What does it take to be a professional photographer?
Here a few things I have picked up over the last few months, added to some “older” knowledge.
Communicate, communicate, communicate.
Just as it says. You can cross a line here, but few if any clients ever complain about too much information or clarity. They may question your ability to make decisions if you nag, but otherwise, more talk equals more clarity.
Have the right mind set.
Professionalism is not a given just because you have a self assigned title, a room full of gear or even a decent income. Professionalism is a state of mind. If you put doing better each time you go out ahead of “just getting the job done”, then you are half way there.
Client needs and perceptions can be a trap. Some will question everything you do, some will take nearly anything, so you have to be the final arbiter of your work and you need to be a critical, but fair judge. To be honest, if you like your job, then getting better comes with the territory, but getting better does not automatically being better than is needed.
Create a realistic, if never satisfied perspective and you may avoid the trap of complacency. Also try to culture a good client-photographer feed back cycle. Clients will forgive the odd failure, but will shy away from an intractable, inflexible image maker.
There is a reason most of the more successful image makers make excellent teachers.
Have the right gear (preparedness).
A no brainer it might seem, but the right gear, not necessarily the “best” gear will get the job done. The cheapest lens around can do a decent job of a controlled group photo with good lighting. The real test is how you handle the extremes. Low light and action equals fast lenses and/or a big sensor. High resolution, usually just needs good technique, but maybe that and some decent post processing or occasionally it genuinely needs a high pixel count camera.
Most photographers have the right gear for their passion. A pro may be able to define their gear quite tightly, but a client’s needs will often throw a spanner in their carefully laid plans.
Have replacements for everything (depth).
So you are geared up well enough, but what is your “plan B”.
This comes in two forms. Repeatability and accuracy are important, but also creativity.
If you need two cameras, take three. Depth is easier than any other fix.
Creatively, can you get what you need, then mix it up with an alternative technique/perspective/angle? If your gear or knowledge of it’s use are just enough, it will restrict your options.
When the shot is done, are you protected from permanent loss or immediate failure? Can you find your work and can you duplicate your results? I have had to say no to all of these in the past and the truth is, these failings were rarely necessary.
Know how to use it (practice).
Having the gear is fine, but are you practiced in it’s use.
The most mediocre, clapped out and aged kit is still a powerful tool in practiced hands. The latest top of the line rig is embarrassing to use if you do not know how. No matter how good your eye, if you cannot control your cameras without conscious thought then you are likely going to be too slow.
Be ready, be fast, be sure, keep it simple and practice, practice, practice.
As an example, it has taken me six months to get used to the menu/replay button placement on the EM1, which is different to previous models. If only that has taken that long, how long would it take for me to learn a similar, annoyingly small change in a newer camera or even worse a whole new brand!
Know when to use it (discrimination).
Not all situations are clearly spelled out so trust your instincts and adjust. I have been using silent shutter for most of my work with the school. My intention is always to stay under the radar, avoiding classroom disruption. I have discovered though that a guy in a corner of a room, watching silently and making absolutely no noise can be as off-putting to some as one making some obvious sounds.
You have to be able to read the room, adapting to what your instincts tell you is needed, and avoid falling into safe feeling habits based on past assumptions.
Something else I have become aware of when shooting for someone else, is the need to keep things fresh. Tried and true is good, because it gets the shot in the can, but what next? Same again over and over, or something different, something fresh. Again avoid falling into habits based on assumptions.
Simple, small, familiar gear, practiced technique and something different (colour and square).
Know your subject (empathy).
A thousand hours with your camera is less useful than one hour spend getting to know your subject. If you have the chance to hear or read about how a National Geographic image maker works, you will quickly notice that they do not talk about gear, nor technique or even post processing. What they first talk about first and foremost is their subject. Some will even spend a few days around their potential subject without a camera, only producing one when they have a good understanding.
The best images come willingly, through understanding, empathy and awareness. Taking an image can be exactly that, theft. “Seeing” an image in the right context and timing it’s best moment comes from a deeper understanding than simply looking and taking.
Be prompt and consistent (reliability).
Exceed client needs with fast turn around. treat a job as one continuous process, not a shoot done, then take your time processing and presenting.
Clients are usually equally stressed and excited about pending work. Make a difference to their day by turning work around within an “immediate memory” time frame. If needed give them a small taster, then take feed back and re-submit. This gives the client some feeling of control and input and opens short and long term communication.
Once you have set an expectation, try to match it from then on. If you cannot, communicate.
I am sure I have missed something here, but I may revisit if it comes to me, otherwise, I hope this helps.
