How to Grow as a Photographer

Advice on improving one's photography skills

Commitment:  How to Grow as a Photographer is a helpful book for those who already have a career in photography or are interesting in establishing one. What inspired you to write this book?

Tony Luna:  In the 1992 I was involved in helping to develop arts programs for a non-profit organization in the Los Angeles area after a period of civil unrest in L.A.. It was a very volatile time and those involved in starting the non-profit felt the necessity of empowering young people by offering classes in photography, music, writing and painting. After we managed to get the programs started I noticed a wonderful thing happening when the young people discovered their talents, and I also noted that when the mentors began to see the excitement in the eyes of their young pupils their creativity was given a boost. There was something about watching a young person grow excited when they saw a picture come up in the dark rook that reinvigorated the veteran photographers and gave them a new appreciation for their careers.
 
Over the next few years I started giving lectures on the topic of career reinvention to mid-career creative professionals and little by little I developed the subject matter for the book. Then a mutual friend introduced me to Tad Crawford, Publisher of Allworth Books and Tad and I began kicking around the ideas for the book, and one of the main ideas that evolved was how have professional photographers who have been around for twenty, thirty or more years managed to stay vital in a highly competitive industry. That's when I made of list of the thirteen photographers I admired most and I decided to interview them for the book. To my delight they all agreed to be interviewed. What amazed me the most was how willing they were to talk about how their careers had evolved, and how candid they were in sharing successes as well as set backs. As the work progressed I realized how similar we all are in the ups and downs of our careers, and, at the same time, how we all feel so alone and that we are the only ones who are experiencing our challenges. It became very evident, very quickly, that I wanted my book to be an informational as well as an inspirational book, with insights as to how others have made a successful living from doing what they love to do most, which in this case was, creating lasting photographic images.

Commitment:  How has the photography business changed over the past 30 years?

Tony:  First of all we have to think of the larger context that the past thirty years have been fraught with change on all levels. Technology has introduced fantastic new ways to capture and manipulate images. Economics has forced us into new fee structures, but also has caused us to create new business opportunities. And the very ways that images are disseminated have increased arithmetically. But there are certain things that don't change no matter the circumstances and that is the world will always appreciate great photographs; photographs that take us to exotic places, photographs that teach us new things, photographs that shine a light on the human condition and transcend cultures, ideologies, and time itself.

Commitment:  Most photographers make their living doing commercial photography. How difficult is it to balance the business side of a career in photography with the creative side?

Tony Luna:  That is an interesting question and one that I am often asked. Most of the professional commercial photographers with whom I have spoken on this matter tell me that they are lucky to spend maybe 20% of their time taking pictures. The other roughly 80% of the time is taken up with updating their portfolios, connecting with clients (or looking for new business opportunities), marketing, estimating, producing jobs, accounting, archiving their work, protecting their work from being used improperly and/or illegally, and otherwise being a business person. A person who chooses a life as a professional photographer must buy into the fact that, to be successful, one has to wear many hats, or (if they are lucky) find people who execute those other duties so the artist can be free to create. The key is to understand and appreciate the importance of art and commerce working side by side, and to manage one's time effectively, always making sure they are allowing enough time to grow as an artist. It is not an easy world, and many talented people can not accommodate both. But for those that can deal effectively with the dual demands they enjoy the exuberance of making a living doing what they truly love to do most.

Commitment:  What are some of the most important things about the business side of a career in photography that a person should know?

Tony Luna:  The beautiful thing about a career in photography is that there will always be a need for people who can capture a visual narrative. The scary thing about a career in photography is that styles change and what editors and art directors wanted one year may not be what they want the next. One of the most important things about the business side of a career in photography is to never lose sight of your passion, and then to find the market that best understands what you are most passionate about. By that I mean, since many of us are freelance, we are subject to inconsistent checks, and unstable working conditions. Anyone who chooses this lifestyle must be disciplined about how they spend their money, and they must never forget this is a business and live within the rules of business when it come to real world matters such as permits, and contracts, and releases, etc. Make sure you understand what the world expects from you, and be in compliance, and learn how to leave time to detach yourself and explore your creativity.

Commitment:  How can a novice photographer begin a career in photography?

Tony:  First of all a novice photographer must become familiar with the tools of the trade. To do this they may have to take classes, and then assist a working professional or professionals. There are technical issues that have to be understood so they can choose the right tool for each assignment. Then they must search their soul for those things that interest them and start shooting them. While experimenting with various subject matters they will, hopefully, find a subject that calls out to them, and then they can begin finding their voice, their own unique way of interpreting the subject. It is only after they have found their voice that they can put together a portfolio that they can present to prospective clients and launch their careers.

Commitment:  In your book, you state that there are 3 elements of success; Passion, A Plan and Perseverance. If a person has the passion, where can she find assistance in formulating a plan?

