Tag Archives: interview

Interview Series: Too Little Too Late, Enjoy these Links

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After the 2011 Foundry Photojournalism Workshop in Buenos Aires, I took a week off. I barely looked at my email and I didn’t do any work. Instead, I went to Uruguay, walked around Buenos Aires, and visited family & friends. Unfortunately, that all adds up to a missing interview. Fortunately, I met lots of great photographers at Foundry, so here are 10 links worth checking out:

10 Foundry Photojournalism Student’s Websites

Santiago Serrano – a photojournalist based in Quito, Ecuador. Check our his Amnesia Selectiva blog or his portfolios on Nuestra Mirada.

Jon Goering – a staff photographer for Shelby County Newpapers in Alabama, Jon discovered story telling and photography while living in Ethiopia.

Patricio Murphy – Despite his irish name, Patricio is porteño. He’s been taking pictures since he was a kid, but the transition to photojournalist took place in the middle of Argentina’s 2011 debt-crisis riots.

Cristobal Olivares – A Santiago native, Cristobal is a freelancer for a number of newspapers in Chile’s capital. Other than his blog, you can also see images on Flickr.

Tatiana Cardeal – Dedicated to humanitarian photography, Tatiana’s photography shows the many colors of Brazil’s cultural landscape.

Andre Cherri – Another restless photographer, Andre is counting down the days until he’ll leave Sao Paulo, Brazil, and hit the road on a three-year round-the-world cycle trip.

Indu Antony – Instead of following her mother’s advice to marry a dentist and have two boys, Indu decided to become a photographer.

Edward Brydon - A scientist with a passion for photography, based in New York City with an English accent.

Szymon Kochanski – A polish computer programmer with a home address in La Paz, Bolivia, Szymon blogs in Polish. I just look at the pictures. During a discussion about living in La Paz, being an expat, and living an off-beat life, Szymon said something that really stuck in my mind.

“I’m just trying to have an interesting life,” he said.

Brilliant.

Final Thoughts:

There were more than 100 students at Foundry and many had brilliant portfolios. This list is merely a handful who I spent time with outside of the classroom. I’ll try my best to highlight more students and share a bit of my work from the workshop once I am back in Mendoza.

Interview Series: The Star Trail Photographer Ben Canales

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Ben Canales grew up in Philadelphia with a nickname that described his sleep pattern – “in-bed-by-ten-Ben.” Surprisingly, after moving west to Oregon, he fell in love with the night sky and its stars that were often hidden behind light pollution on the east coast. The result? A budding career as a star photographer.

While he’s still learning the business end of a photography career, he’s mastered high ISO shooting and captures landscapes few ever experience in person. You can check out more about Ben and see samples of his work on: Facebook ,Twitter, Flickr and both his website & blog.

The imagery is inspiring and I am not the first to tell him. In fact, he’s blown away with the immediate connection to the night sky that evokes responses from around the world. It’s one thing to stay up all night to make an image but to hear about a fan’s reaction in Korea makes the countless sleepless nights well worthwhile. He even made this great tutorial to help others get out and shoot at night:

Landscape Astrophotography Tutorial – First Night Out from Ben Canales on Vimeo.

I asked Ben to answer this interview on short notice and he managed to fit it in before work on Monday despite spending the entire weekend downing caffeine and shooting images. Here’s what he had to say:

12 Questions with Star Photographer Ben Canales

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?

BC: Honestly, the idea of this being a career was a slow transition for me. I’ve always enjoyed creative pursuits as a hobby, but my star photography has grown in ways that none of my other interests have. Plenty of friends and family were giving my photos great reaction, but when magazine editors and commercial businesses started asking to use my images, then I started looking at this whole pursuit differently. After a few images got published and licensed, then I started to realize this could be really happening.

2. You have a pretty specific niche in that you only shoot star-filled nights. How do you market your work and who are your biggest clients? Is it editorial, stock, or commercial use?

BC: I am currently trying to figure that out! I’ve had interest from many different directions, but am trying to find a consistent element and direction of use. Up until this year, I have doggedly pushed and pushed my abilities and techniques in the field to better the shots. Now, I am shifting some of that effort and attention to marketing and sales. The business end of things is completely unknown and intimidating to me.

3. Do you have another job or are you living directly from your photography?

BC: I currently have a full time job and push that around to accommodate photography opportunities.

4. You’re website you’re advertising workshops beginning in July. What made you decide to begin teaching?

BC: Over the last 2 yrs, more and more people have asked how I shoot stars so I made the free, short video tutorial giving tips and techniques on doing it. But, beyond that, I got more and more interest from other shooters asking if I was doing any workshops on shooting stars. People have asked, so I’m trying to fulfill those requests. I’ve had mixed results since posting the announcements of workshops. I am excited to pass on all the things I’ve learned about shooting stars to someone else and for them to be able to go out and take their own images of the night sky.

