CD or DVD methinks.
A day in the life of a commercial photographer
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CD or DVD methinks.
From what I read this photographer is more an e
There's all sorts of different genres of commercial work. Event photography which is what seems to be the case with the photographer who wrote the article tends to be more volume oriented. If you're doing higher end work like studio work for advertising it can be extremely enjoyable.It never felt like a rut. Most days I was in the studio at 8 and done by 4 and usually a very easy going process. It also depends on your level of competence and how you have designed your work place and the environment.
There's all sorts of different genres of commercial work. Event photography which is what seems to be the case with the photographer who wrote the article tends to be more volume oriented. If you're doing higher end work like studio work for advertising it can be extremely enjoyable.It never felt like a rut. Most days I was in the studio at 8 and done by 4 and usually a very easy going process. It also depends on your level of competence and how you have designed your work place and the environment.
Funny thing, that is what I heard back in 2009-11 post great recession and it had me kind of scrambling to get a fluid pan head, GoPro etc and you know what? That do or die video shift in high end commercial work never materialized for me or the other successful commercial shooters I know. I have directed motion here and there and hired video guys to add value to a shoot I knew would benefit from it but I don't have to do video in general and the outlook for that to continue is quite good.
While Kirk brings some age old and well represented points to the discussion, I think his blog really is for photo enthusiasts to get that dose of "reality" in terms of what it is like out there in the world of the working photog. I'm not sure what the goal is, maybe to scare off wannabes? Either way, he has done a lot....and I mean a LOT of complaining about the industry in his blog over the years and to me, that does not sound like a person who is actually successful at this photography thing.
As Early Riser wrote above, not all of us are Walmart volume "commercial" shooters and do live a wonderful life in working in photography that you could not pay us a million dollars to leave. Photo enthusiasts seem to really like highlighting bad things about working in photography vs just a hobby and often say things to the effect that they could never do it beyond a hobby because they would not enjoy it.
Maybe this is why photo enthusiasts like Kirk so much, he constantly gives validation to the notion that professional photography is not rewarding or fun.
Then there are those of us who sure as hell know better.
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That's fine but please take note that whenever I chime in via my experience and success in this craft, it is almost always from the standpoint of giving a voice to those of us who *are* doing very well, basically get to shoot what we want almost always when we want. If you have not noticed, I don't care for one size fits all or blanket statements that lump all pros together into one miserable sinking ship or Kirk Tuck like preachy survival of the fittest / do or die mentality.
Is it really too hard for some photo enthusiasts to give parting glance to those who do this for a living that passionately love what they do and would not dream of doing anything else....and do financially well to boot?
I am constantly at a loss as to why there is recurring negativity towards the profession on this and other forums, anyone have any insight into this phenomenon?
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everything ends up being a specialty ..
I think the negativity regarding photography as a profession usually comes from those who have either not succeeded at it or were afraid to pursue it. I found my days as a commercial photographer to have been a pleasure and I often miss those years, especially when I'm freezing my ass off shooting some remote landscape. Then again I think having a studio in NYC and working with highly experienced and appreciative clients rather than working with the general public is the ideal situation.
The industry has changed dramatically. When I had a commercial studio in the 70's and into the 80's big money was being made. Depending on your market commercial photography has all but dried up. Companies for the most part think giving a dslr to their marketing people is good enough for 80 percent of their needs. There will always be outliers but for the most part the number of well paid commercial photographers is down. In the olden days we were making six figures. Convert that to today's dollars and I will wager there aren't many making that type of living. (Close to $600k in today's dollars)
But then again different people judge success differently.
But then again different people judge success differently.
Thank you for showing a different perspective.
My day usually started at 6AM with a double espresso . Afternoon shooting often began with sake.
