How Do You Know When You've Got the Right Shot

Someone asked, “how do you know when you’ve got the “right” shot?” I’m not sure who asked the question. The message appeared on one of my social media sites. A few hours later when I went to reply, the sender and the message had disappeared. Hopefully the sender is still out there somewhere and will allow me a moment to share my humble opinion. 

I’m glad they asked because this affords me an opportunity to explain something that can’t be summarized in a few simple words. Knowing an image or a photograph is the “right” one or the “perfect” one is highly subjective. Yet, from a design point of view, there are things to look for that may make an image more pleasing than any other. The most pleasing forms of nature have followed an identifiable set of rules. Things we are most naturally attracted to share a commonality of form, shape, line, color, value, space and often times direction . Instinctually, we are subconsciously drawn to these compositions and have accepted them as the basis of our visual reality. It is the benchmark for our interpretation of art, music, mathematics, engineering, nature and all that makes up the tangible world. It is referred to as The Golden Mean. 

Without getting overly technical or even metaphysical or mathematical, this “Mean” defines multiple disciplines from music to architecture. It has become the benchmark by which artwork is measured and has been the blueprint that has guided (and continues to guide) our creations for centuries. As an art student, you will learn about The Golden Mean as it relates to composition. You learn how artist like da Vinci and mathematicians like Pythagoras employed the Golden Mean principle and how other artists, scientists and  mathematicians still follow this principles today.

On a conscious or subconscious level, the art and design we find most pleasing tends to follow The Golden Mean pattern. When a painting tends to draw more attention it employs the Golden Mean form. When an interior space or form of architecture feels harmonious and balanced it tends to fit within the space of the Golden Mean. It is not strictly defined in all cases. Yet, some component of it is reflected in what is deemed as good composition. 

However, it alone is not the sole determinant of good design or art; it is simply an instinctual norm humans have developed over thousands of years via our symbiotic relationship with nature. But good design is influenced by several things that fall outside the strictures of fixed space or rules of principle. Art is also emotionally charged. Art may or may not require a context to be understood. More often than not, meaning is a mental construct in the creator’s mind and is deemed successful when the artist can convey purpose through shapes, color, composition and lines, the true essence of its existence. If the art has no meaning then that may have been the creator’s intent; to stir imagination and to have the viewer surmise it’s purpose to their own satisfaction. That could be the single component that may make it great art or the “right” image or photo.

However, in a commercial context, art generally has more directed purpose. It follows finer parameters and driven with promotional purpose. Graphic designers create layouts of magazines, websites, they design products, manuals, brochures and signs among other things. They follow principles that have been proven to instigate action or to compel someone to perform a function. Photography with graphic design often times performs a commercial function for the sake of advertising. The composition is driven by a financial mandate which is likely to create sales by creating interests to spur action. The design and layout follows a set of principles designed for advertising and to often times maximize textual placement relative to a image component. Therefore, every picture a photographer takes doesn’t work. If it is to be the cover a magazine, an editor or team will narrow 50 images down to 10; 10 will become 3 and 3 becomes 1. They will not all make the cut for a variety of reasons. The editor must consider the market, the placement of ads, the color, the light and consumer reaction. Does it achieve the purpose for the magazine or periodical? Does it suit the market? What are the legal and ethical implications? If they are selling a product then does it show the product well? Only then will they know if they have chosen the “right” shot. 

The “right” shot is the best shot because there isn’t any other that is better. Often times I see amateur photographers and other artists display serials; meaning they show nearly every capture of a single look on their website or blog. In a commercial setting, serials are only seen during the image vetting process. These pictures are narrowly differentiated if at all and not all of them will not be published or made public.

Outside of a commercial setting I see serials everywhere. These artists or editors have a difficult time judging their own work and quite frankly haven’t quite learned that every shot is not a good shot. I think we’ve all been guilty of it early on in our photography careers. We want people to see everything but every image is not and should not be meant for public consumption. On occasion I have at best managed to gain what I believe to be 5 above average shots from what may have began as 25 from a single series or look (I’m pretty hard on myself). Should I choose to use all 5, I will attempt to place each image in a context in which I feel it will gain maximum appeal and feedback based on the market, site and/or publication. So while you may see one image on my blog; you may see a slightly different image on my Facebook or on my website. Why? Because the audience is different and have different tastes and preferences. However, if I’m designing a magazine cover, only one shot makes the cut for the cover. 

