An Essential Guide to the Business of Photography vol1-Getting Started

An Essential Guide to

the Business of Photography Judith Pishnery

ii | Contents

About the Author - Judith Pishnery Judith began her passion for photography while in high school and continues it today. As a professional photographer, Judith works on assignment for editorial, advertising and corporate clients. Not satisfied with just assignments, she has always had a variety of personal photography projects in the works. Her personal photographic art works have been exhibited and collected throughout the South East. Additionally, she has been teaching photography for more than 25 years at various art colleges throughout Atlanta and leads workshops in the US and Europe. She is currently a photography professor at the Savannah College of Art and Design’s Atlanta campus.

After many years of teaching and working as a professional photographer, Judith returned to the classroom as a student and is proud to have completed an M.F.A. graduate degree from the Savannah College of Art and Design. She currently resides in a small town outside Atlanta, not unlike where she grew up in Pennsylvania, with her husband and two dogs.

As a professional photographer, Judith volunteers her time to serve on the board of the American Photographic Artists (APA), and has been involved for many years. In addition, she is an Advisory Board member with Atlanta Celebrates Photography (an annual photography festival) and has been involved on the Board of Directors since the early planning sessions in 1998.

Her company, Pisconeri Workshops provides expert, dynamic and creative learning experiences.

The Workshops are an opportunity to learn from a professional photographer and educator through hands-on-instruction, field trips, and travel experiences, bringing together the worlds of photography, art, history, travel and exploration for the creative mind. Each workshop is specially designed to explore and experiment with techniques, methods and creative processes to expand the visual content and technical expertise of the photograph. Locations include: the Tuscan & Umbrian countrysides of Italy, as well as Paris, Provence, and the Southeast US. She is planning to add more locations soon.

To find out more about Judith and to see a portion of her extensive photographic work, visit www.pisconeri.com or for her food, architecture, travel and stock images www. judithpishnery.com.

An Essential Guide to THE BUSINESS OF PHOTOGRAPHY | iii

An Essential Guide to the Business of Photography Introduction - An Essential Guide to the Business of Photography will introduce you to most of the information needed to launch your photography business, whether full-time or part-time. Being a professional photographer involves not only the creative part, but the business side is essential if you want to have a profitable, viable career.

This book includes a lot of information and more than a handful of projects, all designed to get your business started on solid ground. If you haven’t started thinking about ‘your business’ this is a great time to begin and get it organized. The projects are designed for you to get your business off the ground and on to solid footing. As you work on the projects, consider what you want your business to be and make the projects fit your goals.

Don’t forget to visit www.pisconeri.com/photobusiness.html and also http://pinterest.com/ jpisconeri/photo-business/ and come back often – additional links and information is included and will keep you up-to-date.

© 2014 Judith Pishnery Pisconeri Studio PO Box 339 Jasper, GA 30143 www.pisconeri.com

iv |窶イontents

An Essential Guide to THE BUSINESS OF PHOTOGRAPHY |

v

Contents GETTING STARTED 1

What is the Business of Photography

1

The Entrepreneur’s Attitude. . . . . . . . . . . . . . . . . . . . . . . 3 The Top 10 Characteristics of an Entrepreneur. . . . . . . . . . . . . . . 3 Going Pro: Joining the Ranks of the Professional Photographer. . . . . . . 5 Career Options for Photographers . . . . . . . . . . . . . . . . . . . 7 Additional Reading, Resources . . . . . . . . . . . . . . . . . . . . . 10 Do It Now Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 11 Entrepreneur’s Assessment . . . . . . . . . . . . . . . . . . . . . 11 Photography Career Options. . . . . . . . . . . . . . . . . . . . 12 Long Term Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 13 2

Business Start-up, Doing it Right

15

Business Start-up . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Your Place: Home, Office, Studio . . . . . . . . . . . . . . . . . . 17 Furniture & Furnishings. . . . . . . . . . . . . . . . . . . . . . 18 File Storage & Organization. . . . . . . . . . . . . . . . . . . . 19 Accounts & Resources . . . . . . . . . . . . . . . . . . . . . . . 20 Contacts, databases . . . . . . . . . . . . . . . . . . . . . . . . 21 Start-up Cash . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Legal Requirements. . . . . . . . . . . . . . . . . . . . . . . . . 23 Business Identity . . . . . . . . . . . . . . . . . . . . . . . . . 23 Business Licenses, Zoning, . . . . . . . . . . . . . . . . . . . . . 23

vi | Contents

FEIN vs SS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Sales Tax. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Business Structure. . . . . . . . . . . . . . . . . . . . . . . . 25 Sole-Proprietor . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Partnership . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Limited Liability Company (LLC). . . . . . . . . . . . . . . . . . 27 S-Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 LLC vs. S-Corp - Comparison . . . . . . . . . . . . . . . . . . . . 28 Business Plans. . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Standard Components of Business Plan . . . . . . . . . . . . . . . 30 Additional Reading, Resources . . . . . . . . . . . . . . . . . . . . . 32 Do It Now Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 33 Long Term Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 34 Projects: Business Plans. . . . . . . . . . . . . . . . . . . . . . 34 3

The Professional Photographer’s Toolbox

37

Professional Photography Equipment . . . . . . . . . . . . . . . . . 39 Professional Appearance & Grooming . . . . . . . . . . . . . . . . . 47 Computer Equipment . . . . . . . . . . . . . . . . . . . . . . . . . 49 Software Needs for the Photographer. . . . . . . . . . . . . . . . . 55 Asset Management, Technology & Workflow . . . . . . . . . . . . . . 59 Additional Reading, Resources . . . . . . . . . . . . . . . . . . . . . 63 Do It Now Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 64 Long Term Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 65 4

Resumes, Bios & Cover Letters

67

Resume, CV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Cover Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

An Essential Guide to THE BUSINESS OF PHOTOGRAPHY | vii

Bios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Electronic Versions. . . . . . . . . . . . . . . . . . . . . . . . . . 74 Additional Reading, Resources . . . . . . . . . . . . . . . . . . . . . 75 Do It Now Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 76 Projects: Resumes, CVs; Bios. . . . . . . . . . . . . . . . . . . . 77 Projects: Cover Letters. . . . . . . . . . . . . . . . . . . . . . . 78 5

Experience & Education

81

The Road to Experience . . . . . . . . . . . . . . . . . . . . . . . . 81 Willing Clients. . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Second Shooter. . . . . . . . . . . . . . . . . . . . . . . . . . . 85 The Photographer’s Assistant . . . . . . . . . . . . . . . . . . . . . 87 Education of a Photographer . . . . . . . . . . . . . . . . . . . . . 91 Continued Learning. . . . . . . . . . . . . . . . . . . . . . . . . . 93 Additional Reading, Resources . . . . . . . . . . . . . . . . . . . . . 95 Do It Now Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 96 Long Term Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 97

viii |  Contents

An Essential Guide to

the Business of Photography Judith Pishnery

Getting Started

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Chapter 1 - Introduction to the Business Side of Photography |

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What is the Business of Photography?

Making photographs and making photography your career are two different things. You know how to photograph, you’ve practiced and taken the photography classes, but you don’t know how to make it a business. You are not alone.

Photography offers many creative outlets and careers, but without a good business base, it is difficult to be a successful photographer. No matter how creative, skilled and talented a photographer may be, they will find that by having a good business structure it will put them on the path to a successful career.

An Essential Guide to the Business of Photography concentrates on the various business aspects that a photographer faces. By addressing the “professional” appearance of the photographer from their outward style of their business brand to the internal structure that encompasses the legal and financial aspects, this guide book will provide the framework to launch a professional photography business. Admittedly, this is a lot of information. Don’t be overwhelmed, because it will be approached methodically and in logical segments that will set the ground-work for your business.

You will be introduced to the essential skills necessary to run a successful, profitable photography business.

The guide is organized into 5 sections: 1. Getting Started - concentrates on getting your business up and running, including the business set-up, from business structures to organizing your equipment & technology needs and appropriate office, studio & work space or locations

2. Getting Noticed - introduces you to marketing techniques and tools necessary to get your business in front of potential customers & clients, including portfolios, websites, networking and social media 3. Financial Management - focuses on the financial side of your business from the ‘cost of doing business’ overhead, accounting, bookkeeping, to pricing & prices lists, along with taxes and insurance needs that affect small businesses 4. Legal Matters - centers on the essential contracts and forms to keep your business running smoothly, employment issues, copyright and other legal matters facing a small business or the self-employed.

5. Extras - covers a range of territory from professional organizations to stock & fine art markets, along with etiquette and tips and other issues that challenge the aspiring professional.

There are many career opportunities within the photographic industry, all of them have the same base structure, but each may have some particular attributes that will be discussed, such as how pricing for editorial photography differs from weddings and portraits for the consumer, which will be another pricing model for the fine artist.

No matter what your interests or type of photography business, the importance of having a solid base creates a professional appearance that resounds in the work, the person and the business operation. This guide will expose you to the concept of applying creative styles and techniques to your business operation.

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“Luck is what happens when preparation meets opportunity.”

— Seneca, Roman Philosopher, mid-1st Century AD

Chapter 1 - Introduction to the Business Side of Photography |

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The Entrepreneur’s Attitude When it comes to being an entrepreneur—a self employed, small business owner—there are several key elements that will contribute to success. Obviously, talent and skill are essential. Knowledge about the industry and general business is also important. Some experience, at least 2 years, (either on staff, as an assistant or some time photographing small projects on your own) is essential, but your mental attitude can make the true difference.

Consider the “long shot” in any competition, from sports to arts to business, yet they triumphed over the more experienced, the better funded, and the more skilled opponent. What was the most likely reason? Attitude!

The top 10 Characteristics for an Entrepreneur 1. Be passionate about your business.

Love what you do and do what you love. If you are passionate about your business, it is apparent to your clients and employees. You do a better job, go the extra mile and are proud of your end product. With this attitude, you will be able to weather the trying times and keep a positive perspective on why you want to be your own boss.

2. Be flexible.

It’s important to have a plan and set core values for your business, but it’s also important to be able to make changes

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as your business evolves. One of the biggest advantages of a small business is the ability to change with the times, and not get bogged down in big business policy and bureaucracy.

3. Don’t be afraid of failure & rebound from setbacks If you don’t take some risks your business will never grow.

It’s just inevitable that some of those risks will work out and some won’t. You can learn from the failures (hopefully you will) and use them as building blocks for the future. It’s also important to not let the setbacks cause you to retreat; rebound quickly and move on. Don’t dwell on the setback – use it to learn and grow.

4. Make decisions Procrastination will just hold you back. Learn to make decisions quickly. (see #3) 5. Take care of yourself You are your business. Your physical and mental health are valuable assets, take care of yourself. Eat good things, exercise your body and your mind. Balance your business and family. Enjoy some free time; go to a movie, the beach, a museum, lunch with a friend, ‘all work and no play makes Jack/Jill a dull photographer’.

6. Have confidence Believe in yourself, your abilities, your creativity, your business policies and your future. When you have confidence it shows in how you deal with clients, vendors, employees and everyone else.

7. Be frugal, don’t try to impress others with things The latest greatest gadgets and gear may look impressive, however, it’s important to create a ‘rainy day’ fund. You might impress some with the new toys, but you will impress yourself with the bank account.

8. Get advice, take criticism graciously.

You are not an expert at everything, it’s okay to seek and get advice from more knowledgeable sources. It’s also okay to ask for critiques and reviews of your work and your business.

Don’t live and work in a vacuum, the input you can get from outside your business will help you improve and grow.

9. Have a strong work ethic and integrity Remember this is your business and you will have to work hard to make it succeed, it’s not going to happen without you. You clients and employees will see and appreciate it, even if they don’t say so. Have integrity, adhere to strong moral and ethical principles. Be honest in your dealing with everyone.

10. Try something new Resting on your past successes, skills and styles may be easy and comfortable, but in order to succeed you are going to have to make some changes. Try new things, new techniques, new technology, new equipment and new business practices.

It might be uncomfortable and you probably won’t be good at them from the start, in spite of that, you need to do it.

Remember when you first picked up a camera? It was fun, but you weren’t very skilled, it took time and practice to be proficient.

Chapter 1 - Introduction to the Business Side of Photography |

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Going Pro: Joining the Ranks of the Professional Photographer.

Someone who makes beautiful pictures with a camera, does not mean that under pressure they will perform as well. The difference between a technically proficient photographer and a ‘professional photographer’ is attitude, experience and preparedness. Delivering what a client wants and needs, accurately, creatively, on time, and on budget, is the key.

Are you ready to be a professional photographer?

• Can you balance freedom of personal creativity vs. the pressure of the assignment and client needs?

• Can you deliver what a client wants and needs, accurately, creatively, on time, and on budget.

• Can you produce what the gallery can sell, artistic, timely, and professionally.

The freedom and enjoyment of personal creativity can disappear with deadlines and monetary concerns. We love

our personal projects because they are free of the pressures of a job. We are free to express ourselves, experiment, putter around and fail, without any consequences. To work on assignment with expectations from clients is totally different than enjoying and photographing the scenery in front of you, or creating self-inspired works. It’s harder to accept failure when the photos are needed for a specific, timely purpose; an editor on deadline for the next magazine issue; a business needing new product photos for an ad; a bride looking forward to the photographic memories of her special day. I’d highly advise that your first assignments be as low pressure as possible, so you can concentrate on getting great results, rather than dealing with the fear of failure and client disappointment.

You may be thinking that you have experienced the pressure of the assignment with class assignments, personal projects, or the occasional photo shoot for family, friends and

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acquaintances and even project for your regular job. This may be true, but consider for the client you must get an A every time. There are no extensions, there are not redos (usually) and if the client is critiquing your work it means they might not hire your again or they might not pay your for the project. In some ways the experiences can be very similar to class work and friendly, family projects; it can also be quite different. Only you can decide if this is the best career choice, whether it’s a full-time or part-time endeavor.

The road to being a professional and to being sufficiently skilled will involve time and dedication on your part. It will take approximately 10,000 hours to be truly proficient and skilled at what you do. This works out to about 40 hours a week for 4 years for a full-time photographer. If you are working more than 40 hours a week, and most entrepreneurs and business owners do, it may take less time. If you are only doing photography part-time, it may take longer for you to be truly experienced. Keep in mind there are generally three levels of skill, 1 - beginner, 2 - experienced, and 3 - expert.

The Many Facets of a Pro Many pros use numerous income producing strategies along with taking photographs to make a full-time living from photography, including teaching (workshops, classes, schools, and colleges) and writing photography related articles (blogs, magazines, e-zines) and books. You even have the option of “having the day job” and being a prophotographer as a part-time or weekend business. Don’t call the “day job” the “real job.” Photography and art careers are real jobs and by not considering them as such, it denigrates you and your chosen career. It’s not unheard of to have a successful wedding business or growing fine art print sales (among other options) and still work in a job during the week. In fact, that is a great way to get your business started, without some of the start-up financial pressure.

No matter which you choose (full-time or part-time pro),

you should choose to operate professionally with all of the business structure in place. This builds your confidence and professional practices right from the start.

Successful business people find a “niche” and become an expert or specialist, drawing upon their experience and interests. If you can become known not just as a photographer, but someone with an identifiable expertise, it can take you a long way to making some additional income, if not a living from photography.

Even as a specialist in one area, you can combine your skills to reach into numerous section of the market. Fine art photographers find uses for their imagery in brochures, consumer items, such as posters, greeting cards and calendars, to advertising and illustrations for book covers and magazine articles. Corporate photographers can use their skills for travel and editorial projects to portraits and weddings. Portrait photographers can find a market in people related magazines to various clothing advertising. Travel photographers can tap into the hotel and hospitality markets, along with portraits, and art markets. By applying creative thinking to the business side of photography, numerous outlets for your skills can be found, making a career in photography one of the most adaptable, versatile and farreaching of the career choices.

A career in photography is an evolving process, as new skills and techniques are learned, as new experiences and confidences are achieved, additional directions and outlets are opened. Once your business has a good base, it’s possible to add on other ‘specialities’ and expand your market potential.

Apply creative thinking to the business side of photography and you will discover there are numerous outlets for your set of skills, preferences and expertise.

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Career Options for Photographers The career options for photographers are numerous and varied. They can encompass almost any interest in almost any local. It will only be limited to the photographer’s location, interests and ambition. Being a professional photographer is a business, it is competitive and it is hard work. All that being said, the photographer will put more passion into the work, which will show in the final images, if it is something that the photographer truly enjoys. As you choose which field and type of work is for you, consider your interests and look in that direction. Many people say they don’t like photographing weddings, well then they shouldn’t be wedding photographers. Others love the whole excitement and ceremony and it shows in the beautiful, creative images they produce.

Tracking down job opportunities in photography gets a little trickier. There are numerous job boards, such as, monster. com, indeed.com, simplyhired.com, your College Alumni association and others, which you will want to search on a regular basis. You should also consider the classifieds in industry publications, like PDN (pdnonline.com, under classifieds). In addition to searching the Internet, you should cultivate and use networking and referrals to generate job leads. Most of the best jobs are snapped up quickly through referrals.

Keep in mind that every opportunity, whether it is freelance or full-time, is not always a good opportunity. You need to weigh the details and make sure the offer is good for you. Is the salary reasonable for the position? How do you know? Is the pay for the assignment really worth it? You should always find out as much as you can about any job opportunity, the individual or company and the requirements before you make any final decisions. What if you uproot your life and family, move across the country, only to find out the details are less than attractive or the company is on the verge of bankruptcy?

Career options for independent photographers include: As a self-employed, independent photographer your career can be adapted to your interests. Consider the things you like doing and discover what type of photography is needed. It can be as varied as social conscious journalism, to weddings, from luxury travel to industrial and agricultural products.

The options are numerous and only confined by your imagination and interests.

• Documentary, photojournalist, news, • Studio-advertising (catalog, ads, sales materials) • Editorial-numerous genres & topics (research the magazines) • Fashion (advertising, editorial, catalog, lookbooks) • Corporate/ business, annual report • Portrait - family, business, editorial, advertising • Wedding & Events

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• Music industry & Celebrities

• Fashion studio

• Industrial / agricultural / construction

• Newspapers & news agencies

• Travel, editorial & advertising

• Magazines

• Sports & action • Fine artist (prints, commissions) • Digital artist, multi-media • Public relations, events • Unit Photographer (stills on films, TV, videos, etc.)

