Field Report:

The Non-Glamorous Side of Photography

Photography Mentors, Choose Them Wisely

My blog post “Photography Mentors, Choose Them Wisely” has been published on Black Star Rising.


March 29, 2012 Posted by | Photographers, rants, Web | , , , | 9 Comments

Reasons Why Professional Photographers Cannot Work for Free

This article has been has circulating around the photography community the past couple days and has gained a lot of traction. I’d like to share it in it’s entirety.

Reasons Why Professional Photographers Cannot Work for Free

Dear potential photo buyer,

If you have been directed to this page, it is likely that you have requested the use of an image or images for free or minimal compensation.

As professional photographers, we receive requests for free images on a regular basis. In a perfect world, each of us would love to be able to respond in a positive manner and assist, especially with projects or efforts related to areas such as education, social issues, and conservation of natural resources. It is fair to say that in many cases, we wish we had the time and resources to do more to assist than just send photographs.

Unfortunately, such are the practicalities of life that we are often unable to respond, or that when we do, our replies are brief and do not convey an adequate sense of the reasons underlying our response.

Circumstances vary for each situation, but we have found that there are a number of recurring themes, which we have set out below with the objective of communicating more clearly with you, and hopefully avoiding misunderstandings or unintentionally engendering ill will.

Please take the following points in the constructive manner in which they are intended. We certainly hope that after you have had a chance to read this, we will be able to talk again and establish a mutually beneficial working relationship.

Photographs Are Our Livelihood
Creating compelling images is the way we make our living. If we give away our images for free, or spend too much time responding to requests for free images, we cannot make a living.

We Do Support Worthy Causes With Images
Most of us do contribute photographs, sometimes more, to support certain causes. In many cases, we may have participated directly in projects that we support with images, or we may have a pre-existing personal relationship with key people involved with the efforts concerned. In other words, each of us can and does provide images without compensation on a selective basis.

We Have Time Constraints
Making a leap from such selective support to responding positively to every request we get for free photographs, however, is impractical, if for no other reason than the substantial amount of time required to respond to requests, exchange correspondence, prepare and send files, and then follow-up to find out how our images were used and what objectives, if any, were achieved. It takes a lot of time to respond to requests, and time is always in short supply.

Pleas of “We Have No Money” Are Often Difficult to Fathom
The primary rationale provided in nearly all requests for free photographs is budgetary constraint, meaning that the requestor pleads a lack of funds.

Such requests frequently originate from organisations with a lot of cash on hand, whether they be publicly listed companies, government or quasi-government agencies, or even NGOs. Often, it is a simple matter of taking a look at a public filing or other similar disclosure document to see that the entity concerned has access to significant funding, certainly more than enough to pay photographers a reasonable fee should they choose to do so.

To make matters worse, it is apparent that all too often, of all the parties involved in a project or particular effort, photographers are the only ones being asked to work for free. Everyone else gets paid.

Given considerations like this, you can perhaps understand why we frequently feel slighted when we are told that: “We have no money.” Such claims can come across as a cynical ploy intended to take advantage of gullible individuals.

We Have Real Budget Constraints
With some exceptions, photography is not a highly remunerative profession. We have chosen this path in large part due to the passion we have for visual communication, visual art, and the subject matters in which we specialise.

The substantial increase in photographs available via the internet in recent years, coupled with reduced budgets of many photo buyers, means that our already meager incomes have come under additional strain.

Moreover, being a professional photographer involves significant monetary investment.

Our profession is by nature equipment-intensive. We need to buy cameras, lenses, computers, software, storage devices, and more on a regular basis. Things break and need to be repaired. We need back-ups of all our data, as one ill-placed cup of coffee could literally erase years of work. For all of us, investment in essential hardware and software entails thousands of dollars a year, as we need to stay current with new technology and best practices.

In addition, travel is a big part of many of our businesses. We must spend a lot of money on transportation, lodging and other travel-related costs.

And of course, perhaps most importantly, there is a substantial sum associated with the time and experience we have invested to become proficient at what we do, as well as the personal risks we often take. Taking snapshots may only involve pressing the camera shutter release, but creating images requires skill, experience and judgement.

So the bottom line is that although we certainly understand and can sympathise with budget constraints, from a practical point of view, we simply cannot afford to subsidise everyone who asks.