Vogue doesn’t put 30 photos on their cover. Nor do they put even 10 images of the same look inside the magazine; maybe 1 or 2 if it is differentiated enough. In a spread, you may see one look twice but more likely you’ll see multiple images with totally different looks and styling but using the same model. They place 1 on the cover. Do you believe that is the only image the photographer took? No. The photographer likely took 50 or 100, perhaps more to get that single shot. A team of potentially a dozen people combed through hundreds of images and narrowed it to 5. These 5 were presented to the editor or creative director to find the 1 shot that would make the cover; the 1 shot that was the “right” shot. Ever wonder why they don’t allow cell phone pics and stray photos from the shoot to be taken other than their own? They want to be the first to release the shots. Secondly, they want full proprietary rights to the images and any leaked image would diminish the impact of their release and that would have a financial impact. Also, any image that has not gone through their brutal vetting process could diminish the quality of their brand; again influencing public opinion and having financial consequences. Any professional working model would tell you how using their cell phone camera is a major no-no on a photo shoot job. Securing the quality and rights of those photos is of paramount concern and no photo except the “right” photo will be released and only when they want it to be.

While The Golden Mean and other drivers dictate our course, as you can see there are other aspects of art that can determine whether a shot is the “right” shot or even the “best” shot. It is subjective to a point. Beyond basic consumption there are more stringent guidelines that determine what is the “right” shot and what is not.

I hope this helps to answer the question. Hopefully I haven’t made it more confusing. I like writing and tend to get overly philosophical at times. I encourage any photographer or model interested to try visiting a commercial photo shoot and if possible to sit in on the behind the scenes process for selecting an image for publication. It’s quite the eye opener. There are numerous resources online that go more in depth on the subject and show videos of the process. 

Emote: The Secret to the Best Photographs

You know the photos where the subject looks exactly the same in every single shot; every frame has an identical expression no matter the context? Maybe even you yourself may be on the short end of the lens in situations such as these. The most interesting photographs in portraiture or fashion are those where the subject is able to project emotions. 

What does it mean to emote? Simply put, it means being expressive and relating one’s feelings. If you’re the subject of a photograph or film, you do project emotions through facial expressiveness, eyes and body language all in concert to give the audience a sense of what you’re feeling. While a model or actor may say one thing, their bodies may project or emote something completely different. That is why psychologist and other behavioral scientists dedicate entire branches of study to body language. It is far more telling than anything, including verbal communication.

If you’re looking thru magazines and books you’ve noticed that some people recur in print far more than others.  Are they more photogenic? Are they simply more beautiful or is there some secret they are not telling everyone else? The truth is, they are probably more skilled and practiced at emoting than the average person. That allows them to project any persona or feeling, often times without saying a word. They do it largely from the eyes and then the rest of the body follows.

Occasionally, a client or model very interested in improving and expanding their “looks” ask me for tips. They often complain that they look almost bored in all of their past photographs and have a difficult time conveying a mood, persona or feeling. Often times they simply want to take a better picture. Some people simply feel they are not photogenic. 

Now if you’re a client or model and you’ve worked with me, you know what you’re in for. You’re in for several hours of silliness, trash talk, and some fun conversation. Why? Because that’s my job. I want you to be you. I want you comfortable and at your most relaxed state. I want you to be malleable and open. Above all else, I want you to be silly with me and to trust me. I also want you to be serious when I’m being serious and so on. It’s so much easier for me to give you something to laugh about than for me to ask you to smile. It’s far more genuine and unforced for me to say something serious than to tell you to give me your serious face. Although, I have been accused of asking to “show me your bed-roomy eyes” in order to purposely gain a genuine laugh I can capture. 

