So who can call themselves a Professional Photographer?

So who can call themselves a Professional Photographer?

There is always a great deal of discussion regarding who can call themselves professional photographers. I have heard many people state it has to be someone who earns the majority of their income from photography and this appears to have become the accepted norm.

I think we should first look at the definition of a professional.

Definition of Professional  

Characterized by or conforming to the technical or ethical standards of a profession. 
By exhibiting a courteous, conscientious, and generally business like manner in the workplace. 
By participating for gain or livelihood in an activity or field of endeavor often engaged in by amateurs. 
Having a particular profession as a permanent career.

As we can see the term is not wholly restricted to earning the majority of your income from photography.

I have met a number of people who work full time as photographers but fail to meet the technical or ethical standards that most of us would expect in a professional photographer.

In fact it is only required that you participate in photography for financial gain, i.e some one is willing to pay for your services as a photographer, so does that mean that once someone has been paid for a job, no matter how badly it was completed, they can then call themselves professional?

How many of us have taken our vehicles to a professional mechanic only to have a botched or poor standard of repair or service carried out? I know I have, does the mechanic then get considered as an amateur mechanic? Perhaps not.

I think the point here is this, to be a professional photographer you should;

1. Be paid for your work.
2. Be consistent in your delivery of the service and product.
3. Be technically adept at the use of current camera equipment and accessories.
4. Be artistically adept, in composition, lighting and the use of color and shape.

If we had a professional body, which photographers had to be a member of and who could set standards that they could assess and confirm with anyone wishing to gain membership, then we would have the easy answer.  Unfortunately there are many well intentioned professional bodies out there with their own individual view on what standard needs to be achieved and this disjointed approach does not make it any easier.

This I think is the whole issue in a nut shell. What do you think?

The life of a Photographer: Model Security - The Common Sense Approach

The life of a Photographer: Model Security - The Common Sense Approach: I have been using models for some years now, normally to explore some private project that I have in mind or to conduct a particular assignm...

Model Security - The Common Sense Approach

I have been using models for some years now, normally to explore some private project that I have in mind or to conduct a particular assignment. It has never ceased to amaze me the lack of security employees by these, mostly young, girls when heading out to an assignment. Let me outline for you how a normal model call for an assignment takes place. The photographer logs onto a Facebook page for models or a dedicated web site for models. The photographer sets out his call, i.e. 'Models needed for bridal dress shoot on such and such date' Models then email/message the photographer and states their interest in taking part in the shoot. Photographer, messages or emails model to book them. Now up to this stage it is very common for neither party to have talked in person or on the phone. In my case I then ask the model to call me, or as they are normally low in finance do they want me to call them. More often than not the model will ask for me to call them. I will always want to talk to the model before the shoot so that I am sure they know what they are doing and fully understand what the expectations regarding timings and dress etc are for the day. for the same reasons the model should want to talk to the photographer. On at least 2 separate occasions I have collected models from a train station, on my own. The model who has only got a description of my vehicle, gets into my car without a moments thought and is happy for me to drive them away from the station to an unknown or at least unfamiliar destination without any form of check to ensure the photo-shoot is real and I am a trustworthy photographer. Now why does this bother me, well I am a father of a wonderful 17 year old daughter and so i exhibit just a little 'over protectiveness' and I can't stand thinking of any female putting themselves in dangerous situation because of a lack of thought. I have questioned several models who turn up to work for me, mainly those in their late teens, did they check my web site? Do they know what my landline phone number is? Do they know my address? Have they checked with anyone else who has worked with me? In almost every occasion the answer is 'no' to all of the above. Now it seems to me there are a number of checks a model should conduct before heading off, on their own, to an assignment, and several simple security measures they should take to ensure others know where and with who they are going to be working with. 1. Always ask the photographer for their landline number, never settle for a mobile, and call the number to ensure it is genuine. So many mobile phones are pay as you go with no trace on the person who is using it. 2. Always look at the photographers web site, if he has one. If the photographer does not have a web site then you have to ask the question what use are the photo's going to be put to and why is he taking them.. It is true they may be a personal project of a student or amateur photographer, but this should still be viewed as a potential problem sign. If there is no web site then during your telephone call, on their landline, ask then to explain who they are, the purpose of the shoot and what is their experience level. Always ask what kind of photography they are looking at and if you have limits, no nudity etc make sure this is known by the photographer before you accept the assignment. 3. Find out exactly where the shoot is taking place, do not settle for a general area but know where the shoot is. If the photographer cannot give a definite location and they are vague about what they want to achieve then they could not have given much thought to to shoot and their over all intentions must be questioned. 4. Always ask for their studio or home address, and confirm that address via the phone book. 5. Always, always leave the details of the photographer, the studio address and or the location of the shoot along with the predicted timeline of the assignment with your family, partner or friend and tell them of a time when you will make a check call back to them. I would suggest as a minimum of one call when you arrive at the appointed location and another when you are leaving. These steps are basic and employ just a pinch or two of common sense and should be employed as a minimum by all models, male and female, before accepting and then heading off for any modelling assignment. The great majority or photo-shoots are wonderful, exciting and enjoyable for all concerned, but that does not keen we should take it for granted that it will always be so.