Back when I did commercial work my day would start by walking with my dog to my studio. I chose the location of my apartment in Manhattan by drawing a 1 mile radius circle around my studio on a map because I knew my dog was coming to work with me everyday and we'd have to walk. So every morning I'd walk from 15th st and Fifth Ave to 25th St off Fifth Ave. That studio, my second, which I built when I was 26, was 5000 square feet of which I had rented space to other photographers. It had 4 shoot bays, a professional kitchen, a makeup room, a darkroom, a reception area and each of my tenants had their own office. Over the course of my 16 years in that space my studio mates shot fashion, beauty, room sets, still life, etc.
My dog, a Golden Retriever, was loved by everyone in the studio, clients would bring him apples, assistants would bring him apples, all that would be left would be the stem and maybe a seed. When he was a puppy the fashion photographers would always make it a point to shoot the models with him, at least until he got too big for them to hold. He'd often be an added "cast" member in actual shoots. He sat exactly where I'd want, not squirm, and smile on command. He'd end up in some of my finished assignments and even those of my studio mates.
On occasion there'd be tension, not often and usually about everyone being booked at the same time and how to allocate space but otherwise having studio mates was a pleasure. Hanging with a bunch of experienced highly competent photographers and talking shop, talking clients, talking women and talking life was great. I miss that camaraderie in my working situation today.
We all had clients who were "regulars" and we got to know each other's clients and if one of us was unavailable for a shoot we'd suggest to the client that they assign it to one of our studio mates, which often they'd do. Even though we were all separate businesses this sort of kept the work "in the family". When some extra physical help was needed, like moving some huge part of a room set, lifting a wall that had been built flat on the floor there was always help.
When you're working for professional clients, like art directors, creative directors, etc there's usually very little tension or aggravation. They treat you like a professional, they hired you because they respect your professional skills. I was very fortunate, and to this day, 16 years after I stopped doing commercial work I am still friends with many of them. Often the shoots would involve unusual things, require way out of the box thinking to resolve technical issues but would result in a great sense of satisfaction. I looked forward to going to work everyday.
I look back on those years and can honestly say that I was incredibly fortunate to have been a commercial photographer.
My dog, a Golden Retriever, was loved by everyone in the studio, clients would bring him apples, assistants would bring him apples, all that would be left would be the stem and maybe a seed. When he was a puppy the fashion photographers would always make it a point to shoot the models with him, at least until he got too big for them to hold. He'd often be an added "cast" member in actual shoots. He sat exactly where I'd want, not squirm, and smile on command. He'd end up in some of my finished assignments and even those of my studio mates.
On occasion there'd be tension, not often and usually about everyone being booked at the same time and how to allocate space but otherwise having studio mates was a pleasure. Hanging with a bunch of experienced highly competent photographers and talking shop, talking clients, talking women and talking life was great. I miss that camaraderie in my working situation today.
We all had clients who were "regulars" and we got to know each other's clients and if one of us was unavailable for a shoot we'd suggest to the client that they assign it to one of our studio mates, which often they'd do. Even though we were all separate businesses this sort of kept the work "in the family". When some extra physical help was needed, like moving some huge part of a room set, lifting a wall that had been built flat on the floor there was always help.
When you're working for professional clients, like art directors, creative directors, etc there's usually very little tension or aggravation. They treat you like a professional, they hired you because they respect your professional skills. I was very fortunate, and to this day, 16 years after I stopped doing commercial work I am still friends with many of them. Often the shoots would involve unusual things, require way out of the box thinking to resolve technical issues but would result in a great sense of satisfaction. I looked forward to going to work everyday.
I look back on those years and can honestly say that I was incredibly fortunate to have been a commercial photographer.
I agree whole heartedly!
What you did sounds vibrant and creative - I can see how you would enjoy going to work every day.
Becoming interested in photography as a kid, I originally wanted to be in the television or movie industry (living in L.A., I had been inside many studios during filming). Anyway, life took a different course and I became an engineer. I enjoyed about 85% of my work, but the last few years were not enjoyable at all. I'm retired now.
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