All Rights Reserved
Model: Kim Jonet

When I asked the model featured here for her bed-roomy eyes, she erupted into a hysterical laugh. But immediately, and without pretense I looked serious and said “No, I’m serious.” She immediately stopped laughing and looked at me surprised and said “Really?” with wide eyes. I took the picture. That’s what I wanted; a genuinely surprised, unplanned look which turned out even better than anything I could have hoped for. You can’t fake a look like this no matter how hard you try.

It’s not all on the subject either. Peter Hurley is among the the best head-shot photographers in the business. But it’s not for reasons you might think. It’s not because of his technical skill, his lighting, or equipment. It’s for his ability to get into people’s head and pull out whatever emotion he thinks would make the shot. If you’ve seen him in action he comes across with a bit too much swagger bordering on arrogance. He talks a great deal of trash and seems somewhat dismissive but in a comical way. Yet, the way he interacts with people and what he can get them to express is undeniable and perfect. It’s camaraderie and a synergy that he gets from every client. That’s what makes the shot; not the lights or equipment, but a genuine emotion he captures at just the right moment.

On the other side, Coca Rocha is an extremely well known fashion model. She’s been featured in more magazines and shows than I can name. What I find so remarkable about her is her ability to project sadness, pain, glee, silliness, anger, happiness, reflective, sensual, etc. pretty much any emotion imaginable just in her face. She’s somewhat melodramatic but believable and daring. You believe what she projects is genuine and we buy into the idea and the look. One of my favorite photo shoots of her is http://www.youtube.com/watch?v=H1hilU4X9Gk. She jumps in uninhibited, daring, wild but with purpose and completely unafraid. http://www.youtube.com/watch?v=cfl5ZCUgQYM to watch her is an experience all it’s own. I think my camera would explode trying to keep up. Think she’s worried about looking bad? I think not. She’s thinking about getting paid by getting the perfect shot.

It’s a team effort to emote. As the photographer and pretty much the director, I have to provide the context and the motivation. The client/model need only trust and relax, knowing that all will be beyond anything he or she could have hoped for. It really comes down to genuine feelings and letting your guard down. 

I suggest that you go out there and be silly, be serious, be sexy, be contemplative and spontaneous. But above all else, be you.

Kim Jonet for Sircus Magazine

Photographers: Know When You're Dealing With a Pro Model

I am far from the expert. In fact, I would go as far as to say that I'm just beginning to really get my feet wet. Some might disagree with my modest assessment of my personal knowledge of photography in general, but the moment anyone starts to believe they have learned all that is learnable their IQ takes a hit; not a bright proposition nor a very bright person. I'd much rather share my experiences and you take what you can from it. How do you know when you're dealing with a professional model or at least a model that has a few sessions behind her? There are indicators and I will share a few here.

1.  She confirms the appointment prior to her session date. It is very reassuring to not be the only one that likes to confirm an appointment. Whether she is a professional model or a retail client, I appreciate a confirmation text, email or call reassuring me they will make their scheduled appointment. Things happen. I don't care for cancellations but some circumstances are unavoidable. Whether or not if it's a retail or a professional commercial model, I very much appreciate the reassurance. Furthermore, she is showing you that she respects your time and is mindful that you have other business to attend to.

2.  Communication. Though this is in no particular order, this should have been number one. This is most applicable to a retail situation and not a commercial one but before, after, during and even post session, she is appropriately touching base to make sure she understands her role in this assignment. She acknowledges what she is to bring, what her role will be and she has a basic understanding of the shooting sequence. Again, these are my experiences and related to my type of shoots. Simply put, she is prepared when she arrives because her agent (if commercial), or she herself has communicated well enough to know what is expected of her. I always tell clients, "You Cannot Over-Communicate With Me." If it's a commercial model then her agent is handling everything and she need not be involved in this part of the assignment at all.

