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Travel Photography

We are thrilled to have just wrapped up our first ever Instagram contest – we absolutely loved seeing all of the amazing photos! We wanted to share with you the winning snaps (the decision was incredibly difficult!)

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This photo by Stephane Malassine is absolutely gorgeous – it makes us feel tranquil and relaxed, and the colors are so incredibly vibrant! Check out more of his work at his website: www.malassine.com and on Instagram: @s.malassine

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We are mesmerized by this pic from Greg Anthon – the colors, the way he expertly captures a wave at its peak, and the clean lines. See more of his unique style on Instagram: @greganthon.

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Our third winner is this breathtaking snap by Jamie Chan in Bali, Indonesia. Check her out at www.jamiecphotos.com and on Instagram: @jamiecphotos.

Stay tuned for our next Instagram contest – and thanks to all those that participated!

Photographer Wayne Kaulbach took his family and went on the trip of a lifetime around the world for nine months – capturing some pretty incredible moments along the way. We love his story and images so much that we had to share.

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Q: What inspired your trip?

WK: The inspiration for our trip came about when my wife was diagnosed with a brain tumor in May of 2012 (she has thankfully fully recovered). We just sat down as a family and decided life is much too precious and short and that we should embark on a Round The World trip that we dubbed “9 Months of Sundays.” We took our daughter Chloe (who was 14 when we left on December 2nd, 2013) and our son Noah (who turned 12 on December 5th of our trip). Our eldest daughter, Litia, was busy with University studies. Another inspiration for the trip was to try to follow the “mindful living” philosophy and live in the moment.

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Q: Which countries did you visit?

WK: We flew from Vancouver, British Columbia on the morning of December 2nd to Seattle, and then on to Tokyo, Japan. We spent five days in Tokyo and then flew to Bangkok, Thailand. In Thailand we volunteered at an Elephant Nature Park north of Chiang Mai for one week and then made our way by train down south to spend Christmas and New Years on Koh Lanta. January 6th, 2014 we flew to Kolkata, India where we spent six weeks mostly in Rajasthan broken up by a flight up to Kathmandu, Nepal. Mid-February we flew to Nairobi, Kenya and started a 30-day trek that took us through Kenya, Tanzania, Malawi, Zambia, Zimbabwe, Botswana, and South Africa. On April 1st we flew to Rome and embarked on the European portion of our travel. We visited Barcelona (took in a Barcelona football game and saw Messi), Rome, Sora, Florence, and Venice. The month of May we spent in Ljubljana, Solvenia – amazing city! June found us in Budapest, Prague, Salzburg, Munich, Wroclaw, Poland, Berlin and a flight to London on June 21st to celebrate our daughter’s 15th birthday. End of June, July and all of August we spent in Paris and flew back to Canada the beginning of September 2014.

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Q: What was your main focus/inspiration for the pictures you took?

WK: I love to photograph street/editorial images and I just love to photograph people. My wife and I have owned a natural light portrait business – Skylight Images – for the past 20 years so it was nice to have a break from our business but we simply could not put our cameras down as we are both very passionate to create photographs. We shot lots of candid work and also approached people and asked to photograph them. We also left our bulky Canon gear at home and I traveled with Fujifilm’s X-Pro 1 mirror-less system with a 35mm F1.4 R and my wife took the Fujifilm X-E2 with 23mm F1.4 lens. Each of our camera bags were approximately 6 x 8 x 4 inches. It was a liberating experience and I do not feel that we compromised on quality. The only time we really missed the gear we left behind was in the Serengeti – a longer lens would have been useful.

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Q: Do you have a favorite image from the series? If so, which one and why?

WK: It’s challenging to pick a favorite image but I’m partial to the image that opens my website (shown below): Dysturb (candid street image taken on the streets of Paris).

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Q: It appears you made a conscious choice to have these photos in black and white. Did you know that going into it or was that a decision you made in editing?

WK: The Paris Series that won Best Feature Album at our National Convention in Canada in May of 2015 did (originally) have some color images that looked good on their own but as a series I decided to go with a black and white theme. Perhaps channeling the great French street photographers I admire so much: Robert Doisneau and Henri Cartier-Bresson. I generally default to black and white with my street work but some images just look better in color.

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Q: Can you tell me a little bit about the two awards you won for this series?

