Sorry for the brief absence. Unlike the permanent workshop guys and gear reviewers I actually like to work in the field of commercial photography. It makes the stories more true.

Portrait of Kirk amidst the crane trucks.

How am I defining "professional photographer" these days? It would mean: the people who go out with cameras and earn the bulk of their living taking photographs on assignment for clients, or making photographs to sell to prospective clients. It's cute that we can all play around in the sharing economy and make some pocket change blogging, or earn a meager living hosting workshops but the reality of commercial photography is that it's hard work, the aesthetics of the imagery change all the time, and the way we engage with clients is always evolving. To make it financially one must be in the game. To understand how best to use the gear we write about the quickest, surest education is spending long days with the camera in your hands or the lights on the set. 

The funny thing for me is to read about the photographic adventures of other photographers on various websites. They make the profession sound so alluring, so glittery. Some make it sound like rocket surgery because that plays well with the math, tech and toy geeks. Some paint a picture of the profession as a never ending series of care free travel assignments complete with five star hotels and daily meals with Michelin-starred chefs. Still others make it sound like a glorious way to meet fashion models and rock stars, and in the process, make a fortune. 

I'd like for my writing to project what I experience as the truth of professional photography as I live it. How do I do the work? Where am I working? Who am I working for? What does a real day look like? How is commercial photography different for the thousands of working stiffs compared to the work of the trust funders who dabble and demand to be taken seriously?

I was thinking about all of this as I headed to my job today. I was hired to take photographs of crane trucks. Those are the trucks that have various sized cranes attached to them which are used to load materials at construction job sites, to hang signs up high, to elevate workers who fix telephone and electrical wires and much more. Sounds sexy already, right? Well you wouldn't be getting cable TV without the crane trucks, that's for sure...

A few days ago the client mentioned to the ad agency that they'd like to shoot in the afternoon. I lobbied to start at 8 am. It's not that I'm an early bird who loves to get up with the sun but more that I'm a self-preservationist who wants to stay out of the heat. It hit 105(f) yesterday here in Austin but with the moisture in the air it felt like 110)f) by 2:30 in the afternoon.  I knew the weather pattern would be the same today. The bulk of the job was outdoors, shooting trucks in a large parking lot. A parking lot covered with black asphalt. The perfect heat sink. 

The client was located in Georgetown, Texas and according to Google Maps the travel time was supposed to be about 43 minutes. But traffic is zany in the area. The population has grown like weeds and the number of roads has remained mostly constant. The round the clock road construction doesn't help either. I hate to be late so I left the house at 6:30 and headed to Starbucks for a 1/2 caffeine coffee and one of their little "hockey puck" egg and sausage sandwiches which I ate on the road. 

I drove up Mopac with the flow of traffic heading north to Dell, IBM and Apple, intersected with IH-35 for the last lap of the journey and then slid through the sleepy town of Georgetown until I found Manitex; makers of fine crane trucks in almost all sizes. 

I went in and introduced myself and was led to a small conference room where I was asked to read a very short safety booklet and to attest that I had been offered steel toed shoes (brought my own), safety glasses (brought my own) and a hard hat (thank you!). We headed to the manufacturing floor right after stopping by the dispenser for ear protectors. 

I spent a bit of time photographing various steps in the mating of heavy duty cranes to heavy duty trucks and then we headed outside to photograph the finished product. An editor from a trade magazine that specializes in heavy duty crane trucks showed up to guide me in what she might need for a cover image. 

We had a list of images of trucks and cranes to shoot. We shot everything in the direct sun and positioned ourselves so we always had clear, blue skies instead to trying to shooting into the sun. I carried a tan Domke camera bag with three lenses and two cameras in it. I shot with the D810 and had my D750 along as a back up camera --- because professional photographers never go on assignment without a back up camera. Even in the digital age. The bag also contained a couple extra batteries, a polarizing filter and a bottle of water. 