3.  Preparation. If it's retail, then he or she certainly knows what they were to bring or not to bring prior to your session based on the communication you've had. If it's commercial, she's likely showing up empty handed knowing that clothing, accessories, styling, make up etc. is likely someone else's domain. She need only be appropriately prepared, ultra hygienic and a blank slate ready for whatever the shoot is about. Retail clients have the fortune of knowing almost everything about their shoot beforehand particularly if they're working with me. I've likely given them a do and don't list such as: body hair tips, skin conditioners, makeup tips, hair styling, wardrobe ideas, etc. Working in concert with a mua and/or stylist if applicable, your client should be prepared when he or she arrives. If he or she is not, then they have likely not communicated well or not quite the professional person or client you wanted or expected them to be. Either that or you yourself dropped the ball.

4.  She removes her personal effects like personal jewelry, almost immediately upon arrival. I'm already reassured when this happens. Unless the shoot calls for it and it is deemed appropriate, losing the wedding ring or necklace the significant other gave you that may not be conducive to the look or market our images are to seek is probably the first thing she does. Commercial glamour models, fashion models or any other genre of model knows that the public doesn't much care if you're married or not. In fact, it may even be counterproductive to the photographer, editor, or financier is trying to achieve. In most instances, you may need to look available even if you will never be available particularly for certain markets. However, if it's retail and it's a wife taking anniversary photos for a husband then the more personal effects the better. Or if she's wearing her "world's best mom" t-shirt the kids gave her then perfect if these are portraits for the family. I've had several clients wear cherished jewelry the husband gave them from prior anniversaries or other special occasions; totally appropriate but an unlikely occurrence on a commercial project. On a commercial project, a model or client will likely show without much icing at all. More than likely she will not wear any jewelry with the expectation that it will be provided. Otherwise, she will be told what to bring by way of accessories from the agent, the stylist or other party with appropriate authority for the assignment. (Another nod to communication).

5.  "Which light is to be my key light?" This should be right next to communication. It's not necessary for her to know all the lingo. Learning lingo comes with experience and having experience doesn't necessarily mean you're a professional in my opinion. A subject will either intuit or verbally inquire the directional source of the primary light. From experience, she knows that that direction dictates the angle of her poses and the way the lights will strike her body and garments which is a make it or break it point for the photographer. She will move while being mindful not to stray far from that source unless purposely directed to do so. I personally like it when the client or model asks whether she already knows or not. It's a kind of "I know that you know I know" where the main light is moment. Directing the shoot, I am thinking about composition, light settings, wardrobe malfunctions, and often times the meticulous financier that might be looking over my shoulder. The last thing I want to think about is whether or not the model is going to stay in the light or not. When a model immediately looks or turns toward the primary light source or verbally inquires before I even heft up my camera, then I know I'm dealing with someone who has worked with several photographers before or at least knows how to put one at ease right up front. When she constantly steps out of the light unexpectedly I know that she's new to the game. I have to constantly bring her back or move the light to her which is not something most photographers are willing to do myself included. It's likely not the look we're trying to do. Follow my lead! If I direct you to move, then do so. But if you're a pro, you will almost anticipate my next action; another indicator of a pro.

6.  Hygiene. I shouldn't have to mention this but it is the another key indicator that separates professionals from amateurs. This is a huge indicator. Wax on... Wax off. Be clean, be smooth, be moisturized. That is as simple as I can make it. The model or client has likely received ample notice on the session date. There is often time to prepare. If the model needs a bikini wax then a properly prepared model will have one. If her arms were hairy and you want glamour images, she will do something about that. She will never look like a swimsuit model if her armpits and mustache are like a gorillas. Professionals make it easier for the mua and the photographer or retouch specialist. That peach fuzz that is considered normal and that most have gotten use to seeing (or not seeing) will wreak havoc for the mua. Makeup will not set well floating on top of facial hair. Additionally, it will look horrible on the images and that's a problem the photographer or retouch specialist need not deal with. If you're experiencing your.... well, that! Then don't schedule for that week unless this is your job and you haven't a choice.