WK: I won the Beast Feature Album – 1st in Class, Professional Photographers of Canada in May of 2015.  Everyday I would wander different sections of Paris on foot/bike or transit and photograph.

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WK: I also won 2nd place for Life International Magazine, Interconnections for “Dysturb” photographed in Paris, April 2015. I was admiring the backdrop of Dysturb and brought in a foreground element with the sign. I waited about five minutes for my subject to walk through the scene.

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Q: Do you have any other projects that you’re working on for the rest of the year?

WK: Upcoming projects include three photography tours I will be conducting. The first is 18 days in India: Rajasthan and Taj Mahal, January, 2016. The second is eight days in Venice in April, 2016. And finally, I will be doing eight days in New York City in June of 2016. Please contact me at wkaulbach@shaw.ca for more information. I have over 10 years part-time experience teaching Street and Travel photography at Langara College and and Focal Point here in Vancouver, Canada.

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To read more about Wayne and his family’s trip, check out his wife’s blog about the experience, and see more of Wayne’s photography here: www.wkaulbach.com

 

April 2nd, 2014

The Fine Art of Travel Photography

Posted by liveBooks

Mark Edward Harris is an award-winning photographer, author and educator. His book North Korea was named Photography Book of the Year at the 2013 International Photography Awards. He teaches travel photography workshops at the Los Angeles Center of Photography, Samy’s Camera, and the Santa Fe Photographic Workshops. These are his tips for creating fine art travel photography.

How does one transcend the “I was here” imagery that is often associated with travel photography and create fine art images of places near and far?

From the dozens of workshops I’ve taught on the subject and carefully studying the work of and talking with many of the great globetrotting lensmen and women in the field, I have developed a methodology, that when applied, should yield impressive and at times spectacular results. More »

January 23rd, 2013

Documenting The PANGAEA Project

Posted by liveBooks

Luke Johnson is the Operations and Logistics Coordinator of Mike Horn’s PANGAEA Young Explorers Program. This program aims to inspire young adults to create sustainable solutions between nature and mankind by taking them to some of the most beautiful places on the planet. Luke shares some amazing photos from the expedition as well as his experience documenting The PANGAEA Project by creating a photo book using Pinhole Pro.

Mike Horn is acknowledged globally as one of the greatest modern day explorers of all time. In short his feats include traveling solo around the equator, ascending two 8,000 meter summits in the Himalayas without additional oxygen, circumnavigating the Arctic Circle, and being the first man to travel (without dogs) to the North Pole in permanent darkness. All of which were done without motor transport.

Canadian Arctic Ocean Expedition to the Magnetic North Pole

Canadian Arctic Ocean Expedition to the Magnetic North Pole

After 20 years of solo exploration, covering nearly every inch of the planet, Mike was ready to turn his dream into a reality: The PANGAEA Project (Pan Global Adventure for Environmental Action). The PANGAEA Project is a 4-year circumnavigation of the world through a series of 12-scheduled expeditions, each to different terrain including mountain, desert, ocean and the arctic. For each expedition Mike and his team select students between the ages of 15 and 20 to accompany him.

The African Expedition Team

The African Expedition Team

The goal was to show the younger generation the most beautiful places on the planet, the fragility of the ecosystems and the impact that human activity has on the environment… and do something to improve it!

Working for the Pangaea Project I have had the opportunity to see, first hand, the most beautiful places on the planet and witness lives that have been positively impacted and changed forever.

A Pink dolphin as seen on our Amazon Expedition

A Pink dolphin as seen on our Amazon Expedition

When asked about the project, it’s virtually impossible to put in words all of the incredible experiences I’ve had. The great thing about the younger generation is that they have their own eyes, ears, feelings, personalities, and unique way of learning. What I take out of an experience may be completely different than the next person. Sometimes the only way to really express these things is through the photos we take.

Icebergs from the Clyde River on the Nunavut Expedition

Icebergs from the Clyde River on the Nunavut Expedition

A few months back we chatted with Chase Jarvis and team about how awesome it would be to put a book together with photos taken by our young explorers and team throughout the entire expedition. Then we would be able to see the 4-year expedition though the eyes of those who were involved.