5. You seem to be gaining some career momentum with upcoming workshops, demand for online tutorials, and website views. How does that sort of success make you feel about your photography and how will you use it to your advantage moving forward?

BC: It really excites me! I just wish I had a marketing and business background to know how to best take advantage of it! It’s exciting and intimidating. I’ve been amazed at the reception and connection my images have had with people.

6. When I first discovered your photography, I loved your imagery but thought it might have a limited market. How do you come up with new ideas to keep your images interesting and fresh?

BC: Hmmm…for me this is the easy part. I thrive on the challenge to innovate and discover. When my Dad took me fishing as a kid, he taught me how to fish in the places that had the best chance of catching big fish and were the easiest locations to access. After I got the basics down from him, I was always drawn to the furthest corners of the lake or swampiest parts of the stream to go try and fish. I was more motivated by the curiosity of what could be lurking in the spot that no one fished, rather than what was the biggest fish in the hole everyone fished. So, applying that same personality to my photography, “stars” is a limited market, but it’s a corner of photography that is still relatively new and undiscovered. To me, this is so exciting and inspiring. My head is always dreaming up new scenarios, techniques, locations, etc. There will always be a far off idea, an “impossible” concept to wrestle with- and that keeps me going.

The contrary is actually difficult for me- to keep my work on a track and consistent direction.

7. A lot of your images are shot in the winter. Why?

BC: I think that’s a misperception based on some advances I’ve made over the last year. Before, I’d go out on a weekend and come back with 1 or 2 keeper shots from a trip. Now, I’m getting better and better at coming home with 5-10 keeper shots from one night out. This last winter I was very productive on just a few trips, so it probably does seem like I have more winter shots. And, those shots have been my best because of the progression of my techniques, so they’re at the top of my website. But, here in Oregon where I shoot, the winter months are usually 85% clouded over. It’s a rare occasion to have a clear night of stars in the winter to shoot. I’d say the majority of my photography is done June-September because the weather shifts and clear skies are much more predictable. Oh, one more factor about winter- longer nights! In the winter, I can start shooting at 8pm till 4am. In the summer, my window is 11pm to 2:30am.

8. Your website sticks out to me, as you are the first photographer I’ve seen using WIX for a professional application/sales point. Are you ever tempted to upgrade to a system like Livebooks or Photoshelter? Should more aspiring photographers look into WIX instead of spending their limited funds on web design?

BC: I am currently in the process of shifting from WIX to a custom made website. WIX gave me the benefit of having a website address to direct people to. I wanted something other than my Flickr page to showcase my work. My girlfriend was a huge help in getting my work public in the social media arena, and while researching websites, costs, etc- WIX emerged as the cost effective way to have a web presence outside of Flickr. WIX has some real limitations and problems for websites looking to expand into commercial use. I’d say go the route of sites packaged for photographers.

9. Are you happy with your current work – both its style and quality – and how do you see it evolving in the next 2-5 years?

BC: I’ve given up an insane amount of sleep to be out shooting stars so many nights, and I feel very pleased with the results, progression and pace. How will it evolve? That’s a big question for me :-) As mentioned before, I thrive on discovery and innovation. In my opinion, the map of landscape photography still has many unknown, unmapped areas. I am excited to push the boundaries further into new concepts and images. I’d like to involve more people and pre-planned scenes into my future nights out. But also, I’ve recently joined up with a video production company, Uncage The Soul. For now, my primary contribution has been time-lapse work. In the immediate future, you’ll probably see a hefty amount of timelapses from me as I explore and figure out this technique.

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

BC: The first and most prominent that comes to mind is Masahiro Miyasaka. When I first got into shooting stars, I researched what everyone was doing. Masahiro quickly emerged as an inspiration and challenge. His technique is refined but the extra bit that sets him apart is his artistic expression in his images. His images are expressions and self-imposed challenges. If you scroll through his images, it will be an unending reaction of, “oohhhh…” “aaahhh…” “woooowww” “no waaayy” “what the…” He has certainly inspired me from the very beginning.

11. How often do you shoot alone at night and how do you stay motivated to spend long hours in the dark & cold shooting on your own?

BC: I mostly always shoot alone, but in the summer (when it’s warmer) my girlfriend will usually join me. The hard part isn’t to stay motivated there on location, it’s to get out of town after work or a long week and accept I am about to spend the next 1 to 3 nights not sleeping. Once I’m there, under the stars with a camera and tripod in from to me- ha! You can’t stop me! I’ll start shooting an hour and a half after sunset and I’m shocked when hours later the coming sunrise is already starting to blow out my stars. Time just flies by for me. I think, going back to that thrill of discovery, at night in the dark it’s ALL unknown and open for possibilities. And, since all my shots are 20-30 second exposures, I have time while standing around to be constantly looking around for the next composition to try. I LOVE it. It is ironic because I’m not a night person! Back home, my friends nicknamed me “in-bed-by-ten-Ben.” Crazy, huh?