There are several factors that immediately tell me how my session will proceed and I've just started naming a few to pertain to me. I try to abstain from making judgements at the onset and try to give everyone a wide open opportunity to show me what they bring. Experience has given me indicators on what I can expect. Yet, some of my best sessions have been with retail clients and amateur models. Why? Because they have no pre-conceived notions about how they think things will be. They arrive open to direction and a willingness to learn. They have little interests in becoming models. They just want to look their best today and have fun in the process. Sure it's more work on me but I enjoy process if in moderation. If someone approaches me with that willingness and openness, they're communicable and follow directions well, then they are a professional in my opinion. If they've followed my directions well prior to the shoot and arrived prepared; given the appropriate budget I can make images that rival any model, the alleged professional or otherwise.

But that's just my humble experience and opinion.

RHK-MAG.COM: Featured Kitten of the Week #98: Kristi Wright

RHK-MAG.COM: Featured Kitten of the Week #98: Kristi Wright: Name: Kristi Wright   City, State: Puyallup, WA   Measurements: 37-27-35   Most Attractive Feature: I have got a lot of compliments on my...

Being nude isn't what it use to be

I didn’t ask for this. I didn’t wake up and decide I wanted to do this. Nor did I sit quietly as a child and gaze dreamily into nothingness fantasizing about life as a glamour photographer. I’m still not a glamour photographer by trade. However, I’ve always said that you have to give the people what they want and right now that’s glamour. But what has me mystified as of late are varying definitions of what constitutes “nudity.” While it might be argued that society has reveled in a flagrant glorification of sexuality as of late, it still perplexes me how something so obvious can be so ambiguous. 

As more and more clients, models and just curiosity seekers began pursuing my photographic services, there has been increase in the amount of people wanting glamour and boudoir photography sessions. Don’t get me wrong, I find nothing more glorious than a well defined human body or any body for that matter. the human form is a work of art. Yet, I can’t help thinking that art is taking a back seat to an over glorification of sex and sexuality in general. Most of what we see isn’t even art. It’s just plain and simple flagrant sexualization for no reason at all. There is a vast difference in people that shoot glamour well vs those that just shoot naked and scantily clad people. It’s a matter of taste and style. I’ve found my style and place within the genre. I steer clear of those shoots that don’t reflect my level of taste and style.

But all of the aforementioned things belong in a posts all their own. What really has me baffled are the different definitions of nude I run in to. Of course everyone is familiar with “implied” nudity. These are cases where no unmentionables are visible; unmentionables like genitalia or breasts. Yet, there are other situations where full breasts are visible but a model or client says it’s implied because it covers genitalia. Then there are situations where a model is totally nude but her back is to the viewer. This is often considered implied because no breasts or genitalia are visible even though it is “implied” the subject is totally naked despite how obvious it may be. It's just a matter of visibility. Or is it? My mother or father wouldn’t say that was implied. They would be offended as would I had I not been learned in the nuances of art and what the industry has become.

How you define "nude" as a glamour or boudoir photographer or a client seeking these services will determine your publishing rights and your ability to comfortably interact with agencies, licensing stock companies, model releases and ultimately working with your subject or photographer. I recently had a model who sought out my services for her own reasons (who knows what they were). I agreed to shoot lingerie and other articles with an understanding that my pursuits were more fashion oriented. In other words... clothed with a magazine ad vibe and stye. Why? Because no matter how beautiful she is, I prefer images for myself that has a marketable commercial appeal for sake of attracting a broader client base. Being a pro glamour model, it wasn’t long before she resorted to old habits. I didn’t mind. I’m a professional after all. I’m shooting tasteful boudoir and glamour shots all session long. Besides we pre-agreed that a few shots of such a nature were fine as long as it didn’t go too far as determined by her own level of comfort and my creative style.

Aside from some obvious ego eccentricities she manifested, the results were okay and along the lines of what I expected from her. She was stunning but somewhere along the line a person’s personality colors how you view them. Whether that is good or bad has yet to be determined. I’m still confused over this shoot. I can’t even determine if it was productive or not.

