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We asked a wide variety of former staff photographers the same question, and here’s what they told us. Please share your own stories — as you can see, you’re not alone. Follow the “more” link to see all photographers, and check out Monday’s “Group Therapy” for photographers’ back stories and websites. Click here for a list of all other “After Staff” posts.

  • What did you do to build awareness of your photography and your new availability?

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.

Christopher Record
I would say a strong website is the most important first step for people starting out. I was lucky in that I had worked as a photojournalist for many years, in which time I had assembled a diverse portfolio. I also started doing weddings on the side while working at The Charlotte Observer. I was able to build my wedding portfolio while working full-time at the paper. By the time my wife and I decided to go out on our own, I had already been photographing weddings for six years. The newspaper industry has been going through so many problems and the timing just seemed right to go out on our own. We’ve been lucky that our websites have been able to attract clients from across the country.

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 »

We asked a wide variety of former staff photographers the same question, and here’s what they told us. Please share your own stories — as you can see, you’re not alone. Follow the “more” link to see all photographers, and check out Monday’s “Group Therapy” for photographers’ back stories and websites. Click here for more “After Staff” posts.

  • What was the hardest or scariest thing for you when you left your staff position? How did you get past it?

Pouya Dianat
Free time is a terrifying thing to have, at first. When I was a staffer, I talked about everything I was going to do and kept a list. The first week I had off from work, though…I sat staring at my computer just crushed by the overwhelming weight of freedom. So I set up a comprehensive list of everything I wanted to do and organized my days to have a loose rotation. If I have a week off while the Braves are out of town I rotate my days between:

(1) PHOTO DAY – Spent working on personal projects, screwing around with studio ideas, editing photos, researching things I want to work on, planning future projects

(2) FILM DAY – Working on scripts with my roommate, who is a writer, watching shorts, reading FilmMaker, MovieMaker and Film Comment, watching movies, reading about other filmmakers, researching

(3) TRAINING DAY – Log on to Lynda.com and choose something from SEO, Flash, Final Cut, PhotoShop, or any other program and learn something new — it’s been phenomenal

And on the seventh day of the week? Errands and finances: getting bank accounts into order, budgeting for the rest of the month, paying bills, buying way too many Magic Arms at Showcase Inc., etc. The key to my new career is constant growth, continuous learning, and striking a balance between paying the bills and doing what I want to do.

Stuart Thurlkil
Not knowing very much about business and how to get the phone to ring. I was afraid that my photography wouldn’t match up with what people were expecting in the consumer and business markets. But I found that people responded to my storytelling style, and it just took some time to get the ball rolling.

Business took longer to learn, but I read a lot and talked with others who were in business and sales. I listened to other photographers at workshops and conferences and sought out people in industries outside photography. I was like a sponge, soaking up as much information as I could. I then tried to immediately implementing what I learned.

Nanine Hartzenbusch
Establishing my professional identity in a new community — we moved to a different city and I created a new business. I was known and well-connected in the Baltimore Washington community because I had worked as a staff photographer for the Baltimore Sun for 11 years. In Charlotte, where we’ve been for two years, people are still getting to know me and my work. My biggest challenge is to grow my client base, while getting to know Charlotte. A friend counseled me, “This is a marathon, not a sprint,” which has helped tremendously. Being patient has been key.

Annie Wells
Sometimes I’ll get to the end of a day and wonder, “What did I accomplish today?” Losing your profession is mind boggling, even though I knew I was going to be moving into something else. I’m also such a work-oriented person, not having a job is hard. I have covered events with friends, and it’s good to know you can be moral as well as physical support for other people. We’re all struggling. Just to know there’s someone out there who is willing to lend a hand is huge.

More »

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.

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