12. Any other comments you’d like to add?

BC: A extra comment to your readers, based on the reception of my work, is find your own voice in your work. Use other people’s work as lessons and challenges to better yourself with, but strive to find your own unique take and spin on the world around us. Believe in yourself and what excites you- and then go find a new way to take a picture of it.

And, a “behind the scenes” insight into shooting stars, it’s exhausting! Since this isn’t my full time job, I’m giving up 1-3 nights of sleep at a time and then going to my full time job. Sometimes, it completely wrecks me. It can have really negative effects on my own personal life in regards to my health, relationships, and job. I’m learning I need to take into consideration what’s coming up in the week ahead before I go stay up 2 nights in a row, because it will take all of next week to recover. Losing sleep isn’t like climbing mountains. It doesn’t make you stronger as you do more of it! This interview is a great example. I went out shooting this weekend up in the mountains. It was AMAZING. But, I had to climb and carry a ton of gear to get there and then stay up all night shooting and then get back home for holiday plans with friends. It wrecked me. Now, this morning, I am struggling to keep my eyes open and answer these questions before I rush into work. It is frustrating because I am excited to answer these questions and be presented to you, the readers of this blog. So, here’s great opportunity to share my work to you now, but due to the demands of night shooting, I’m struggling to meet the requirements of normal life. Purposefully skipping entire nights of sleep is a stupid thing to do! But, I haven’t found a way to shoot stars in the daytime yet, so it’s just how it goes ;-) So be warned, shooting stars is awesome, but you’ll feel “hungover” the next couple of days.

Final Thoughts:

As always, I owe a sincere Thank You to Ben for taking time to answer these questions. His style of photography is demanding and exhaustion is a constant companion, so I’m thankful he found enough caffeine to answer this interview for all of us.

Interview Series: Editorial Photographer Katrina D’Autremont

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Much like the beginning of my own website biography, Katrina D’Autremont is a photographer with two homes: Argentina and USA. She claims to be more American, yet her most known body of work, Si Dios Quire, was shot in her family’s home in Argentina.

She’s back in the USA now and continues to seek “the familiar in the foreign” from her Philadelphia home. Her career is gaining momentum and in the past few years, she was named to PDN’s 30 (2011), featured at the Sash Wolfe Gallery, and awarded a Silver Eye fellowship.

I appreciated learning from D’Autremont’s responses for the simple reason that she’s balanced two home nations throughout her photography with success. Here’s what she had to say

Eleven Questions with Katrina D’Autremont

1. I start every interview with the same question. Was there an ‘ah’ like moment that you realized you would be a photographer and not pursue a more tangible career? If not, how did you decide to pursue photography?

The moment that I realized I would pursue photography in a more meaningful way was when I was in Argentina and I was about 23. I was taking a class at a small local photography school, and one day I left the class and I was walking through the streets of Buenos Aires and thought “This (photography) is something I will still want to be doing ten years from now, and I want to do it better than I am doing it now.” It was in that moment that I decided to go back to school and to study photography, and pursue it more seriously.

2. You were just named to PDN’s 30 2011. What does that sort of recognition mean to you personally? To your photography career?

I think the PDN 30 is a great milestone. I have yet to see in what ways it will affect my career since it is something I believe will have an impact over time. No award is essential to making work, but it is always validating to have your efforts recognized. It is especially great to feel the support of the photography community in which you are involved.

3. The newest portfolio on your website, Si Dios Quiere, is an intimate look at your family in Argentina. How did they feel about your work?

Well, this question does not have an easy answer.

Obviously, I am very attached to this particular body of work because it really is about my relationships with the people I love and am closest to, and yet the farthest from physically.

In the beginning, my family didn’t understand what I was trying to accomplish, but once they saw the photographs they began responding to it personally. They became more than just participants. In a way they are more like characters in a story and their lives make up the images in the scenes.

There was one particular moment at my grandfather’s funeral, when my family was passing around this book that I made from the photographs from the series. It was then that I realized how important my work is to my family as a whole. It holds an intangible part of our history. Relationships change and shift, people pass away, and my work becomes more and more what I originally intended it to be – an extension of my family album, a way for us to look back at our lives together.

4. On your website biography, you say “American eyes saw Argentina; Argentine eyes saw America. Can you explain that a little bit and help me understand how it relates to your photography?

My mother is Argentine and my father is American, and while we always lived in the United States as children, we would go visit Argentina for extended periods of time and it was an integral part of my childhood.  Even though I am technically “half and half”, I grew up mostly in the US, and I am “American”. When I moved to Argentina at nineteen, hoping to regain some of my Argentine identity, it was a bit of a shock to realize just how American I really was.