I was thinking what a great idea, but impossible to get photos from hundreds of people and choose the best ones to properly tell the story. It would take months if not longer. Chase’s team told us about liveBooks and their affiliation with Pinhole Pro. Pinhole Pro allows the average photographer (like myself) to make beautiful photo books and have them delivered in as little as two weeks.

Initially, I was a bit skeptical, especially when Mike said it needed to be finished before the expedition finale in Monaco (which was 3 weeks away). With nothing to lose I decided to simply attack the project. I sent out 100’s of emails, shuffled though thousands of photos, (that could seriously make the front cover of any Nat Geo Magazine) and dove into Pinhole Pro.

Mike Horn and Luke Johnson looking at their Pinhole Pro photo book

Mike Horn and Luke Johnson looking at their Pinhole Pro photo book reliving some of the best memories from the last 4 years

After the photos were selected I started the creation process. First I downloaded Pinhole Pro’s Studio’s software then I uploaded the images. Next I chose the book size, number of pages, type of paper (recycled paper is an option) and the front cover. It wasn’t long before the book was finished!

I would highly recommend using Pinhole Pro to anybody wishing to document a special memory or occasion to treasure it forever.

Photographer and writer Jay Goodrich’s work focuses on architecture, nature and adventure. In addition to writing and creating imagery he leads workshops and photo tours. Those who attend the workshop come away with a better understanding of photography and mastery of images, and they have a greater appreciation for the locations and peoples they have visited. His upcoming workshop takes place in Hilo, Hawaii November 5-12. Jay tells us about his workshops and his experience teaching them as well as attending them.

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Melissa Dubasik: I’d love to get a little background on why you host workshops and what you hope others will get out of them?

Jay Goodrich: Teaching workshops just grew out of my love for photography. I wanted to share my experiences, my passion for this creative medium with others. In addition to that I think what is most important about my workshops is the communal experience. Everyone who is there is completely into photography and learning about photography, so it becomes not only a learning experience for the participants, but for myself as well.

I truly hope that all the people who attend walk away with a better knowledge about how to create a stronger image. I am somewhat of a gear head, but I really want people to understand that you only need your iPhone to be a creative photographer. Idea, concept, and composition first, how you record it to show the rest of the world is secondary. I do teach a lot of equipment and software based techniques as well because the era of the digital capture has opened up the boundaries…actually removed them completely.

MD: Is this workshop geared more towards being creative or improving one’s technical skills? Or both?

JG: I would say more emphasis on creating, but there is a lot of technology that gets talked about. I even teach software specific workshops on programs like Lightroom.

MD: What are some of the unexpected benefits one might get from attending one of your workshops?

JG: Traveling to amazing destinations and at times getting access to special places and locations. In our up-coming Hawaii trip, I have a friend who owns property there and he suggested that we stop by to photograph the stars over the lake of lava in his back yard one evening. I also try to focus on including luxury accommodations when possible. One of our previous trips to the Altiplano of Chile had us staying at an all inclusive five star spa. I try to give my clients a little something extra whenever I can. Even if it’s just a ride to the airport or a private critique of what they created after the workshop. I want to build relationships with my clients and I get really excited to watch them progress as photographers during the course of a workshop.

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MD: What are the most important things for the attendees to realize when they participate in a workshop, to help them get the most of of the experience?

JG: I think they really need to understand, that it isn’t amazing everyday. There are days when sunrises don’t materialize. Weather changes. Miscommunications happen. Cars break down. People have gear troubles. We do our best to help everyone and fix all of the issues, but sometimes, it will just rain for a week straight. We will make the best out of it though. This leads to: they should also come with an open mind. Be open to a new experience and new people because everyone has a different perspective to offer.

MD: What differentiates this workshop from others?

JG: With this Hawaii workshop we are taking a little bit of a different approach. We are showing participants how we look for everything and anything while traveling. How our eyes are focused on multiple disciplines, multiple subjects, and ever changing light. This allows us to create a large portfolio of images, which in turn gives us a stronger market base, better coverage for a location, and makes us better photographers overall. If I just focused on photographing birds, I think I would have given up on photography a long time ago. It is the experience of what resides around the bend that keeps me going day in and day out. Focus on a great composition and it doesn’t matter what your subject is, you will walk away with a great image.

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MD: Was attending workshops instrumental to help you become the photographer that you are now? If so, how did they do that?

