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I tumbled into photography while I was struggling to stay in New York after arriving from India with less than a dollar in my pocket and a visa that only lasted a month. In 1968, my plans were to become a fold singer; New York City was full of hippies and music was everywhere. This lady was listening to me sing in the village and asked me if I would come and audition at the United Nations’ choral group. I got the part and she got me a job as a messenger and took care of my visa problem. I won the grand spires in a photo-contest that led me to a job in the United Nation’s Photo Unit as a darkroom technician.

I had worked for 20 years as a photojournalist and I had a nervous breakdown after my coverage in Rwanda in 1994. At that point, I wanted to turn my camera towards nature and wildlife. Since I come from India and tigers are endangered, I decided to turn my photography towards documenting the tigers. I am also very fond of cats.

This tiger documentary was a coincidence. Mary Fereira who is a United Nations Television (UNTV) documentary producer approached me and asked if I would be willing to share my tiger images and let them follow me while I was in the jungle in India and film with me. So last year they did the filming in India. During the 30 years I worked with the United Nations, I was a photojournalist covering crisis around the world of less fortunate people who suffered during wars and natural disasters. So to be featured as a wildlife photographer was a challenge and thrill.

I want people to be aware of the delicate situation of these tigers existence in our ever changing world and needs. I want people to realize that we all have an obligation to protect our wildlife and the land we live in. There is an ancient saying that this Earth is given to us on loan and we must take the responsibility to nurture and safekeep it for our children and their children.

Even though I have retired from my regular job as a photojournalist, I still work everyday in my studio in Yonkers. I make presentations at universities, schools, conduct workshops, and teach photography. As I am writing this, I am getting ready to leave for China on an invitation to make a presentation to 1,400 students in Beijing next week.

To see more of John Isaac’s work, visit his website: www.johnisaac.com

Manuela Marin Salcedo is a research and development team member and content developer at Momenta Workshops. Her expertise is in visual communications and social media. In addition to her work for Momenta, Manuela is working on long-term, independent multimedia projects. Her work has been featured at LookBetween 2014, Fototazo, and Light Work. She was also chosen to participate in the 2014 New York Times Portfolio Review. 

Working with nonprofits provides the opportunity to produce important imagery that can spark global dialogue. The experience can be both rewarding and fulfilling for visual creators. However, many photographers fail to price appropriately (or even at all) for their services.

I have worked with the team at Momenta Workshops to put together a basic list of top tips to consider when beginning your exploration of the nonprofit photography marketplace.

The James House Organization provides community-based child and youth care development programs in Hout Bay, South Africa. Photo © Lukas Spieker/Momenta Workshops 2015.

1. Know if a nonprofit can afford you

Nonprofits who value good imagery will understand strong visuals have an immediate impact on their donors. Before meeting with a client, you’ll need to do your research and see if the group has the budget to afford you. Chances are if they have a staff of more than 10 people, a nice office, and big donations coming from corporations… they can afford you. So negotiate reasonably, and find a way to make their budget work for their needs.

2. Understand their visual needs

Congratulations! They’ve hired you. Now, you’ll want to be clear on their visual needs and desires before you go out on the shoot. What kinds of issues is this nonprofit grappling with? What images do they tend to use most often? Do they want single image or a photo story? These are all questions you’ll need answers to before you begin photographing.

3. Be clear about your deliverables

Before going into the field, you will also want to be clear about what they can expect from you in terms of deliverables. For example, there is no need to provide them with the RAW images, especially if they do not have the software to process them. So, be upfront if you’re only handing over jpegs. Additionally, be clear about how long they are allowed to use the imagery, and get it in writing. Then, set a reminder on your calendar on the day their use expires. This way, you can reach out to see if they’d like to renew their contract or even hire you to produce new imagery.

4. Be honest with your imagery

Though you are taking what may be considered promotional imagery for marketing purposes, remember nonprofits deal with issues rooted in reality, and their audience will appreciate the real moments you document. For example, anybody that has photographed a group of schoolchildren before knows that things are not fine and dandy at all times. Smiles can turn into frowns in an instant. But explain to the client that these situations provide the opportunity for a volunteer to hug or comfort the upset child, and you’ll want to capture that gesture.

5. Don’t forget to follow up

Follow through is key to making lasting clients. Ask the client what they liked and what they didn’t like from your shoot. Take criticism constructively, and work on that during the next shoot. Follow up with them in 1-2 months to see how the images are working for them and ask if they need more work done during the coming months, the holidays, special events, etc. Keeping in touch with clients will help put yourself above the rest of the pack and keep you valuable to them for their imagery needs!

If you’re interested in going into more detail about these topics, Momenta offers 10% off to all liveBooks members for our workshops, including the one-day The Business of Nonprofit Photography seminars as well as our longer Working with Nonprofits series with Leica Camera. Simply use the discount code LIVEBOOKS. You can learn more about our nonprofit business skills workshops here.

Project Colombia instructor Charlotte Kesl – www.charlottekeslphoto.com/charlotte-kesl-photography

These three women are members of a granny support group that meets weekly to discuss issues and solve problems related to caring for their many young charges. ©Karen Ande

Miki Johnson: Tell me about the book you just released with Ruthann Richter, Face to Face: Children of the AIDS Crisis in Africa. What was the impetus of this project and what were you hoping to achieve with it?

Karen Ande: This book represents the culmination of seven years of work. The project began in 2002 when I was traveling in Kenya with my husband and friends. Our tour guide asked me if I’d like to visit an orphanage she had opened in the town of Naivasha and photograph the children, whose parents had died of AIDS.

I agreed to do it, thinking it would be a one-time visit that might result in a few shots she could use for fundraising. I did not realize that the children would charm me and that their survival hung in such a delicate balance. The orphanage ran out of rice the day I was there.

We left them with some money for food and I eventually went home and began to print the photographs. When I saw the images emerge in the developing tray I realized that I had an opportunity and a decision to make. I could choose to become involved in this issue or not. I chose to get involved, to reach out to nonprofits who were already supporting projects, to make multiple trips to document this issue. It has taken an enormous amount of time and personal finances, but I have never looked back.

Vannah is only 15 years old but is caring for five younger brothers and sisters after their parent's death from AIDS. ©Karen Ande

I am driven by this issue — 12 million children have been orphaned by AIDS in sub-Saharan Africa. There is little infrastructure to care for the children, but many local people whom I have met through NGO’s have creative viable projects that make a difference in these children’s lives. I hope this book will convince people to take a close look at the children I’ve met and begin to care enough to try to help them.

MJ: You’ve said that when you started photographing it was important to you to focus on the positive, things are getting better and people who are making a difference. Why was this so important to you?

KA: People do not hang around to be depressed. The media overexposes us to images of suffering I think, consistently giving us two messages: 1) there is really nothing one person can do to affect these overwhelming problems, and 2) money donated to Africa will be diverted by corrupt governments and aid agencies and never get to the people who need it.

In fact there is a great deal one person can do if they know how. If you donate to organizations working with in-country activists who know and understand their communities’ needs, the money is not wasted. In fact it is often the best way to help, as these projects are generally successful and sustainable. We list many NGO’s in our book that support these types of projects. More »