When the time approached for us to both go over the model release, she wanted a special notation that she didn't want any nude images published. I immediately said, “why did you shoot nude if I can’t publish you?” What good do these images really do me? That is the point of this session. I mean, I didn’t even care to see you naked...ever.  Nothing trumps my necessity to publish and advertise short of monetary compensation for the session. Furthermore, I didn’t ask her for anything nude. She volunteered herself for it. She asked if I thought it was okay to pull certain articles off. I said, only if she felt comfortable. They were of her own choosing. She asked me after all. Maybe she was in the moment and didn’t care until the end. Then I knew how ambiguous the term “nude” had become so I asked, “what do you consider nude?” She replied, “I don’t want my breasts to show.” I asked, “why did you show them then?” I reminded her that other images of her that I’d seen taken by other photographers were nude. She said that she didn’t shoot nude with just any ole’ photographer and that there were only a few nude pictures of her in her portfolio. I’m thinking that ‘you just did a nude photo shoot; at least in part. I was here... remember.’ But in her model profile she wrote that she would shoot nude if it’s for a big magazine like Playboy or something. So, I think Oh... this is a vanity thing not a matter of personal decency or comfort level or anything like that. 

I got complimented and condescended to in one sentence. Wow! She is good with the word play. Either that or she’s super dumb. I don’t know. To paraphrase, “I’ll be naked and published for Playboy but you’re nothing and yet I choose to be naked with you. But you can’t show anybody cause I don’t want anyone to know I was this way for a mundane but equally qualified professional photographer.” What????!!!!! Is this a just 'keep this between us' moment cause if so, it was not as good for me as her ego told her it was. Let me re-iterate. She is probably considered by most to be beautiful. It just wasn’t enough to offset her unusual level of vanity and inflated ego. 

But this post isn’t really about beauty. It’s about what is nude and defining it clearly for yourself and your prospective subjects. It went back and forth to the point of my frustration and it came down to nipple coverage. So, I’m thinking what in the hell just happened? I mean, really? So she’s wearing nothing but her skin in front of a stranger and went thru every possible glamour pose of her own choosing and she’s worried about... nipples? Really? Are you using that pen you're signing the release with to sign over a fat check for what started out as a barter session?

Maybe I’m just too socially conservative to handle this kind of back and forth. Nude is nude. I know my grandmother would say that a panty/bra set is butt naked and burn her own eyeballs out if she saw a Victoria’s Secret ad on television. But times are changing and what we call “implied” will eventually become full nude and the current nude may become adult photography. Just like fashion photography is now borderline avant garde and regular portraits are more like fashion photography. Unless you’re the CEO of a financial institution, a basic portrait just won’t cut it. If you don’t agree then you’re not doing it right. 

I’m still perplexed and mystified over this particular photo shoot. I’m not quite sure what to make of it. This is all the more reason that I’ve limited my barter work. There are almost always issues. 

What do you call nude?

What is a Professional Photographer and Why are They Starving?

A few weeks ago I attended a workshop where someone brought up the question, what does it mean to be a “professional photographer?” Even amid a large diverse group of photographers opinions varied greatly from someone who has ever received payment from providing photographic services to someone who earns all of their income from providing photographic services. The exponential increase in the availability and affordability of DSLRs and other photographic equipment has everyone believing themselves to be a photographer. But the definition of what constitutes a “professional” and the relevancy of that definition may be more abstract than you think. 

The greatest oversight in this debate is that the opinions presented overlook the qualitative aspects of the art of photography and focuses more on the quantitative. Even respected photography associations at one time had defined it as income based, saying that more than half of your income must come from photography. It doesn’t mean you’re any good or not. Even now these associations cloud the debate even more by offering you a “Certified Professional Photography” status with a fee of course. While their attempt to un-cloud the issue might be arguably a measure toward clearing the ambiguity, all it does is make people now ask “Oh, you’re a professional photographer but are you certified?” What does that mean and who makes that decision when everyone is still ignoring the qualitative aspects of what we do? So now that you’ve paid a fee and cleared a couple of basic test and visual inspections by some unknown person or group you’re certified now?

Relative to industry norms, are you consistently taking high quality imagery and being recognized either monetarily or even visibly credited with  your work? Shouldn’t that be enough? Years ago, a prospective client learned that I was a photographer. They eventually approached me and inquired about types of photography I’d done. Then they asked, “but are you a professional photographer?” So even then and there, without ever seeing a single thing I’d done, without ever even looking at a single picture of mine they were blinded by phraseology and meaningless semantics. But they were uninformed, and like most people they were caught up in the glorification of status. Now I suppose they’re asking people if they’re certified professional photographers.

