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An image from Wéyo illustrating a program in the Dominican Republic that teaches young mothers pre-natal and infant care.

Chris Tyree

In the beginning, Wéyo co-founder Stephen Katz and I started talking about how we could turn our photojournalistic skills and passion for working with nonprofits into a full-time career. We researched the nonprofit sector, talked to numerous organizations, and started to assemble like-minded journalists from a variety of disciplines (photography, film, writing, editing, designing), as well as marketing specialists.

Our goal has been to build a team that produces award-winning stories about nonprofits and then uses (markets) them in a way that can make a difference. Sometimes that is through designing websites and blogs around the content and sometimes it is crafting unique marketing projects utilizing our narrative-based material. Our fundamental principle is that, for people to act they must truly believe, and that comes from showing/telling them in compelling ways what it is exactly that our clients are doing to make this world a better place.

Starting a business in the middle of the greatest recession since the great depression may seem like a crazy move, and maybe we are a bit crazy, but it also presents a lot of opportunities. Nonprofits need us more than ever to tell their stories, and we have been able to attract people with not only great talent, but also great souls. We’ve grown (slowly) without taking loans or reaching too deeply into our personal finances, in part by appealing to nonprofits that we’d worked with when we were on staff at daily newspapers. Until now we’ve existed almost entirely by word of mouth, but we are currently in the early stages of a larger marketing campaign. So, we are growing at a comfortable pace,getting calls on a national level daily,but are ready for a larger role as organizations realize the potential we can tap into through our compelling work.

A Wéyo image of George Washington University students who set up clinic care in an unserviced Rwandan village.

We decided on a model for the business that brings together different disciplines in large part after looking at thousands of nonrprofit websites — we realized 90% or more have a hard time telling people what they actually do with the donations they receive. The images on these sites are often of smiling kids, if there are images at all, and the videos and words leave people more confused. Our group understands the importance of showing and telling the story. It has been an amazing experience working with all these talented individuals, whose hearts are as big as their ideas. It’s not the hustle and bustle of the newsroom, much of what we do is in the virtual office online, but when those kind of talented people collaborate for a great cause, there is an excitement and creative buzz that is unmatched.

There are two main concerns working in this sector. First, these organizations have generally relied on donated content. And now everybody with a digital camera considers themselves a photographer, so and there is a ton of really awful, but free, imagery available. Most of the nonprofits we’ve worked with realize the power of strong documentary photography, but can’t come to grips with paying for it — even though these same groups will pay a decent amount of money to an PR agency or consulting group to utilize the donated images. There is only so much they can do with bad photography and most of these agencies really have no concept in how to use strong documentary material.

Second, you really aren’t your own boss. I don’t think any of us imagined at the start how long it would take to get a project started. In the newspaper business, you get an assignment, an hour later you’re shooting it, a few hours later you’re editing it, and a few hours after that it is in print and sitting on your doorstep. Not so in this new world. We have proposal meetings, then contract reviews, then board approvals, lawyer approvals … then perhaps you get the chance to work. Wéyo has proposals out that are over a year old and still in contract review, awaiting board approval. So, you have to have a lot of patience and take solace in the knowledge that what you are doing has the potential to change many lives for the better.

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

Stuart Thurlkill
I talked with everyone I knew and then went and talked to everyone I didn’t know. I found out what each person’s greatest need was and tried to find a way to fill that need. I made it a point to go everywhere with advertising and marketing material. I worked with some great photographers here in Arizona who gave me a chance to cut my teeth while I built a portfolio. I also built my own flash website. I don’t recommend this unless you have a lot of time on your hands. I also put together a print portfolio and started to shop it around to as many people in my community as I could get an appointment with.

Michael Mulvey
I instantly jumped on getting my website together and I happened to use liveBooks. I also started a blog. This allows me to routinely update a photo area with what I am immediately doing at the moment. I joined several associations and jumped into the business end of photography concerning branding, copyright law, marketing, etc. I also started networking and using the various social media sites to get the word out, build new relationships, and keep the ones I always had. More »

Miki Johnson: How did the idea for Pro Photography Network come about and when was it officially launched?