The web experts would tell me that everyone travels with an entourage. They would chide me for going out on location without an assistant. Without an assistant (and their second assistant) who would carry the ninja props and the mini trampolines? But this was a one camera, one lens job. I couldn't think of minimizing another human's potential by having them tag along just to carry my camera bag for me. Can't carry your own camera bag? It's a sure sign you are ready to retire from commercial photography on location. 

Our budget was our budget. It was the most I could talk the advertising agency out of for this kind of work and this kind of usage. I chose to take the job because I wasn't booked for today and I'd rather have "good enough" money than to hold out for the elusive "spectacular" money. I rather be working than reading the web fiction about someone else's amazing trip to Nassau to shoot a bikini catalog for a camera company. (Those are actually called "junkets" not jobs...).  If I included an assistant in my mix today I would have had congenial company driving up and back, someone to carry my camera bag for a couple of hours, and a $300 hole in my budget. 

I shot the stuff we agreed upon during the time we'd budgeted and I headed back to Austin around 11 am. I got to the Thundercloud Sub Sandwich shop in my neighborhood a little before noon and had a tuna salad sandwich on whole wheat. I read the Austin Chronicle while I ate my sandwich. I was nutritionally bad today and bought a Doctor Pepper to drink instead of water or tea. 

When I drove back to my house there was a pickup truck parked mostly across my neighbor's driveway and across some of mine. I squeezed around and into my parking place and then I started the search for the owner of the pick up truck at the job site next door. I explained to the 100th different person, just as I have countless times to others the last two years, why he couldn't park on my driveway while working on the house construction next door. His excuse? "I was only planning to be here for a few minutes." He moved his car and my mood darkened by two stops. I sent an e-mail (one of dozens) to the owner. He'll promise to take care of it but will forget his promise when the next wave of new subcontractors show up. 

I downloaded the files from the shoot. There were about 400 from this morning. They were all big, raw files from the D810. I tossed some duplicates and some I didn't like and then I had 330 files. I pulled them into Lightroom and started color correcting and making small tweaks to the images. They seemed to be in groups of three. I'd correct, apply the corrections to all the ones with the same exposures and then move on to the next sequence. 

I took a break to go out and talk to our yard guy, JosĂ©. He cut our grass and stuff a couple of weeks ago but none of us were home at the time to pay him so we owed him for both times and I wanted to make sure I didn't miss him again. He tends to knock on the door of the house and avoids the studio door. I put the two checks in an envelope and brought them out to him. Thank you for asking, he's doing well. 

Around 3:00 pm I got all the files of trucks with cranes color corrected and converted them to full size (36 meg.) jpegs as my client requested. I thought that the quantity of files would come out to a little under 2 gigabytes which would have been great. I could have used WeTransfer.com's free service to deliver the files. But the files came in at almost 7 gigabytes so I decided to just toss them on a memory stick and deliver them myself. 

I called to confirm that the person I needed to hand them to was still in his office and then headed over there immediately. If everything went to plan I might be able to get there and back before the worst of the Austin rush hour traffic started. I was successful and the images are now in the client's hand but the job has eaten yet another hour that I was loathe to give it.  When I got back to the office I sat down and wrote out an invoice which I sent over via e-mail as a .pdf.  That job is now complete. 

Which gives me time to prepare for tomorrow's job which is a continuation of yesterday's job. We're working with a P.R. agency to help them create a website to promote their specialty of executive training. Yesterday we had eight models and two trainers in two borrowed conference rooms and I shot a mix of video and still images. All of them will be used as strongly horizontal visual content on a WebPress style website.  It sounds "glamorous" but really it is straight forward project that requires me to do a lot of set ups in a short amount of time and to go back and forth from my still photo brain to my video brain, over and over again. 

I need to recharge LED panel batteries, clean the cameras from the truck dust, charge the camera batteries, pack the portable green screen and find a fresnel spot that I am sure I have sitting around here somewhere. I guess I also need four or five C-stands, some scrims and flags, the video monitor and that black case full of microphones and cables. 