• Beauty, glamour, head-shots (personal, business, talent)

Labs / Digital Lab After the photographs are made, the post-production, retouching, prints, presentation and finishing still needs to be done. Sometimes the photographer may be required to do it all, other times the processing and printing is turned over to the lab. Some of the options for photography lab work include: • Corporate, in-house

Staff – in-house

• Commercial studio

Staff photographers are employees of another business.

Large corporations generally need a photographer that has a wide variety of skills, someone who can handle executive portraits, business at work images and sometimes product shots for brochures and catalogs. Other opportunities may include working for a studio that shoots product catalogs for print and online sales, or possibly working for a busy portrait and wedding photographer. Although newspapers and magazines have cut back on staff positions, some do exist. Newspapers have a wide variety of needs from general news to feature sections on food, fashion and travel; if you can also write, your employment options are increased.

Magazines generally have a specialty, yet there or vast options (just look at the magazine rack); they may have a staff photographer to handle the general needs and also hire independent photographers (freelancer) for overflow and special needs.

• Newspaper or magazines • Commercial lab • Amateur and/or consumer lab • Digital studio (provides digital tech support to photographers, both on the shoot and after for post-production & retouching)

Related Photography Career Options The photography industry utilizes many other supporting services. They all have a valuable place in the industry and can make or break an image. If you love photography, but are not necessarily enthusiastic about all of the equipment, technical skills, and lighting techniques, among other things, there are many other interesting opportunities.

• Corporate, business, manufacturer

• Stylist - fashion, table top, food, interiors, etc.

• Catalog studio

• Costumes, wardrobe

• Portrait/wedding studio

• Digital re-toucher, Digital artist

Chapter 1 - Introduction to the Business Side of Photography |

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• Location scout, finder

• Curator / Gallery / Consultant

• Assistant / digital assistant

• Photo editor / post-production / retouching

• Digital tech

• Photo sales; retail, commercial, company rep.

• Videographer

• Marketing

• Second shooter

• Casting, models & talent

• Artist representative

• Photo shoot production & Producer

• Studio manager

• Kid/child wrangler

• Instructor / tutor / professor

• Animal handler/wrangler

• Special effects

• and on . . . . . . . .

• Set designer, builder, backdrop painter • Prop finder, designer, stylist • Photo buyer / art buyer

“The ladder of success is best climbed by stepping on the rungs of opportunity.” -Ayn Rand

10 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Additional Reading Become Your Own Boss in 12 Months, - by Melinda F. Emerson My So-Called Freelance Life: How to Survive and Thrive as a Creative Professional for Hire - by Michelle Goodman Zen and the Art of Making a Living: A Practical Guide to Creative Career Design - by Laurence G. Boldt

Resources www.pisconeri.com/photobusiness.html www.entrepreneur.com http://www.entrepreneur.com/blog/index.html www.inc.com (http://www.inc.com/eric-schurenberg/the-best-definition-of-entepreneurship.html) What I didn’t learn in Art School - http://www.pdnonline.com/features/What-I-Didnt-Learn--6207.shtml#.UBFsQbl80hc.facebook http://www.petapixel.com/2012/05/25/so-you-are-interested-in-becoming-a-photographer/ http://www.petapixel.com/2012/06/12/its-not-about-the-f-stop/ http://pinterest.com/jpisconeri/photo-business/

Chapter 1 - Introduction to the Business Side of Photography | 11

Do It Now Projects Entrepreneur’s Assessment Answer each question honestly, choose yes or no.

Assess your entrepreneurial attitude to see if you have what it takes (20 questions) _______ 1. You don’t need directions and supervision to get going. _______ 2. You’re a self-starter. _______ 3. You will work on a project until it is completed, no matter what. _______ 4. You meet deadlines. _______ 5. You have personal motivation. _______ 6. Concentration and discipline to complete tasks. _______ 7. Persistence and follow through on ideas _______ 8. Good health, lots of energy and stamina.

Assess your skills _______ 1. You have photography experience _______ 2. You have good communication skills (written & verbal) _______ 3. You have sales & marketing skills _______ 4. You have a marketing plan, along with a portfolio (print & online) _______ 5. You can multi-task – juggle several projects at the same time. _______ 6. You have other skills and knowledge that can be relevant to your business _______ 7. You have business skills _______ 8. You make quick, accurate decisions _______ 9. You have a likable personality _______ 10. You have attainable goals and a realistic plan _______ 11. You have a network of resources (suppliers, assistants, vendors, stylists, consultants, mentors, etc.) _______ 12. You understand the whole project, not just the details.

Assessment information on next page.

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If you have 10 or less yes answers, you really need this book.

If you have 10-15 with a yes answer, you have a good basis, but can benefit from most of the book’s information.

If you have 16+ with a yes answer, you have an excellent start and will fill in the missing pieces with this book.

Photography Career Options Decide on your options for a career in photography?

Think about the things you like and dislike. By assessing your own personality, the things you enjoy, as well as the things that are not favorite activities, it will help you decide and direct your photography business. Be honest with yourself, it will be best. Many times beginning photographers see money making opportunities in a variety of genres, but come to realize that they may not be cut out for some of them. For example: numerous aspiring photographers jump into the wedding business, so to realize that the time, the stress, the demands and even the expectations are not for them, where others may thrive on the joy and excitement of the day. Photography is fun, but also a demanding career, you should find a segment of the industry that you really enjoy and can make a decent income with it. You will be spending many hours learning, creating, networking, post-processing, discussing and numerous other tasks, you should do something you have passion for and enjoy.

Make of list of your likes and dislikes.

Consider which of these items in the likes column could be a good place to start with your photography business.

Chapter 1 - Introduction to the Business Side of Photography   | 13

Long Term Projects Subscribe to relevant publications, web newsletters and e-zines: Find information that will be helpful to your business.

This can be printed publications, websites and newsletters. The basic types of information you should be looking for is 1.) information the can improve your business skills 2.) information that can improve your photography skills. 3.) places to meet and connect with potential clients.

Work on business contacts: begin cultivating potential clients and networking with Business groups Read local art reviews and visit exhibitions, this is good to keep you up-to-date with current trends.

Attend local lecture, seminar, workshop to improve your business and photography skills.

Assemble a mailing and e-mail list by creating a contact database to keep track of clients, potential clients and resources

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Chapter 2 - Business Start-Up and Set-Up | 15

2

Business Start-up, Doing it Right

This Chapter concentrates on getting your business off the ground. It’s one thing to start a business, but it is totally another to start it right. Anyone can start a business today without any plan, without any capital and with any structure, but to be in business for the long term it is best to put the proper legal structures and plans in place.

Some of the topics include choosing the appropriate business structure, adhering to the proper local, state and federal regulations, organizing your office from choosing a location to setting up your bank accounts and creating a database for your networking, vendor and client resources.

The ground work for your photography business begins here.

“Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work.

And the only way to do great work is to love what you do. If you haven’t found it yet, keep looking. Don’t settle. As with all matters of the heart, you’ll know when you find it. “ — Steve Jobs

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Chapter 2 - Business Start-Up and Set-Up | 17

Business Start-Up Getting organized and staying that way from your space to your files to your resources, will facilitate you running an efficient business, with the need for fewer employees, saving you time and money. Remember most photographers operate a single person business, with some help from other ‘freelancers’. By keeping your business easy to run and efficient, you will have more time for the creative, photography side.

Your Place: Home, Office, Studio You should have an area specifically devoted to your business, it doesn’t need to be large, but it should be a permanent location; from a corner of the dining room to better yet, an office space of your own and if it fits in the budget and personality - a separate business space. By setting aside a specific place to run your business, you set a new professional attitude which transfers to everything you do, from answering the phone, to written communications, to dealing with clients, to your own feelings about your business. In addition to just having a space, keep it organized, decorate it and make it a pleasure to inhabit. This is your business, you want to like your work space.

Where should you work? There is the concern of Home vs. outside studio/office. Each has advantages, as well as disadvantages.

Working from Home has advantages, you only have one place to maintain, one rent/mortgage, one set of utility bills, one place to be. If you can manage living and working in the same location, have the space available for an office and shooting space if necessary, and can actually get your work done, this has huge advantage when you are trying to control your start-up costs and business expenses. It can even be used as a tax deduction.

There are many perks. A home based business has a much shorter commute time (from coffee pot to desk), you can work weird hours and not have to drive home, and you are there for your family if need be.

On the other hand, some people still are concerned that working from your home may not appear professional enough for your clients. Your home workspace can be as professional as you make it. Since the 90s and the trend for home offices, casual dress, flexible time, the Internet business and easy over-night delivery, the home office/ business has come into its own. Since the introduction of the live/work space in many neighborhoods, lofts and converted commercial or industrial spaces, it’s more accepted than ever. Many clients love the idea of seeing where you live and work, particularly for creative businesses, they get to know you personally and it builds a stronger bond.

If you regularly have clients visit your place, you will need to establish a separate area in your home, that is clean, neat, and professional in its appearance. Your clients will like the personal touch. The space should be easily accessible, or with its own entrance if available, you don’t want clients wandering through your home to get to an out of the way office or studio space.

The disadvantages come into play when you have a family or roommates that may be a distraction from getting the job done, to not respecting your need for work time, even though you are right there. Additionally, some people just cannot live and work in the same place, it’s too much of a personal distraction.

Having a place in a professional office building, art complex or commercial center can add to your professional appearance and your credibility while providing the space necessary for you to work (if you don’t have the available

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space in your home). It will also add to your expenses. If you can manage the extra expense, the office or studio space provides you a place away from home, to go, work and meet clients. An outside office eliminates the distractions associated with the home, from family to chores. It also provides personal contact; working from home can feel isolating and even claustrophobic for some. Some people really need this, they are use to going outside the home each day, to work, and find they get more of their work done by keeping to the routine.

If you want an outside space, but find the costs prohibitive - office and studio space can cost $12,000 to $30,000 a year for a tiny (1000 sq. ft.) studio space, depending on the location, you may look into sharing a space with another photographer or creative business. This may make it feasible for both of you to have a space and split the costs - much in the way roommates would share an apartment. You should know and trust the office/studio mate. There are also co-op art spaces springing up that rent out individual office spaces, with common areas for conference rooms and studio spaces.

This can be a great way to get out of the house, with minimal cost, along with some professional amenities you may not provide on your own.

You could also consider a hybrid model for your business, where you do most of your work from home, but can rent an office, conference room or studio space when you need it.

Consider the long-term implications wherever you decide to locate. Do you have the discipline and space to work at home? Do you have the cash to lease a commercial space?

It’s also possible that you start your business at home, with the goal of an office and studio as your business and finances grow. What are your current situation and your long-term goals - will you stay small or add employees?

Office Furniture and Furnishings It is important to set up your space with good working

furnishings. Your furnishings will depend on your budget, but should be functional no matter if you have purchased them at a thrift store or office surplus, or splurged on the latest trends.

This might include: • an adequately sized desk for computer and work surface • a comfortable desk chair • file storage (crates to file cabinets) for your paper work, including receipts, bills to pay and client records • image storage, which can now range from film files in binders and file cabinets, to CD/DVD and hard drives and even online for digital files • telephones, although mobile phones can be adequate for most • computers and printers (should be appropriate for today’s photography uses) • storage area for photography equipment and supplies • artwork and décor —you want a pleasant place to work.

If you are going to have clients visit, you need to provide them with a comfortable and professional environment, and possibly refreshments.

Examples and options for Office Furnishings bkkhome.blogspot.com/2010/01/home-office.html ikea.com theofficestylist.com/espana-photography-office-makeover www.gestureosu.com/garden-and-landscape/garden-officebuildings-are-a-great-way-to-work-from-home-or-create-anew-room.html

File storage and Organization You should organize a place to keep and manage your paperwork. There are numerous ways this can be handled; traditional file folders and cabinets work for many businesses, as well as filing certain information in binders kept on shelves that may need to be accessed frequently, or a combination of these.

File cabinets are great to keep paperwork close at hand, and out of site. You might consider them for items that don’t require frequent access, and for items that will go into the archive storage at the end of the year; paid bills, invoices and statements, etc. When setting up storage files for your regular office paperwork, it is a good idea to set up a separate folder or section for specific items, You will want to keep utility bills separated from credit card statements, supply receipts separate from bank statements, and so forth, you can be a detailed as you like, having a separate folder for each item or grouping similar items together. Whatever makes sense for you, any items that might be one bill per month, like utilities, could be grouped in one folder. Items that may have numerous receipts per month might be best to keep separated, even from similar receipts, such as keeping office supplies in a separate folder from photo and studio supplies.

Binders and magazine file boxes can be used to keep items that will be viewed frequently or used year after year, such

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as project information, model releases, image catalogs, insurance policies, creative research, marketing and advertising contacts, client lists, and items that will be used for reference.

You might also have separate storage for items that you want to read or review soon, but don’t need immediate attention.

You could use a nice box that holds letter sized pages and can be closed when you don’t want to look at or deal with the clutter.

Being a photographer you might also have a collection of prints, film and digital files that require additional types of storage. Prints can be stored in archival boxes with labels that identify the items inside, or flat file cabinets (also used for maps and blueprints). Film can be stored in file cabinets or binders for client and assignment work which is organized alphabetically by client name and then by the job number which starts with the year the project was photographed; for personal photography projects you could use binders that are organized by type of project or the location, with film in archival clear polypropylene pages. Some film projects may have been scanned to digital files and are included in the digital storage. Digital files should archived onto CDs , DVDs or better yet, hard drives, each disk and drive should be identified, cataloged and filed for easy retrieval.

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Accounts and Resources You will need to set up a network of outside accounts and professional services to help you operate professionally and efficiently. Take into consideration the types of accounts and services you use; begin by having a good resource network that you can add to as you grow.

Financial accounts should be among the first. You can start with your current bank or look to a credit union or community bank that may provide you with better service, particularly important for a new business.

The need for the separate business accounts may not seem apparent to you, particularly if you are trying to keep it simple and not have too many accounts to manage, that is understandable. However, it will make it easier to keep your personal finances separate from your business finances. This helps in understanding the costs of the business, the related income, as well as keeping it sorted for accounting and tax purposes.

If you begin your business as a sole-proprietorship, you can open a DBA (doing business as) account at your bank. It functions like your personal checking account, but has your business name and your name on the account.

If your have organized your business as an LLC or S-Corp., you must set-up business accounts. You will also need your FEIN number and the business’s articles of incorporation before you can open the new business bank accounts.

You will need a separate checking account for income deposits and for paying bills related to the business. A savings account, hopefully paying interest, to put away some of the profits as well as hold a portion of your income for tax payments and emergencies is also a good idea. Those with online features will make it more efficient to set-up payments, handle transfers and monitor statements on a regular basis.

A dedicated credit card, specifically used for business purchases, is another essential. Start-up businesses, without any sort of financial history, may have a difficult time securing a credit card in the business name. You can work with this by setting up a separate credit card in your name that is only used for business purchases.

Your bank accounts and credit cards will require diligence and control on your part to manage them responsibly, insuring your financial success.

Additional accounts to set up can include suppliers of photography equipment; computer, office and art supplies; delivery companies, such as UPS and FedEx; printing companies for photographic prints and promotional printing; photographic labs for printing, albums, online albums and storage; Internet and online services; and any number of other related business services. Your specific type of business may have specific needs. Get started with your resource list, it will save you time when you are really busy.

You should also maintain a network and database of other resources, which may include: • camera and equipment store • equipment rental • repair shops • labs - printing services • retouchers • art supplies, inks, papers, etc.

• presentation - albums, frames, portfolios, etc.

• computer - computers, software, printers, storage, file management • banks, credit lines, credit cards • printing services - for promotional materials • assistants and stylists, other crew

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• books, magazines, research and resources • mentors • workshops, classes, instructors • associations, groups, clubs • caterers

Agency Access that are geared toward the advertising, design and editorial markets for photographers. For a price you can purchase their service or just a mail or e-mail list.

Start up Cash

• accounting services

How much money is enough to get started? To insure a successful start you will want to have some operating capital when you get started.

• lawyers and legal services

The amount you need depends on several items:

• studio rentals

• marketing and e-mail management services • photographic assistants • stylists for hair, make-up, wardrobe and food • locations and location scouts • set and prop stylists and builders

Contacts, databases You will want to set up a system to organize your business leads, vendor lists and contacts. Numerous software offerings are available to handle your contacts, from a straight forward database to contact management software. Outlook is a popular program and can handle your contact list, e-mail list, to do list and calendar, all in one place. Filemaker is a popular easy to use database, and several other options are available. Find something you like, that is adaptable, easy to use, and start growing the list. Linda.com offers online training for most of these.

Your lists can be used for mailings, advertising and marketing, e-mail blasts, holiday cards and more. In addition to the contacts you make personally, you might also look to purchase mailing lists for specific purposes, such as a new marketing campaign. These lists are available from groups and organizations, as well as from list companies that will sort the list by location, income, or most anything you can think of. There are specific marketing companies, like

1.) If you came to this business with some personal photography equipment and computer with appropriate software, you may already have some of the more expensive items at hand. If you do have some gear to get started, you can always upgrade as your finances grow.

If you have to outfit from scratch, this can get expensive.

Start with some basics and add to it as you can.

2.) How much overhead (day-to-day) expenses do you have? Add up the monthly costs, from rent to phone to get an idea of your expenses.

3.) Is your business a full-time or part-time venture? If you are keeping the ‘day job’ and building your business on the side, you start-up cash may not be so crucial.

4.) Most businesses will invest about $100K in the first 3 years of business, this can include equipment, professional services and training Only you can determine what you have and if any additional items are needed to get started. In addition to the equipment needs, you should have two - six months of the monthly expenses available in cash. This cushion provides you the ability to pay your bills and gives you time to get new business.

You will need to update equipment, purchase back-up cameras and lenses, and outfit yourself with business cards, a professional looking portfolio (print and online), purchasing some promotional and advertising materials and have some

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cash on hand for supplies and expenses. This can be as cost conscious or as expensive as your budget permits.

relative, friend, partner, etc. They may provide a loan or gift to get you started.

Keep in mind you want to have the items you need to get started, but you don’t want to bankrupt the company before it’s off the ground. Research your real needs, purchase what you need to get started, and add to it as your income grows.

You may also acquire new equipment through leases, but should also be approached with caution. It may be less expensive on the front side to lease certain items, but you don’t own it and can’t sell it off if you need cash, and will still be responsible for the lease payment, even if income is slow or non-existent.