Tony:  I believe that once a person has focused in on their passion they must be able to write what that passion is in a simple sentence or phrase which I call the Vision Statement. A Vision Statement is a concise declaration of the highest use of that person's talent. For example it could be, "to protect our oceans from pollution," or "to meet influential people," or "to capture the exuberance of youth." A Vision Statement is usually in the form of a gerund and it quite often has some lofty goal associated with it.

Once the Vision Statement is defined then you must move on to the Mission Statement which is how you intend to carry out your Vision Statement as in, "I will help to protect the oceans from pollution by using my photographic skills to make people aware of the many ways we are destroying our planet, and to help people see how they can help to save the planet by the responsible disposal of waste."

The Vision Statement defines your passion, and the Mission Statement defines the starting point for creating a Plan. Using our example, the photographer involved will then have to find out how to market his work; which media share the same concerns and how can he get in to show the images he has taken of pollution and ways to combat this global problem. He will have to find out who his competition are and what makes him unique in the marketplace. He will have to establish a home base and find out how accessible he is to his clients, and what requirements he will have to fulfill at his home base such as business permits, income taxes, sales tax and other compliances. He can find out where to get assistance to formulate his plan from photographic trade organizations, publications such as the ASMP Professional Business Practices in Photography-Seventh Edition, Allworth Press, and he can contact a Creative Consultant like myself so he can get individualized assistance.

Commitment:  You have come up with a five stage plan for growing as a photographer and reinventing one's career: recognition; assessment; planning; implementation; and validation. Could you expound on these stages?

Tony:  These five stages were not devised as a plan per se, but rather they are an outline of the normal course of events that take place in the evolution of a creative career. That is to say we first have to recognize that something is wrong, or unbalanced, or unsettled in our lives before we decide to take action. Then we have to take a look around and assess what tools we have to make things right. At some point we realize that we must formulate a plan to effectively deal with the situation, then we have to put the plan to the test and implement it. And finally we have to look back at what transpired to see if it was a good plan and to appreciate our accomplishments.

Now, one day while looking through a book about Joseph Campbell, I read a passage relating to his studies of the Hero's Journey. He went on to say that numerous cultures had, throughout time, their own story of their hero's journey and they all had five stages in common. I read on to see that these heroes all had a call to action to do something dangerous (slay a dragon, find the holy grail, go to some distant land to obtain some secret charm, etc.). In other words they had to recognize that something of enormous proportions had to be done for the betterment of their people. Next they had to assess what kind of armor they needed, or how many men to take with them, or they may have to learn certain skills to carry out their deed. Then they would have to create a plan to efficiently carry out their duty, a plan that would take as many things into account as they could anticipate (and some they couldn't). Eventually they would have to set sail, or ride their horse, or fly on their carpet and execute the plan to the best of their ability. And finally they would arrive back home to share the booty, and to retell the story of thier encounters.

Now this Hero's Journey is no less imposing than the journey of every creative professional because every creative professional (in my way of looking at things) is a hero in their own right. They are modern day heroes who go up against the odds in pursuit of making a living championing what they believe in while using their creative skills as their armaments. When I consult with creative professionals who are starting out, or who have been around for some time but have lost their way, I first have to determine where they are in transition and then help them to get back on the path that is best for them so they may get the most out of their talents.

Commitment:  In your book, you state that “change is at the very core of the creative experience.” What did you mean by that?

Tony:  When things are in stasis there is no need for anything new. It is only when things get chaotic, out of balance, that we are forced to find a resolution to try to make things right again. Change is necessary for us to grow. Change is the obligatory disruption to the status quo that causes for us to no longer settle. The basic structure of the narrative requires some sort of change for a story to exist and evolve. Each one of us will have a unique response to change and that reaction to the change defines our creativity. Our reactions will depend on our individual perceptions, and background, and culture, and everything else that makes us different. But no matter what our personal history consists of it depends on our ability to respond in a way that is idiosyncratically our own.

Commitment:  How does a person who originally studied film-based photography make the transition to digital photography?

Tony:  The transition from film to digital is primarily a matter of learning a new technology. Digital is just another tool for a photographer to learn to add to his or her arsenal of equipment. The critical thing is, does the photographer, despite the method of capture, have the ability to express the essence of the moment and to create a story around the image?

I remember a panel discussion I took part in back in the middle 1980's with a bunch of photographers anxiously talking about how digital photography was going to put cameras in the hands of vast numbers of amateurs and no one would need professional photographers anymore. For some reason I envisioned what it must have been like in 1836 with a bunch of fine artists in Paris nervously saying, "Mon Dieu! Louis Daguerre has invented the machine that takes the picture and no one will want paintings any more!" Fine art painting has done quite well since then , thank you, and has not died away because there is still a need for those unique forms of expression. And photography is not threatened because of pixels; it has found a new means to transform images and tell more intimate and enhanced stories.

Commitment:  Who are your photography and art heroes?