JG: I have only attended two workshops in my life. One was taught by John Shaw about selling your work and the other was taught by my really close friend Art Wolfe. One sent me off in the professional direction and the other sent me off in the creative direction. Although, as I have grown my business over the years, I have been lucky to work with some of the top level pros in the industry and this has helped me realize what works and what doesn’t along the lines of instructing. I also have a wife who is a teacher, so she beats the knowledge of two masters degrees in education into me on a regular basis.

This has made me focus on smaller group sizes and on more client one-on-one time in the field. Typically, I never teach more than six individuals by myself and never more than ten when there are two of us. I also want to spend less time lecturing to participants and more time in the field showing them what works and what doesn’t work.

A few weeks ago I had the pleasure of giving a presentation to members of the conservation, media, and photography communities as part of the WildSpeak program at The WILD Foundation‘s World Wilderness Congress in Merida, Mexico. WildSpeak was created by the International League of Conservation Photographers, four days of presentations showing conservation organizations the power of visual storytelling and persuading them to make more room in their budgets for collaboration with conservation photographers.

The presentation I was part of, “New Media and Creating the Groundswell,” focused on using new online tools to disseminate conservation messages. The other speakers introduced me to several fascinating initiatives that I want to share with the RESOLVE community — by synthesizing photography, education, technology, and social action, they highlight trends that I believe will become increasingly important as the new media landscape evolves.

ARKive_WildscreenCollect and Contextualize
ARKive
is an initiative by Wildscreen to create a digital library of text, photos, and video of a huge number of the world’s animal and plant species. In some ways, the vast number of images available online do not become truly useful and powerful until they are organized and searchable in a collection like this.

LandScope_MapOrganize Geographically
Frank Biasi, director of Conservation Projects for National Geographic Maps, demonstrated two projects he’s working on that are using maps as the main navigation tool for a site. The Global Action Atlas helps connect people with social action opportunities in specific areas of the world, and LandScope.org is a map-based resource for the land-protection community and the public. As geotagging becomes automatic and people interact more across all geographic barriers,  information organized around a map structure will undoubtedly increase.
WildCoastMash Up Media
WildCoast is the perfect example of a non-profit taking their message far beyond the common trap of “preaching to the choir.” By signing up a sexy model and a Lucha Libre celebrity, this organization focused on saving coastal ecosystems won major victories for sea creatures. They also disseminate much of their information as comics and animated videos, something that Médecins Sans Frontières has also explored with their beautiful graphic novel, The Photographer.

Pandemic_LabsCreate Endless Collaboration
Matt Peters, the founder of Pandemic Labs, which ran social media strategy for the entire Wild9 congress, wrapped up with a wonderful presentation about the way online information tools can help keep people who connect at events like Wild9 connected and moving forward with their ideas long after the sessions end.

The Wild9 Live page collected blog posts in three languages, tweets about Wild9, live streams of many presenters, and Qik videos streamed from delegates’ cell phones, letting people from around the world (they received hits from around 80 countries) feel like they were part of the congress. And, possibly more important, now all that information is archived and available online. You can see the presentation videos at the Wild9 USTREAM page and even check out my presentation about creating clean, easy-to-navigate websites that drive visitors to act, not just look.

There aren’t many photographers who are also branding consultants or art directors at a successful design firm. Since Steve Coleman is all three things, we thought he’d be the perfect person to help photographers understand and strategize their branding efforts. His first post explained exactly what a brand is (and isn’t). This one will help you define your brand attributes.
One of Peter Lik's "destination" galleries showcasing his landscape photography.

One of Peter Lik's "destination" galleries showcasing his landscape photography.

As I explained in my first post, a brand is not a logo or a website or a design. A brand is a promise, what people trust, feel, and believe you or your product to be. Branding is how you express that promise to people. Here’s some tips to help you define your brand — only then can you express it through branding.

First, your brand will ultimately be defined by other people, mostly your customers and potential customers. They will make up their minds about you and you will usually have to live with it. Your job in building your brand is to try and influence them before their minds are made up. It is easier when they don’t yet know you and harder when they do.

Therefore, your brand can not be just anything you want it to be. It needs to be based on some truth about you, as well as client needs. Otherwise your brand will be rejected as not credible. Your brand also needs to be flexible so that it can evolve as you or the market change over time.