By some definitions, I’ve been a professional photographer for years; as a sole proprietor as well as during employ as a product photographer and graphic designer for an employer. But the onslaught of wannabes makes making informed decisions as a consumer looking for photographic services difficult; or that is what you’re telling yourself. Photographic services might be the easiest thing you will ever choose. Like most creative professions, the work is the resume. You can’t hide behind finances, numbers, or shady tax returns to hide how good you are or aren’t. The proof is in the pictures. Additionally, you should be treating it like any other service you seek; you look at the most current work, you determine if they are licensed, if applicable you determine if they are insured, you call a reference or two if you need to, you settle on a price and terms and you make a commitment. 

If having earned money on photography, having a license, paying for permits, hiring assistants whenever needed, designing sets, writing and modifying licensing use fees and contracts, maintaining equipment, editing and processing files, managing email marketing campaigns and some, all makes me a professional then of course I am and have been for as long as I remember. But I implore you not to get too caught up in the words. I have a fantastic product and/or service to offer. It’s readily available and you get to see past work at any and all times. I’m legally entitled to sell it. I’m damn good at it. I have a great list of references. I’m affordable and you need me. Shouldn’t that be enough? Most other professions can’t even make that claim so why are we getting so caught up in phraseology?

The reason for all the smoke and mirror games is because of the abundance of service providers. Unfortunately, most of them are new and shady and not likely to make it past tomorrow; and consumers are only marginally aware of the conundrum in the industry. The more seasoned professionals have been searching for more and more ways to separate themselves from the lesser experienced masses. Prices have dipped and most seasoned photographers have closed up shop because every Joe is an alleged photographer now because he has a camera. An over abundance of suppliers make prices drop and a once elitist field dominated by only a few is up for grabs by anyone with enough talent and staying power to last thru this over supply. 

Photographers with decades of experience have a tough time sustaining their businesses because every kid with a camera is undervaluing the service due to an ignorance of not understanding the work and expense involved; a mistake realized all too late to counter. Yet, they wonder why they have thousands of dollars of equipment and still can’t make it as a photographer. Even the so-called pros are now teaching photography and lighting workshops under the guise of helping others. Why? because photography alone doesn’t pay anymore; not without a hook or a niche. You have to be damn good and have a totally underserved market to make it. Those guys that are making six digits or more a year taking pictures aren’t doing it by taking pictures alone. NO! They’re selling DVDs and doing workshops in multiple cities. Heck, I'm organizing a workshop or two myself. But I’m not gonna say it’s only because I want to share my knowledge; that too. It’s because there are thousands of people out there who could use what I know and there is money to be had by my doing it. Like anything else, it’s a business opportunity that happens to involve something I love doing. 

Aside from the qualitative ignorance and degradation the industry has suffered in recent years, there is the persistent notion that anyone can do it. While improvements in technology has made taking a picture without thinking easier, it has done little to improve overall quality. There is still a matter of composition, color, symbology, line and form, light and shadow; only a true photographer can adapt to changing environments and produce great results consistently throughout different and often unexpected scenarios. I can teach you how to use a camera but that will never make you an artist if you don’t have it in you.

Anyone who has done this for awhile will also tell you being a photographer is about 20% photography and 80% business. You will spend more time marketing, selling, processing, editing, permitting, copyrighting, registering, insuring, scheduling, paying taxes, renewing business licenses and permits, casting and booking than you will actually photographing. If you disagree then you’re clearly not a photographer, professional, certified or otherwise. You’re just a Joe with a camera. You’re a poser (pun intended).

I encourage you to get informed about photography as a consumer and a potentially practicing photographer. You will at some point in your life have your picture taken or take someone else’s picture for fun or business. But more to the point, this is a free enterprise system we live in. Photography is more transparent than most industries. Keep putting out your best work, find someone who will pay you for it and stop being so caught up in the status and the symbolism of title. Let your work speak to your competence.