The cultures are very distinct. When I think about this in relationship to my photography, I think about something I call the “not here” aesthetic. It is something people can’t exactly pinpoint, but they feel the distance in the images.  They know that a cup is still a cup, but there is something that says it is not just like the one they have in their cabinet.

In that same way, I think that I look at the place I live now, Philadelphia, and other places in the US and it seems slightly foreign to me. I try photography here the things that seem anomalous, slightly outside of what seems normal or familiar to me.

5. Do you think growing up with two nationalities – or simply two distinct homes – has helped your photographic vision?

Of course, in the most basic of ways, it has given me the physical space in which to photograph. This is not some invented landscape; most of the photographs take place inside my family’s home. And I am not a tourist in another country; I am actually in the spaces that I grew up in.

When I look at the United States, I have a harder time photographing unless something strikes me as distinct or foreign in a way, which is why I am not as attached to the work I make here. I have been working in Philadelphia where I live now, and even though I have amassed a number of images, I don’t quite know how to approach them. It may take me several years before I can really see what is contained in these images.

6. You’ve won a number of awards and been featured in magazines, and had a gallery presentation of Si Dios Quiere at Sasha Wolf Gallery. Is there one moment that stands out as a highlight?

The Silver Eye Fellowship was a definite highlight. It was amazing to be given a solo-show, a grant, and to be treated with such respect as an artist. They are an amazingly supportive organization and it is a relationship that I hope to maintain throughout my career.

I love the smaller non-profit organizations that exist throughout the world. I really feel that anywhere you go you can find a photography community. I had the honor of teaching a workshop in Guatemala City last year with La Fototeca, and it was definitely one of the best experiences I have had. Through photography, I was not only taken to a new place, but more importantly I found a community of friends the moment I got there. It really showed me how important photography is in my life.

7. If you could give an aspiring photographer, let’s say on day one at photography school, a single piece of advice, what would you tell them?

Make lots of work. Worry about the rest later. I think we get so caught up in the reasons that make working difficult: time, money, insecurity, etc., that we often stop ourselves from just letting the images progress on their own. Don’t worry about that in the moment, just try and shoot as much as possible. I need to remind myself of this all the time.

8. In your mind, what has been the hardest part of earning a living within the photography industry?

The hardest part is that the industry is changing so fast. You have to sort of pick an avenue and follow it. But even within that avenue you have to be flexible.

9. Are there any harsh lessons you’ve learned that you can guide aspiring photographers away from?

The one thing I would say is that there are a lot of photography competitions, awards, and reviews these days, so be careful where you spend your marketing money.

Also, know that everything takes a lot more time than you think it will, so be very patient.

10. Speaking of business, how do you make your living? Editorial work? Print Sales? Commercial photography? Other Avenues? Simply not eating? What percentage of your income comes from each of these categories?

I do a little bit of everything: licensing, editorial, assisting, teaching. It just depends on the day. I can’t really break it down into percentages.

11. Where did you study photography and what did you think of the experience?

I studied in at the University of Arizona as an undergraduate, and then I got my M.F.A. at the Rochester Institute of Technology. It was a mostly positive experience. Graduate school is not always easy, and it definitely pushes you in ways that might make you uncomfortable, but in the end you come out of it with a stronger body of work.

Final Thoughts

As always, I want to extend a sincere thank you to Katrina for taking the time to answer my questions and for including such stunning photography to illustrate this blog post. Please take the time to check out her website.

Last week’s interview with Mattias Fredriksson landed on a number of websites. SBC Skier ran the entire article on their website, and Powder Magazine highlighted it on their facebook fanpage, as did the Swedish magazine Magasin Åre. It was great and really helped draw more readers to my project. I appreciated their help and encourage you to share these interviews with any photographers – from beginner to pro – that you know. As a community, we’re better off sharing.

* ALL IMAGES IN THIS PART ARE PROTECTED BY KATRINA D’AUTREMONT’S COPYRIGHT *

Interview Series: Wildlife Photographer Suzi Eszterhas

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Suzi Eszterhas wanted to be a wildlife photographer when she was only eight years old. Unlike most kids, who dream of becoming astronauts or fireman only to land a government desk job, Eszterhas didn’t let anything derail her dream.

Today, the California-based wildlife photographer specializes in documenting family life and is known for her work with newborn animals. Her work has landed numerous awards, including Wildlife Photographer of the Year, and she is an International League of Conservation Photographers Fellow.

Although she spends nearly six months shooting wildlife on the road, she also leads a number of Wildlife Photography Workshops with exotic destinations and wildlife in mind: Mountain Gorillas of Rwanda, Wildlife of Borneo, Madagascar Lemurs and Reptiles, etc.