Many start-up photography businesses, borrow from personal savings accounts or use personal credit cards and credit lines for reasonable start-up purchases. This can be an instant source of cash, but caution is needed to handle these responsibly. It’s up to you on what sort of risk you can handle. You may want to consult with your account (and spouse or partner) before you get too far over your head. It is not usually a wise idea to borrow a significant sum to finance a new business venture. It’s very risky to use lines of credit and credit cards for everyday operating expenses. It can be a prescription for disaster.

Banks may lend you money for a new business venture, but only if you have a good track record or secure the loan with your personal guarantee (collateral such as your home or car) proceed with caution.

The SBA (Small Business Administration) can be another source for start-up funding. More information is available from the SBA (www.sba.gov). These loans are usually set-up through a bank, limited in supply, and unless you are looking for $10,000 or more to start up, this may not be the best answer. Also, your credit must be good.

Finding a financial ‘angel” can be another answer, a parent,

If you take the time and plan your budgets and finances, you will be running a successful, financial stable business from the start.

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Legal Requirements To start off on the right track with your business legally established in your community, you will need to check your city, county, and state laws and regulations. This can be a time consuming task, and can mean talking with several different agencies at the state, federal and local level. Most of these now have the necessary information available on their website, some even in section labeled for new business.

Information contained on this section is not all-inclusive and should not be considered a substitute for legal council from a qualified attorney and/or accountant. As each area of the country and the world can have specific rules and regulations, you should do some research before you make any decisions for your business.

Your Business Identity You will want to establish a name for your business, which can be as simple as your name or as involved as a new company name. Some states will require that you register the company name with the state, corporations must register, and fictitious names must be registered before you begin operation.

If you are choosing a new name for the business, you will want to research it to make sure there is not a similar business with a similar name. If you are planning on working nationwide, and who isn’t now a days, with the speed and ease of the Internet, you will want to do a name and trademark search before you invest in business cards, stationery, websites and any advertising materials.

My recommendation is to keep it simple, not to cutesy if you are establishing a company name. Additionally, you will want to find out if the domain name is available, so you can have your website have the same identity. Once you have the

name, you can begin working on the branding and style for your business.

You may even want to trademark your name. A trademark is a brand name. Although federal registration of a mark is not mandatory, it has several advantages, including notice to the public of the registrant’s claim of ownership of the mark, legal presumption of ownership nationwide, and exclusive right to use the mark on or in connection with the goods/ services listed in the registration.

Business License It doesn’t matter if you are a full-time or part-time business, if you are running a business, that is actively pursuing customers & clients, selling goods regularly and making income, you are a business. If you only have a few casual sales, such as, you sold a prints or two or photographed an event, even if you sold an image for advertising, if it is a casual sale and you are not actively marketing and seeking clients, you probably haven’t established a business yet and may not need to obtain a license.

For most places throughout the US, you will need to register your business with the local government for a Business License. A license must be obtained from the city, if outside the city limits, then from the county. This legally registers your business to operate, it is another source of tax revenue for the local government, but also a necessity to establish your business.

Some types of businesses will have to obtain licenses from the federal government to operate, while other businesses, occupations and professions are also licensed and regulated by the state (not usually the case with photographers). Before you begin to operate any kind of business, find out whether

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you will be required to obtain any special government licenses or permits, since, in most cases, you must obtain them before any business activity begins.

you don’t have an EIN number, any financial information for your business, including tax returns will be associated with your personal Social Security number.

http://www.sba.gov/content/what-state-licenses-and-permitsdoes-your-business-need

If you are structuring your business as a Sole-proprietorship, the EIN number is not required, it’s just a good idea.

Zoning

If you are structuring your business as an LLC or incorporating, you will need an EIN number.

If you are working from your home or a residential area, you will need to check zoning for any local restrictions. Most residential areas do not allow you to post signs for your business and may restrict the number of business visitors you can have at your location.

In fact, this may be the first thing you do, as much of the other licenses, paperwork and accounts you set-up will ask for this number, or you will be using your personal SS number for all of your business filings

Certain areas also restrict the types of businesses that can be in certain commercial zones. You should check your communities zoning rules before you decide on your location. Commercial zoning will usually allow you to have a sign for your business. There may be other rules or restrictions for some areas, checking with the local government is needed to be sure you are complying with the rules.

Sales Tax

FEIN vs SS number You should also apply for an EIN (Employer Identification Number) from the Federal Internal Revenue Service. It doesn’t cost anything, just a form to fill out. This number is issued for the purpose of tax administration and is like the Social Security number for your business. The benefit is it separates your business from your personal SS number, and your personal identity (and possibility of personal identity theft) from your business.

Unfortunately this can cause your business to have no credit file, since the number is new without any financial history.

This may make it more difficult to establish any business financial accounts, until you have a bit of a track record. If

Since you are a business, which will be selling to end users, either other businesses or retail consumers, you also need to register with the sales tax department of your state, get a sales tax ID number, and start the process of charging and collecting sales tax.

You will then have the benefit of being tax exempt for purchases of items that you will incorporate into the production of a product or service and then sell to someone else. Each state, county and city may have it’s own sales tax rate. Wherever your business office is located, is usually the sales tax rate you would charge.

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The Business Structure When starting any business, one of the first steps is to choose the correct legal structure. Will the business be a soleproprietorship, a partnership, a Limited Liability Company (LLC) or an S-Corp? This choice will determine who owns the business, what the activities will be, what the risks and liabilities are and tax considerations. It may be important and is highly recommended to discuss your choices with a CPA or attorney before settling on which business structure is right for you and your specific situation. Additional information on business structures can be found at websites like nolo.com and legalzoom.com, as well as in numerous books on the topic.

If you have already started a business and did not choose a specific entity, you are most likely a sole-proprietorship, whether you know it or not.

Sole-Proprietor The simplest business structure is the Sole-Proprietor. The business is owned by one person (If owned by a married couple, a sole proprietorship must be solely owned by one spouse, and the other spouse can work in the business as an employee, otherwise it is a joint venture and has different rules. Consult your CPA or accountant for more information.); it’s easy to set up and maintain and easy to close if it doesn’t work out. If your doing some business already and do not have an ‘official’ business set-up; you are considered a sole-proprietorship (your may or may not be legally set-up, but you are operating a business).

As a sole-proprietor structured business, you must still comply with all regulations and tax issues. Depending on where the business is located you will need to register the business and name, secure a business license, any necessary permits and file for a state tax registration. You can check

with the local city or county government office to find out exactly what is required of new businesses. All of your information is private.

You can use your personal checking, savings and credit cards for your sole-proprietor business, but it is a better idea to have them separate. By separating them it’s easier to see the business’s income and expenses, and have a better idea on the success (or not) of the business.

As a sole-proprietor you are personally responsible for all aspects of the business (the good and the bad). You are personally responsible for paying income taxes, business taxes and all business debts. A sole-proprietorship is not legally separate from the person who owns it. This also means that if the business is sued or responsible for any damages, injury or debts, the business owners assets will be used to fulfill any payouts. All business income or losses are reported and filed on the individuals income tax return and the tax rate is at that persons tax rate, IRS Form 1040 with Schedule C (profit or loss from a sole-proprietor business) attached. All of this income is also subject to a self-employment tax (which consists of Social Security and Medicare tax).

If you are just starting out and don’t have any assets (no house, no savings, nothing of real value), a soleproprietorship can be a reasonable structure for your business; you don’t really have anything to risk. If you do have assets, you will want to use a different structure, so your assets are protected.

Partnership A partnership is not extremely different from a soleproprietorship, except there is more than one owner, all of the other criteria and risks of the sole-proprietorship apply.

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DO’s & DON’Ts - CHOOSING A BUSINESS STRUCTURE THE DO’s 1. DO know the tax and personal liability consequences of a business entity before making your choice.

2. DO develop a business plan. Your business plan may dictate the options you have in choosing a business form.

3. DO strictly meet the state requirements if your business entity is required to file organizing documents with the state.

4. DO ask your attorney if something doesn’t make sense. Your attorney works for you, and should help you understand every part of the business start-up process.

THE DON’Ts 1. DON’T begin operating your business before determining its form. Operating as a sole proprietorship with the intention of forming a limited liability company or a corporation will not shield you from being personally liable for any obligations or debts prior to the formation of a limited liability company or a corporation.

2. DON’T assume that the business entity you choose is authorized to do business in other states as well. While a sole proprietorship and general partnership may be able to do business in other states fairly freely, other business entities may not even be recognized outside of their home state. This strips away the protections that the business entity provides its owners. At a minimum, limited partnerships, limited liability companies, and corporations need to register in the states where they will conduct business.

3. DON’T panic. Choosing a business form can be complicated. An attorney can make sure that you choose a business entity that is right for you.

The biggest difference is there are multiple owners, which can create multiple issues.

Although not required of a partnership, it makes good sense to have a written partnership agreement that includes details on what the partners are contributing, where responsibilities and tasks will be divided and what options are in place to close the business or buy out a partner. Attorney costs may be involved in setting up the agreement, but are definitely worth it.

An EIN number is required, since more than one person is responsible for the business. Also, separate bank accounts specifically for the business will be needed.

Even though the differences are minor between a partnership and sole-proprietorship, several stand out that could create more problems than it’s really worth. With more than one person as owner of the business, there is now more than one person making decisions, purchasing new equipment, services and everything else that binds the whole business to any business deal initiated by one of the partners. The only thing that is protected is one partner cannot sell all of the partnerships assets.

All of the partners are personally liable for all business debts and obligations including court judgments. All of the partners personal assets are at risks and can be used to pay any business debts.

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A partnership is more like a marriage, if things don’t work out, a divorce will take place. Sometimes it’s a simple divorce and very easy, other times it’s very messy. If a prenuptial agreement was in place (a lot like a partnership agreement), the split up can be faster and easier.

Rather than a partnership (unless you want to work out the agreement up front - highly recommended), a roommate type arrangement may be easier. If you and a partner want to share some of the start-up costs to make the business easier, you could pool your gear, skills and experience, secure a location together and work together on some things and separately on others. Sometimes the experience is good, everyone gets along, does what they are supposed to, and it works out well. On the other hand some roommate experiences are not so good, one roommate is a slob, doesn’t pay the bills, mooches off the others and causes problems.

As roommates you can decide to part ways and take with you what is yours, starting over somewhere else. As partners it’s not as easy to part ways, many times the ‘partnership’ has purchased equipment, rented an office and commingled other assets that can be difficult to split to everyone’s agreement.

Only you can decide which is right for you. Give it careful thought.

LLC - Limited Liability Company

Any profit or loss from the business is split up and “passes through” to the individuals, which is reported on individual tax returns (that are taxed at the individuals specific tax rate).

All of this income is also subject to a self-employment tax (which consists of Social Security/FICA and Medicare tax).

LLC - A limited-liability company, or LLC, combines some of the best aspects of partnerships and corporations.

LLCs can be operated by one owner or by two or more owners (called members). They must comply with all local requirements for registration, permits, business licenses, and tax registrations.

There is more than one personality, more than one ego and more than one philosophy of business; this can be good and bad. Setting guidelines and operating procedures from the beginning can stave off problems. All the business information is private.

Owners of the LLC are protected from personal liability for business debts and claims (there are exceptions). An LLCs business dealings and finances are kept separate from the individual owners personal dealings and finances; separate checking, savings and credit card accounts. An LLC must

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have an EIN (employer identification number - think of it as the social security number for the business). Some costs are involved in preparing the paperwork and filing it with the state agencies. This can be done by the business owner, through on-line legal websites or handled through an attorney and some CPA firms.

The LLC must also have separate bank and financial accounts.

All business income from and LLC ‘passes through’ to the member as salary (earned income) and is reported as personal income on the individuals income tax returns (profit or losses). All of this income is also subject to a selfemployment tax and Medicare tax.

An S-Corp must comply with all local registration, permits, business licenses and tax registrations.

Separate financial accounts for the business must be set up in the corporations name. An EIN number is required for setting up the accounts and for filing all tax and payroll payments.

The owner, if working for the company is paid a salary and possibly bonuses, like any other employee. All of the income is reported on the individual tax returns, the one exception is that salary is taxed at regular rates with the inclusion of a social security tax and medicare tax, where the bonus and business income is only taxed at the individual income tax rate - bonuses are exempt from the social security and medicare tax.

One structural and tax liability savings is for the LLC to elect to file taxes as an S-Corporation. This can be done when the LLC business is set-up, or at a later date. If done later, a form must be filed and approved by the IRS to take advantage of this, see irs.gov for specific information. This type of filing is mainly a tax savings measure.

All corporations must file “articles of incorporation” with their state government and pay a registration fee each year.

Share holders meetings must be held and minutes taken for the meeting, along with keeping a record of this information each year. Information is available to the public.

Owners of most small LLCs participate equally in the management of the business. Articles of organization must be filed with the state where the business is located and a written LLC operating agreement must be created.

Information is available to the public.

LLC or S-Corp - Comparison

S-Corporation

The similarities

There are many shared qualities between a Limited Liability Company and an S-Corporation, but there are also quite a few differences. Review the following information before deciding on which is best for your business.

An S-Corporation limits the owner’s personal liability for business debts and protects the owner’s assets (there are exceptions). There can be one (an individual) or up to 100 shareholders and the company may be public or private.

• Liability protection – the business owners are not personally responsible for business debts or liabilities (there are a few exceptions).

There are costs involved in setting up a corporation, but most attorneys and CPAs agree that the costs involved are well worth it for the protection that is given the business owner and their assets.

• Pass-through taxation - Both are typically pass-through tax entities. The S-corps must file a business tax return; LLCs only file business tax returns if the LLC has more than one owner. With pass-through taxation, no income

• Separate entities – each are separate legal entities.

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taxes are paid at the business level. Business profit or loss is passed-through to owners’ personal tax returns.

Any necessary tax is reported and paid at the individual level.* • Ongoing state requirements – each is subject to statemandated formalities, which can include filing annual reports and paying necessary fees.

Differences in ownership and formalities • Ownership: The IRS restricts S-corporation ownership, but not that of limited liability companies. IRS restrictions include the following: • LLCs can have an unlimited number of members; S-corps can have no more than 100 shareholders (owners).

• Non-U.S. citizens/residents can be members of LLCs; S-corps may not have non-U.S. citizens/residents as shareholders.

• S-corporations cannot be owned by C corporations, other S-corporations, LLCs, partnerships or many trusts.

This is not the case for LLCs. • LLCs are allowed to have subsidiaries without restriction.

Ongoing formalities • S-corporations face more extensive internal formalities. LLCs are recommended, but not required, to follow internal formalities.

• S-corporation formalities include: Adopting bylaws, issuing stock, holding initial and annual director and shareholder meetings, and keeping meeting minutes with corporate records.

• Recommended formalities for LLCs include: Adopting an operating agreement, issuing membership shares, holding and documenting annual member meetings (and manager meetings, if the LLC is manager-managed), and documenting all major company decisions.

Differences in management • Owners of an LLC can choose to have members (owners) or managers manage the LLC. When members manage an LLC, the LLC is much like a partnership.

If run by managers, the LLC more closely resembles a corporation; members will not be involved in the daily business decisions.

• S-corps have directors and officers. The board of directors oversees corporate affairs and handles major decisions but not daily operations. Directors elect officers to manage daily business affairs.

Other differences • Existence. An S-corporation’s existence is perpetual, but some states require LLCs to list a dissolution date in the formation documents. Certain events, such as death or withdrawal of a member, can cause the LLC to dissolve.

• Transferability of ownership. S-corporation stock is freely transferable, as long as IRS ownership restrictions are met. LLC membership interest (ownership) typically is not freely transferable—approval from other members is often required.

• *Self-employment taxes. S-corporations may have preferable self-employment taxes compared to the LLC because the owner can be treated as an employee and paid a reasonable salary. FICA taxes are withheld and paid on that amount. Corporate earnings after payment of the salary may be able to be treated as unearned income that is not subject to self-employment taxes.

• For more information and whether this might apply to your particular situation, please contact your accountant or tax adviser.

30 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Business Plans A business plan is any plan that works for a business to look ahead, allocate resources, focus on key points, and prepare for problems and opportunities. Before you jump off the deep end (even if you already have), take a moment and chart your business, it will benefit you in the long run and you will have a plan.

1. Know where you’re going.

Prepare a business plan that accesses your strengths and weaknesses, 1yr, 3yr and 5yr goal plan is advised.

2. Know the landscape.

Do your research. Know your competition, collect information relevant to your desired market.

3. Plan your path.

Create a business plan, mission statement, use your capabilities. Work on your pricing structure - Price your services; make it a good value for the price.

4. Finance your path.

Create a budget (overhead, equipment, marketing) 5. Get the proper equipment.

The proper tools -equipment, people, services.

6. Create a time-line Set a time-line for your plan, review it at intervals to check your progress.

7. Get to It! Work on your business: promote yourself, find new opportunities, in-corporate new trends and technology.

8. Review and adjust.

Review your business plan each year, make adjustments and corrections

9. Achieve the goal.

As you reach your goals, Look ahead and plan for the future, set new goals for the next 5-10 years.

10. Stay on top.

Keep yourself current with new trends and technology, improve your skills to stay competitive and creative.

11. Be Persistent and Consistent Growing a successful business takes time and patience; it can be extremely rewarding.

Types of Business Plans • Start-Up – just getting your business off the ground, this is the plan for you.

• Internal – want to work on internal structures of an existing business, this would be your choice.

• Operational-need to plan out the operational aspects, how the business is going to work, who will be in charge, etc., this is your plan.

• Strategic-have some ideas to put in place, create a strategic plan that charts your tactics.

• Growth or Expansion – time to grow the business, initiate a game plan to move the business into the next phase.

• Feasibility –not sure if your business idea has merit, construct a plan that investigates the possibilities.

Standard Components of a Business Plan 1. Executive Summary: Write this last. It’s just a page or two of highlights of the business. Also include Resume, bios, relevant personal information.

2. Company Description: Legal establishment, history, define the business, start-up plans, etc.

Chapter 2 - Business Start-Up and Set-Up | 31

3. Product or Service: Describe what you’re selling.

Focus on customer benefits.

not relevant and refine it to your specifics. It is a good and comprehensive outline for a start up business plan.

