merely go to cover the story and worry about a sales point later?

AQ: With personal projects I’m rarely thinking about where it will eventually end up or how I’m going to cover my costs. If that happens, then great, it’s a bonus. But for me, the whole point of a personal project is to satisfy a curiosity, or to try to understand the experience of another through the process of making photographs. That is to say, it’s personal. I rarely have a concrete destination in mind, as I want to avoid any subconscious tailoring of the project to a particular publication or what have you. I’m aware this makes little to no business sense but this approach is really helping me to figure out what I’m trying to say with photography.

4. You live in Canmore but I do not see too much content from that area on your website. Why do you choose to live there and work elsewhere? Is there any benefit or issues from this type of arrangement?

AQ: You’ve touched on a sensitive topic, one that I debate back and forth in my head all the time. When I was pursuing climbing photography, the choice of Canmore made perfect sense. There’s a strong climbing community here and of course, the Rockies provided a playground. As I began to move towards subjects of more general social interest, I found that I had no choice but to travel to investigate the stories that mattered to me. Understandably, there is not much “news” coming out of this part of the world so I’m finding it difficult to procure more than the odd assignment now and then. In a lot of ways, it feels like I’m spinning my wheels here so the logical progression is to relocate to a larger metropolis or, for lack of a better expression, a more relevant part of the world. I don’t want to fall victim to the greener grass mentality because there are a lot of great lifestyle aspects about living in the mountains but in a professional sense, I feel isolated.

5. Some details:

a. Years as a shooter?

AQ: Tough to say but it started to feel serious about seven years ago. Prior to that I was more a photographer by measure of enthusiasm.

b. Current Location?

AQ: At home in Canmore, Alberta.

c. Breakdown of income: What percentage comes from editorial clients? From commercial clients? From other sources?

AQ: Photography-wise the majority comes from editorial. About half of my income comes from my day job.

d. Time breakdown – What percentage of time is spent shooting? Marketing? Editing? Personal Projects?

AQ: Shooting gets the least amount of respect, unfortunately. I spend the most amount of time by far, thinking about or doing some kind of marketing which includes a certain amount of social networking upkeep, entering contests, applying for grants, and of course devoting huge amounts of time to personal projects- all stuff I consider marketing. I dare say that there is also a fair amount of inefficiency on this front, as a lot of it seems experimental. I never really know what’s working and what’s not. This is the most challenging part of making a business in photography and I’m not very good at it.

6. If you could only give a single piece of advice to an aspiring photographer, aside from finding a more stable career, what would it be?

AQ: I still very much consider myself aspiring, but the best piece of non-abstract (don’t give up!) advice I can think of is to make personal projects. It’s an exercise in coming up with ideas and gives you a laboratory for experimentation. Almost all of my paying work has come as a result of personal projects. Perhaps more importantly it cultivates the habits of a healthy photography practice.

7. Was there ever a time when you questioned if photography was the right career choice? If you weren’t shooting, what would you be doing?

AQ: I often wonder if the questioning will ever go away. Mostly owing to the financial aspects, it can be a roller coaster ride. The rewards still seem to outweigh the difficulties and to be honest I can’t see what else I would be doing although I like to think that I would be involved in radio production.

8. What three people – be it friends, family, photographers, or anyone else – provide your greatest source of inspiration?

AQ: Lately, I’m drawing inspiration from (always evolving):

David Grossman (Israeli writer)
Ismail Kadare (Albanian writer)
Radiolab (radiolab.org <> )
Phoenix
Too many photographers to mention…

9. And finally, take this one and run with it: Why do you make photographs?

AQ: I spend hours upon hours looking at photographs and reading about the photographers that make them. I love the medium and for some reason it resonates. But I’ve come to realize that the picture (and I think I’m poorly paraphrasing someone else here) is simply the result of an actual real experience. While the formal objective is to make a lasting document, I take a lot of pleasure from the interactions that come before and after the photograph is made. Being somewhat reserved in nature I often seem to find myself in situations that, if it weren’t for the camera, I certainly would not be there. In that sense, I’ve become much more engaged with the world around me- both immediate and more distant. I never imagined that photography might do this and it has become one of the primary ways for me to learn and experience.

Final Thoughts

As always, I owe Andrew a big thank you for using his valuable time to share some thoughts, information, and samples from his budding photography career. It definitely helps to learn I’m not the only one taking my time transitioning to full-time photographer.

For anyone who hasn’t checked out Andrew’s work, please check out both his website and blog. I’m waiting he hear from a few more photographers, but hopefully I’ll have another photography interview ready for you next week.