11 Questions with Wildlife Photographer Suzi Eszterhas

1. I’d like to start out with the same question I ask for each interview. Was there an “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

SE: As a young child I knew that I wanted to be a wildlife photographer. I don’t know why. No one in my family was interested in wildlife or nature at all. But for some reason it captivated me.

2. You’ve landed numerous covers, won awards, and become an ILCP fellow. Is there one moment that stands out in your memory as a career highlight?

SE: A career highlight would certainly be the TIME cover, which my agent sold for me. It was quite a thrill!

3. What percentage of your time is spent on Shooting? Editing? Marketing?

SE: shooting 50%, editing 25% and marketing 25%

4. Over the past few years, you’ve become known for capturing family life and newborn animals in Africa. That takes extreme patience and dedication. What’s been the most amazing moment you’ve witnessed?

SE: There have been so many amazing moments. One of the best was being able to photograph a cheetah mother with her 4-day-old cubs in the nest. Another was photographing a lion cub meeting his father for the first time.

5. How do you know if you are too close to an animal subject? What do you do to maintain a safe distance but be close enough to get the shot?

SE: This is a tricky one. This goes back to needing to research and study your subjects before you get out and shoot them. Every species is different. For example, lions yawn when they are happy and content. Grizzly bears yawn when they are stressed out. I research my subjects before the shoot, by going online to find scientific papers and also talking with experts. This keeps me safe and also prevents me from stressing the animal.

6. Do you have a favorite species or subject? What about a bucket list of species you’d like to capture?

SE: Apes and big cats have always been my longtime favorites. But lately I have fallen in love with sloths. My bucket list changes every day, we are so lucky to share the planet with so many different, amazing creatures.

7. Successful photographers often balance two roles: creative professional and businesswoman. What is the biggest lesson you’ve learned in both roles?

SE: Most important – don’t loose your passion but at some point you’ve got to balance this passion with making a living. This means you’ve got to spend time in the office in front of the computer!

8. You teach a handful of workshops every year, including some pretty remote ones in Rwanda, Borneo, and Madagascar. What have you learned either from students or simply through instructing others during these workshops that helps your photography?

SE: I always learn from my clients. Every person sees things in different ways. It is amazing how a group of people can all photograph the same moment in completely different ways. Also, lots of times my clients know more about the latest gadgets than I do, so I often learn about the just released gear through them.

9. What advice would you give an aspiring wildlife photographer who not only wants to capture stunning images but also wants to earn a living from the camera?

SE: Making a living in wildlife photography takes a lot of hard work, dedication and patience. It is a slow process. Don’t quit the day job and get out and shoot (a lot) on your off days!

10. With the trend towards dSLR video growing, how do you see your work evolving in the next 2-3 years?

SE: I am not yet shooting video, but a lot of my editors are asking me to consider shooting little snippets of video as promotion for the still photography story.

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

SE: My mom, Owen Newman & Amanda Barrett (BBC wildlife filmmakers) and Jane Goodall

Final Thoughts:

I owe a big thanks to Suzi for taking time out of her busy travel schedule to answer my interview. The supplied photos really help show off your work and add color to my website. I appreciated hearing from Suzi and featuring both the first ILCP fellow and first female photographer in this interview series. I hope she isn’t the last on either count.

Please take the time visit Suzi’s website to see the quality and diversity of her work. If you are an avid wildlife photographer, you might want to consider a workshop, too.

* ALL PHOTOGRAPHS IN THIS POST ARE PROTECTED BY SUZI ESZTERHAS’S COPYRIGHT. *

Interview Series: Montana State University Phototgrapher Kelly Gorham

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On his website, Kelly Gorham says he began his career with humility by begging the local newspaper for assignments. Over the past 21 years, his photography has been featured in publications around the globe, including National Geographic Explorer, Sports Illustrated, New York Times, and USA Today.

Although he still freelances from time to time, the majority of Kelly’s shooting time is spent as the staff photographer for Montana State University, his Alma Mater. The position really gives him an advantage most photographer dream of; he claims to spend 60 % of his time shooting photographs, 20% shooting video, and only 20% on editing.

When I emailed Kelly about the interview, he welcomed the opportunity. He answered my questions immediately, despite having a busy weekend of NCAA basketball to shoot. Here’s what he had to share:

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?

KG: I first thought about being a photographer at age 6. I started to appreciate the photos in National Geographic and that same year my parents got me a Sears-Roebuck camera. However, I never considered it seriously as a career until I was 18. I had taken a photo class and was learning how to use my first SLR, a Pentax K1000, when I saw an interview with the late fashion photographer Francesco Scavullo. I was hooked and changed my college major from architecture to photography. I never looked back.