Matt Randall: The idea came to me through various portals. Some from just brainstorming ideas and some from advice given to me about “doing what you do best.” Since I had managed the editorial photo department for 15 years at the L.A. Times and knew all of these photographers very well, it was just a natural thing to do. Let’s get them back together again so we can market their skills as photographers, and I’ll do what I like to do, which is logistics, financial innovations, and event planning.

MJ: How does the group work logistically? How are assignments handled?

MR: I will start by working with the needs of the client and confirming the who, what, where, when and why. Once I have the logistics of the shoot, I can work with the client and find the right photographer for their needs: male, female, bilingual, or any other special needs that require a photographer with a particular skill set.

I then send out a request based on the needs of the client to the pool of photographers that meet the clients criteria. Since we all have our Blackberry/iPhone devices, reaching the group is easy. I then hook up the photographer with the client. From this point on, the photographer can focus on being a photographer and doing what they do best. At the L.A. Times, we are always trying to find the best photographer for every assignment too. But the beauty of this approach is the client has more input up front when hiring a photographer. More »

Writing a photo grant

• Foundation Center – Connecting grantmakers and grantseekers, the (epi)Center houses an incredible database — including “95,000 foundations, corporate donors, and grantmaking public charities in the U.S. and 1.3 million of their recent grants.”

• United Nations Library – Breaking it down, these five links provide the steps, structure, and strategy for writing a good grant proposal

• Grant Writing Tips – Column from RESOLVE contributor and science photographer Chris Linder sharing his experience getting a grant from the National Science Foundation

• Documentary Photography Grant – RESOLVE interviews Yukiko Yamagata about the Open Society Institute’s Distribution Grant

Grant resources

• NYFA – New York Foundation for the Arts

• Photography Grants Blog – Fine art and documentary photography grants and awards

• Photography Grant Resources – The Lightstalkers list

• Photography Grants – Michigan State University Libraries

• ICP Photography Grants + Awards – International Center of Photography

Lasting relationships with NGOs

• NGO photography – British photographer Colin Pantall blogs about photographers taking initiative in their idea and approach to NGOs, and being creatively farsighted in seeking grant opportunities

• NGOs to the rescue – Pop Photo’s simple answer to the complex question of why photographers are turning to NGOs for work: “Most photographers cannot solely depend on magazines and newspapers to fund long-term projects.”

• Approaching NGOs – With a photojournalist’s methods and motivations, Mike Fox offers perspectives for working with NGOs

• Working with NGOs – Garth Lenz contributed a three-piece series to RESOLVE about working with NGOs

• Convincing NGOs – Valenda Campbell, Senior Photo Editor for CARE, explains to RESOLVE how to persuade NGOs to collaborate on larger photo projects

• NGOs and awards – RESOLVE contributor and conservation photographer Daniel Beltrá tells how his passion for nature and his alliance with Greenpeace grew into an award-winning career

• NGOs and publishers – In his RESOLVE column, conservation and fine-art photographer Robert Glenn Ketchum describes his trailblazing publishing model, working with NGOs and publishers to create books that effect tangible change

• Relationship resources – Thanks to Black Star Rising – Directory of Development Organizations – On Philanthropy – The Corporate Responsibility Officer – Lightstalkers NGO thread

Nonprofit reportage centers

• IJNET – International Center for Journalists

• IRE – Investigative Reporters and Editors

• Pulitzer Center – The Pulitzer Center on Crisis Reporting

• Public Integrity – The Center for Public Integrity

• ProPublica – ProPublica Newsroom

• NECIR-BU – The New England Center for Investigative Reporting at Boston University

Books

• Foundation Grants to Individuals 2009 – this printed version is updated annually, or an online searchable database version is updated quarterly: Foundation Center Database

• Guide to Getting Arts Grants by Ellen Liberatori

• Editor and Publisher Journalism Awards and Fellowships Directory