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Geese at sunrise at Bosque, New Mexico. ©Arthur Morris/BIRDS AS ART

Going back into the mid ’80s when I first started to sell photographs, I knew it wasn’t going to be easy. No one was calling me up.  One of the big misconceptions now is that people are calling us up all the time to buy photographs. That’s not how it works in general. And one thing I wrote in my first book, The Art of Bird Photography, is that if you made a list of important things for selling photographs, the quality of your images might be about seventh or eighth. And I can prove it. Go to the newsstand and pick up a magazine that has your subject matter in it and every person is going to say, “I have better pictures than that.” But I’m the only person who would say that, and then follow it up with, “Yeah, and that guy must be working a thousand times harder than me because his pictures are in the magazine and mine are not.”

A Chestnut-breasted Coronet. ©Arthur Morris/BIRDS AS ART

I’ve seen dozens of great photographers who could not sell a picture. And some folks with mediocre work are famous. The hard-work aspect is super important, as is determination. One of the things that happened early on was when my wife and I were considering leaving teaching and selling bird photographs, people said, you’ll never make enough money, how can you think of that, you have such a great health plan with both of you teaching. Being told that I couldn’t do it, that was one of the best things that ever that happened to me. I am a very determined person; when you tell me that I cannot do something, I am gonna bust a gut to do just that.

I mentioned Bird Watcher’s Digest — I’ll be forever indebted to Mary Beacom Bauers, she was the editor there. I sent her an article and she wrote back saying that the article had been accepted for publication.  The magazine came out six times a year and for two years I would get it and look at the table of contents and my article was not in there. So I wrote a second article and sent that to her. That was accepted for publication and came out in the next issue. And then the original article came out in the issue after that. The first time I met Mary at Cape May, New Jersey, a big birding hotspot, she said “Boy Artie, after I held your article for two years and you sent me a second article, I knew that you were really determined.”

A Great Blue Heron silhouetted against the sun. ©Arthur Morris

One of the things that helped me establish myself was realizing that it’s a lot more efficient to write an article, get paid for the article, and get paid for five or six photographs than it is to beat your head against a wall trying to sell one photograph that might get in someone else’s article. Early on I did a lot of writing for Birder’s World and especially Bird Watcher’s Digest. There was probably a five year period where I only missed one or two issues of BWD. That helped me get my name known.

When I first started, I didn’t know what I was doing. But after a couple years my goal became simply to make pictures that pleased me. I never shot for the market, to give advertisers room to put type in the frame, I just wanted the picture to be pretty and people to go, “Ooh ,that’s pretty good.” When I first started, my only goal was to get the cover of one national magazine. And then I thought I’d go on to another hobby, as I’d done before.  Somehow, within three years, while I was still a fledgling bird photographer, I had the cover of what used to be called The Living Bird Quarterly (now Living Bird).  Instead of that quenching my desire, I said, “That’s pretty cool, let’s do it again.”

©SAS Becker

5. What might a weekly schedule might look like for a full-time wedding photographer?

In the perfect world, I would shoot three days a week, edit for two, schmooze for one, and do nothing else. Okay, realistically for a portrait/wedding shooter, one could hope to shoot for 3-4 days a week, mostly weekends. Do editing and post production during the traditional work day. Arrange to go out to at least one business-contact meeting a week outside of your client meetings. Make check-in calls to clients at night.

Business growth and development can happen in your off season; January and February are traditionally slow months if you are on the East Coast. You’ll need to plan your personal time off in advance. It is so important to keep up on the more mundane tasks when you are slower because (hopefully) you won’t have much time to prepare during your busy season. One of the hardest things I have found being self employed is that after a very productive shoot I feel like I deserve a vacation. Well, guess again… that’s when you should be planning for the next one. Which isn’t such a bad thing after all, when you love what you do.

Biden and Obama during the DNC, published at BAGnewsNotes. © Alan Chin

With a sense of duty but not much true excitement, I had planned on traveling to Denver for the Democratic National Convention, months before. Then, in August, war broke out in the Caucuses between Russia and Georgia. I called Michael and said, I want to go to Georgia. And he said, do you have an assignment? And I said, no. And he said, what about the DNC? I said, forget about the DNC. And he said, are you going to forget about the DNC if I can “assign” you again? I said, what do you mean? He said, if I can commit to paying you, would you think about not going to Georgia on your own?