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

KG: My last non-photo job was working as a rock crusher for a mining company. I was the only person not on parole. It was just before my first year of college. I learned a lot about people at that job and I think that’s also when I started to develop my journalistic curiosity about people. The transition didn’t take long. Two months after that job I got a job assembling catalogs and mixing chemicals for the Photographer’s Formulary. They produce high-end photo chemicals. It was really interesting because at that time I knew nothing about darkroom work so my exposure to photo processing was kind of from the inside out. I loved that job. The owners are terrific and I really enjoyed the exotic nature of the chemicals and some of the darkroom processes.

3. Where do you live and why? How does your geographic location help or hinder your business model?

KG: I live in Bozeman, Montana and am the staff photographer for Montana State University. I still freelance for magazines when I have time. I’m lucky to have a staff position, but for freelancers I think Montana is a terrible geographic location if you want to work for magazines or do commercial work. I only get assignments because I’ve spent years developing relationships with editors around the world and they trust me.

4. You’ve been published in a huge amount of newspapers and magazines. When you first started, were you shooting images on assignments or shooting first and selling the images afterwards? How long did it take to go from shooting on spec to shooting on assignment?

KG: I have actually never shot an assignment on spec. I earned an internship with a daily newspaper during my summers in college and learned quickly that it’s better to get assignments from publications. Most editorial work is art-directed in some way so you have to have a relationship with the editors and designers. They want specific photos to illustrate stories. I took my first full-time staff position with a daily paper in 1998 and I’ve held staff positions ever since. I much prefer working as a staffer because I get to concentrate on my craft rather than business.

5. 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?

KG: Follow your passion. If you want to be a photographer then do it, but don’t do it halfway. You have to give it everything you’ve got. Learn people skills. Successful photographers can talk to anyone. The photographers without social skills wash out eventually. Learn to look and act professionally. I don’t know why photographers insist on looking like they just woke up wearing week-old clothes. People treat you way better if you can carry an intelligent conversation and dress the part. I’ve actually seen judges that wouldn’t allow photographers in their courtrooms if they weren’t wearing a suit and tie. Beyond that, I would suggest that young photographers take a few years and go to larger markets where there’s work. We see a lot of people in Montana and the resort areas of the West thinking they’ll make a career but there’s just no work. You need to spend your time shooting, not continually scrambling for assignments. If I could go back in time I would have went to New York right after college.

6. Do you buy into the whole “photojournalism is dying” talk or do you simply think its changing? If it’s changing, what have you done to stay relevant or ahead and what do you see developing in the next few years?

KG: Not at all. I think there’s a need for good journalists now more than ever as more and more amateurs try to enter the professional market. Truly professional photographers are actually few and far between. I’ve worked on staff at places when we’ve posted for photo positions and I would say 1 out of 20 portfolios were worth looking at. There may be fewer newspaper staff positions but I think a good photographer can always find work. I also think photographers need to think more in terms of how photos are used. That’s the biggest change. You need to be able to quickly produce multi-media slideshows and video. I also think photographers work more closely with editors, writers and art directors than they used to.

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

KG: Get it in writing. It’s a tough business and you need to have solid business skills. Learn everything you can about the business of photography. Don’t be afraid to charge for your work. Register your copyrights. I’ve lost a lot of money over the years to people stealing my photos and I hadn’t registered the copyright with the Library of Congress. Now it’s part of my workflow. Every photo I shoot gets registered. Get involved with photography organizations like the American Society of Media photographers. They can be a tremendous resource. I also recommend the book, The Real Business of Photography by Richard Weisgrau.

Another lesson is to check your ego at the door and listen to people. Some of the best advice I’ve had about my photography was from people that weren’t photographers but were editors that knew how to look at photos.

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

KG: I couldn’t do what I do without the support of my wife. She is patient and tolerant of my career that keeps me away from home a lot. I usually work about 50-60 hours a week on days, nights and weekends. Sometimes I go a couple of months without a day off. She’s a trooper to put up with this. My wife is also a good critic of my work. She doesn’t hold punches and is brutally honest about my photos. I value her opinion. I also rely on my co-workers. I work with a team of writers, designers and editors and they’re terrific. I know people have a romantic idea of photographers off in the wild pursuing their art and having complete control but it just doesn’t work that way. In my world photography is a team sport.

9. What’s been your favorite assignment or photograph to date? What part of your work brings you the most pride or satisfaction?

KG: I like assignments where I can spend a lot of time working on an essay and truly explore the storytelling aspect of photography. This is why multimedia is so great because it’s a great venue for photo essays. I spent several years working on a project about relics of the Cold War in Berlin. I still feel really passionate about this project and am happy with the result.

10. 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?