4. Market Analysis: You need to know your market, customer needs, where they are, how to reach them, etc.

http://office.microsoft.com/en-us/templates/business-planfor-startup-business-TC001017520.aspx

5. Marketing Plan: Your plans for marketing and advertising, including budget, materials and schedule.

If that doesn’t work for you, there are a variety of options available online. SBA offers an online version, and asks similar, but not as detailed questions. The template is designed to help you build a business plan. Review and complete each section of the template. At the end of the program you will be able to generate and save a formatted business plan which can later be further modified or presented as a final product. Completing this plan is a first step to building a successful business.

5. Strategy and Implementation: Be specific. Include management responsibilities with dates and budget.

6. Management Team: Include backgrounds of key members of the team, personnel strategy, and details.

7. Financial Plan: Include profit and loss, cash flow, balance sheet, break-even analysis, assumptions, business ratios, etc.

8. Goals: Set 1, 3, 5 and 10 yr. goals.

The Objective • Remember that the objective of a plan is its results, and for results, you need tracking and follow up.

• You need specific dates, management responsibilities, budgets, and milestones. Then you can follow up.

To get started on your business plan you can start with Microsoft Office offers a downloadable template for a startup business. It was created and provided by SCORE. There are 150 questions to answer; you can skip questions that are

http://web.sba.gov/busplantemplate/BizPlanStart.cfm Another great resource for a photographer specific business plan is provided by PhotoShelter. You must sign in with your e-mail to get the 24 page workbook sent to you. It is there way of marketing, but it is very worthwhile to be on their email list. PhotoShelter provides template based web hosting for photographers, in addition, they offer guidance with monthly webinars and PDF ebooks on a variety of business topics. http://www.photoshelter.com/mkt/research/photo-businessplan-workbook

Business Plan Don’ts Don’t use a business plan to show how much you know about your business.

Nobody reads a long-winded business plan: not bankers, bosses, nor venture capitalists.

Don’t use vague and meaningless babble of business phrases (such as “being the best”) because they are simply hype.

No matter how well thought out or brilliantly presented, it means nothing unless it produces results.

32 |  An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Additional Reading Start Your Own Business, Fifth Edition (Start Your Own Business: The Only Start-Up Book You’ll Ever Need)

by Entrepreneur Press The Small Business Start-Up Kit: A Step-by-Step Legal Guide by Peri Pakroo The Weekend Small Business Start-Up Kit (+ CD-ROM) by Mark Warda The Small Business Start-Up Guide: A Surefire Blueprint to Successfully Launch Your Own Business

by Hal Root and Steve Koenig Start a Business in Georgia, 5E (How to Start a Business in Georgia)

by Mark Warda Attorney at Law and Charles Robertson II, Attorney at Law How to Start a Business in Georgia (Smart Start) by Entrepreneur Press

Resources www.pisconeri.com/photobusiness.html www.nolo.com www.legalzoom.com

bkkhome.blogspot.com/2010/01/home-office.html ikea.com theofficestylist.com/espana-photography-office-makeover www.gestureosu.com/garden-and-landscape/garden-office-buildings-are-a-great-way-to-work-from-home-or-create-anew-room.html http://www.irs.gov/Businesses/Small-Businesses-&-Self-Employed/Business-Structures http://www.irs.gov/Businesses/Small-Businesses-&-Self-Employed/Apply-for-an-Employer-Identification-Number-%28EIN%29Online

http://office.microsoft.com/en-us/templates/business-plan-for-startup-business-TC001017520.aspx http://www.photoshelter.com/mkt/research/photo-business-plan-workbook http://web.sba.gov/busplantemplate/BizPlanStart.cfm http://pinterest.com/jpisconeri/photo-business/

Chapter 2 - Business Start-Up and Set-Up  | 33

Do It Now Projects Choose a Business Entity (Structure)

If choosing an LLC or S-Corp, complete the paperwork.

Register for an EIN number Register for a Business License (including Zoning & State Tax ID) Organize your work space, filing system and storage options

34 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Long Term Projects Business Plan - Prepare a Plan for Your Business Write a Business Plan of what YOUR photography business should look like. Consider your strengths, skills, interests, and other assets or liabilities; who might want to pay for your service or product; and how you might make such a venture possible.

Business Plan – Required Elements Organize the Business Plan in this order, answer all of the items listed: • Title Page • Table of contents • Statement of your business purpose. o Write a mission statement or statement of purpose for your business o Executive summary: Write this last. It’s just a page or two of highlights. o Resume and bio – include them. o Company description - Describe your company’s legal establishment, history, definition of the business, startup plans, etc. o What does the business do? Explain. o What are the products or services? Describe in some detail. Describe what you’re selling. Focus on customer benefits. o Who buys the products and/or services? Who is the actual buyer of your service & product? o How much will you charge (per project or per day)? o Include your pricing, price list and your justification for it.

• Internal evaluation (what you know and have, what you need, etc.): o Your skills and knowledge, start-up budget and information o Equipment you have and equipment you will need o Additional technical and creative skills you have and skill you need o Who you know (a list of people who would be helpful to you for mentors, advice, networking, career help, consultants, art buyers, curators, marketing experts, etc.). Explain why they are helpful.

Chapter 2 - Business Start-Up and Set-Up | 35

o Related knowledge you have (non-photo). What other knowledge you have, how it can be beneficial to your photo career.

• External evaluation o Analysis of business climate – is it good, bad, competitive, difficult, lucrative? Explain. o Where will the business be located (city or region), live/work location, commercial location, storefront, etc. o Who is the competition: who, type of work, how much do they charge?

(List at least five different competitors with as much information as possible. These should be real competitors at this point in your career. If you want to include 2 or 3 photographers that you aspire to compete with in the future, do so.) o Compare your proposed rates to the market. What can you charge? Explain. o What support services are available for your business (suppliers, assistants, stylists, framers, galleries, etc.)?

Site examples & explain.

• Your Marketing Plan – You need to include your plan for marketing, the budget (time & money), and the items you will need to market your business. o Strategy and implementation: Be specific. Include management responsibilities with dates and budget. o Management team: Include backgrounds of key members of the team, personnel strategy, and details. o Your marketing and advertising (promo cards, portfolio, Web site, paid ads, business cards, etc.) – include examples/samples. o Market analysis: You need to know your market—customer needs, where they are, how to reach them, what do they buy, where, how much, etc. o Who is your market (businesses, individuals, magazines, agencies)? Explain.

• Financial plan: Include profit and loss, cash flow, balance sheet, break-even analysis, assumptions, etc. o Since you probably will not have actual numbers for this, you can provide some info on the projected amount of cash or income you expect to need in the first year of business, and your expected business expenses.

• Goals: o Your goals and plan of action for one year, three years, and five years.

Example goals (they don’t need to be grand, only tangible): Year 1: I will participate in 4 group gallery shows. I will produce 12 new portfolio pieces. I will shoot for 5 clients, I will add 3 new galleries to the website, I will learn how to use studio lighting, Year 2: I will have a solo gallery show. I will produce 12 new portfolio pieces. I will acquire 5 new clients. I will shoot at least 1 day per week.

36 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Chapter 3 - The Professional Photographer’s Toolbox | 37

3

The Professional Photographer’s Toolbox

Equipment and Technology for the Professional Photographer The photographer is faced with an endless array of equipment, from new cameras and lenses to lighting equipment with a staggering amount of accessories, not to mention computer and software needs. How can you decide as a start-up and even throughout your career, which items are needed for the type of photography you do and which items are just cool new toys. There is a difference. Once you have decided you actually need something, how can you choose from the overwhelming selection?

This chapter will consider the photographic and computer equipment needed by professional photographers. In addition, software, technology and workflow issues will be examined, all with the purpose of making your photographic business, cost efficient with the right tools for the job.

Don’t do an important assignment unless you are prepared!

Decide on what’s needed for the project Consider good quality gear Know how to use it You don’t need a lot of gear You need the right gear Have back-up gear

38 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Chapter 3 - The Professional Photographer’s Toolbox | 39

Professional Photography Equipment As a professional photographer, your gear is expected to be above what most amateurs and enthusiasts will be using. Of course there will always be the exception.

You really don’t want to be charging hundreds to thousands of dollars for your photography services and have the same camera as your client. Even though the quality, creativity, and professionalism of photography goes beyond the actual equipment, the client’s perception of the equipment is a good part of the equation; it can put you in an awkward position.

So step it up a little, even if the consumer model of the camera may be adequate.

Keep in mind as you launch your business, you don’t need to start with everything. If you are in or near a large city, you can rent most items, which can be a cost saving benefit when you are starting out. There are also online options for cameras, lenses and some lighting gear that can be rented.

Renting gives you a chance to try out different gear and find brands and tools that you like. If you don’t have equipment rental as a good option (and even if you do), you will want to own your basic camera and lenses, along with some basic lighting. Take your time, do some research, get opinions from your friends, classmates and colleagues and make wise, informed purchases. If you do it right, your choices will last a considerable amount of time and be worth the investment.

The Pros Tool Box Cameras Decide on the type of photography you are going to do and the camera that fits the needs, look for comfort, ease of use, professional features, and quality.

• When choosing a DSLR camera, consider at this time there are two top brands, Canon and Nikon, but Sony

and a few others are nipping at their heels. Whichever brand you choose, you should be working with the professional or near professional level. It may not need to be the most expensive model, but should be the latest technology. With digital cameras, the newer sensor technology can make a significant difference in the quality of your images.

• Additionally you may consider a Medium Format DSLR, with top brands including PhaseOne, Leaf and Hasselblad, the price is steep for a beginning business, but they can be rented as needed.

• If you want to use film 35mm, Medium Format and Large Format (4x5 and 8x10) will be your choices. Your style and subject matter will be a major factor in your selection. Many brands are available, new and used.

Lenses Decide on the type of photography you are going to do and the lens that fits the needs, look for quality and sharpness, never go cheap on a lens. The major brands have a wide range of options and there are other quality manufacturers that make compatible choices. (The focal lengths included are for 35mm full frame DSLRs only. For other camera formats consult the manufacturers product guide.)

Zoom or Prime Lens: Where zoom lenses offer more options for focal length, from wide angle to telephoto, prime lenses are faster, offering lower F/stop settings for shallow depth of field in portraits and products and allowing higher shutter speeds in lower light conditions.

• Wide-angle (10mm-35mm focal length): These lenses offer a wide angle of view and greater depth-offield. Uses include landscape, architecture, interiors, environmental portraits, corporate photography, sports, and travel. They will have some wide-angle distortion in images.

40 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

• Normal (35mm–55mm focal length): The angle of view and perspective is close to normal eyesight. These are good, general-purpose lenses.

• Telephoto (60mm-200mm focal length): These lenses are good for portraits and products. They are also good for subjects that you can be close to.

• Telephoto extreme (200mm-1000mm focal length): These lenses are good for subjects that you cannot get close to because of distance or safety. Examples include animals, news, etc.

Tripods Not all photographers needs tripods but they are very useful if you need to stabilize the camera, either because of long exposures, or because of the subjects you photographing or even due to the weight of the camera & lens. Think about your needs for a tripod and check out the options. Tripods are available in small and portable sizes, being ideal for travel and hiking, or larger, heavier and more stable models. They each have there place, one tripod may not be ideal for every situation.

If you are photographing with a shutter speed of 1/60th of a second or longer/slower time (up to several seconds or minutes), you will need a tripod to prevent camera movement/motion blurs in the photographs. Make sure the tripod is sturdy enough to actually hold your camera and prevent motion/movement when the shutter is released.

There are many types of tripods on the market, from inexpensive, light weight and not truly stable (costing under $50) to heavier duty and heavy weight (from about $100).

If you want a heavy duty, but lightweight tripod, they do exit and are usually made of carbon fiber, making them a bit on the expensive side, ($235 - $600), but these can be well worth it if you have to carry it far. Very small table top tripods are extremely portable, can be handy, but will limit photo ops. Velbon, Slik, Induro/Benro, Manfrotto/Bogen and Gitzo are good brands.

Tripod heads (the part that attaches to the camera) come in a variety of styles. Some are called 3-way or pan-tilt, these allow for more control of placement and are good for precise alignment with subjects such as architecture. Ballheads are more fluid. Ballheads are better for people type photos when you want a smoother camera movement. Although either type will work well for most photographers, it’s really just a personal preference.

These are available with and without quick release options (a plate that attaches to the bottom of the camera, allowing for easy, quick removal, instead of having to screw the camera to the tripod each time). Additional brackets that make it possible to attach the camera in a vertical (portrait) or horizontal (landscape) position allow for more stability, as well as ease of attachment.

Note: Many photographers have a $25 light-weight tripod that is great for traveling. It is only marginally stable,

Chapter 3 - The Professional Photographer’s Toolbox | 41

doesn’t go very tall and you shouldn’t ever walk away from my camera sitting on it, it could easily blow over. When purchasing inexpensive tripods, be aware that some are designated as ‘video’ tripods and have limited tilt movement (they are not a good choice for photography).

the light, higher ISOs, increasing the possibility of noise or longer shutter speeds may be needed, with a risk of subject blurring. Some brands to consider are Lowel, Arri, Smith Victor, Wescott, and even halogen or LED work lights from the home improvement store.

For some portrait, sports and wildlife photographers, a monopod may be a better option. It offers stability for longer, heavier lenses, and is easier to move around than a traditional tripod. It is not a substitute for a good tripod, as it will not provide stability for long exposures.

• Strobes (aka. flash) are the standard for many commercial photographers. They are more expensive, but provide more light output and have a larger selection of light modification accessories. The ‘burst’ of light is fast and bright and freezes motion, shorter shutter speeds are possible and reduce the risk of blurred subjects.

Some brands to consider are ProFoto, Elinchrome, Dynalight, Alien Bees, Broncolor, Bowen, Calumet’s branded lighting, Novatron and several others.

A great option is to always have a table top tripod in your camera bag, it’s great when you want to use a tripod, but don’t want to carry a larger one.

Lighting Equipment Lighting equipment will depend on your subject and budget. Decide on the type of photography you are going to do and the lighting that fits the needs, look for ease of use, professional features, quality, plenty of power, good accessories and support.

• Hot-lights (aka. Photo floods, quartz, tungsten, halogen or now can include other continuous light options, such as LED and fluorescent) may be a viable choice. They are less expensive, let you see the light, can be metered with your in-camera meter, work for video and do a great job. Depending on the intensity of

Several brands now offer a battery powered model or accessory battery power source, making location lighting more practical. Just like with camera brands, lighting accessories are not generally interchangeable between brands, so once you choose a brand, this may be what you stick with for a long time.

A few brands have built in radio-slaves, which can be very convenient. This addition can also add a lot of value by not having to purchase separate triggers (aka. slaves).

• Speedlights (on-camera flash, hot shoe flash) provide small, lightweight, portable lighting solutions and can be

42 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

appropriate for a variety of subjects. Each camera brand offers several choices; in addition there are secondary options from Vivitar, Metz, Sunpak, Sigma, and Nissan.

The major benefit is all of these are battery powered, allowing for use in any environment. There are a variety of lighting modifiers available and seemingly more popping up regularly. Disadvantages include the fact you can’t see the light until you shoot something and you will need plenty of extra batteries.

Lighting modifiers adjust the quality and direction of the light and vary by type of light and brand. Some of the basics include umbrellas, soft boxes and octabanks to diffuse and soften the light quality. Snoots, reflector dishes, barn doors and grids will direct and concentrate the light. Beauty dishes soften and direct the light.

Additional modifiers include diffusion scrims or panels, flags, cookies, and scrims. Gels (to color the light) and cinefoil (matte black aluminum) can be useful as well.

Accessories Find accessories the make your job better and easier, while some gadgets are fantastic, others can be a waste of time, money and space, research your needs and make an informed purchase. This can include camera, lighting and general accessories. For example: Many photographers have found that radio slaves (a radio frequency trigger for strobes and on-camera flash) are one accessory that are really needed

and very useful, even though they are expensive, they are invaluable. Pocket Wizard, Radio Poppers and other radio slave brands are available and work well, they are not usually interchangeable.

Even though batteries are more of a necessity than an accessory, having a few extras for your camera and flash are a general requirement. Don’t forget to include the battery chargers. Keep in mind that batteries and their chargers all have a life span and can function less efficiently as well as fail after several years of use. Sanyo makes Eneloops which are good reliable rechargeable batteries.

Media cards are another necessary item and you should have several. Most photographers find having several smaller media cards a better practice than one large card. Just as batteries, media cards can have a life span and fail over time.

You don’t want the entire project on one media card for this very reason. Note: Don’t forget to format the media card each time you use it. Of course, that is after downloading the images to the computer and making a back-up copy.

For some images with long exposures, you may also need a cable release or a remote shutter release to actually take the picture. The cable release attaches to the camera, the remote release does not; both permit you to release the shutter and exposure the image without ever physically touching the

Chapter 3 - The Professional Photographer’s Toolbox | 43

camera. It is as essential as the tripod for long exposures, because if you touch the camera to push the shutter release button, you risk moving the camera during the exposure, which defeats the major purpose of the tripod.

As your business grows, your cash flow improves and your need for more and different gear increases - it’s time to add to your equipment. All additions and upgrades should be based on your business needs.

Digital cameras today have extremely accurate and easy to use built in light meters, but there still is a good reason to invest in a separate hand-held one. With a good light meter you can easily and accurately measure and control lighting contrast ranges. Additionally if you are using flash/strobes a light meter will assist with accurate exposures, light settings and contrast control.

New vs. Used

Other accessories you can use will be anything from clamps, tape, foam board, leatherman or swiss army knife and additional light stands to backgrounds, carts, camera bags and weather gear. If you travel, don’t forget power adapters and locks for your bags. Not all things are official camera accessories, but can make the job easier and more efficient.

Upgrading When your gear is no longer functioning or repairable, it’s definitely time to upgrade. With digital gear, as it becomes too slow, or pixel resolution out paces your gear, it’s time to upgrade. Most photographers consider a new digital camera - every other model or every 24-36 months. This keeps them up to date, but not on the cutting edge. This is true most of the time, unless the model you are using is only upgraded every 24 to 36 months, or the newer model has features you really could use.

If you buy quality lenses from the beginning, even if you have to wait a bit to purchase the more expensive option, they will be a wise investment. And they will last through several camera body upgrades.

Lighting equipment has a longer lifespan, but new features are being added regularly - decide if the new features will improve your photography before making any changes.

Much good used equipment is available on the market.

Purchase from a reputable dealer - info can be searched on-line - with a reasonable return or replacement policy. If you don’t need the latest model, you are sure to save money.

Watch out for ‘too-good-to-be-true’ offers, much of them can be rip-offs or scams, such as vendors offering way below retail, only to find out that the usual items included in the box are being sold to you separately.