If someone gives you a good assignment, you take it, right? I’m not going to be able to pay my rent from this blog, but, a) it’s the thought that counts, the fact that he’s willing to commit; and b) every bit helps. When I thought about it, it came down to: Michael Shaw is offering me an assignment to cover the DNC.

So Michael came to Denver as well, because he’s not only the editor, he’s also the main writer and journalist for the BAGnewsNotes blog. It was the first time we worked together face-to-face, because he lives in San Diego and I’m in New York. And it was enormously productive. We were able to get decent access, because the political parties take blogging very seriously, so they gave us standard press credentials. Of course it’s funny for me because I ran into all these photographers I know, and they asked me, who are you working for? They say, Time or Newsweek or whoever, and I say, it’s a blog called BAGnewsNotes. But just gauging from their responses, many photographers had already heard of what Michael was doing, and were already reading the blog. So within the small world of photojournalism, people know and appreciate it.

They thought what we were doing was fabulous, but also that it was incredibly ironic because I’m known for being very analog in this digital age, and developing film in hotel rooms. I do all these really old-fashioned traditional things, yet here I am on the other end of it. I’m shooting black-and-white film, processing it in a bathtub, and uploading the images to a blog. I was shooting digital as well at the DNC, but the New Hampshire and Ohio primaries I photographed entirely on film.

I believe that BAGNewsNotes has real credibility. Aesthetically, we’re not there not yet, I’ll be the first to admit that. When it comes to design and how we present the images and text, it’s not perfect. But that’s growing pains, technical issues. In terms of mentally and conceptually where we want the site to go, we have a good idea and I think we’re succeeding. Sometimes I feel like I’m really sticking my neck out, because I’ve put a lot of work into this in the last couple years, especially the last year. And I do wonder if maybe that was time that I should have spent trying to get traditional assignments. But then I look at the fruits of our labor, the photography and the analysis, and I’m really proud of what we’ve accomplished, on less than a shoestring. Hopefully, the more people who look at what we’re doing, and the more people we’re able to get turned onto this, the more viable it becomes.

"Contrails," an image by former advertising photographer Brian Kosoff. © Brian Kosoff

When I began working as an advertising and editorial photographer in 1979 I joined an industry that hadn’t changed much for 50 years. People made a product, someone would have to photograph or illustrate it, and then someone else would put that image in a publication. How much could that paradigm change?

My first encounter with digital technology’s foothold in the graphic design world was in 1984. I went to see a client, a design firm, and one of the designers pulled me aside and pointed out a small computer on his desk. “This is going to revolutionize design,” he told me. I looked at the little box again, focusing on the small screen and wondering how designers accustomed to drawing on 24-inch pads with hundreds of color markers would be able to work on a 9-inch black-and-white screen using a “mouse.”

Of course, a decade later the digital revolution had arrived. The world of graphics and printing changed dramatically –- typesetters disappeared and art directors also became computer experts –- but it was the effect on photography I really felt.

I bought a Mac and Photoshop in 1991. Previously I had done a lot of special effects photography for clients. The type of thing where you have five cameras set up on five sets and take the same piece of film and multiply expose that film to precisely masked and composed scenes. The Mac changed all that. Now all I had to do was scan film at the local service bureau and then move the pieces around almost effortlessly in Photoshop. Well not that effortlessly, it would take hours sometimes for the Mac to complete a Photoshop command. I can recall holding a loupe to my screen to check if the progress bar indicated whether the Mac had frozen or was still working. Seeing the bar move a single pixel in 90 seconds meant that PS command was going to take all night. Of course it usually ended up freezing first.

For most advertising photographers of my generation these were the good times. Very little had changed for us except we had more and better tools. But the same tools that made photo composure so easy for photographers also made photo retouching easier and less expensive. Why pay for a highly skilled photographer who could produce images needing little or no retouching when you could hire a less experienced and far cheaper photographer who’s work could now be inexpensively retouched and enhanced? You could argue that the more experienced photographer brought other values to the mix, but in many cases lower cost trumped quality. Still, the old hierarchy persisted. The photographers just starting out got the lower paying assignments, the high end photographers still got substantial day rates, and the mid-level photographers got a mix of both, an agreeable situation for all. More »