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

The Purpose of the Wedding Album

What do you think is the purpose of a wedding album? Do you think it is an historical document? or do you think it is a portfolio of artistic images? Well I know most of you out there will be shouting out, BOTH, but here is the rub, how often do we sacrifice the documentation of the day for the artistic image? This question was raised following a viewing of another photographers work, on their web site, which has lots of out of focus (soft focus, atmospheric focus or what ever other name you want to call it) shots. You know the kind I am talking about here, such as the bride in focus in the foreground and the groom out of focus in the background and a variation on this them. Now there is no documentation here of the event or the people present, just what some may call a very nice artistic image and there is nothing wrong with this, except when we look for it's purpose in the recording of the events of the day and fail to see any purpose at all. Myself, well I think the wedding album should first and foremost be a record of the event, the people who attended and the fashion of the time. I want this document to be handed down through the generations and provide an historic link to those who have gone before and give the viewer a glimpse into the past. That is not to say the images cannot or should not be beautiful to look at, of course they should, but the documentation of the people present for this event is the prime purpose of the album. For me, the album is not a portfolio of interesting and artistic shots to demonstrate my creativity, but rather it is an historical document capturing the people, the fashion of the time and the atmosphere that was present. I tend to shoot in a very photojournalistic style for the vast majority of the day, stopping and taking control only for the formal group shots. The rest of the day is covered as it happens. I have seen brides being directed by their photographer as though they are models on a photo shoot, and we all know the purpose of the image, it is for the photographers shop window or web page and has little to do with telling the story of the wedding day itself. I would strongly suggest to all photographers that when considering the photo you are about to take, stop and ask yourself what that image is going to contribute to the telling of the story of the day and what historic legacy it will leave behind for others to see.

Pen Y Fan Pilgrimage

Well another year has gone by and I am still alive and kicking. As I like to do every year, I head off to the highest mountain in South Wales - Pen Y Fan. Pen y Fan (pronounced pen.e.van) is the highest peak in South Wales and southern Britain, situated in the Brecon Beacons National Park. At 886 metres (2,907 ft) above sea-level, it is also the highest peak in Britain south of the Snowdonia mountain range. The twin summits of Pen y Fan and Corn Du were formerly referred to as Cadair Arthur or 'Arthur's Seat' This is my way of seeing in the new year, along with many other people, as the crowds heading up and back proved. Arriving at the car park at the mountain base I was surprised to find the car park full, I was heading up much later in the day than normal, about 10am, as I thought the weather was going to prohibit my climb this year but a sudden brake in the wether sent me dashing out of the house heading for the hills. The weather was cold, but dry and a lot of blue sky above. But knowing the mountain as I do, I did not expect the weather to remain clear for long. My legs did suffer, but I did not notice until I got to the top and started to walk back down, it was then that my inner thighs started to cramp up. Not wanting to look a plonked I ignored the pain as much as I could and walked it off as best I could, I think I may have been walking a little funny and it felt as though I was going slower down hill than I did going up. As soon as I was within a couple of hundred feet of the top, where evidence of snow was plain to see, the clouds started to close in and remained there until my decent. It remained dry though, but very cold and no view. But no matter I got there, again, proving that at 50 years of age I was not ready to be an old fart just yet. Lets see what its like at the start of next year! I have included some images that I took during the climb.

The End of the World

We are quickly arriving at the end of 2012 and as we can all see, we are still here. The end of the world did not take place and the human race continues. We should not be surprised really. Throughout history there have been voices claiming the end of the world in upon us, but still we continue. Perhaps in a slightly changed form, but never the less we continue. Now what does this have to do with photography? you may ask, well since the beginning of photography there have been the voices claiming the end of photography is upon us. With introduction of the first moving image photography was thought to be over, but it was not. And as technology and mankind's understanding of the universe has advanced the question of the end of the still image comes up time and time again. I suppose we are currently seeing another period where photography is once again being scrutinised. With the advent of the digital camera and the technology for the cameras to do most of the thinking for you, more and more people are taking up photography, in one form or another. But here is the kick, no camera ever invented, or ever to be invented, will ever have the individuals creative ability to not only see what is in front of us and record it, but to look past what is there and see what possibilities there are in a scene for the individuals own unique and special take of what can be seen. The ability of watch and wait for the light to be just right, or a face to express the inner sense of the individual being photographed, all require a special kind of individual with the right kind of imagination and skill to create these possibilities. So we should not despair that so many people are currently taking up the camera and making their own images, everyone has had the ability to that for a very long time, as the flair and vision that all true artists have had over the centuries has always been in short supply and will continue to be so. Once this current novelty of producing relatively cheep snaps wears off and the vast majority of people come to realise that they cannot produce those special images, just because they have the latest and best cameras, the role of the professional photographer will once again be a viable commercial venture.