The life of a Photographer: The Second Shooter

The life of a Photographer: The Second Shooter: I have met and talked to a number of photographers, who have both been and have employed the services of a second shooter for photographin...

The Second Shooter

I have met and talked to a number of photographers, who have both been and have employed the services of a second shooter for photographing weddings. During these talks several things became apparent; The reasons some photographers use a second shooter. The reason why someone becomes a second shooter. How much freedom a second shooter is given during the shoot. What is the intended end game for the second shooter. Lets look at number 1. There would appear to be two main reasons for a photographer to use a second shooter. First is the capturing of candid images that the prime photographer normally misses as they have to focus so much on the main couple. Second is to bring on, train up, another photographer to be used for full wedding coverage later on, when they are seen to be ready. The majority of photographers would probably gravitate towards the first reason, it is always nice to have some of the pressure of you regarding candid shots. I would however advise some cation here, especially if your not considering point 2 above. You may just be training up your competition. Also I would seriously suggest that you check on your second shooters commitment and attitude while with you, as any negativity here will reflect on you and not them. Now Number 2. This again appears to be limited to; First, they want to be able to take photos at weddings without the pressure of responsibility for delivering the service fully to the clients. These can further be broken down into two groups, paid and unpaid. If you are using unpaid labour then the second shooter really has no obligation on them at all to attend or deliver images to a standard that we would accept. A paid second shooter can be worth their weight in gold however. I normally start new second shooters off unpaid, so that we can see the level of their commitment and talent, but as soon as I start to value their input I insist on the relationship becoming a paid one, even if I can only cover their travel expenses. My end goal with second shooters is to get to the point when I can use them as photographers in their own right, covering weddings for me. What is your end goal? Then these is 3. Some don't really bother much with their second shooter, allowing them to do their own thing during the day, without coordinating their activity with yours. This approach can be very counter productive or very unproductive, which is normally in the hands of the gods as your not taking control over any of it. I think if your not going to integrate the second shooter into your overall event strategy then you are just wasting each others time and wasting a valuable resource. And then we are left with 4. You cannot overlook this point. Unless you fully understand your second shooters end goal you cannot in all conscience allow them anywhere near your clients. Whatever they do on the day will reflect on you and your business. If they are viewed as unprofessional or un interested that it will be your business that will carry the stigma of this perception. Also when clients see a second shooter they themselves will have an expectation of additional shots, which if not delivered at the end of the shoot will again reflect adversely on your business. There are many very professional photographers out there who only work as second shooters. These people normally have another job to pay the bills and remove the stress and concerns regarding delivery of service to photography clients, but can be exceptional assets to what you are able to offer your clients, regarding overall coverage on the day. These people normally want their travel expense covered as a minimum and are worth every penny. Then there are those who are thinking of setting up shop themselves and want some free on the job training, from you, where they can learn the admin side as well as the organizational and then the technical side of covering a wedding. I personally would shy away from these, unless they came from an area outside of your patch or had a style that did not provide a direct competitive attack on your co business. Conclusion Professional paid second shooters are worth their weight in gold and I would recommend them for every event. But can you name another industry where businesses are so open to sharing their competitive edge to their future competition? Why then do we think this is OK in our industry. I think this casual attitude harms our standing as professionals and a service which requires fair payment. So, yes I do use second shooters, but only those I feel provide a direct benefit to my business, and I have no interest in their individual portfolio, just the servicing of my clients needs. I think all professional photographers out there should thin carefully about the use of second shooters and tread with care and with purpose when engaging their services.

The life of a Photographer: Caldicot Male Voice Choir - 50th Anniversary

The life of a Photographer: Caldicot Male Voice Choir - 50th Anniversary

Caldicot Male Voice Choir - 50th Anniversary