* All images in this post are protected by Andrew Querner’s Copyright. *

Interview Series: Editorial & Wedding Photographer Rick Collins

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Rick Collins is hard to read. He has 20+ years of editorial experience, shooting projects like Face to Face: The Afghan Children’s Relief fund which raised more than $90 000, but he also shoots destination and local weddings.

The Vancouver-based photographer somehow manages to balance the two fields by using the same approach for all projects.

“It’s all about story,” he says, “and having a unique voice and vision.”

Collins has collected hardware throughout his career, including three Western News Photographer of the Year Awards and two Canadian News Photographer of the Year Awards, but he’s more likely to sell you on his photographic passion than his accomplishments. This type of humble yet successful personality is admirable, so I decided to reach out to Collins for an interview.

9 Questions With Rick Collins:

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

RC: I went to SAIT in Calgary to train as a journalist – a writer. After my first photography class I had the immediate “ah” moment and knew. I had been an artist my whole life so it wasn’t a big stretch. I just didn’t know this career even existed. I guess I just wasn’t paying attention.

2. What was your last non-photography related job? How long did the transition take and what lessons did you learn during the process?

RC: I was a lifeguard at a few different pools while going to school. The transition was immediate and all consuming.

3. You do lots of weddings and destination weddings, but your background was in documentary photography. Why did you make the transition and what skills or style did you bring with you from journalism photography to the wedding scene?

RC: I’m still very much involved as a documentary photographer. It’s just a matter of finding the time to pursue the kinds of stories I want to tell. I’m concentrating on weddings and portraiture to build a business and make a living. I have a home, two children, a partner and you have to find a way to make it work. Very few pure documentary photographers are able to make a decent living.

There really is no transition for me moving into weddings. My wedding work is the same documentary work I have always practiced. It would be the same mindset for me if a major newspaper or magazine calls and wants a day’s work on a specific event or subject. It’s storytelling pure and simple. Subject matter is relative. My style relies on a talent for recognizing story and an ability to be in the right place at the right time and a lot of practice being invisible.

My best work always happens when my subjects are authentically themselves. In news photography this seems easy – a hockey player playing is simply that. A politician is a politician. A car accident victim… etc etc. However, most photojournalists at the newspaper level bring out the worst in their subjects, not the best. They do so by injecting themselves into the scene and onto the image. They show up loud and proudly as a PHOTOGRAPHER and subjects change in response to this. I have always preferred a quiet style.

4. Some details:

a. Years as a shooter?

RC: Professionally, since 1989.

b. What’s your market niche and what sets you apart from others in this area?

RC: Anyone and everyone is a photographer these days. A monkey can do most of the work being done today. What I hope sets me apart is my 20 years of experience. It’s a matter of trust. When you hire someone to do an important job for you no matter if it’s plumbing, heart surgery or photography it’s all about experience. Then it comes down to vision and style.

c. Breakdown of income: What percentage comes from editorial clients? From commercial clients? From other sources?

RC: 30% editorial, 20% commercial, 60% other

d. Time breakdown – What percentage of time is spent shooting? Marketing? Editing? Personal Projects?

RC: Marketing 20%, Editing 50%, personal 10%, shooting 20%

5. What single piece of business advice do you wish somebody would have told you before your first paid assignment?

RC: Take a business course or two. Like many artists I’m not in this for money.

6. What’s the harshest lesson you learned early in your photography career and how can others avoid falling into the same trap?

RC: Charge clients for everything. Value your work and time. Be up front about what you charge and why.

7. What three people – be it friends, family, photographers, or anyone else provide your greatest source of inspiration?

RC: Cheryl Claibourne  – life partner – film maker, Steve Simon – photographer & Brian Howell – photographer

8. Many entrepreneurs find it difficult to separate their work from their lives. What do you do to maintain a work-life balance? How does time away from the camera affect your work?

RC:I have a hard time being away from my work. It is all consuming. But we try to balance this by getting out as a family and doing things together.

9. I just read an interesting blog post that asked the question “Why do you make photographs?” and I’d love to hear your answer:

RC:I am fascinated with the world, the ever-changing landscape and especially people. I make photographs as my take on it all.

Final Thoughts

These interviews are now three months old and I’m pleased with all of the responses to date. I’d like to extend a big thanks to Rick Collins for taking time to answer my questions. Please take the time to check out Rick’s website and blog.

For my readers, these interviews are a regular series on my blog, so make sure to leave me a comment with the types of questions you want answered by today’s top pros and I’ll do my best to include them.  I’m also running short on upcoming interviews, so if you can suggest any photographers who you’d like to hear from, please let me know.