KG: I don’t really have a work-life balance. I eat, sleep and breathe photography and I have now for over 20 years. When I’m not working I read books about photography or photographers or I think about new ways I can approach my assignments. I work out a lot and engage in physical sports like cycling and Nordic skiing but ultimately I think I do this to stay in shape for my assignments rather than as a past time. When I’m away from my cameras for very long I get grumpy. I need photography like surfers need waves. This is another reason I married the best girl because she is the only person that can get me to take a break. I love spending time with her and that’s the only time I don’t think about photos.

Final Thoughts:

As always, I want to finish up by passing on a sincere thank you to Kelly. I appreciate you taking the time out of your schedule to answer questions from a complete stranger.

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.

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.

Interview Series: Travel Photographer Lola Akinmade

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The term global citizen was coined for people like Lola Akinmade. Although the Nigerian-born travel photographer and writer completed a masters degree in Information Systems at the University of Maryland, she now calls Sweden home; however, her work schedule prevents her from spending too much time there. As the editor of Matador Goods she could work from anywhere, but her volunteer work as a photojournalist for Swedish Red Cross, World Hope International, and CHIEF has led her to Cambodia, Nicaragua, and and home to Nigeria.

Akinmade’s work is as diverse as her travel schedule, too. Her writing and photography has been published by Vogue, National Geographic Traveler, BBC, San Francisco Chronicle, Travel Channel’s World Hum, Forbes Traveler, Sherman’s Travel, Fodors.com, ISLANDS Magazine, United’s Hemispheres, Guardian UK’s Been There, Smithsonian.com, among others. She is also the cartoonist behind Office Supplies – The Comic©, sole proprietor of a consulting firm, Lemurworks, and an oil painter. She also spent 10+ years working in Geographic Information Systems.

I first encountered Akinmade’s work through the Matador Network and quickly grew to respect both her vision and work ethic. She does it all – photograph, write, paint, and sketch – and she does it well. I also completed MatadorU’s Travel Photography program, in which Akinmade instructs. I had the opportunity to email her a few questions and here are her responses:

  1. Can you give my readers a brief glance into how you became a travel photographer?LA:

    Before I became a professional photographer, I actually used photography as a way of capturing scenes I wanted to paint as an artist. Being an artist meant there was already a natural eye for composition and balance, and while traveling, I’d take tons of photographs with the goal of converting them into oil paintings. After a few years, I noticed my photography could stand on its own.

  2. Let’s Explore the Details:
    1. Your market/niche?
      LA: I am also a widely published travel writer so I make my income combining both writing and photography, which is a more attractive and complete package for editors. My travel photography focuses more on street and environmental portraiture. I also contribute as a photojournalist for a few NGOs.
    2. Years shooting?
      LA: Starting truly photographing in 2001 (with film) and moving into a more professional realm, selling work in 2007.
    3. Percentage of income from photography?
      LA: 40-45% photography, 55-60% writing
    4. Percentage of that income made online?
      LA: From my total income as a writer and photographer, about 50% is made online, other 50% from print.
  3. As an instructor with MatadorU and editor of Matador Goods, I’d venture a guess that the majority of your work appears online rather than in print. What is the online/print balance and how would you like to see it change?LA: It’s actually a 50-50% split for me since I contribute to a number of major print/news outlets, as well. But as we all know, the number of assignments from print outlets is dwindling significantly and with editors having access to high quality travel photography through stock agencies and Flickr for next to nothing, it’s becoming more and more challenging to be published in print magazines than in online publications without spending a few years developing a relationship with an editor.So I usually advise fellow travel photographers to seek various sources of generating income as well – be it working with tourism boards, selling work to travel companies for their brochures, working with NGOs, applying for project grants and more.

    In terms of pitching work as a writer, I still pitch a lot to print outlets because landing 2-3 articles for $500 is more time and cost-effective for me personally than writing 50-100 blog posts at $10 each.  But the problem with print outlets is their 3-9 month lead time which means, unless you’ve got solid backup plans and backlog of work, you need to be constantly sending out work. The same goes for travel photographers.

    Online outlets have a quicker turnaround time and some pay comparative rates for photographs so it’s a lot easier to break into these as well.

    If you’ve noticed the new trend with travel bloggers working directly with travel companies like GAP Adventures’ Wanderers in Residence Program. I would love to see more of these types of collaborations with travel photographers as well as photographers developing their own stock libraries and partnering with businesses, schools, and other organizations.