Tony:  I have too many to list here. Obviously the ones I mention in my book (Barbara Bordnick, Dean Cundey, David Fahey, Mark Edward Harris, Ryszard Horowitz,  Douglas Kirkland, Bob Krist, Jay Maisel, Phil Marco, Pete McArthur, Eric Meola, Ken Merfeld, Pete Turner, Jerry Uelsmann, Nick Ut, Dan Wolfe, etc.) are high on my list. I have great admiration for them because they all raised the bar for the rest, and they impacted my life and caused me to experience the world in a new way.

Commitment:  How difficult is it to reinvent your photography career in middle age?

Tony:  In some ways it is harder because we all have expectations and when those expectations are not met we feel as though we have fallen short and become irrelevant in some way. On the other hand it is easier because a person who has been around may have unknowingly acquired skills (such as communication skills, organizational skills, languages, technological, and interpersonal skills) that could make them more attractive to a new clientele. I find that with a little direction (i.e.: assessment and planning) mid-career creatives have more flexibility in crafting a new career. And it is always very satisfying seeing an experienced professional find new meaning in their work and a new group of people who appreciate their growth.

Commitment:  How does a photographer learn to market her skills?

Tony:  As I mention in my book the key to marketing for a creative professional lies in understanding what I call the Passion First Marketing Paradigm. First you must answer the question, "What do I LOVE to shoot? I don't mean "like" to shoot, I mean LOVE to shoot. Everything starts with passion and this inquiry starts with defining one's passion. Next I ask, "Who needs what I LOVE to shoot?" followed by, "What is the smallest number of people who need what I LOVE to shoot?" By this I mean you must first identify your passion, then find who will understand and have a need for what you shoot, and then you must be prepared to focus on the most targeted number of people who appreciate your work. This simple formula will help you to concentrate your energies and keep in touch with those who have the ability to hire you and to take pride in having chosen and worked with you. It is a profoundly simple methodology for getting started and building a career because once you have proven yourself then your name will be circulated and you will be asked to do more involved work thereby being able to demonstrate your wide range of talents. I suggest you read my article on Self-Promotion in a recent article on Photo.net for more information on the Passion First Marketing Paradigm,
http://photo.net/photography-business/self-promotion-and-marketing/.

Commitment:  How important is networking when one is looking for work as a photographer?

Tony:  Networking is essential when one is looking for work as a photographer since people are generally looking for a photographer who is a specialist in a certain field and word of mouth promotion is the most efficient way of finding someone with special skills. I tell my students to always remember my "Bridge Theory" which is to cross every bridge you come to, and to never burn any bridges behind you. In other words don't be afraid to reach beyond your perceived capabilities, and never leave a bad impression because that person may be your connection to the next job opportunity. Stay in touch with past clients if only to let them know you are still in the game since so many artists leave the field they think you have gone on to something else unless they hear you are actively looking for new ways to grow in your area of expertise.

Commitment:  How can one best make a living as a photographer?

Tony:  Now there's a question of huge proportions. It will come as no surprise by now if I say, "Keep shooting what you Love to shoot." Notice I did not say, "Shoot whatever will make the most money" nor did I say, "Shoot whatever is popular or selling at the present time." The fallacy with those responses is that styles change and you will not want to constantly try to keep up with someone else's idea of what is "in" for the moment. You must have your own vision and be true to it. Time and experience have shown that if you maintain your artistic integrity and market yourself to those who see its value you will have a long and successful career.

Commitment:  How has software which allows for the manipulation of photographs changed the field of photography?

Tony:  Software such as Photoshop have altered the field of photography forever. At first image manipulation software was looked at only as a tool for cleaning up an image. Now that type of software is used to create new images and added a new layer of possibilities. I know of a growing number of artists who are making new strides in image manipulation thereby creating a new genre to be appreciated.  This is just another example of embracing the new possibilities that come with change.

And that's where we started this conversation with the gloriousness of change. Don't settle. Keep challenging yourself. Keep offering up new alternatives and new visions. Keep testing the status quo. Keep finding new ways to tell your story—to tell the human story—and you will always continue to grow as a photographer.

Tony Luna is the President of Tony Luna Creative Services, a Creative Consultancy founded in 1971, and Artist Representative/Executive Producer with Wolfe and Company Films. Mr. Luna has been an Instructor at the Art Center College of Design since 1985 where he teaches “Career Perspectives” in the Photography and Imaging department, "Presentation and Career Preparation" in the Liberal Arts and Sciences department, and “Crafting a Meaningful Career” and “Crafting a Meaningful Career-2-The Next Level" in Art Center’s Public Programs. He is the author of, “How to Grow as a Photographer: Reinventing Your Career” (Allworth Press) an informational and inspirational guide to career evolution. Tony has helped well over a thousand artist-entrepreneurs begin, sustain and enhance their careers, and hundreds of companies to grow and prosper. You may find out more about scheduling private consultations, attending classes, lectures and weekend workshops by contacting http://tonylunacreative.com/support_lectures.php, and you may get an overview of his creative career rejuvenation methods by going to www.tonylunacreative.com.

To purchase How to Grow as a Photographer, click here.