You can also find decent used gear from a variety of sources, including Ebay, CraigsList, Facebook groups and private sellers. The deals can be great, just make sure the equipment is working correctly, since these sellers will not usually provide returns or repairs.

Back up gear As a professional you need more than your basic equipment; you need some back up gear. This could be owned or rented as needed. Usually an extra camera body and lens and some extra lighting equipment, just in case your main gear fails or breaks. It is a really bad idea to go on an important project without back-up gear. Keep in mind that you are offering yourself as a professional and back-up gear is part of that.

What if you’re shooting an important assignment, event, wedding or out of town project and your camera fails? This could be a huge embarrassment, not to mention an expensive lesson - with clients, models, stylists and travel costs on the line, a little extra equipment is just good practice.

It’s also important to have back-up gear if you travel. The travel expenses and time may be significant, but if you have invested in the trip and then your photography equipment isn’t working, it can be frustrating and wasteful.

44 |  An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Although all photography has some of the same requirements, certain fields will have different needs.

Portrait, fashion, or people

Sports

Wedding & Events (similar to portraits and sports)

camera

lenses

lighting

DSLR, Medium Format Digital (some film cameras)

lenses - wideangle, normal and short telephoto; can be fixed/prime or zoom, also consider fast lenses that have f-stops of F2.8, F1.8, F1.4 and F1.2,

strobe, studio/ location lights, light meter, lighting modifiers and reflectors

check the capture and buffer rates, this can be important if you are shooting fast moving people and can mean you need the more expensive camera body, DSLR (video wide-angle, capabilities). normal, short telephoto, longshoots fast (has telephoto - best a fast capture if fast lenses; and buffer can be fixed/ rate), prime or zoom, DSLR (similar to (possibly some portraits and film cameras) sports) similar to portraits and sports)

tripods and accessories Tripod, cable release

flash (oncamera, portable), and reflectors

monopod

(similar to portraits and sports)

Tripod, cable release (similar to portraits and sports)

studio

people

Studio, rental Assistant, studio, and/or a stylists, hair list of locations and make-up, wardrobe,

Assistant or second shooter

Chapter 3 - The Professional Photographer’s Toolbox   | 45

Product & Advertising

camera

lenses

lighting

DSLR, Medium format or Large Format (mostly digital, very little film usage)

normal and short telephoto; can be fixed/ prime or zoom

hot-lights or strobe) light meter, lighting modifiers and reflectors

tripods and accessories Tripod or Camera stand, polarizing, neutral density, graduated filters backgrounds and surfaces, set, props Monopod

News & Documentary

DSLR, video capabilities

wide-angle, normal, short telephoto, longshoots fast (has telephoto - best a fast capture if fast lenses; and buffer rate) can be fixed/ prime or zoom

Flash, oncamera, portable, battery power

Wildlife or animals

DSLR, video capabilities.

Shoots fast (has a fast capture and buffer rate), shoots fast

flash,

Tripod, monopod, Hiking gear, good camera backpack

Architecture & Interiors

Standard high

location lights, light meter, lighting modifiers

tripod, polarizing, neutral density, graduated filters

end DSLR (fine detail is important, medium format digital

wide-angle, normal, short telephoto, longtelephoto - best if fast lenses; can be fixed/ prime or zoom wide-angle : shift lens, normal and short telephoto; can be fixed/ prime or zoom

studio

people

Studio, rental studio,

Assistant, stylists, prop stylist, food stylist,

Computer: Tether station, Tether software

Tripod or Monopod.

Video rig, including sound gear.

Assistants, stylists

46 | An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

camera

lenses

lighting

Business/ Corporate & Industrial

can include same gear as portraiture and architectural

location lights, light meter, lighting modifiers,

Nature & Landscape

Similar to travel and architecture

Travel

can include same gear as portraiture, architectural and nature)

wide-angle : shift lens, normal and short telephoto; can be fixed/ prime or zoom, wide-angle, normal, short telephoto, longtelephoto; can be fixed/prime or zoom wide-angle : shift lens, normal, short telephoto and long telephoto; can be fixed/ prime or zoom

tripods and accessories tripod, polarizing, neutral density, graduated filters

flash,

tripod, polarizing, neutral density, graduated filters

flash, location lights, lighting modifiers,

tripod, polarizing, neutral density, graduated filters

Contrary to what equipment manufacturers would have you believe, it’s not really the camera and lens that makes a better professional photographer. It is your photographic knowledge and practice which makes the use of the camera and lens better. It is always important to use good quality lenses, for good color, contrast and sharpness. Do consider using the best equipment you can afford, it will insure reliability. Also, keep in mind what is appropriate for your needs, what is the value and affordability, and how often it will be replaced or upgraded.

The photographer who has researched the field and determined the best equipment for the job and learned how to use it, will make the best images.

studio

people Assistant

power adapters

Pros don’t necessarily carry a lot of photo equipment; they know what they are going to do and have the appropriate tools for the task. They own (or rent) the proper camera, lenses, lighting, and accessories and know how to use them.

They take back-up gear as insurance. Pros don’t use new or unfamiliar equipment or try new techniques for the first time on an assignment; they have tested it out before the ‘big day.’

The most expensive gear and the most gear, does not make the best photographer.

Disclaimer: Brands are indicated due to reliability and popularity.

The author is not endorsed nor supplied with any of the brands listed. New items are regularly being brought to market, and may be just as good as those listed. Do your research and make informed purchases.

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Professional Appearance and Grooming In addition to photography equipment, the pro should consider “professional” attire and grooming as part of the toolbox. Consider the type of assignment or clients you are working for and dress the part, as well as any of your employees that will be interacting with the clients. A professional appearance makes the customer more confident in you, your skills and your business. This may seem like common sense, but I’ve seen plenty of instances that makes discussing this topic appropriate.

Whether photographing business portraits, weddings, industrial, manufacturing or construction locations, children’s portraits or events, and so forth, consider your audience and what is the generally accepted attire for the specific situation, dress the part. For example: attire for corporate, professional and business projects would require nice slacks or new jeans (maybe not) and sweaters or collared casual business shirts and comfortable shoes; for weddings and black tie events, a good comfortable dark suit or even a tuxedo may be appropriate; for the more industrial or construction sites - jeans, and golf or polo type shirts,

along with sturdy shoes; for family and children’s portraits or events, clean, new, casual clothes including jeans would be fine. Unacceptable items include: t-shirts and t-shirts with cute or offensive slogans, torn or frayed clothes, dirty clothes, flip-flops style shoes and general unkempt grooming.

Although being a photographer gives one license to be more creative in appearance, being a pro-photographer does not give one license to be unkempt. It does make the job easier to “fit in,” and adds to your professional credibility.

If you are in doubt of the acceptable attire for any project, don’t hesitate to ask. Your consideration will be appreciated by the client. Additionally, when you are hiring people to work as second shooters, assistants or other help an assignments, don’t hesitate to discuss appearance.

Note: If photographing events, weddings and parties, keep in mind you are working. It is not acceptable to drink and particularly not to over-indulge. Although you should be provided food and beverages for multi-hour events, you are working. Remember that.

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Computer Equipment With digital photography becoming standard practice, photographers are relying on their computer set-up for more than day-to-day office needs. There are more brands than ever, offering an array of configurations, from processor speeds to RAM to storage options, not to mention the peripherals and software available. How can you sort out what you need from the endless choices? The first step should be in deciding what you plan on doing with the computer, from the software you will be using, to the output you will offer, and then the storage solutions for data and image files. Also consider if you need a desktop system (larger monitor, faster computer & more storage), a laptop (portable) or even both (which is what most photographers end up with).

Contrary to some individual recommendations, neither the type of operating system (Windows or Mac) nor brand of computer matters much in today’s digital market. At one time Apple/Mac was considered the computer for creative types and the PC/Windows platform was for the accountants and businesses. This line has been crossed long ago; either can be perfect for the photographer. In 2006, PPA (Professional Photographers of America) conducted a survey of its members and found that 68% of respondents were using PC/ Windows based computers for everything they did.

Which computer and operating system you should choose for your photography business should be based more on personal preference, capability, cost and what you might be already familiar with, rather than with the latest ads or individual opinions. Plenty of photographers work with PC/Windows for their business and photography computing needs. There are also plenty who work with Mac, which is great if that’s what you are comfortable with. There is no need to switch from one type to the other; either will get the job done.

(Consider the continuing argument over which camera company is better, the computer argument is similar.)

Before choosing or replacing a computer, you should consider why you will be using it, which software will accomplish the tasks and your budget. Once you know your purpose you can go about looking for a computer that will fulfill your needs, the peripherals that will complete the setup, and the software you will be using.

By utilizing a wide range of software to automate numerous everyday tasks, you can become very efficient and lead to additional creative possibilities as a photographer, as well as contribute to your professional appearance. Not only can you standardize estimates and invoices; balance the checkbook and pay bills; keep track of clients and projects; create your own promotional items, from brochures to posters; manage

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your electronic communications and website; and process and enhance your images and produce prints for clients, your portfolio and fine art exhibits, but you will also minimize your need for additional staff if you can automate and manage all of these. Start with the software* you are already familiar with and expand your knowledge; each time you use it, learn something new, in no time you will be amazed are your progress and skill. *Purchase software when you are ready to use it, as well as have time to learn it. Software changes every 12-18 months and if you aren’t going to use it in that time, it will be a waste of money.

Computer Hardware and Peripherals Deciding on what you need in a computer is no easy task.

There are numerous outlets, from the big-box computer and technology stores, to online companies, to local and regional resources for custom built solutions. You will also need to decide if you need a desktop and a laptop computer.

The desktop computer offers faster computing speed and larger monitors, along with the capability of adding more peripherals (printers, storage devices, etc.), the laptop offer portability. Most photographers find they eventually need both.

If you only need a computer for general office work, including word processing, spreadsheets and basic internet usage, almost any source will be sufficient. You could purchase something ‘off-the-shelf’ and have it perform perfectly.

As a photographer, you probably have a much greater need than the general public and the $299 offers won’t be much good to you. You need a graphics capable computer, something that is more on the ‘power-user’ variety.

You can choose between Windows as an operating system which runs on most commonly available PCs such as Dell, Samsung, Toshiba and a host of others, you might look into

have a custom built computer, or MACs with the Apple operating system. The choice is up to you, and either is great, they will perform almost equally well for office and photography applications.

The first thing to consider is the software you will be using, and as a photographer, it will most likely be Adobe Photoshop or something similar for your digital darkroom.

Any computer that can handle this type of software can easily handle basic office uses. Find out what the minimum requirements are for that software and then go at least one level higher. The reason behind that - the minimum requirements will run the software, but it may be sluggish to downright slow. If you can only afford the minimum hardware requirements, that’s fine, but it’s best to purchase a computer system that could be upgraded easily; adding more memory, storage or any other hardware component.

Come up with a budget and realize you will be upgrading or replacing some items about every 2 or 3 years. A fast computer, with as much RAM as you can afford and the largest monitor (over 22”) that you can afford, will be a good start. Do a little research, ask friends, and visit a few of the digital sites for comparisons and advice.

The Computer CPU - speed for digital darkrooms should be high speed with a fast internal bus speed (check the latest Mhz and get the fastest you can afford, with as large a cache as possible).

RAM – this is a place where more is better, particularly to handle large image files, multiple images and Photoshop layers.

Storage Hard drives - both internal (included in the computer) and external (which can be individual or a box/tower of hard drives). The operating system and all of the software will need to be stored on the computer’s internal hard-drive, the

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total amount of hard drive space needed will depend on the software application that will be installed and used. Plan on a generous amount, so there is room to upgrade and add on, 1-2 terabyte storage drives are currently the norm. The general business will need a reasonable amount of hard drive space to store data files, this could be on the internal hard drive or external - but should be backed up regularly to another hard-drive and possible to an on-line storage solution. Photographers with digital files will need even more space, both on active hard drives and archived storage.

Using a bank of drives or server set-up that includes at least 2 or more terabytes of storage with room to add more is a good start. NAS (network attached storage) or DAS (direct attached storage) is a good solution to hold 2 or more harddrives in one box, they can be configured for automatic backup, RAID or even as individual disks (JBOD).

up at the end of each day. An additional solution is to have an on-line back-up resource. Several companies, like Carbonite, Mozy, Backblaze, Elephant Drive and others, offer online digital file storage. If you are using an on-line photo lab or website, many are also offering file storage as part of their service. This type of service can be great, since it provides an off-sight storage for your files, the price can be competitive, but sometimes the upload is slow, which can be limited by the service or your internet provider. Additionally the storage space may have limitations. Do some research and see what works for you and your file storage.

Archived Storage

There are many monitors available at a wide range of prices.

The current variety of LCD is quite good (as long as you do not purchase the cheapest one available). Midrange and professional lines often provide better image quality and extensive features, such as superior image-adjusting controls, integrated USB ports and memory card slots, a larger set of ergonomic options (such as height adjustment or the ability to pivot), and higher resolutions. Some professional-level monitors include hardware calibration, which adjusts the

There are several options for archiving your digital files.

One solution is to have a docking station, check out brands like Thermaltake, with uncased (bare) hard-drives. You can plug in the docking station, insert a bare hard-drive (after formatting) and archive/back-up to the drive. It can then be unplugged and stored. Recommendation it to do regular back-ups, weekly is good for most photographers, although some that are adding and changing files regularly may back-

The recommendation for archiving files is to have 3 copies of everything, on two different types of digital storage media, and to have one copy at another location.

Monitors

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monitor and/or graphics card to ensure precise hues. Some pro LCDs provide color-calibration tools, as well. LED models. Current recommended brands are some varieties of Dell, NEC, Lacie, Eizo, ViewSonic Pro series, and Apple Cinema. Do some research before you buy, online forums can provide you with a lot of good information and comparisons. You can spend as little at $275 to more than $4000, your budget and your usage will be a key factor.

Good monitors will generally last through one or two CPU upgrades.

As technology gets faster, cheaper, better, monitors do too.

When you are ready to purchase a new monitor, check out the latest online information and compare the reports.

Choose an IPS (in-plane switching) over a TN (twisted nematic) for richer blacks and wider viewing angles, along with wider color gamuts. Look for those with bit depths of 6 bits to 10 bits. You may have a choice between matte and glossy screens, although most photographers like matte.

Monitors between 22” and 27” are usually adequate for most.

It’s possible you might want a dual monitor set-up, with two of the smaller monitors. DVI, HDMI and display port connections are going to be better than VGA, and provide more of the images viewable information.

Where to purchase: It’s difficult to evaluate a monitor without seeing it in person, but keep in mind that most electronic stores only have the monitors connected to low quality video signals and not in your viewing environment, so you will not be getting the most accurate representation.

They also don’t usually have mid-level and professional level monitors on display or in stock. Whether you buy in store or online, only buy from a source that has a good return policy and no restocking fee. Online usually has many more choices, including professional level monitors.

Monitor calibration: Calibrating the monitor for photography use can be crucial to getting good output results. For many users, this can take the place of a visual calibration,

buy checking online sources (http://www.photofriday. com/calibrate.php and http://www.photographerusa. com/screencheck/index.html) and adjusting the monitors brightness and contrast (which is the biggest culprit to too light or too dark prints), or printing out a control print that includes a 10 step gray scale and adjusting the monitor to match the contrast and brightness of the print - as close as possible. Another source of monitor calibration is to purchase a specific tool, a colorimeter, along with the accompanying software to perform a more precise calibration. Spyder is a good reasonable priced colorimeter, with easy to use software (it is available in amateur to pro varieties).

ColorMunki, a photographer’s calibration solution from X-Rite, is also a popular choice and is available for only monitor calibration, or a version that can calibrate monitors, digital projectors and set-up custom printing profiles.

Monaco, GretagMacbeth and a few others are additional options.

Peripherals Drawing tablets - In addition to the standard Mouse using a graphics tablet or drawing tablet for artistic applications, such as Photoshop, is amazingly better than trying to draw with a mouse. The drawing tablet (Wacom is a popular brand, available in many sizes 4”x5” up to 21” from $100 to $1000+), uses a pen tool to draw on an active computer tablet, much that way one would draw on paper, it is the difference between drawing with a pen or brush compared to drawing with a brick in your hand (the mouse). Using a tablet will take some practice, but it is a wonderful tool, once you have spent a few times at the computer getting used to working with it.

Scanners - Digitizing flat art (drawings, printed items, old photographs) and even film of all sizes. Many varieties are available, flat bed types - which resemble a copy machine, are great for all types of flat are, some photographers even place items on the scanner and use the ‘scanned’ image

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as their artwork or incorporate it into other images. Film scanners are best for quality scans of film, they can be found for only 35mm film, or up to 8x10 film, price will vary according to quality, speed and size of film scanned. If you are shooting film or have an archive of film, you may want a decent scanner, for getting your images online, to being able to digitally print. Epson has very good, reasonably priced film and flat art scanners, Hasselblad offers top-of-the-line film scanning solutions, it will depend on your budget and needs.

Printers - Photographers now have easy access to great prints, with a few drops of ink. Inkjet printing has been made easy, affordable and of high quality by several manufacturers, Epson being the leader, HP and Canon, several others also have good printers available. Sizes range from dedicated 4”x6” up to 44” large format printers and prices range from $50 up to $10,000. Most common for the photographer is the desktop sized printer for about $850 that will print up to a very nice 13”x19” or the $1200 option that prints up to 17”x22” on a variety of papers, from the traditional look of glossy photo paper, to the luxury and richness of a watercolor paper.

You may also look into dye-sublimation printers, which are good for fast, on-sight printing at events. Canon, Kodak,

HiTi, and Mitsubishi have a variety of models. They can be a bit pricey, but are fast and consistent, just what you need at an event.

Using good ink and good paper is key to getting quality prints, along with an understanding of the process, mostly through Photoshop or Lightroom. Most manufacturers provide profiles (specific color setups), that are available either with the installation of the printers software or as a download from their website. Most manufactures also provide a selection of popular papers. Additional brands of papers are available and should be researched to discover if they are compatible with the printer you are using, not all papers work with all printers and the type of ink the printer may use. Learning how to print properly will require some practice and use of ink and paper to understand the process and get the results you expect. Specialty printers and papers, even inkjet fabrics are available, with much information available on the web.