Getting “Credit” Doesn’t Mean Much
Part and parcel with requests for free images premised on budgetary constraints is often the promise of providing “credit” and “exposure”, in the form or a watermark, link, or perhaps even a specific mention, as a form of compensation in lieu of commercial remuneration.

There are two major problems with this.

First, getting credit isn’t compensation. We did, after all, create the images concerned, so credit is automatic. It is not something that we hope a third party will be kind enough to grant us.

Second, credit doesn’t pay bills. As we hopefully made clear above, we work hard to make the money required to reinvest in our photographic equipment and to cover related business expenses. On top of that, we need to make enough to pay for basic necessities like food, housing, transportation, etc.

In short, receiving credit for an image we created is a given, not compensation, and credit is not a substitute for payment.

“You Are The Only Photographer Being Unreasonable”
When we do have time to engage in correspondence with people and entities who request free photos, the dialogue sometimes degenerates into an agitated statement directed toward us, asserting in essence that all other photographers the person or entity has contacted are more than delighted to provide photos for free, and that somehow, we are “the only photographer being unreasonable”.

We know that is not true.

We also know that no reasonable and competent photographer would agree to unreasonable conditions. We do allow for the fact that some inexperienced photographers or people who happen to own cameras may indeed agree to work for free, but as the folk wisdom goes: “You get what you pay for.”

Please Follow-Up
One other experience we have in common is that when we do provide photographs for free, we often do not receive updates, feedback or any other form of follow-up letting us know how the event or project unfolded, what goals (if any) were achieved, and what good (if any) our photos did.

All too often, we don’t even get responses to emails we send to follow-up, until, of course, the next time that someone wants free photographs.

In instances where we do agree to work for free, please have the courtesy to follow-up and let us know how things went. A little consideration will go a long way in making us feel more inclined to take time to provide additional images in the future.

Wrap Up
We hope that the above points help elucidate why the relevant photographer listed below has sent you to this link. All of us are dedicated professionals, and we would be happy to work with you to move forward in a mutually beneficial manner.

Creative Commons License

October 13, 2011 Posted by | Photo Business, Photo Industry News, rants, stock photography | , , | Leave a comment

Photo Metadata

With the majority of image distribution taking place on the internet these days, photographers should take steps to identify their images. One of the most important things for a professional photographer is not only to register their images with the U.S. Copyright Office, but to also tag their files with photo metadata. This serves a number of purposes including auto-populating the data fields when uploading images to stock photo distribution sites such as Alamy Images and Photoshelter. But most importantly, when you distribute the image to a client, it identifies you as the copyright holder in addition to vital photo caption info. Many photo buyers deal with hundreds if not thousands of images per day you can’t expect them to remember who each image belongs to so it is advisable to include basic contact info such as your name and website within the image at the minimum.

A number of programs such as Photoshop, Lightroom and others allow you to enter in this data but for the purposes of this post, I will include screen caps from Photoshop CS4 because that is what I am most familiar with. If you haven’t done this before, you need to go to File < File Info within Photoshop to access these screens.

Meta Data / Description Tab

Meta Data / Description Tab

Photo Metadata for Photoshop

Photo Metadata / IPTC Tab

Photo Metadata for Photoshop

Photo Metadata / IPTC Tab

Meta Data for Photoshop CS4 / IPTC

Meta Data / IPTC

Photo Metadata for Photoshop

Photo Metadata / Origin Tab

I am by no means an expert on this topic but most of these are meta data fields that I use regularly and they seem to fit within my digital workflow and current distribution methods. Though I have been doing this for several years, I wish I had known about this when I first started. There is a percentage of my image library that lacks adequate keywording, caption info, and contact info as a result. For photographers that have been selling images for longer than I have, I can only imagine how much work it would be to catch up on entering photo metadata. My suggestion would be enter in the metadata as needed, or to use a program like Lightroom 2 where you can batch large groups of similar images together.

When all of your image meta data is entered properly it makes it the rest of your work flow easier too. Check out my Downtown Los Angeles at Night photo in my Photoshelter Archive for example. All of the basic identifying info is there from my image ID#, name, caption and keywords. All I had to do was upload my files then batch select pricing profiles and place them into galleries then I was done.