When is a Photo not a Photo

Over the past 12 months I have been looking and admiring the work of a number of photographers, but I have found myself asking, what on the face of it, a simple question - when is a photo not a photo, but a piece of art work? I am of course talking about the many images that comprise of a series of several shots, combined into one, images that have been through the PS process and now look as if some one has a million pound budget or access to some very strange landscapes, and so the list goes on. Well this is what I think, for what it's worth. A photograph, should be just that, an image capturing a moment in time. Yes I still think it can be enhanced in post production, as the camera cannot hope to capture what our eyes see and our creative mind envisioned, but basically that should be that. I think once we start combining images to make a new and unreal world or creation, then we should be talking about photo art. I am in no way saying that one is more worthy than the next, but I do think they should be viewed and judged separately. I was looking at an image of a lighthouse with a large number of gulls flying around it, against a wonderful sky. This image had won a photography contest, landscape I think, but it came out later that the image was made up of a number of separate images. The sky was from one shoot, several gull shots were combined and then the light house was introduced. Now all of this was done wonderfully, but! can you tell me the skill and patience that would be needed to capture the image in it's true form is the same as the computing and visionary/artistic skills needed to create the photo art? As I have said already, I love both aspects of the creative process, but I do believe they should be judged separately, as two distinctive art forms. This brings me on to a similar subject, wedding photography competitions. How many times have you seen a photo with the heading wedding photographer of the year, or some such, depicting an image which could not possibly have been taken at any real wedding event. We know and indeed the photographers openly admit the photos were taken with models and studio lighting, or other lighting control measures that would not be possible at any real event. This also applies to some nature photography that I have seen where we all know the shot was taken in a studio environment and not in the wild. Now I am not belittling any of the images, or indeed the creative skills required to create and capture them, but once again I do feel that these images should be viewed separately from the work carried out in the field, under real conditions. The wedding photographer who can create stunning images, of everyday people in normal lighting conditions is by far the better creative thinker than the photographer who has all the time in the world to work with a very attractive and slim model with plenty of time to set up the lighting just right. Also the nature photographer who spent hours, if not days, waiting for his subject to be lit just right and capture a unique image of a subject is someone who should be rewarded on their achievements and not judged against an image created under 'special conditions'. I love all forms of creative art, but perhaps photography should be looking more closely at what we do, how we do it and then how we judge it.

The life of a Photographer: 3rd Wedding of a 3 Wedding Shoot

The life of a Photographer: 3rd Wedding of a 3 Wedding Shoot: Well that's it, all edited and posted and ready for the date to be set for the viewings. These three weddings were all different and all won...

3rd Wedding of a 3 Wedding Shoot

Well that's it, all edited and posted and ready for the date to be set for the viewings. These three weddings were all different and all wonderful, not for the money spent on them or the locations used, but rather for the sheer joy and happiness that radiated from all three weddings. We have been remarkably luck as all three weddings took place on a clear sunny day, between constant bouts of rain. Yes the sun was a little harsh at times and yes the sky was a little lacking in interest on occasions, but I will take that over rain any day. My second shooter also headed out for his first solo shoot this weekend, boy was he nervous. I had forgotten all the worries and concerns that I had on my first shoot. The one thing that I, and i hope he learned during the first wedding assignment is preparation and planning makes or brakes the day. Our planning starts at the first interview stage. Is the couple right for us and are we right for them. Get this wrong and it is a very miserable day for all. Then it's the pre-wedding shoot, more on this on my next blog. This shoot will set the scene for the main event. Then there is the follow up calls and meetings with the couple to set out what shots they 'must have' on the day. Get these recorded down and work to them as quickly after the ceremony as possible. Once the guests and family have settled down at the bar or in conversation with other family and friends you will have a devil of a job to get them back out for photo's. Set out and check all your equipment and paperwork the day before the wedding, and have plan 'B's in your mind for weather and venue problems. Keep the couple at ease all day and remain as much in the background as possible, at least this is how we roll. The day is theirs and not a photo opportunity for me, so they come first. Of course we ask the couple do they want to spend any special time getting photos, if the answer is yes then location selection and shoot planning comes into effect. I like to have a set of clear ideas in my mind for any planned set shoots we do, which may evolve and change during the shoot, but have a plan in place first. Well here are a few of the shots taken during this wedding, hope you like them.