Warranties and Support Contracts Most of your new equipment will come with a warranty, usually for one year. This usually provides for manufacturers defects to be repaired or replaced at no cost to you. It does not cover damage that may occur by rough use, spills or

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being dropped. The only exception to this may be if you by gray market products. These are perfectly good new products but are not manufactured or warranted in the US. If something needs to be repaired or replaced the item must be shipped out of the country.

Some items, like laptop computers, may be best handled by purchasing an extended warranty or support contract. Some of these even provide for damage by the user. Consider your current history with your equipment, the price of the contract, what is included (read the contract, don’t take the sales persons word for it), and how long it will apply. If your desktop computer has a warranty of three years and you normally replace it within that time frame, you probably don’t need anything additional. But if your laptop only has a one year warranty, or you have spilled your coffee on the keyboard or ever dropped one, you might want to consider that additional service contract.

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Software Needs for the Photographer Software Guide – what are your computing needs?

• Manipulate, process, store and print photos

• What about upgrades? Is the company established, new, standard in the industry, what?

• Keep track of clients and images in databases

• How does it compare to your realistic needs?

• Written communications - letters

• Do you need it right now?

• Bookkeeping and Accounting

• Will you use it immediately or later?

• Invoices, estimates, delivery memos

• Any additional software or hardware needed to make it work?

• Track photographs, for stock, exhibitions, etc.

• Printing brochures, promos, labels, etc.

• Internet and e-mail. Websites.

• Appointments/calendar • In the office/studio or mobile Don’t know which software you need? The following is a list and brief description of some of the most useful software you should be familiar with. Of course there are others that will work, but these are accessible, generally easy to use and most are standard in the industry, making support and training readily available. (No versions are specified, as they change often, the latest version should be considered.

Software more than 2 versions old is generally not supported by tech support, training or educational sources nor by any outside supplier you might use.)

Software Checklist: • What computer operating system does the software run on? Window, Mac, or Other?

• How easy is it to learn? Do you need a course?

• What kind of help is available? What cost?

• Is there a Demo available? A return period?

• Some reduced risk of evaluating the software?

• Does it link with other, current software; databases, calendars, word processor, etc.

Business Software • Microsoft Office - Microsoft Word, Excel, Outlook, Access and PowerPoint: a general office software package that provides word-processing for written communications of many types; a spreadsheet for lists, charts, etc; a calendar and contact management program, including e-mail; database for mailing lists, product lists, images, etc., and a presentation program.

• Google’s docs, now Google Drive, is a good option for online usage, and it’s free, from word documents, to spreadsheets, an appointment calendar and more.

It is generally compatible with MS Office, allowing your files to be used and used by customers, clients and colleagues. A benefit to Google Drive is the ability to share documents across computer systems and remotely.

There is also an online cloud storage component.

• Quickbooks Pro - professional accounting programs used to manage small to large businesses. Quickbooks Pro - allows for estimates, invoices, electronic delivery of both and has an online component for credit card payment processing, available for Mac and PC. Can be used to manage all business financial accounts and organize information for tax preparation, including those

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needed by an accountant. Or Quicken or Quicken Home and Business - a money management program that provides easy to use accounting software for individuals, families and small businesses. Either can be set up to managed checking, savings and credit card accounts, tracking income and expenses and organize financial information for tax preparation, including those needed by an accountant. Quicken Home and Business can be used by some home based, small businesses to track business finances, invoicing and expenses. One way to help choose, is to find out what software your account uses and coordinate with them to use the same or something compatible.

have been developed to assist specific industries, including photographers. Several companies produce management programs that have incorporated several of the types of business programs listed and included tools specifically to help photographers, from help with pricing to tracking projects and clients information, to organizing and tracking images and equipment; a one stop shop for software.

Some of these programs are easy to learn and affordable, others can be costly. Photography studio management and accounting options include: Bento, BlinkBid, StudioCloud (the basic version is free), ProjectedFrame, Account Edge, SuccessWare, ShootQ, PhotoOne, StudioPlus Software.

• FileMaker Pro – is a powerful, easy to use, database.

You can use it to manage inventory, track print order and image licensing, client contacts and other information.

Whatever you choose, good advice is to keep it simple, affordable and something you will use, and if you are having an accountant prepare your financial reports and taxes, using programs they are familiar with is a plus.

• Turbo Tax - software for filing business and personal taxes.

• Archiving and Backup - software to automate your digital file backups. This can be handled in many ways, from software to automate it, manual backups and online solutions.

There are additional software programs on the market that

Creative and Graphic Software • LightRoom or Aperture or Capture One Pro (in 2013 C1P added a new catalog feature) – used to manage image library (catalog) also has good RAW processors and some handy features including image enhancements, printing (without Photoshop), slide show and web

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gallery creation, and options for easy uploading to a variety of print suppliers, and online hosting.

• Photoshop* (latest version) – the digital darkroom software for photographers, allows image control - color balance, contrast, retouching, merging/combining, artistic and filter effects, all around image adjustment and enhancement; preparing images for use in print and online applications. Or Photoshop Elements - a consumer oriented version or lighter version of Photoshop, may be all that is needed, compare the features and decide.

• Illustrator* – a drawing and layout program, used to create graphics for postcards, brochures, posters, displays and more.

• InDesign* – a page layout and design program, used to create brochures, booklets and books, can be used for a variety of similar projects.

• Dreamweaver*– a website design and production program, used by most website professionals.

• Acrobat Professional – used to create PDFs (Portable Document Files) from any digital file.

• Premiere or Final Cut – if you are producing videos for your clients you will need a video editing program • Capture One Pro – a professional RAW converter and image editing software. It enables you to capture (tether), organize, edit, share and print. As of 2013 a cataloging feature was added.

Some software is offered as a suite of items. This is usually cost effective, all of the included programs usually work well together and installation is streamlined. Some companies are even offering a monthly or yearly subscription service to keep your software always up to date. *Adobe Creative Suite 6 is still currently available to purchase as downloadable software (not as boxed software), outside of the subscription based plans. Adobe is now (2013)

offering their Creative Suites and individual programs as online Creative Cloud subscriptions at reasonable monthly & annual fees. The benefit is your software is always up to date, with a few bonuses. There are some advantages & disadvantages to the consumer with the subscription based programs. “One simple membership gives you and your team access to the very latest versions of all the Adobe professional creative desktop applications like Photoshop, Illustrator, and more — plus new features and upgrades as soon as they’re available. Cloud storage and file syncing capabilities allow you to reliably access your files wherever you are, even on your mobile device, and you can share concepts with clients or colleagues more easily than ever.

Creative Cloud lets you install each application individually whenever it works best for you. Mix and match whatever you want — you have the freedom to choose which applications to install. If you’re interested in getting access to just one desktop app, Adobe offer a single-app membership plan for most of their products.”

Miscellaneous Software • Plugins - a vast array of add-ons for any of the software listed, generally provides features someone would like, but the main manufacturer hasn’t thought of it or included it - yet!

• Calibration tools & software - used to calibrate the monitor and/or printer.

• Cataloging software - also known as DAM or Digital Asset Management software - a database used for cataloging and storing, images and other digital files, the can also be easily handled in LightRoom, Aperture or CaptureOne. • DVD/slide show production - great for client presentations and add on for events and weddings • Virus protection • Internet, e-mail, web-surfing, web browser

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• Zip or StuffIt program

Resources & Training

• CD/DVD creator - for storing/archiving files and providing files to clients

A great resource for additional information on setting up a digital darkroom and some Photoshop techniques is “The Creative Digital Darkroom” by Katrin Eismann and Sean Duggan, published by O’Reilly

• FTP-access - for uploading and downloading large files or website access.

• Camera software (usually provided by the camera manufacturer for use specifically with their cameras, may include some image editing software • Numerous others - depending on what you do - a whole host of options Upgrading Software Upgrades - as time passes, most software will have an upgrade available, from free upgrades that may fix problems found by users, to upgrades that may cost a lot or a little and provide a host of new features. Don’t feel compelled to upgrade immediately unless the new feature is something you have been hoping for.

New Software - Each year new items are made available on the market. Check the features and your needs and choose accordingly. If you are not going to use the new software immediately or at least in 3 months of purchase, it may be better to wait, as software upgrade happen every 12 to 18 months.

Plug-Ins - depending on your style and needs, there are several additional software programs that may be helpful from up-sizing images with OnOne or Alien Skin, Nik tools for sharpening and various filter effects, photo frames, film effects, portrait retouching and a variety of other photographic and artistic effects.

Whatever software options you choose, allow for some training and education, along with some time to practice.

To get training in most of the listed software, you can check the company website, the software help menu and while you are a student, you have free access to www.linda.com – an excellent place for software training.

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Asset Management, Technology & Workflow Moving into the digital image arena, whether it’s with scanned images or those downloaded from cameras, creates a challenge in the management, filing, storage tracking and sharing of all the digital files.

There is no longer one generic workflow for every situation.

(Shoot, edit/select, post-process, print, file, deliver). Each photographer and each type of project presents unique problems and numerous choices. Deciding on a workflow that works for you may take some time. By no means should it be as daunting a task as it might seem. You should implement a workflow that is simple to operate, yet comprehensive for growth and flexibility.

Ask yourself some questions: What do you want to do with your images?

How best to manage the growing library of images?

How do you want to find your images?

What naming structure will you use?

Some of the steps that will take place with a digital image (after camera capture): 1. download or import to computer (into specific client, topic or project folder; some photographers use folders with dates instead of client or topics) 2. rename (this can be achieved with some programs when you are downloading) 3. extract and add meta data, including contact & copyright information 4. back-up, archive (this can be accomplished at the same time you are downloading and renaming if you are using Lightroom) 5. ranking, grouping, edit, create collection of selections 6. job tracking/ status

7. post-processing (includes batch processing and further Photoshop post-processing) 8. create client presentation: presentation/ sales; slideshow/ QT movie; CD/DVD presentation; Upload to online gallery; Website 9. e-mail 10. delivery (collect, burn, transmit, print) 11. archive 12. locate It may require several software programs to complete all of these tasks; from camera/processing software, digital enhancement, web design, to filing and archiving. If you can, use the least amount of different software as possible; it will simplify your life and minimize compatibility issues.

Some of the following software programs provide most of these needs in one place, others don’t. You may be motivated by price, but consider what your needs are before investing the time into organizing your images. It may be better to try out several of the programs before settling on one. Which one works for you is up to you. These programs provide a variety of management options, some are directed toward the casual user and others are designed to handle the professionals needs. Price ranges from $49 to $299. Most are available as a free demo/trial - download.

Software for Digital Asset Management LightRoom - by Adobe* Picasa - owned by Google (free) Adobe Album ACDSee Cumulus by Canto Portfolio by Extensis Adobe Bridge

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Apple’s Aperture Capture One Pro *Currently Lightroom is a top choice for many photographers to manage digital image files. Lightroom creates a database of the images and a preview thumbnail that is displayed for images on the local computer and those that have been archived. Lightroom allows you to see the archived image previews and alerts you that the images are not available on the local computer. In addition, Lightroom incorporates a RAW processor, it allows for a good amount of image enhancement and correction, and LightRoom can

be used to rename photos, add file info (meta info), including keywords, copyright and specific usage rights info, directly into the file.

Capture One Pro has recently added a cataloging/library feature to their professional, robust RAW processing software.

Naming your digital photos.

This is going to take the most thought. How do you want to name or label your images? What makes sense for you and your workflow? Would more than one naming convention

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be appropriate. It depends on your photography and filing needs, you might have one system for clients/jobs and another for personal/stock photos. All photos/files should be renamed – you choose your file naming protocol. It should include your name or initials or business name or initials – i.e.: jpishnery or judithpishnery, pisconeristudio or PS. It should include the project or client name – i.e.: Coke, Atlanta, this can be an abbreviation, it could include the year – i.e.: ATL10. Then a sequence number (LR automates this), choose 4 or 5 digit sequence. Separate the name sections with either an _ (underscore) or – (dash) be consistent. DO NOT use any other symbols or characters and no spaces. It should not be longer than 31 characters.

Common naming conventions client or job name, location, subject identifier - job number, date or SKU number or a detail name serial or file number -should be 4 or 5 digits Examples: jpishnery_062013_img5613.CR2 smith_040615_001.tif trump_chicago_001.jpg PS_georgiapower_corpbro04A_001.tif jpishnery_Atl_buckhead1104_001.tif PS_PF_eiffeltower1103_001.jpg PS-grandcanyon1295_001.tif Explanation of examples: Jphotographer_atl07_0053.CR2 jphotographer = photographer’s first initial and last name atl = abbreviation for Atlanta

07 = for the year photographed 0053 = sequential number for image CR2 = Raw file extension Rename RAW file on import to computer or immediately after import. If you do this, then all versions of that image always have the same file name. This makes it very easy to find all versions of any image: RAW files, Photoshop (PSD or TIF), jpegs, etc., they will all have the same name, but a different file extension.

Additional naming conventions that will help in finding post-processing versions of the same image; you can add a letter to the end of the file name that will indicate a specific version. {m=master or l=layered, c=crop, f or ff=flat/final, w=web} Example: Jpishnery_Atl08_0237.CR2 Jpishnery_Atl08_0237m.tif (m= master, layered file) PS_AtlMag08_1287.CRS PS_AtlMag08_1287mc.tif (m= master, layered file; c=cropped version) PS_AtlMag08_1287f.jpeg (f= final, flattened version) Use Lightroom, Aperture, Bridge or CaptureOne to add keywords, descriptions, copyright info and other metadata to the images, making additional image searches and management possible.

By assigning a sequential number to all imported images, they are easy to store, archive and find. By adding keywords, descriptions and other information to the files, they are easy to search, find and categorize, without having to increase the file name.

In addition to these file names, you need to consider categories and subcategories for your images, which may be

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used as keywords for finding the images later. Job files and personal files may be classified differently.

Whatever works for you - give it some thought - what do you shoot, how do you want to organize and find your images.

Categories and keywords

You can come up with an initial list of categories and subcategories and add to it later, but really give it some thought. To get an idea of places to start, search some of the Stock Photo sites to see what they use for categories and sub-categories. It’s a start. This will also give you an idea of additional keywords to use with various images. The better you do with this in the beginning the easier it will be to work with and the easier it will be to find your images in the future.

Clients, Travel, Landscapes, Landmarks, Nature, Animals, Travel, Architecture, People, Abstracts, Family, Fun Stuff, etc.

Subcategories and keywords deserts, seascapes, cityscapes historic buildings, bridges, monuments flowers, leaves, trees, water dogs, cats, wildlife, fish US, NYC, SF, Atlanta, Paris, Rome, modern, commercial, residential girls, boys, groups, families, children, infants green, blue, texture, graphics, colors funny faces, signs, summer, winter, fall, autumn, spring

For a more in-depth look at DAM - Digital Asset Management - get “The DAM Book - by Peter Krogh” and visit the website http://www.thedambook.com/pages/ resources.html

Chapter 3 - The Professional Photographer’s Toolbox   | 63

Additional Reading The DAM Book - by Peter Krogh and visit the website http://www.thedambook.com/pages/resources.html Digital Photography Best Practices and Workflow Handbook: A Guide to Staying Ahead of the Workflow Curve, - by Patricia Russotti , Richard Anderson

Resources www.pisconeri.com/photobusiness.html http://www.dpreview.com/ http://www.pdnonline.com/gear.shtml

http://www.thedambook.com/pages/resources.html http://blog.photoshelter.com/2009/06/digital-assetmanagement-and-t/

local camera stores (check out your local suppliers) bandhphoto.com adorama.com calumet.com lensrental.com borrowlenses.com aperturent.com

http://www.photographytalk.com/compare-prices/lens-buyingguide

lensprotogo.com

http://pinterest.com/jpisconeri/photo-business/

maconcampus.com

captureintegration.com cowboystudio.com reallyrightstuff.com monoprice.com atlex.com

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Do It Now Projects Based on the type of photography you want do in your career, consider the equipment you will need. Create a plan (could be known as your wish list) of the cameras, lenses, lighting, accessories, computers, printers, software, and other items you will need, or presume you will need, in the first two years of business. Include equipment you already own, indicating whether it will need to be updated, added to, or replaced. Do not include expense items (or items that are being used up), such as, seamless paper, inks, inkjet paper, film, photo papers, etc.

The plan should be as comprehensive as possible, with a cost or budget for each item. In some instances, you many include a specific model or software version or just list it as the “newest” option. You can be fairly confident that new items, at least for the next two years, will be close in price to similar items currently on the market.

Create a Photography Equipment List - in 2 parts, 1 list of items you have, 1 list of items you need.

What you have (name of item, approximate value, serial number if available).

What will you need? Include specifics where appropriate, brand and model of item, cost or projected costs, projected purchase goal.

Organize both lists specific items: cameras, lenses and accessories; lighting; other

Create an Office Equipment List - in 2 parts, 1 list of items you have, 1 list of items you need.

What you have (name of item, approximate value, serial number if available).

What will you need? Include specifics where appropriate, brand and model of item, cost or projected costs, projected purchase goal.

Organize both lists specific items: computers, software, other office items: storage, peripherals, printers, scanners,phones, copiers, etc.

Chapter 3 - The Professional Photographer’s Toolbox   | 65

Long Term Projects Create a Digital Asset Management & Technology Plan

Decide and describe your system for naming, storing, archiving and retrieving files (data & image).

What software or filing system will you use?

How will you name your files?

Where and how will you store your images, files & prints?

What is your back-up and archiving system?

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Chapter 4 - Resumes, Bios and Cover Letters | 67

4

Resumes, Bios & Cover Letters - your information in print

Along side putting the business together, your will need to review your resume/CV making necessary revisions and updates. You also need a personal bio, something the describes who you are, briefly in a paragraph or two. In addition to these, you need to work on creating a basic cover letter to use as a base for all of your potential job interviews and proposals. Having this information together and only needing to make a few adjustments when an opportunity arises, goes a long way to further your business.

Resume/CV (curriculum vitae) The main difference between a resume and a curriculum vitae(CV) are the length. A resume is usually a one or two page summary of your education, experience and skills. It is brief and concise. A curriculum vitae is longer, two or more pages and includes more details. The CV includes a summary of your academic background and education, and will include any teaching or research experience. In addition it will outline any publications, presentations, awards, honors and affiliations you have. When applying for academic, education, fellowships, grants or research positions, the curriculum vitae is used. For other types of jobs, the shorter resume is appropriate.

Whichever you choose or need, keep in mid the resume or CV is your background and skill set. It should include your education and your work experience. It can include achievements, your skills, a list of articles, exhibitions or awards, and any other pertinent information for a perspective employer or other application.