February 7, 2010 Posted by | Digital Workflow, software, stock photography | , , , , , | 2 Comments

Blogging Best Practices for Photographers

Blogging is one of the most powerful tools that a photographer has available due to the intimate nature of the medium. Those same benefits can also be drawbacks without proper etiquette. It is surprising to see how off-putting some photographers are when it comes to representing themselves on their own blogs. A blog at best is a method of establishing more personal communications with your audience. There are a lot of ways to attract an audience, which I will get to later, but attracting eyes is easy. Retaining an audience is another matter. Just like in advertising, you only have a few fleeting moments to grab someone’s attention and keep it. So what are some things you can do to build loyal relationships via a blog?

1. Write for your readers. People don’t want to be talked at or down to. Be personal. (There’s a fine line though. For example, don’t discuss your three abortions from 15 years ago unless that is an underlying theme of your blog.) There’s a photographer I’ve seen that writes half of his blog posts in the 3rd person. That sounds really bad. I don’t know whether that photographer drinks too much of his own Kool-Aid or not but I think he would be better suited not even having a blog than writing that way.

2. Post photos. That sounds really obvious but surprisingly, there are a lot of photography-oriented blogs out there that are overly-chatty don’t feature too much photography. It is really easy to get side-tracked from the main concept of the blog but I would try to minimize that. Create another blog if you need another venue to talk about photography-related topics not focused around your own work; like this blog for example.

3. Post consistently. This doesn’t necessarily mean everyday but be predictable enough so your audience can have a general expectation of when you might have posted something new. It is really hard to maintain much less grow an audience without consistent posting.

4. Keep the shameless self-promotion to a minimum. It is okay to do some but too much comes across as bragging. There are more appropriate venue for promoting. People are on your site because they generally want to like you. Reward the reader with quality content then you’ve got word of mouth marketing.

5. Enable blog comments and respond to commenters. People are taking time out of their day to offer you something so it is polite to acknowledge them. The advantage to having a blog over the rest of a static website is that it allows for two-way communication. Take advantage of that!

6. Widgets. Install relevant widgets and badges on your blog where appropriate such as Twitter badges, Yelp if you are a travel photographer, etc… These are things that should be adding extra value to the experience for your audience.

7. Make your RSS feeds and subscriptions easy to add. Not everyone uses feeds to read blogs but it makes it much more convenient for those who do. Most importantly, it is a timely way to distribute your blog without any effort.

How to attract an audience

1. Write content that interests your audience and is conducive to discussions. My article on Top Ten Most Influential Nature Photographers of All-Time is an example of this. Once I wrote the blog post, I started a discussion thread on the Nature Photographers Network forum. Then it led to other photographers starting discussions on several other nature photography forums and wound up being discussed on Outdoor Photographer magazine’s blog in addition to a number of other photo blogs. All I essentially did was start a discussion.

2. Social media integration. Having a presence on sites like Twitter, Facebook, Digg, niche forums, etc… is a perfect vehicle for seeding links back to your blog. Be sure to participate more than just shameless self-promoting though. Communicate with people. It is called social networking for a reason. TV commercials are past their moment in the sun because they don’t engage people. Facebook and Twitter are as hot as they are because you can “talk” with people who you wouldn’t be able to do otherwise. It adds a human element to the work.

3. Participate on other photographer’s and industry blogs. This is a really rewarding thing to do. As a photographer, you may only care about selling your own work but there is a lot of value in building relationships with your colleagues. Many times, they end up becoming regular participants in your blog or on the social networks with you as well. And yes, there is a bit of marketing psychology to this but that doesn’t mean participating with a “salesman-like” mentality. Be yourself!

4. Write articles for magazines both print and online. Be sure to include a URL back to your site if possible. The readers that are interested in you will find your blog through your site.

5. Public speaking engagements. Photographers like Chase Jarvis, David Hobby and David Alan Harvey for example have tons of people participating on their blogs because they have big offline visibility in addition to an online presence. Another thing they have in common is that they care about engaging with their audience.

6. Write good blog titles, categorize blog posts, and tagging. This is both good for search engine visibility and for overall site usability.

7. Be an innovative photographer and do any of the above effectively.

There are a lot of photographers out there doing an excellent job of blogging. Those are the people you should follow. Don’t copy them necessarily but figure out what they are doing and see how that fits in what your plan.