The 2nd wedding of 3

Well this is our second wedding in less than 7 days. The first has now been edited and posted for the couple to view, all good feedback from there so far. Our next wedding was a little further afield, but the remote hilltop golf course venue presents some great opportunities. Our style ensures the Bride & Groom maintain total control of the day. If they want extra 'posed' shots then we will get them, if not then we maintain a photojournalist style and let the event unfold as it will. For this couple they wanted to have some fun, and we hope we helped them get that. Here is a selection of the shots taken on the day, I hope you find them of some interest.

The first of 3 weddings in 7 days

Feeling a little daughter, this being the first of three weddings we are about to do in the next 7 days, we set off for the first of our weddings. We are a family team, consisting of myself, my wife and my daughter. We also have a second shooter who sometimes works with us who will also be there today. As I have a second shooter available we ask if the groom would like some shots done at the house as he gets ready, to which the bride and groom say yes and I promptly dispatch my wife and the second shooter over to the house, while myself and my daughter head for the bridal preparation room. My second shooter is a photographer who has not done weddings before, and would like to start. I shadows us to see how we set up shop and work through the day. At the moment he lacks people skills and is a little reluctant to give direction to people, but he can work the detail shots very well. My wife goes with him to provide direction and help set up the shots we would like to get. My daughter is also a second shooter, but she has not, as yet, got the bug for photography, so at the moment she just likes working with her dad and who am I to complain at that. Our couple, Sarah and Carl, are a wonderful pair and we are looking forward to spending time with them. We do tend to attract a particular kind of client. We don't do divas or bridzilas, we don't do the kind of couple who just want you because you are the cheapest or you agree to give them everything for next to nothing. We chose people who we like as individuals, are happy to be getting married and not there to show off to their friends and who we would like to have a more long term photographic relationship with into the future. We are still in contact with the vast majority of our Brides & Grooms and are now pleased to know them as friends as well as clients. But back to today's wedding. The photos start at the bridal preparation, and the atmosphere in the room is just wonderful. Everyone is relaxed in each others company and enjoying every moment. Then it is on to the ceremony, where i am joined by my wife and the second shooter. The room is small to work with but all goes according to plan, yes we have a plan and had already visited the venue quite some time ago so there were no surprises on the day. The weather is holding, following days of rain the sun has come out for today, hurray. All the guests and the bridal party now head out for a nearby park for the group shots, with us in hot pursuit behind. Yes we have a plan in place here as well, been here and set out our locations already. All the group shots are in the bag and it is now time for the bride and groom on their own. All done and it's back to the venue for the meal and nighttime festivities, or the first dance which is what we are here to capture. From start to finish, about 15 hours including traveling. Now it's back to the studio for the sorting and editing phase, which I have just finished, some 3 days later. Here is a small selection from the day and I will be back to let you know how the other two wedding go, these are back to back and some traveling is involved.

A small wedding

New Model Shoot

A model I have worked with in the past, put a call out for a photographer to some new beauty shots for her portfolio, she hinted at a sort of goth look, on a TF basis. 

This sounded interesting to me so I gave her a call and offered my services.

While talking over the shoot it appeared quite strait forward.  Mainly head and shoulder shots, with some half length.  The model, Stephanie, had some dreadlocks put in her hair and wanted to get some shots of her new look.

I love working with this model, she is a very intelligent and unassuming girl, with eyes like a young Elizabeth Tailor.  Most of her past work has been of the fetish/heavy goth type, but I think she is waisting her talents and should concentrate more on tthe beatuy side of things, with some goth/heavy metal influence.

My daughter Lucy assisted me in this shoot, and took some of the images herself, and we got down to the task.

I opted to shoot against a green screen, something I am doing more and more of lately, which would give me the choice of dropping in verious backgrounds as I saw fit.

I went for a very pale complexion, set against her dark dreadlocks and dark lipstick.

I think that with some prior planning I would have got more silver jewelry into the shoot, but that will be for another time.

I am happy with the shoot and the shots produced, what do you think.