Is your resume informative? Does your resume pass the twenty-second test? That’s how long it takes a prospective employer or client to review it. Remember, this initial review is often for the sole purpose of screening people OUT. To improve your chances of landing that all-important interview, make sure you have easy to read, relevant information. Don’t write a novel, but don’t make it so short that you haven’t included important information. Make sure the information is accurate and don’t exaggerate or lie, it’s easy to verify and will come back to haunt you. One to two pages is the average length of most resumes.

Start with your heading, this is your name and contact information, include a phone number, e-mail address, and a website if you have one. If you are applying for a creative position, a website or portfolio will be a necessity.

The next could be your objective, this can be optional, but if you do have an objective, it should be specific for each job.

If you can’t write an informative objective, don’t have one.

The rest of the resume is your history, listed in chronological order starting with the most recent. The sections to include are education, work history, skills, and awards and exhibitions. Depending on the specific employment opportunity, the order of the item might change.

Under education, you should include the name of the college or school, the city location, the dates of attendance, the degree earned, any awards or scholarships and any leadership roles. If you didn’t complete the program, you can still list it by indicating the program or courses you studied.

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Your work experience should include the name of the employer, the city location, the years of employment, any achievements or leadership roles, and any positions of responsibility. This past work experience does not need to be related to the position you are applying for. Obviously it helps if it is, but none the less, it shows your employability and level of responsibility. Capitalize on your achievements, make your qualifications stand out, don’t use generic job descriptions. Use bullet point for key accomplishments, but not for everything.

If you don’t have previous work experience (and even if

you do and it’s not clear) you can include a list of skills that are relevant to the job position. For examples, applying for a position as a photography assistant you could list some or all of these items: DLSR camera systems, including Nikon and Canon, Studio Strobe Lighting, Tungsten/Hot Lights, Location Lighting, Digital Darkroom post-processing including Adobe Lightroom, Photoshop and Illustrator, Capture One, Epson Printing, Black and white film processing and printing, Microsoft Office including Word, Excel and Powerpoint, Quickbooks Pro, Filemaker Pro, Dreamweaver, etc.

15 TIPS FOR TOP RESUMES Easy ways to ensure that your resume attracts maximum attention:

1. Use headings that match the kind of job you want.

2. Create impact with good, clear design.

3. Write a resume that really sells your skills.

4. Use active language and descriptive words.

5. Employ words and phrases that clients expect.

6. Show how you can help the client.

7. Focus on the benefits your skills can bring 8. Create an image that reflects your experience 9. Focus on your key strengths 10. Don’t lie or exaggerate 11. Ensure that your resume is right for each client.

12. Keep your resume updated 13. Have a digital copy (PDF) or Word Document readily available 14. No photos (unless you’re an model or actor) 15. No personal information (unless it is relevant to the position)

Chapter 4 - Resumes, Bios and Cover Letters   | 69

Patricia Pixel 1234 Main Street, Roswell, GA 30300 404.555.1234 ppixel@pixel.com

70 |  An Essential Guide to THE BUSINESS OF PHOTOGRAPHY

Joshua Journalist

Demo reel and Photography portfolio can be accessed at www.joshuajournalist.com or receive a DVD upon request.

1234 Peachtree Road NW #567 Atlanta, GA 30305 404.555.5678 josh@journalist.com www.journalist.com

Chapter 4 - Resumes, Bios and Cover Letters | 71

Cover Letter or Introduction Letter Every time you send out a resume or contact a perspective client, a cover letter is necessary. You can have a standard format, but you want to customize it for each job you are applying for. The cover letter is your introduction letter to the potential employer.

Getting Started – you will want to do a little preparation before you begin writing.

1. Make a list of your skills, talents, experiences and accomplishments that the employer should know.

2. Write down where you heard about the opportunity and the specific skills and information they are looking for. If it was a personal contact, make sure to use their name.

3. Research the employer, you need to know about them. List what you like and admire about them.

4. Write the letter to a real person if possible, get a name. If you can’t do that, try “Dear Human Resources”, “Dear Photographer”, “Dear Gallery Director”, etc., avoid using “Sir” or “Ma’am.”

Most employers have a tendency to read the cover letter first, in that case, you need to do what it takes to get noticed.

A boring, standard cover letter will not get you noticed.

Try something fresh and creative, give them something to remember, give them something that makes them call you.

The Format The first paragraph is the most important; remember it’s the first impression. Start off with an introductory paragraph that highlights your best achievements and outstanding skills; be creative, let your personality come through. Think of something you’ve done, learned, solved, created and how you handled the situation, now write about the experience

in an interesting way. If someone referred you include there name, try something like “I was so excited when my professor, Jane Smith, told me you were looking for an assistant photographer. I have loved your photography, especially (list a photograph or series that you like), which has been one of my favorites.” Show how excited you are about the opportunity and a few key strengths that make you perfect for the job.

In the second paragraph; you should capitalize on your skills, talents, and accomplishments, three or four should be a good introduction. Example: “In addition to a thorough understanding of photography, studio strobe lighting and Photoshop, I have many skills to offer. Believe it or not, one of my past assistant positions even required that I learn how to wrangle an elephant - yes an elephant - and I did! Although “elephants” probably aren’t on your list of requirements for someone seeking a photography assistant, it does prove that I’m very versatile and will do whatever the job requires.” Think of your own situation that could be substituted here, and what might be specific for this employer.

Paragraph three should be your description of why you think you would be a good fit for this employer. How you think you are connected to them. How you can help them reach their goals. Show you understand the needs of the employer and how you can fill that place.

It’s best to keep the letter short, sweet, and power-packed, so you don’t lose the reader’s attention.

Don’t forget to wrap up with bringing the opening idea to a close. Mention you have enclosed your resume, so they can look at your work history and additional skills. You also need to include your next step, indicate what you will do to follow-up (call them in the next 10 days to schedule an

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appointment or portfolio review). Then mark your calendar to make the call. Be sure to give the reader an easy way to contact you, phone, e-mail and even a link to your website.

10 Cover Letter Essentials Proofread carefully – no mistakes Personalize each letter Use quality paper Be yourself – reflect your personality and enthusiasm Clear expression – take time to craft your words and sentences Use active tense Write to a real person when possible Don’t overuse “I” Be truthful with your experience (don’t exaggerate) Sign the letter Have an electronic version (PDF and Word Doc)

Chapter 4 - Resumes, Bios and Cover Letters | 73

Bio (aka. About you) Why do you need a professional bio?

Remember, your bio is not a resume

You’ll use your bio for a range of networking and marketing purposes: listing yourself on job registries; summarizing your expertise for people introducing you at a speaking engagement; attaching to the end of an article you have written; on the about page on your website; or in the contributors section of magazines. Bios are also part of your profile in online listings, from Linked In to Twitter to any other online site where you can network and market your business.

Think of your professional bio as a little advertisement for you and your business. Ideally, it addresses the “four reader questions” (4RQs). These are the four questions that readers want answered in your professional bio:

• keep your professional bio short • be selective - don’t list your entire professional background • be very specific about the type of customers & clients you work with and how you can help them • don’t be bland - let your personality show • make your bio (or online profile) about what you want your life to be, not necessarily what your life is

1) who you are (an interesting summary)...

2) your expertise and how it addresses your clients needs...

3) a potential clients problem or goal, and how they might use your services or products...

4) how to contact you For a longer professional bio (e.g. for your website) use as many sentences as you like, but make sure you break the bio up into paragraphs of no more than three sentences (short paragraphs increase the likelihood of people reading your professional bio).

Research bios on other photographer’s websites and take a look at the contributors section in magazines; use them as a guide. Some bios are matter-of-fact and to the point, others have a touch of humor. Think of your bio as a short introduction, something informational, something fun and a place for people to get a touch of your personality. Make them want to know more about you.

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Electronic Versions It’s now necessary and should be a requirement to have electronic versions of your resume, cover letter and bio. With many job applications and assignments being handled via e-mail and the Internet, most places require you to attach or upload your information. Being in the creative industry most of us are as conscious about the look and design of our information as we are the content. You may want it to look pretty, with stylized fonts and graphics, but it is best to keep these items in a Word Document format and used standard fonts, like Times, Georgia, Verdana and Arial. If you use a non-standard font, and the recipient doesn’t have it, all of the text on your pages will default to what may be standard or a close match on their computer. You may be up-to-date with the latest, stylish fonts and graphics, but don’t assume everyone is. You can include your logo or graphic if it is embedded in the page. Some places will take a PDF document, which solves most issues with stylized fonts and graphics. You should not send your resume, bio or cover letter as a jpeg or any other image file format, these are usually not acceptable formats for information.

Note: After converting your documents to PDF make sure you review them to make sure they have converted correctly.

Occasionally some fonts, graphics or symbols don’t convert properly and need to be changed or corrected to make the PDF work.

Chapter 4 - Resumes, Bios and Cover Letters | 75

Additional Reading ‘Headhunter’ Hiring Secrets: The Rules of the Hiring Game Have Changed . . . Forever! -by Skip Freeman, Michael Garee, Michael Little Guerrilla Marketing for Job Hunters 3.0: How to Stand Out from the Crowd and Tap Into the Hidden Job Market using Social Media and 999 other Tactics Today - by Jay Conrad Levinson, David E. Perry Quick Resume & Cover Letter Book: Write and Use an Effective Resume in Just One Day - by Michael Farr, JIST Editors 101 Best Cover Letters - by Jay A. Block, Michael Betrus Resume 101: A Student and Recent-Grad Guide to Crafting Resumes and Cover Letters that Land Jobs - by Quentin J. Schultze and Richard N. Bolles Be Sharp: “Tell Me About Yourself” in Great Introductions and Professional Bios - by Paula Asinof, Mina Brown

Resources www.pisconeri.com/photobusiness.html http://www.bendaggers.com/how-to-write-a-killer-resume-that-lands-an-interview/ http://www.behance.net/gallery/Resum/4305681 http://www.artpromotivate.com/2012/01/how-to-write-best-artist-statement.html http://www.livingonthechic.com/2012/04/graphics-make-all-difference.html http://cashmoneylife.com/how-to-write-a-resume/ http://jobsearch.about.com/od/coverletters/Cover_Letters.htm http://en.wikipedia.org/wiki/Cover_letter http://theundercoverrecruiter.com/8-steps-writing-bio-pro-chris-brogan-fact/ http://www.wikihow.com/Write-a-Personal-Bio http://www.writingabio.com/ http://99u.com/workbook/20391/your-online-profile-is-the-life-you-want-not-the-life-you-have http://www.copylicious.com/2009/07/16-questions-to-help-you-write-a-douche-free-bio/ http://pinterest.com/jpisconeri/photo-business/

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Do It Now Projects Complete your Resume/CV Write a professional Bio (or two) Write a Cover Letter example. It’s easier to write to someone and then adapt it in the future as you need.

Chapter 4 - Resumes, Bios and Cover Letters | 77

Projects RESUME/CV - write a resume/CV of your work, experience, education and professional art history.

Your Name, contact info & year sub-head (no objectives) Education (name of school/college, city located, years attended, degree earned or course of study) Work History (name of employer, city located, years worked, job responsibilities) all jobs, employment history, not just photo jobs Experience Photo or Art Skills & Computer Skills list all of the photo or Art skills you have, from types of cameras, to lighting, darkroom and digital skills, or printmaking, special materials, etc.

Clients, projects, publications Exhibitions (name of exhibition, gallery or curator name, city located, year of exhibit) Press & articles Awards Associations other relevant information be careful on what ‘personal’ information you include, some may be helpful, some personal info may not

BIO - write a short bio that is a small advertisement for you. You may actually need several different bios, depending on the usage. Make is interesting, try to make it reflect your personality. Include these items: 1) who you are...

2) your expertise and how it addresses...

3) their problem or goal, and how they can...

4) contact you Read other artist bios for inspiration and guidance. The bio can be straight forward or a bit humorous, which ever you choose it should show a bit of your personality. You can write in the first person or third, it will depend on your style and the intended audience.

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Projects COVER LETTER – write a cover letter or two.

To a potential employer (photographer, artist, company, gallery, etc) and also one for a potential assignment.

A cover letter points out your fit for the position or assignment, how interested you are in that person or company, why you would be great for them, how excited you are about what they do, etc. Generally 3-4 paragraphs.

Cover letter: Write a one-page (3 – 4 paragraphs) creative cover letter. In your cover letter, you should do the following: Describe the position or assignment for which you are applying.

Highlight key sources of experience or skills that qualify you for the position.

Explain why you want to work for the person or company.

Explain a bit about what you know about this person or company and how you can help them.

Use appropriate business-letter style and formatting.

Cover Letter or Introduction Letter - a cover letter introduces you to the employer, it should be about your enthusiasm, interests in the position, and an intro to you. Think of it as your interview without the interview, it’s how can they can know more about you. Your resume is your history - the cover letter is about you now and the future.

Every time you send out a resume or contact a prospective client, a cover letter is necessary. You can have a standard format, but you’ll want to customize it for each job you are applying for. The cover letter is your introduction letter to the potential employer.

Getting Started You will want to do a little preparation before you begin writing, and here are some things to keep in mind as you start: Make a list of your skills, talents, experiences, and accomplishments that the employer or client should know about.

Recall where you heard about the opportunity or what you discussed with the client, and make a list of the specific skills and information they are looking for. If you learned of the opportunity through a personal contact, make sure to use that person’s name.

Research the employer and client (if possible). List what you like and admire about them.

Write the letter to a real person–if possible, get a name. If you can’t do that, try “Dear Human Resources,” “Dear photographer,” “Dear gallery director,” etc. Avoid using “Sir” or “Ma’am.”

Most employers have a tendency to read the cover letter first, so you need to do what it takes to get noticed. A boring, standard cover letter will not get you noticed. Try something fresh and creative–give them something to remember, give them something that makes them call you.

Chapter 4 - Resumes, Bios and Cover Letters | 79

The Format The first paragraph of your cover letter is the most important; it’s the first impression. Start off with an introductory paragraph that highlights your best achievements and outstanding skills. Be creative, let your personality come through.

Think of something you’ve done, learned, solved, or created and how you handled the situation, then write about the experience in an interesting way. If someone referred you, include their name. Try something like “I was so excited when my professor, Jane Smith, told me you were looking for an assistant photographer. I have loved your photography, especially (list a photograph or series that you like), which has been one of my favorites.” Show how excited you are about the opportunity and highlight a few key strengths that make you perfect for the job.

In the second paragraph, you should capitalize on your skills, talents, and accomplishments–three or four should be a good introduction. Example: “In addition to a thorough understanding of photography, studio strobe lighting and Photoshop, I have many skills to offer. Believe it or not, one of my past assistant positions even required that I learn how to wrangle an elephant–yes, an elephant–and I did! Although elephants probably aren’t on your list of requirements for someone seeking a photography assistant, it does prove that I’m very versatile and will do whatever the job requires.”

Think of your own situation that could be substituted here, something that might address a specific need for this employer.

Paragraph 3 should relate why you think you would be a good fit for this employer. How do you think you are connected to them? How can you help them reach their goals? Show you understand the needs of the employer and how you can fill that place.

It’s best to keep the letter short, sweet, and power-packed so you don’t lose the reader’s attention.

Don’t forget to wrap up by bringing the opening idea to a close. Mention you have enclosed your resume so the reader can look at your work history and additional skills. You also need to include your next step, indicate what you will do to follow up (call them in the next few days to schedule an appointment or portfolio review, for example). Then mark your calendar and remember to make the call. Be sure to give the reader an easy way to contact you–phone, e-mail, even a link to your Web site.

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Chapter 5 - Experience & Education | 81

5

Experience & Education

The Road to Experience There is no substitute for experience. Not only do you need to be talented, creative and technically skilled, you need some real job experience. Do you have the know-how to produce and finish the photography assignment? That’s what the clients are thinking when they consider hiring you.

You might have great work, but if they are not confident in your ability to complete the project, they may turn to a less talented but more experienced photographer.

It’s one thing to cultivate and schedule the job; it’s another to actually complete it to the client’s specifications and expectations. It’s also another to build your confidence and your potential client’s with have a few actual jobs under your belt. The “Catch 22” is no one will give you experience unless you have experience. So how do you gain that elusive “experience?”

If you have worked on staff, for another photographer, or have been photographing small projects for friends and colleagues, those activities are definitely experience.

Internships and working as an assistant or second shooter offer more opportunities to hone skills and contribute to your real world experience.

Pro-bono work Additional roads to gaining valuable experience, improving your confidence and that of your client’s, and creating a few pieces for your portfolio can be found in volunteer work.

If you would donate your cold, hard cash (if you had it) to a non-profit, charity, or community organization, you can volunteer your professional photography skills to them. Most organizations of this type need good quality photography but can’t afford it. In addition, they are happy to have a volunteer with highly coveted, professional skills. This is a great training ground, while building your experience and confidence. You can also gain media exposure and a portfolio of ‘real’ work. If you use the project as a good networking opportunity, you can fulfill part of your marketing plan in the process. Have a pocket full of business cards to distribute while on the shoot. If you’re photographing an event or something that has a lot of people involved, create an online gallery to sell prints and downloadable images (all with your watermark included). Make sure everyone has a link to the gallery or better yet, you’re provided with an email list of the attendees and participants.

When doing pro-bono, trade/barter or fee-free projects, always provide the client with an invoice that describes the project, includes the usage rights and terms, and states the actual fees that have been traded or discounted.

(This also give you experience preparing estimates and invoices.) While you are donating your time, be sure to charge for any out of pocket expenses. It’s also possible to ask for and exchange your photography creative fee and time for advertising space and inclusion in all listings and sponsorship acknowledgments. Don’t hesitate to ask for a link to your website or a banner ad for any online usage.

Think of what valuable consideration you can get from the

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organization and ask for it. NEVER work entirely for FREE, but it is more than practical to exchange your photography services for something valuable to you. Part of that value is the real job experience, the ability to list that organization as a client, and hopefully a nice piece for your portfolio.

Be aware that many people and organizations may call on you for free work, touting the benefit to your portfolio, but really weigh the possibilities that the project will be beneficial to you as well as them.

There are 3 criteria basics to consider, if you choose to work for free or below your professional rate.

1. You will get much needed experience 2. You will create good work for your portfolio 3. You will build relationships It doesn’t mean all of these must apply to every projects; it’s just a good way to measure if the project is worth doing.