For example, while Polaroid’s brand was successfully built around innovation in instant imaging, its brand become too closely associated with chemical imaging in the minds of consumers and has struggled to stay connected with people in a digital world.

“When they need what you’ve got, you want them to know exactly who to call.”

Second, be clear about what you need your brand to achieve at a strategic level. For most people this will be to set you apart from your competitors, to make you top of mind and memorable. By default, a brand should also say who you are not. A strong, healthy brand never tries to be all things to all people. Strategically your brand offers a way for clients and potential clients to quickly and easily categorize you. When they need what you’ve got, you want them to know exactly who to call. Ideally your brand should also make you look like the original or the best solution, making it hard for others to copy you.

Here are some great examples of photographers who have done this successfully.


Terry Richardson has one of the strongest brands I have ever seen. He has no logo and no real design to his website. Yet he stands out. He is unique, highly memorable. He shoots some of the world’s most famous people with a small, inexpensive digital camera. Why is his brand so strong? In a world full of smartly presented photographers who all look, shoot, and feel similar, Terry is distinctly different. (Check out the video, where Terry talks about his approach and his new Belvedere Vodka campaign.)

Another example is Australian landscape photographer Peter Lik. In a market saturated with great landscape photography, much of which never sells, Peter’s business generates more than $30,000,000 per year (US!!). Peter’s photography, while brilliant, is hardly the sole reason for his success. The essence of Peter Lik’s brand is the creation of a photographic experience. In particular, his galleries are must-see destinations. What you buy is not just a beautiful picture but a small part of everything that you experience in Peter’s world.

The critical third stage in defining your brand is determining what the attributes are that make up your brand. Attributes are like brand DNA. These are the tangible and intangible, emotional and functional characteristics that you and your business, product, or service are — or could credibly become. If expressed and managed correctly, these attributes become the reasons for people to trust and do business with you.

Here’s an example. I asked 10 people who know of Peter Lik to give me 20 words that describe what they believe him to be. I put every word, including those repeated, into Wordle, which creates a prioritized word cloud showing most-used bigger and least-used smaller. This this is a visual representation of Peter Lik’s brand attributes, according to these 10 people.

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You’ll notice that the functional description of him as a “landscape photographer” is rated low. From a brand perspective, this is excellent because being a landscape photographer is just the cost of entry, it is not enough to define him as unique. Peter has purposefully built his brand around the attributes that help set him apart. That is how a strong brand works.

So, how do you determine your attributes? Here are eight questions that will help you find them. More »

Alex Webb and Rebecca Norris Webb are both photographers. They also happen to be married to one another. Alex, a member of Magnum Photos, is known for his lyrical street photography, collected in books including Istanbul, Crossings, and Amazon. Rebecca published her first photography book, The Glass Between Us: Reflections of Urban Creatures, in 2006 to wide acclaim. Just this month they released their first photo book together, Violet Isle, which explores Cuba through both their cameras, seen more clearly, in a way, from two different angles. (Not surprisingly, their joint blog is called “Two Looks.”)

Rebecca Norris Webb, Havana, Cuba, 2007.

Rebecca Norris Webb, Havana, Cuba, 2007

Alex Webb, Havana, Cuba, 2001.

Alex Webb, Havana, Cuba, 2001

MIKI JOHNSON: What initially drew you both to Cuba? It has been photographed so much already…did you try to approach it in a new way that you hadn’t seen before?

ALEX WEBB: Like many projects, this one began somewhat serendipitously. We certainly did not plan it. I first went in to Cuba 1993 for Life magazine, and Rebecca traveled there around the same time separately. We were both intrigued by the island, but somehow didn’t manage to return until 2000, when we visited together to teach a workshop.

Returning to the country inspired both of us, and we embarked on two separate projects: my exploration of the streets of Cuba and Rebecca’s discovery of unique and sometimes mysterious collections of animals there –– from tiny zoos and pigeon societies to hand-painted natural history displays and quirky personal menageries. It was only eight years later, in 2008, that we hit upon the notion of putting our two very distinct bodies of work together to create a multi-layered portrait of Cuba.

Rebecca Norris Webb, Havana, Cuba, 2008.

Alex Webb, Cienfuegos, Cuba, 2007

Rebecca Norris Webb, Havana, Cuba, 2008.