October 18, 2009 Posted by | Marketing, Photo Business | , , | 9 Comments

Professional Photography in the 21 Century is Like Mixed Martial Arts

For thousands of years, masters of a single martial arts discipline would have an almost mythical status. Karate, Kung Fu, Muay Thai, etc… If you could master your art then it was assumed that you could win any fight with relative ease. It wasn’t until the early 90’s at UFC 1 that a skinny Brazilian in a white bathrobe (gi), Royce Gracie, stepped into the ring and submitted his opponent, a pro boxer, with moves that most people had never seen before that a new era was born. After defeating two more far larger opponents that night in similar fashion, Gracie went on to win several more UFC tournaments but people started to realize that they needed to add jiu-jitsu and other skills to their existing arsenal just to compete. Experience, toughness and size were rendered irrelevant by Gracie because they had been caught off-guard. Unprepared for change.

I see much of the same things going on in the professional photography industry nowadays. Photography has always been seen as a print medium since it was invented but now the Internet has matured, many experienced photographers are struggling to adapt to the technological changes. Photojournalism is the area that has experienced the greatest amount of change due to all of the cutbacks and financial struggles of mainstream newspapers. Even in good times, the pay was shit, but now there is just not enough work doing traditional news for the amount of people qualified to do it. Many of the ones that are still working now have either adopted new business models such as the Strobist or those who have become multi-media journalists simultaneously recording still photos, video and sound gathering. Those who are still working and haven’t tried to learn anything new are treading on thin ice.

As if becoming a great photographer wasn’t difficult enough, now people are saying that we have to be photographers, videographers, writers, social media experts and recording artists at the same time?!? Crazy! I think that is a bit alarmist but there is truth to that as well. To fight in the Octagon, professional photographers have to at least have a working knowledge of the various disciplines in case they might need to apply it sometime. Not knowing is going to severely limit the upside for income opportunities.

Honestly I believe that once this all plays out there will be a place for everyone if they play their cards right. Just like there still are karate instructors, there are still going to be successful photographers that never record any sounds or video but there are also going to be those who don’t specialize in any specific discipline and create their own style by mixing a little bit of everything together. But I guarantee that all of the successful ones will be the ones who keep tabs on what else is out there even if they never pursue those avenues.

Recently, a Karate expert, Lyoto Machida became the light heavyweight champion of the UFC so now Karate is the rage again. But he didn’t get to the top by solely training in Karate. He also has a black belt in BJJ and is trained in sumo wrestling. He uses that other stuff to prevent others from dictating the fight, so he can stay upright the whole fight kicking people however he feels like. It is the same concept for photographers. Don’t let the changing market conditions take you out of the game. Adapt to it, dictate where you will play and kick the competition’s ass.

By the way, I recently posted a multi-media project on my site. Check it out: Nature Photography Multi-Media Video.

July 5, 2009 Posted by | Marketing, Photo Business, Web | , , | 2 Comments

ASMP White Paper: Photography Rates

I was looking through some professional photography industry websites and came across this white paper that ASMP made available for syndication. I don’t know when it was written but here it is:

An ASMP white paper by Richard Weisgrau

Publishers control the day rate that they pay to photographers. In 25 years they have failed to increase the day rate to a level that would allow photographers to maintain the standard of living of 1973. In spite of this failure, many publishers seek more and more rights from photographers for the same low and continuously eroding fees. The situation is out of control. Photographers feel that they cannot control the day rate. They perceive that they have little individual clout in a negotiation with a major magazine. They cannot collectively bargain, since they are independent contractors and not entitled to the collective bargaining power of a union. The simple fact is that the publisher has all the advantages, EXCEPT FOR ONE. If the situation does not improve, good and reliable photographers will eventually be forced to refuse editorial assignments, since these will not support the photographers’ costs and commitments to their businesses.

While the picture may appear bleak, there is one advantage that the photographer has over the publisher. Photographers provide the content that the publishers need. Although individual photographers cannot bargain collectively, if enough individual photographers refuse to work for inadequate pay, publishers will have no choice but to react to the forces of the free market system and increase their payments for photography. ASMP cannot force a photographer or a publisher to do anything. It cannot organize a boycott or a strike. It cannot set a wage, fee, term or condition for photographers. But, ASMP can express its opinion and give its advice. This paper provides that opinion and advice.