  4. You have a past with GIS mapping. What was the transition period like when you were doing GIS work and balancing photography and writing on the side? How long did it take to make the full time leap?LA: I worked for many years (12+ years) as a GIS System Architect, developing and integrating interactive mapping systems for the Federal government, major international airports, and other clients as well. I loved my job as a programmer, and the pay was quite cushy, but in the end, my creative side won. I was an artist first.So while I worked fulltime, I sent most of my extra time working on articles, snapping photographs, and developing a web presence. It certainly isn’t easy but it can be done. I always advise both photographers and writers who are starting out to not quit their day jobs until they’ve attended to their responsibilities and gathered enough traction to pursue this lifestyle fulltime.
    You can read a bit more about my transition process here – http://simonegorrindo.wordpress.com/2010/07/13/showcasing-lifes-balance-an-interview-with-travel-writer-and-photographer-lola-akinmade/
  5. With your experience, what one piece of business advice would you give to new photographers to help them succeed?LA: You need to be able to sell yourself. Not in a conceited, arrogant, or overtly confident way, but truly believe in the quality of your work and your experience. If you don’t believe in your work enough to present it for viewing, why should editors be interested in you?Also, You don’t have to have the fanciest and latest equipment to produce work worthy of acclaim or publication. I had a photograph published in Vogue which was shot with a basic Nikon D40 and a set from Peru (also shot with that D40) once shortlisted in the life category of the TPOTY awards – http://www.lolaakinmade.com/notables.

    What you do need is a genuine passion for the craft and lifestyle. You have to constantly build your observational skills. I saw a quote once that said “amateurs focus on equipment, professionals focus on making money, and masters focus on light.” I found it to be quite poignant and true, and photographers have to go through all three stages.

  6. What’s more important to the modern photographer/writer: Twitter followers, blog readers, or a magazine byline? Why?LA: A mixture of all three and I’ll address each individually:Twitter Followers – This ranking gives one a false sense of importance. I know excellent photographers who are world-renowned but aren’t on Twitter or barely have 100 followers. That said, Twitter is an important tool for working with potential clients, networking, and developing contacts. I just signed a photography contract with an official board (will announce on Feb 2nd) and this opportunity was developed by interacting and engaging through Twitter.

    Blog readers – Again, it depends on the purpose of your blog. If your blog provides a specific service, then yes, you absolutely need to build readership. If your blog serves more as an online resume to showcase snippets of work, then having 1,000,000 hits per month may not be as important to you if you don’t plan on selling advertising space to leverage those hits.

    Magazine byline - The ultimate catch-22 because, sometimes, to break into a major publication, you need to show that you’ve published somewhere else. That said, I truly believe putting out quality work and presenting it in an accessible way can get you noticed with or without a print byline. Lily Girma, also a student at MatadorU, got approached by the photo editor of Lonely Planet Magazine who noticed her well-organized and vibrant work on Flickr.

  7. What photographers/magazines/websites are your sources of inspiration?LA: While National Geographic remains a good source of inspiration, I actually look more towards photojournalists, like Ed Kashi, Ami Vitale, and Alison Wright, because I do some photojournalism work myself, and documentary work has so much to say beyond snapping a beautiful landscape photo.
  8. Travel photographers spend a lot of time away from home. How do you balance relationships while on the road? What are your favorite and least favorite parts of backpack living?
    LA: I usually carry a bit of gear with me when I travel so I don’t rough it backpacker-style, not do I live it up in luxurious digs either. Since I’m married, building a life and family is more important to me, so I always plan my travels around that, and make more meaningful choices in the places I choose to go or where to spend my time. Then I brainstorm tons of story angles and photography ideas so I can make the most of the time.
  9. Describe your work/life balance. Are they one and the same or do you separate the two? How do you hope to grow in 2011 personally and professionally?LA:

    Before I got married, work & life were one and the same, and that was when I was working as a programmer. Now, I’m doing the things I love to do (writing & photography) so it doesn’t feel like a work-chore, and I get to spend more time with my husband who, in the long run, matters more to me than all of this.Since 2009, I’ve been picking focus words instead of doing resolutions and my focus word for 2011 is “Growth” – I will be growing my photography portfolio by finally spending time to set it up the way I want to and not let that PhotoShelter account go to waste ;) . I will be building more long lasting relationships and friendships with organizations I currently work for and plan on working with. I plan on growing my writing voice as well as spending more time working on painting projects.

    Lots of areas to grow.

  10. Are there any activities, destinations, or subjects you refuse to shoot? Something you keep just for your personal life?LA: I absolutely admire war photographers and the enormous risks they take to document the atrocities of war. I’ll leave that revered skill to them because I could never stay that objective. Nor do I see myself diving and photographing whales in the deepest oceans until I learn how to tread water first.Right now, I refuse to put details of my personal life out there on a daily basis. You won’t find tons of photographs of my family plastered all over the place (besides restricted albums on Facebook ).

    Maybe that would change in the future. Who knows. The key is always remaining open to change.

Final Thoughts:

For Lola, I’d like to thank you for taking the time to answer this interview. Every bit of insight into the photography and writing industry helps.

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.  Check back every Monday for a new interview.