Rebecca Norris Webb, Havana, Cuba, 2008

MJ: How many trips to Cuba did you take while making photos for this book, and what places and parts of the culture were you specifically trying to capture?

AW: We made 11 trips to Cuba. Besides our first trips that we took separately, we made six trips together from 2000 to 2005 and then four long trips in 2007 and 2008, when I was fortunate enough to have a Guggenheim Fellowship to continue photographing the island. I initially called my project Esperando because in Spanish the term means both “waiting” and “hoping,” a title that starts to get at my impression of the streets of Cuba.

REBECCA NORRIS WEBB: I originally called my project Three Rooms after the following quote by a Habanero whom I met, a gentle and soft-spoken man who raises cockatiels, love birds, and parakeets: I have three rooms in my house –– two are for my birds, and one is for my wife and me.”

For the past decade, I’ve been exploring the complicated relationship between people and the natural world. In the 25 cities I visited for my first book The Glass Between Us, I never witnessed anything quite like what I’ve seen on “the violet isle,” a little known nickname for Cuba inspired by the rich color of its soil. Nearly 700 miles across, Cuba is easily the largest island in the Caribbean and has its own endemic species, including the world’s smallest bat and the world’s smallest bird. Alex and I traveled nearly the entire length of the island in pursuit of our separate obsessions.

MJ: Why did it appeal to you to combine your two bodies of work into one book about Cuba? How are the images grouped in the book? More »

Gene Higa is a destination wedding photographer based in San Francisco, but he’s got great tips for all kinds of photographers. In today’s Tip of the Week, Gene talks about the importance of diversifying your business, like his friend Ann Hamilton, who is a successful wedding AND dog portrait photographer.

“One of the things I do to keep myself balanced is I teach.”

Be Part of the RESOLUTION: Gene has some great tips lined up, but we’re always eager to hear what you’d like to know more about. Leave your questions in the comments (with a link to your website, of course) and Gene will be happy to respond.

How many people will ever see your photographs? If you’re planning to sell your images, it’s your responsibility to help people find them. Even if you’re a world-renowned nature photographer with your own T.V. show like Art Wolfe, building an audience can be as important as clicking a shutter. Here are seven tips from Art to help photographers drive traffic to their work. Sign up for Art’s free webinar on October 5 to learn how he makes his stunning images, or watch his archived first webinar here.
Aerial view of Lake Natron, spotted with a flock of flamingos. ©Art Wolfe

Aerial view of Lake Natron in Tanzania, spotted with a flock of flamingos. ©Art Wolfe

I’ve talked and written about how photographers need to look beyond the stock agencies to market their images. There are a host of pros and cons to these alternate business models, but the need to drive traffic to your website is always the tallest hurdle. No single approach will do. Instead, you need to attract attention, and keep it, by projecting your brand across a range of media platforms and by creating mutually beneficial collaborations. Here are some tips for how all kinds of photographers can do that.

1. Collaborate

Once you have a collection of images, see if you can create an association with other photographers to market a particular class of subjects. Photoshelter makes that easy with their Virtual Agencies, but there are several ways to accomplish the same thing. By grouping your work with that of other photographers, all of you can offer a wider selection of similarly themed work to potential buyers. My work is available alongside images from Thomas Mangelsen and David Doubilet at WILD, our virtual agency.

2. Organize

If each photographer does a good job of file naming and keywording, a buyer is more likely to find your image collection. Online galleries also allow you to display a larger selection of your work than an editor at an agency would allow. This is not an invitation to self-indulgence, however; show only your best or most saleable work.

3. Prioritize

I steer clear of microstock. If you can produce what the market demands in high volume, there is money to be made there, but it tends to encourage “treadmill shooting,” a mentality of “generate content” instead of creating art. Forgive me if I stick to Rights Managed and Royalty Free.

The sun sets over the southern Atlantic ocean as ten thousand nesting pairs of black browed albatross settle in for the brief summer night.

The sun sets over the southern Atlantic ocean as 10,000 nesting pairs of black browed albatross settle in for the brief summer night. ©Art Wolfe

4. Contact

Once your collective is up and running, or even if you decide to fly solo, contact all your existing clients with the news. Buy and use lists of prospective clients, like those provided by Agency Access and other services. More »

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