In 1973, the per capita income in New York State, where many photographers reside and work, was $5,969. In 1997, the per capita income in New York was $30,299 or five times greater than that of 1973.

In 1973, the minimum wage was $1.60 per hour. In 1998, the minimum wage was $5.15 per hour or 3.2 times higher than the rate of 1973.

In 1973, the average day rate for editorial photography assignments with one-time rights was $200. In 1998, the average day rate for the same editorial assignment is $450 or 2.2 times higher than the rate for 1973. The editorial day rate has fallen behind even the rate of increase in the minimum wage.

These statistics show that the compensation paid to editorial photographers is forcing their living standard down faster than that of the general population. They also show that untrained workers have experienced a greater rate of wage increase than highly trained and skilled photographers. How can publishers get away with this? The answer is simple. Publishers use their economic clout to dictate fees to photographers who, like most of us, need to work. The “take it or leave it” position of most publishers leaves most photographers in a position where they have to choose between inadequate compensation and none at all. Necessity dictates the choice.

The table below shows that editorial fees have simply deteriorated over the years to the point where the very existence of editorial photography on a professional level is now threatened. The day is quickly approaching when competent and properly equipped photographers will not be able to provide publishers with those images which inform readers, bring events into their consciousness and help them get a better picture of our world. The chart applies changes in the consumer price index to the 1973 day rate. The adjusted day rate shows what the day rate should have been in 1998, if it had been adjusted for inflation.

Editorial Day Rate Analysis

Base year: 1973, 1986, 1990
Average day rate: $200 $350 $400
C.P.I. factor (to 1998) 3.671.521.25
1998 Adjusted
day rate$734$532$500

The above chart clearly demonstrates that, not only is the day rate woefully behind its 1973 base, it even has failed to keep pace with the inflation of just the last ten years, when they are taken as a base rate. A recent survey of ASMP members shows that the current average day rate for one-time editorial rights (print media only) is $450. Interestingly, this average is higher than the rates paid by many major magazines, like Time and Business Week, which pay base day rates of only $400. The average is pulled up because some specialty magazines pay higher rates to the best photographers, and ASMP members are more often in this group.

ASMP anticipates and acknowledges the argument that many publications went through very traumatic times in the early to mid-seventies. Television took its toll on advertising revenues and readership. Famous magazines closed their doors forever. A few were later resurrected with a new look and approach. In spite of this decline, however, the fact is that there are more magazines and print publications than ever before. Certainly, the economics of magazines have changed, so ASMP will concede that it might (but only might) be unrealistic to conclude that magazines can afford to pay at least the same level of fees that they paid in the early 1970s. However, it is also not unreasonable to point out that the publishers’ and editors’ and other staff salaries have been more than adequately adjusted to meet the economic realities of today. This is not true in the case of photographers.

Certainly, by 1986 magazines had economically reestablished themselves and found their way to profitability. But, even if we concede that the day rate of 1986 ($350) was fair compensation in light of economic conditions, we see that publishers have not seen fit to raise the day rate to a level that paces it with inflation. Indeed, the past seven years have seen the economy grow to record levels, and magazines profits have grown with it, but the day rate paid to photographers has once again fallen behind the decade’s rate of inflation. It does not take an economist to see the trend. While photography is every bit as important to publications as it ever was, the reward for it continues to decrease.

There is another factor that is easy to lose sight of when considering the unfairness of the rate of compensation paid to photographers. For each day that a photographer is paid for, he or she spends additional time performing tasks related to the work done on the paid day. ASMP’s survey shows that, for every day of photography, the average editorial photographer spends a total of 10.2 additional hours on assignment preparation, post production work, administrative duties and travel time. The result is that it takes 18.2 hours to earn a single day’s rate. At $450 per day, the photographer is actually earning $24.72 per hour. Keep in mind that most photographers must maintain in excess of $50,000 in equipment in order to do their work, have to have business insurance, must pay their own medical insurance premiums, etc. Photographers have the same costs of doing business that any small service business has. Many of them are also paying off college loans for the education that is a necessary prerequisite to be a successful photographer today. There are few businesses in the USA that can support their owners and meet their overhead on $25 per hour in revenues.