If you just want to donate your time and skill, there are other volunteer opportunities for photographers, including: • Flashes of Hope – an organization that provides photography for children with cancer (and their families), along with raising money for pediatric cancer research.

• Now I Lay Me Down to Sleep – this is a difficult one, NILMDS is a nonprofit organization that has provides families of babies who are stillborn or are at risk of dying as newborns with free professional portraits with their baby.

• Hearts Apart – provides professional portraits for soon-to-be deployed servicemen and women nationwide of their spouses and children absolutely free.

• Red Thread Sessions - brings adoptive families and professional photographers together from across the U.S.

• Photophilanthropy.org - connections between photographers and non-profits around the world to tell stories that drive action for social change.

• Volunteer for an NGO (non-governmental organization) - http://www.transitionsabroad.com/ publications/magazine/0309/volunteering_for_an_ngo. shtml, which may include organizations such as CARE and may include international travel.

• Foster Care Organizations – professional photographs of foster children improves their rates of finding a forever home.

• Animal Rescue and Shelters – photos of rescue animals helps them get adopted.

• and if you research a bit, you will be sure to find many others.

Note: It is usually not a good idea to do ‘free’ work for other commercial businesses, or even individuals. They are usually more than willing to pay for other services and goods; photography services and products should not be any less valuable. Once the work is free, they will very rarely ever pay for it in the future.

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Willing Clients Nothing like a real project to gain valuable experience. As you are starting your business or even before, you will have numerous people ask you to do photography for their family or business. They’ve seen your work or something you did for a friend of theirs and they are willing to hire you. It is up to you to determine if you are up to the challenge and up to meeting their expectations, and to charge appropriately for the photography work.

It is exhilarating to know someone likes your work and wants to actually pay you for it. Don’t jump the gun and take on a project that doesn’t fit your current skills. Doing a bad job can be more detrimental to your career than passing it along to another photographer. On the other hand, don’t be afraid to tackle a project and push yourself to learn new things. That is if you are confident you can meet or exceed the expectations.

Willing clients, knowing you are just beginning are a wonderful asset. They usually understand the implications, but are willing to take the chance. If the client is a new business, it can be good for both of you and it could be the start of a budding relationship. There could be many reasons they are interested in hiring you, once of them being cost savings.

Even though you are just beginning, don’t undersell yourself.

A client has come to you with a real project, they have a real need and they like you and your photography. Think about the work that goes into it, the production that is needed, the skill set, the equipment and the client’s usage, along with how beneficial good photography will be to the client - then determine what the value of your work is. If you don’t price your photography correctly from the beginning, it will be difficult for you to maintain a profitable, sustainable

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business. It’s very difficult to raise prices if you start at below profitable rates. Not to say you should be the most expensive photographer, but you shouldn’t be the cheapest either.

Starting with small projects, small businesses and individuals is a great place to gain much needed experience. It also builds the client list, improves your skills and adds to your portfolio. It can be a win-win situation for both.

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Second Shooter If you are beyond the years of being an intern or an assistant, it’s possible to gain experience and hone your skills as a second shooter. This is not a true learning position, but a place to use your skills. You must have a bit of experience to work as a second shooter, but you won’t have the responsibility of the primary or lead photographer.

Wedding and event photographers are the ones most likely to hire someone to photograph additional aspects of the event.

The extra photographer complements the coverage and rounds out the images for the client. And relieves some of the pressure on the primary photographer to cover all aspects of the event.

Being a second shooter is more of a collaborative effort and should start with good communication on expectations, style of shooting, equipment usage and even post-processing requirements.

Second Shooter Contracts & Agreements Whether you are hiring a second shooter or if you will be the second, a written agreement or contract should be standard. More times than not, it is a verbal agreement that has resulted in miscommunications and misunderstandings.

A written contract should determine - what the expectations are, what the rate is, when and where the event is located, if expenses - including travel is reimbursed, what equipment is required, whether the assignment is considered work-forhire and if the images can be used by the second in any way, liability releases, and any other items that could be perceived to cause problems.

A good second shooter arrangement can be beneficial for the photographer, gaining extra help on the project and for the second, gaining much needed experience and a bit of cash.

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The Photographer’s Assistant Working as an Assistant Photographer is one of the best routes into a professional photography career. Assistant photographers have the opportunity to learn on the job from a practicing professional, without having to shoulder the responsibility of running a full-fledged photography business or producing professional quality images before they are ready.

While some leading photographers or photographic studios may employ several full-time assistant photographers, others cannot afford even one full-time employee. With that in mind, working as a freelance assistant photographer to a pool of professionals may be a great way to maintain regular employment. It also offers the opportunity to observe at close hand the working practices of a number of different photographers, which further enhances training and skills.

What is the job?

Assistant photographers must be prepared to do whatever is necessary to ensure that a photographic shoot runs smoothly. This typically involves preparing sets, checking that all equipment is functioning properly, setting up lighting and accessories, taking meter readings, transmitting files and transporting film or prints to and from laboratories, retouching services and other vendors, getting lunch, making coffee and even cleaning the studio.

When working for a studio, an assistant will help out with the general administration of the studio, keeping the sets clean and tidy and printing photographs as required, running errands and a host of other activities needed to run a business. Assistants will be expected to catalogue and optimize digital files, to scan film and to assist with image manipulation and enhancement. They should also keep records of exposures, lighting set-ups, as well as the names

and details of art directors, models, stylists, animal handlers and other contributors. When clients are present during a shoot, it is the assistant photographer’s job to entertain them and keep their drink cup filled, along with shielding the photographer from unnecessary interference or interruption.

On location, the assistant’s duties may involve making a technical scouting (reconnaissance) and assessment of the site in advance, checking for vehicle access, power and communications facilities. They will often organize transport, catering and accommodation, set up equipment, and find local resources.

High-profile photographers sometimes employ several assistants who are then known as First Assistant, Second Assistant, Digital Assistant/Tech and so on. Here, duties will be divided between the various assistants at the discretion of the photographer. In most cases, the first assistant is likely to provide direct support to the photographer on set, while the second assistant assists with production and general administration.

Typical career routes Since this is an entry-level job, some photographers are happy to employ assistant photographers with little or no work experience and right out of school. However, most prefer that applicants have some form of formal photographic training or previous experience in photography, fashion or advertising before seeking work. Assistant photographers are expected to have a good grounding in all creative and technical aspects of photography, computer skills, some set construction and lighting.

This not only enables the assistant to understand the necessary preparation, execution and presentation of the job, but also to meet with clients, art directors, models and

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other contributors and understand their discussions with the photographer. Assistants should also have a friendly and positive attitude and be able to anticipate the needs and requirements of the photographer.

Essential knowledge and skills Assistant photographers need to be organized and practical, they should have excellent communication and interpersonal skills, be able to foresee and evaluate potential problems, and deal with the unexpected in a calm and efficient manner.

They must possess good office skills, a polite and helpful telephone manner, be able to demonstrate keen attention to detail, and a willingness to learn.

They should know how to operate digital and traditional cameras, as well as scanning equipment. They should also be aware and have some experience with the number of the different software tools (e.g. Lightroom, CaptureOne, Photoshop) and techniques of image manipulation and enhancement. They should also be conversant with digital communications.

Training and qualifications A college degree does not guarantee employment, but taking advantage of job placement help before graduation can be valuable. A good path to working as an assistant is to seek an internship while you are a student or immediately after graduation. Internships provide valuable work experience, as well as industry contacts.

Prospective employers normally expect to see a portfolio of photographs - this should be well presented and consist of 10 to 15 photographs or it could be a website link, that reveals a broad range of skills and competencies.

You can contact the photographer through phone calls or email and ask for a meeting, you may or may not get an

actual meeting, but pay attention to what they ask you. If they want you to send them a website link, do it. If they want you to send a resume, cover letter and contact info, do it.

In addition, you should have done your research and know what the photographer does (their specialties and style), have your references available, describe your experience, what equipment you are familiar with, if you belong to any photo organizations, know your value (your fees) and if you have them, a few photos of you working as an assistant.

That being said, you should have a marketing plan and promotional materials (resume, business cards, promo cards, a website and portfolio), that showcases you as a photography assistant. Make specific items for your photography assistant business. It is a segment of the photography industry and usually a stepping stone to a career as a professional photographer. Although, some people find they love their career as an assistant.

Assistant photographers will be expected to have a valid driver’s license, along with a decent sense of direction (or a GPS) and some knowledge of the area. A valid passport is also helpful.

Health and Safety - Assistant Photographers are likely to be subject to physical stresses from carrying heavy camera equipment and lighting, indoors and out, in all seasons, come rain or shine. They should therefore seek advice about appropriate techniques for lifting and moving equipment.

In addition, they need to understand Health and Safety legislation and be capable of assessing and managing the risks and dangers associated with the use of electrical lighting, equipment and props. Freelancers should make sure that there is a current Liability insurance policy to cover their working activities, or that they have their own policy in place.

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The Assistant Check List • Be on time, all the time

• Be digital/computer savvy

• Maintain a positive energy whenever you are around the photographer

• Build up a “kit” to take on jobs (sharpies, pocket knife, leatherman multi-tool, tape, clothes pins, zip-ties, ziplocks, breathe mints, etc)

• Triple checking all the gear and that you packed – everything -film, cards, readers, cords, etc.

• Know which adapter to use so you don’t damage anything • Make the photographer look good both on and off the set • Always keep busy, -things can never be too organized or clean • Anticipate what the photographer might need next, and have it ready • Pay attention to the details (dirt on the set, strobes not firing, cords in the walkway, etc.)

• Solve all of the problems that you are capable of before asking for the photographer’s help or guidance • Know how to quickly and professionally react when the shoot doesn’t go as planned • Don’t talk; listen • Respond quickly to calls, emails and text • Know your stuff — and if you don’t, ask questions, don’t ever guess • If you don’t know something, say “I’ll find out,” not “I don’t know” • Learn about new gear during downtime or your off hours

• Be honest, don’t tell stories or gossip about anyone in the industry • Have a driver’s licenses & passport • Be ready to travel on one or two days’ notice • Don’t schmooze with the client, art director, models, talent. etc.

• Don’t solicit the client or model for work • Ask photographer what expectations they have of you during job/shoot • Be professional in your appearance and attitude • Ask photographer what the “dress code” is for any given shoot • Even if the dress code is ultra casual, don’t be a slob with torn clothes, etc • Have an extra set of clothes or coveralls for dirty work (painting the Cyc, painting/building sets, etc.)

• Know how to make coffee and where to get lunch – all of this without missing a step, dropping anything and of course not letting anyone see you sweat.

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Education of a Photographer There are numerous ways to learn photography, from traditional colleges degrees to following the self-taught route, and a host of variations in between. It may depend on your time, money, age and particular learning style. They all have their advantages and disadvantages, it is up to you.

On the surface photography seems fairly easy, ‘really all you have to do is push a button’. Well that’s what the manufactures’ advertising may want you to believe. Buy this camera and you too can be a photographer. Part of that is true, a good camera in the hands of a skilled and talented photographer can produce amazing images. Even though a newbie or amateur can capture some amazing images, to truly be a professional will require learning to use the equipment properly and to consistently produce professional quality images.

Being a professional photographer and learning how to be really good, is much more like being a professional athlete or musician than you might think. All of these careers require learning, some talent, and lots of practice. If you have ever played a sport or learned to play a musical instrument, you will understand the correlation. To be a good athlete you must practice over and over, getting it wrong a lot, falling a lot and finally ‘hitting the home run’. Or if you learned to play a musical instrument, you started with the scales and played them over and over until you didn’t make any mistakes, you then moved on to simple arrangements and progressed to more complicated pieces as your skill level improved.

Photography is somewhat similar. You will make a lot of mistakes while you are practicing and you will finally get results you like and can reproduce. It’s then time to take on the next level. Many people jump into a photography career or business after years of taking photos as a hobby for the

sheer pleasure and enjoyment. It can be for many reasons: They find it’s something they like to do and figure they can make a bit of money selling some photo services and prints. It can be an expensive hobby and some beginning photographers jump into a business to pay for the hobby.

Whatever your reason, some education and learning is necessary.

Self-taught Through books, numerous online videos & tutorials and lots of practice, along with the mistakes that come with it, photography can be learned with these methods. Some people do very well learning on there own. Others may need more structure. It may help to find a group of other aspiring photographers to get additional help and some feedback.

Workshops & Seminars Around almost every corner is another photography workshop or seminar. There are also several workshop groups that have been established for years. Before signing up for any of them, do a little research, check out the instructors and try to get some feedback from students.

It’s true you can, if you apply yourself, learn from most situations; some will not be worth your time or money, and others will be just what you need. The benefit to workshops & seminars, is you can pick and choose the topics you need and that interest you. You may just want to learn to make better portraits or need help with better post-processing.

Sometimes you just want to work on your portfolio. All of these are available through a workshop or seminar, where you get feedback from the instructor and interaction with your classmates.

Tutoring or finding a mentor could be another way of getting

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some guidance if you schedule does not permit the time for a workshop. Ask around, search online, look at the local college or technical school, even find a photo club, or a local professional photographer, many offer tutoring or have recommendations. Multiple options may be just what you need.

Colleges, Universities & Technical Schools Given the time, money and commitment, a college, university or technical school provides a thorough photographic education. This can be through an undergraduate degree or a graduate level Masters. The extra time spent learning not just photography, but other arts, history and general education makes for a very well rounded photographer. It also means the photographer has not just technical skills, but additional skills, such as conceptual thinking, historical references, and more. The feedback from professors and the interaction with classmates adds to the education. Assignments that may have similar criteria to actual client projects, simulates experience. The networking opportunities are increased with classmates and alumni associations. If done well, the education can last long past graduation and lead to a very successful career.

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Continued Learning One of the most exciting parts, along with it being just as frustrating, is the ever changing field of photography.

There is always something to learn. This can keep you invigorated and always on top of your game, but it can also be disheartening to some.

To stay current and excited about photography, keep up your education. It truly is exciting and will improve your skills and creativity, along with improving your business. Not to say you need to be an expert at everything, but you do need to be aware of new tools and techniques.

Along with new photography skills, you need to stay current with new business tactics and regulations. Marketing practices are a moving target that are in constant needs of staying up to date, along with tax regulations that change each year.

The things that you don’t have time for or those that may not appeal to you can be outsourced, from post-processing to retouching, to marketing and accounting, or anything else.

It’s up to you.

Whatever you decide, be sure to keep your finger on the pulse of your business, from the creative aspects to the business side. It’s your business, your reputation and your financial future, don’t trust it entirely to someone else.

If you have decided to join a professional organization, most of them include an education component as a benefit to members. They try to address the needs of the membership with workshops, seminars and on-line groups that cover creative and business topics.

The amount of continuing education resources may seem endless, there are a lot of them. To get the most for your time

and money do a little research, ask some friend and read reviews. If you do, you will be rewarded with some excellent learning experiences.

You can start locally, with most colleges, clubs and even a few photography stores offering good community education workshops. Most of these take care of some of the entry level skills. You may need more specialized training, which can be found though out the country and abroad. For example, Maine Media Workshops and Santa Fe Photographic Workshops offer weekend and week-long workshops appropriate for the beginner and the pro. The largest workshop offerings are during the summer months, although some are available year round. Past classes have included workshops on lighting, portfolio development, video, documentary and travel projects, just to name a few.

There are also photographers offering a variety of learning experiences. Usually the photographer may offer a seminar or workshop in their specific area of expertise. Just as in the other education options, do your research - read the reviews if available. Some of the photographers are great at teaching, some are not. It’s always suspect if someone has been a professional photographer for a short time and is already offering workshops.

In addition to hands-on workshops, numerous online sources have classes that happen all year. Books, Web sites and videos cover a variety of topics that included photography and business. Linda.com is a popular on-line training source, known for its diversity and quality training videos for many types of software, which includes Adobe Creative Suites and business productivity.

For business classes, the local community college or

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chamber of commerce may be of help. Additionally look into the Small Business Administration and SCORE (formerly known as the Service Corps of Retired Executives) for a variety of online resources, workshops and assistance.

It may be best to mix it up, when it comes to your continuing education. A few hands-on workshops, where you get out and interact with other photographers or other business owners, an online class or two and even a few self-paced learning tools may be all you need. You may find that not only your photography and business improving, but your mind stays viable and active with each new learning endeavor.

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Additional Reading Many photo books are available in numerous topics, a search of Amazon.com will supply you with a lengthy list search the internet for interesting tips, techniques, and training opportunities

Resources www.pisconeri.com/photobusiness.html http://www.wedpix.com/articles/009/wedding-second-shooters-and-assistants/ local photo schools and workshops (search on-line) Photo Assistant Handbook - http://www.photoshelter.com/mkt/research/photo-assistant-handbook Search google or other search engines for specific photography classes, workshops and seminars.

Maine Media Workshops Sante Fe Photography Workshops CreativeLive.com for online classes and workshops (some are free, some have a fee) Small Business Administration SCORE.org http://pinterest.com/jpisconeri/photo-business/

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Do It Now Projects Research potential job opportunities (assisting, second shooting, etc.)

Research potential charities (non-profits) that may need photographic assistants Create a list of local new and small businesses, along with friends, acquaintances and colleagues that need photography Create a list of learning options (online, workshops, seminars, schools, colleges, etc.)

Identify a variety of continued learning opportunities from classes, seminars and workshops to online possibilities.

Plan on learning something new each year, to keep your photography and your business current. More if possible.

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Long Term Projects Commit to learning something new every month and practicing with it.

You can begin with a list of things you want to learn and also those you need to learn. Prioritize the items.

You should mixed up the list, some need to learn, some want to learn, so you don’t get bored or frustrated.

Seek assistance, find a class,

An Essential Guide to

the Business of Photography Judith Pishnery

Thinking of starting a photography business…Maybe you already have?

Volume One of this book series will guide you through the process and assist you in starting a professional photography business. From information on the correct and legal way to start your business, to a guide to equipment and experience. Additional volumes in this series will provide information on marketing, portfolios & websites, creating price lists and accounting, bookkeeping, tax issues, copyright, legal contracts, and much more. If you want your photography business to be professional and be on the road to success, this series of books is a great place to start.

Part 1 - Getting Started Part 2 - Getting Noticed Part 3 - Financial Management Part 4 - Legal Matters Part 5 - Extras

© 2014 Judith Pishnery Pisconeri Studio · PO Box 339 · Jasper, GA · 30143 · www.pisconeri.com