Interview Series: Photographer and Writer Steve Ogle

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Steve Ogle describes himself as “a guy who loves expressing what he experiences out there in the real world”.

It’s the perfect description for the adventure photographer and writer who calls Nelson, British Columbia, home. Ogle has been shooting professionally for the past 15 years. While his heart lies with landscapes, he shoots outdoor adventure images for a variety of editorial and commercial clients. He also writes for a variety of editorial publications that use his photography.

His work is an excuse to venture into the wilderness near his hometown or around the globe. One such adventure, in 2004, landed Steve and friends Mark Tinholt and Chad Sayers battling a two-week storm on the Southern Patagonia Icecap. By the end of it, they’d run out of food but the storm relented and allowed them to escape. The ordeal was eventually told on Discovery Channel’s Primeval Fear TV program.

Steve was kind enough to answer this interview through email and his remarks aren’t the usual shoot lots, minimize spending and it’ll take time variety. Here is what he had to say:

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

SO: Didn’t really work that way since I am also a biologist. Both are fairly tangible. But I was working in the field quite a bit I was (and still am) in some pretty nice places, so it was natural to start shooting photos. Most of them were crap but if you’re out there enough you get a few nice ones.

2. What was your last non-photography related job? How long did the transition from amateur to pro shooter take and what lessons did you learn during the process?

SO: I double as an ornithologist and do most of my non-assignment shooting work in the winter when there isn’t much in the way of bird research.

3. You live in Nelson. It’s a beautiful spot, but hardly a big market. How does your geographic location help or hinder your business model?

SO: It’s a global market – there are lots of talented shooters here. There is little money for local work and I don’t really bother scrapping it out for the small (or big!) jobs that pay next to nothing. Rarely am I contacted by anyone looking for images of my region because they seem to send their own people or perhaps I’m out-competed by other local shooters. It’s a fabulous place with minimal tourist influence because it’s hard to get to. That helps me get some nice images that people haven’t seen. Even if they don’t sell as much as a Lake Louise sunrise reflection shot that’s fine by me.

4. Do you travel with pre-determined assignments or do you go to capture images and sell them after the fact? Is there a balance between the two?

SO: Both. More and more (with growing family) I will try for shorter, better-paying assignments. I still shoot on spec a lot because the clients I work for often seem to roll that way. A great shot will sell, no matter what. But assignments will pay even though you may or may not produce great images. Many clients don’t seem to care much about what I’d consider quality in images. Weird, but true. Depends on their marketing or photo editors’ experience and taste.

5. Time breakdown – What percentage of time is spent shooting? Marketing? Editing? Self-Loathing?

SO: Out of all photography work: 30/40/30/0
(marketing includes all the fucking around with emailing editors, doing some free stuff, etc.)

6. If you could give only one piece of business advice to a young photographer, aside from finding a more lucrative career, what would it be?

SO: Get a line of credit to ride yourself through tough times so you don’t have to get a day job that will restrict your freedom. Debt is the photographer’s best friend! The same goes for buying what equipment you think you’ll need.  Maybe this isn’t great business advice but if you are good and work hard the money will eventually flow.

7. What’s the harshest lesson you learned early in your photography career and how can others avoid falling into the same trap?

SO: Don’t give shit away for free. I still do but not without a fight, and only to the right folks.

8.    What three people – be it friends, family, photographers, or anyone else – provide your greatest source of inspiration?

SO: Can’t answer. Lots, but nobody is like Ansel Adams. Just folks who are out there doing great stuff today, maybe Jordan Manley, Kari Medig, Mark Adamus

9. Many entrepreneurs find it difficult to separate their work from their lives. What do you do to maintain a work-life balance? How does time away from the camera affect your work?

SO: Always carry a camera. Even a point and shoot (better lightweight backup SLR). Then learn how to go about your business not thinking about shooting. Set your benchmark for what’s worth shooting (based on experience of what will sell or what you want in your portfolio) and don’t open the bag for anything less than your benchmark.

Final Thoughts:

First, I’d like to finish up by thanking Steve for his time and answers. I appreciate any photographer who takes the time to share advice, stories, and lessons with new photographers and Steve was one of the first to reply to my interview request. Cheers

For my readers, make sure to check out Steve’s blog, too. These interviews are a regular series on my blog, so make sure to leave me a comment with the types of questions you want answered by today’s top pros and I’ll do my best to include them.  Check back every Monday for a new interview.