Considering the above facts and recognizing that this situation is unlikely to change without some dynamic force being applied, ASMP offers its opinion that publishers should raise their editorial day rate to a MINIMUM of $550 in 1999, with subsequent raises to $600 in 2000 and $650 in 2001. These rates would include one time use in print media and would not include electronic rights, foreign language rights, or English language rights outside of North America, or any reprint rights. ASMP also believes that photographers have good reason to adopt these recommendations of ASMP in their individual negotiations with publishers, and that, while free to ignore ASMP’s opinion and recommendation, doing so would only further threaten their economic futures.

The eroding economic position of editorial photographers must be stopped and reversed. It seems clear that publishers have no intention of changing it as of this writing. So photographers must either change it or face further degradation of their earning power ever year. How can you, as an editorial photographer, motivate this change? ASMP suggests the following. Copy this paper as many times as you wish. Give copies of it to every editor you work with, every time you work with them. Send ASMP the names and addresses of every publisher, managing editor, photography editor, etc. in the magazines you work for, and we will send them this paper for you. Tell the publishers that you agree with ASMP’s opinion and recommendations. Be conscious of what is happening to you and how poorly the trend bodes for you. Change your fate by insisting on fair compensation. Do not give away your future.

Note: Permission to copy and distribute this white paper was granted by the author and ASMP.

May 9, 2009 Posted by | Uncategorized | , | Leave a comment

Chromatic Aberration – Calling out pros and publishers

For a digital imaging 101 topic, it is surprising to see how much chromatic aberration makes it onto the printed page. You can pretty much look at any publication from Sports Illustrated to your regional lifestyle magazine and see a heavy dose of chromatic aberration in a fair amount of the images. It looks really bad and amateurish! So please I am urging you to have higher quality control standards in regards to professional photography. I am sick of seeing chromatic aberration in reputable publications, and even in some photography galleries.

If you don’t know what chromatic aberration is, it is the red, blue and/or purple “bleeding” on the high contrast edges of a photo. Good lenses have less of this but digital cameras seem to play a role in this as well. Usually it can be eliminated in Adobe Camera RAW. On really poor lenses however, minimizing the amount of CA is usually the best you can do. If ACR doesn’t work for you, then you can try PT Lens which only costs $15, or some other 3rd party software to fix your lens distortions.

Sometimes you can’t avoid it all together but if a big purple halo is in places that obviously shouldn’t have any purple then you’ve got to ask yourself are you doing all that you can to produce the best file possible? Attention to details such as this should separate a professional photographer from a hobbyist or snapshooter but unfortunately that is not always the case.

October 6, 2008 Posted by | Digital Workflow, rants | , , , , | 3 Comments

Interesting Links – 8/20/08

NPPA Independent Photographer’s Toolkit – Tools you’ll need to run a photography business.

Rights-Managed Stock v.s. Royalty Free Stock – ASMP

Annie Griffiths Belt: A Nomadic Family Life – Double Exposure Online Magazine.

The Brand Gap Slideshow – Great slideshow that examines what a successful brand is.

Ask an Art Buyer: Promotion – Heather Morton. Understand how to promote yourself to art buyers.

Dane Sanders – His intro video is one of the best photographer videos I have seen.

August 20, 2008 Posted by | Weekly Links | , | 2 Comments

Interesting Links – 8/6/08

ASMP Professional Business Practices in Photography, 7th Edition – The photographers’ “business bible”. A must-read.

“Use of my photos on Facebook without my consent.” – Business forum. Always get it in writing first.

The Cloud is Falling – Vincent Lafloret / Sports Shooter.

Lost America Night Photography – I really dig Troy Paiva’s work. There is an unbelievable amount of forgotten structures in the California desert, and he really does a good job at capturing it.

Into the Light: A Digital Photo Story by Ibarionex Perello. A powerful life story multimedia narrative from a former editor of Outdoor Photographer magazine.

August 6, 2008 Posted by | Weekly Links | , , | Leave a comment

Social Networking Websites: A Waste of Time for Photographers, or a Smart Investment?

Popular Social Networking Methods: Twitter, Facebook, MySpace, Digg, AIM, blogging, podcasts, LinkedIn, Ning, Plaxo, Pownce, StumbleUpon, online forums, etc…

Are these worth the time if you are trying to market your photography? It depends on what your business plan is. If you use the internet to generate leads for your business, then some of them might be worth your time if you have a clear idea for who you plan to reach. If your website is just there to remind existing clients that you are there then social networking sites might be a waste of time for you other than say a blog and an RSS feed.

