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I’m sure I don’t have to tell anyone that there are fewer staff jobs — at newspapers, magazines, and wire services — than there used to be. And in the face of even more cuts, we’ve been impressed to see former staffers adroitly shift gears to freelance editorial, commercial work, collaboration with NGOs, and the fine-art and wedding markets. Some, like David Leeson, capitalized on video skills. Lots, like Sol Neelman, are doing a little of everything, hustling to keep a personal project going.

Leaving a job is always scary. Being forced to give up a steady paycheck and health insurance for the insecurity of owning your own business can be especially hard. Yet we’ve heard many inspiring stories of people coming together to work through this transition, including the recent VJ Workshops, Pro Photo Network, and Wéyo.

We decided to do our part too, by developing this online home for resources, stories, and discussion about this sea change for photojournalism and photography in general.

Although no one has all the answers, together we can find them — which is why your participation in this “After Staff” project is so important. Our “Experts of the Day” are available to answer questions, but if you don’t ask, they won’t know how to help. Over 20 photographers have shared their experiences in our “Group Therapy” section; by adding your own to the comments, you’ll undoubtedly be helping someone else. And even with five days of posts, we know there are things we’re forgetting.

So please comment, ask, discuss, and reach out. We’re here to help you help each other.

Click here for descriptions and links to all “After Staff” posts.

Feel free to email RESOLVE editor Miki Johnson with any suggestions or questions.

You’ve packed up your boxes and hopefully made off with most of your images, too. One of the first things to decide is how to share them with the world — especially potential clients. A website is pretty much required, but do you need a physical book too? Should you focus on single images or stories? Diversity or a unique vision?


John Kaplan
, who wrote Photo Portfolio Success and has had impressive success with his own portfolio over the years, is here to answer your questions. Leave a question in the comments section, along with your website if you have one, and he’ll respond asap, also in the comments, so others can benefit from the good advice.

John Kaplan

www.johnkaplan.com
John Kaplan is one of America’s most accomplished narrative photographers, having been awarded the Pulitzer Prize for Feature Photography, POY National Newspaper Photographer of the Year, the Overseas Press Club Award, two Robert F. Kennedy Awards, and the Nikon Documentary Sabbatical Grant. He is also the author of Photo Portfolio Success, which helps photographers edit to their strengths and prepare stunning portfolios that eliminate doubt in the minds of editors, buyers and contest judges.

A full professor at the University of Florida and a Fulbright Scholar, John teaches throughout the world and has twice been named a juror for the Pulitzer Prizes. His work has appeared in LIFE, The New York Times, American Photo and numerous book annuals.

John’s work is exhibited at museums and galleries worldwide including solo exhibitions in the United States, Peru, Bolivia and Korea as well as shows in the United Kingdom, France, Japan, Korea, Canada, South Africa, Australia, and New Zealand. His project on survivors of torture in West Africa was awarded the Overseas Press Club Award for Feature Photography and the Harry Chapin Media Award; the United Nations used the work to help facilitate contact with the victims.

Presently, John is directing and producing his first feature length film, the autobiographical Not As I Pictured: A Pulitzer Prize-winning Photographer’s Journey Through Lymphoma.

Click here for a list of all other “After Staff” posts.

Photographer Sol Neelman left a staff job at The Oregonian in 2007 after ten years as a newspaper photojournalist. Although he’s won a Pulitzer and been honored twice by POYi, Sol does not claim to be an expert at the “After Staff” transition — and that’s exactly why I wanted to share his story. Burnt out on low-paid editorial, exploring commercial and wedding, and pursuing the personal project he’s passionate about, Sol echoes the experiences of almost every photographer I talked to for this project.
©Sol Neelman

One of Sol's Redneck Games images, which ran in National Geographic. ©Sol Neelman

Miki Johnson: So tell me what you’ve been working on now.

Sol Neelman: I’ve been working on a long-term project, photographing weird sports and the culture of sports around the world. Recently, I photographed dog surfing in San Diego, pro wrestling in Mexico, the Lumberjack World Champs in Wisconsin, and bike polo in Seattle. Up next is a prison rodeo in Oklahoma.

I try to keep myself busy with fun sporting events. It’s an excuse to travel, which is one of my addictions. Along the way I’ll do some traditional sports, such as The Beijing Olympics and college football. I just went to my first Cubs game at Wrigley and photographed the fans in the bleachers. That was fun.

My goal is to get this work published in a book. Ideally it would encompass everything in sports – not just weird sports. It doesn’t need to be the Redneck Games to be good. But the Redneck Games were pretty good.

As far as work, last year I did a commission piece for a developer for whom I photographed downtown Portland for a year. They hung my photographs in the lobby and on each floor of their new building, which ironically is located right across the street from The Oregonian. I’ve also been doing work for Nike and a local bank, plus some weddings. Things are kind of hit or miss, so I try to stay busy with my own project to fill the time.

I’m still trying to figure out how to expose myself to more advertising firms. I recently signed up with Adbase and plan to contact firms that seem like a good fit. At the same time, I’m really trying hard to steer away from editorial clients, just because their rates are so low.

“When the New York Times is paying $200 day rates, you can’t make a living off that.” More »

Many former staff photographers have never had to think about marketing themselves. As a staffer, the image is the most important thing. But in most of the industries photojournalists are moving into, potential clients and buyers will be just as interested in who you are. I asked three photography consultants — Suzanne Sease, Louisa Curtis, and Amanda Sosa Stone — to answer these important questions about branding.

  • What advice can you give for developing a personal brand? What are the important elements that go into a brand? How and where should that branding be used once it’s developed?
Jade Albert's website, which is branded to complement her "light, airy" photographic style.

Jade Albert's website, which is branded to complement her "whimsical, airy" style.

Suzanne Sease

www.suzannesease.com

I have so many clients who have found themselves in this position — who were in another industry and realized they were not living their dream. The safety net of the bi-monthly paycheck is gone and now you must create your own identity. Luckily you won’t have to start from scratch.

Visit the websites of photographers you admire and see how they are presenting themselves. Now look at your images. Are there special topics you gravitate toward or are often assigned to? And how do your images convey information? What about them got people to read the stories next to them?

Become an astute observer of the images around you, too. Make mental notes of magazine ads, billboards, store signs, direct mail, even family portraits done for friends. A photographer was paid to make all of these — notice how they did it and decide if the photographer could be you next time.

Maybe most importantly, ask yourself what you really love about this business. Do you want to continue shooting what you have been, or is now the time to re-invent yourself and shoot what you love, not your former employer? You don’t have to build a brand on the photographer you are — this is your chance to build the brand of the photographer you want to be.

Louisa Curtis

www.chatterboxenterprises.com

First decide which markets to pursue and which images to present. Rather than showing work you think people want to see, I think you should show the images you love to shoot, since those are likely to be your best work. Then, once the image selection is clear, consider presentation. For instance, if I were to put your website alongside your business card, your postcard, your e-promo, and your print book — would I know that they all belong to the same photographer? More »

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