They are mostly promotional tools for me, otherwise I wouldn’t bother wasting more time on the computer with them. The newest fad that I like, are widgets. These cool looking “online ads” are bits of code that these social media sites allow you to paste your info onto blogs and any other online sources.

Online Forums: the most obvious benefit to these is to network with your peers. A side benefit to this is that the photographers that you develop relationships with can end up in a link trade which helps with search engine rankings. Also, these are people that you can swap insights with, image critiques, and good company to go shooting with. I regularly participate on the Nature Photographers Network because these are people whom I consider to be my peers. is also a great source for general information though I don’t actively participate on that site. A good idea to employ with these sites is to include your URL’s in your signature as a promotional tool for your website every time that you comment in addition to being link juice. I would also recommend spending some time on the photo business forums which are listed under the links on the right. I won’t elaborate on Flickr right now because I have serious reservations about the overall culture of that site.

Follow Richard on Twitter!

Twitter: Many people use this to “tweet” every detail of their personal lives, but I try to minimize that in favor of promoting my photography activities. I have some photographers on my follow list on Twitter so it’s a good word of mouth PR outlet. Twitter is pretty mainstream with the web 2.0 crowd so it is definitely worth investigating. Even art buyers follow photographers on Twitter so it’s an easy way to provide updates on what you’re doing professionally. Another cool thing about Twitter is the widget that you can put on your blog to help your readers keep up to date with you.

Become a fan of my Facebook artist profile in order to enter a drawing for 10, 12×18 inch Lightjet Archival fine art prints of your choice.

Facebook is another source where you can add your RSS feeds and mass-email people on your friends list. Almost everyone uses Facebook these days so if you have the right contacts then it could be worth your time. Beware that it is easy to get sucked into time-waste mode on this site with all the games and stuff you can add to your private profile. I’m guilty of it.

Digg is primarily for driving large numbers of traffic to web articles. This is probably the least targeted method of web marketing for professional photographers but if enough people link to your article then it could drive up your search engine rankings. I personally spend very little time on here because I think these are just for short-term popularity boosts rather than long-term brand building. More geared toward breaking news stories because the controversial stuff is what tends to get Digged.

These are just a couple of the well-known online networking sites and there are new ones everyday. The key is to not get sucked into every little detail where you lose track of the ultimate goal: promoting your brand and networking with your professional peers. The two social networking methods where I feel that I get the most bang for my buck is blogging and the online forums. The others, I could probably live without. Remember the most important website for your business is your own. Invest the most energy there.

July 21, 2008 Posted by | Marketing, Technology | , | 3 Comments

Introducing Field Report: The Non-Glamorous Side of Photography

Welcome to the Field Report: The Non-Glamorous Side of Photography. This “sub-blog” will compliment my regular blog, In The Field, by featuring weekly links from the photography industry that I think are worthwhile to read along with my digital imaging workflow, photo business-related news, and interviews with photographers / creative industry professionals that I respect. I have also written several articles about digital workflow, stock photography and internet marketing on my regular blog in the past, and will be migrating those to this blog for convenient access organized under the “Article Categories” section on the right column. Meanwhile, In the Field will continue to be a photography-based travelogue for my adventures.

One reason why I’m doing this is so that I can stay true to the original concept of In The Field, while expanding the type of content that I publish. Many of my readers are photographers – both professional photographers and hobbyists, so this sub-blog is directed toward that audience without having to bore the non-photographer readers of my blog.

The first blog post, “Stock Photo Agencies”, will be published at 8 a.m. Eastern Time / 5 a.m. Pacific Time on Monday, July 14th.

Upcoming articles include:

  • Digital Photography Workflow: Have a Good Filing System
  • Interesting Links 7-16-08
  • Adding Music to Your Photo Slideshows on a Budget
  • Photo Keywording Strategy
  • Social Networking: A Waste of Time for Photographers, or a Smart Investment?
  • Rights-Managed or Royalty-Free?
  • Interviews with photographers, an advertising art director, and a startup photo company president
  • Developing and Maintaining Your Photography Brand

Thank you,
Richard Wong

July 11, 2008 Posted by | Uncategorized | , | 10 Comments