Once we finish with the shooting I'll need to do the same kind of edit and post production on the still photographic files and then string all of the videos together in Final Cut Pro X,  importing them as Pro Res files, stabilize them, add some contrast, do a bunch of color adjustments and output them for the art director at the P.R. agency who will select snippets as infinitely revolving gifs (or something) for inclusion on the website. 

When we finish up tomorrow evening with the actual shooting I'll tear all the lights down, pack em, load the car, unpack them at the studio and start the routine of charging the batteries and cleaning the gear. 

I work a lot. Most of the jobs we do are pretty routine. The locations change and the players change but the nuts and bolts are straightforward and logical. We might try new styles and new approaches now and then but most clients are pretty conservative and stick pretty closely to what they know. I do dozens and dozens of jobs like the ones I described above for every one outlier job that features a former president or a gorgeous portrait subject. But that's how I can call myself a professional photographer. I go to work every day and make images. I solve (admittedly low level) visual problems for clients and help them show off things like trucks with cranes. Or executive training. And then I do the paper work. The marketing. The tax accounting and the maintenance. 

Maybe I am just missing out on the juicy stuff that goes to everyone else but I don't think so. I stay connected to other photographers. For a while I was a chapter president for the ASMP. Everyone seemed to be waiting for the big pay off that rarely came. At some point I realized that what we do is a job like everyone else's job. We trade off some security for the illusion of free time but we either fill the free times with all the tasks that are required to make the business work or we trade that security for free time to embrace the abject fear that we'll never be asked to work again. 

It's a funny business. Photography. The companies that make money are the ones selling photographers the lights and the cameras and the lenses and all the gadgets that we are convinced will make our pictures better, our clients happier and our teeth whiter. The other people who make money are the ones who prey on our insecurities and offer "education."The gear companies have found that giving those people cameras to review helps them create a mythology about how the business of photography works. Getting the gear also implies that the people receiving it are "special" members of the clan. But do they ever really work with the cameras in a commercial way?  People who are web and blog savvy have found ways to make compelling stories of exciting photographic experiences that become part of the current legend and seem to make becoming a "professional photographer" something culturally aspirational.  The more people who aspire to become sports photographers (in reality a tiny, tiny market at the high end = high end meaning average American middle class wage level) the more long, light gray lenses Canon sells and the more D4s Nikon sells. 

The more people who aspire to torture other people as wedding photographers the more Canon 5D mark 3s get sold, along with the almost "required" 24-70mm f2.8 and 70-200mm f2.8's. And those stupid, ugly Black Rapid straps...

Generally, when I see amazing photography, or work done in amazing places, I dig a little deeper and find that it is inevitably "self-assigned." Nothing wrong with that. We do it all the time because I like photography; both the process and sometimes the results. There's a freedom in shooting for oneself that is vital in this age of homogeneity in almost all things visual. We all shoot for ourselves but I wish everyone was honest about the work. I wish the web gurus would step up and say "I shot this for myself." Instead of, "Here's the kind of work we like to do for clients." When, in fact, they have probably never done anything of the kind for clients. 

I read one person's blog nearly every evening because he's great at speaking the geek talk. He can go on about micro-contrast and nano acuity as though they are  ubiquitous measures in the general consumer market. He sees bokeh even through brick walls with lead lining. He talks about international clients. But we never see any work actually done for clients; real clients. The blogs are entertaining but he paints a picture in which all clients are amazingly well educated about aesthetics and equally, they are uniformly demanding when it comes to the revelation of micro-contrast, sharpness across all fields, and dimensions known and unknowable in the work being delivered to them. To believe his writing is to imagine that all the clients you will meet will demand you use a Nikon D810 as the minimum acceptable standard. Better yet if you can stitch twenty or thirty frames together to form one archly perfect and micro-contrast encrusted file for just those clients who must make billboards which you will approach with loupes; then and only then will have you entered the "envelope of acceptability."

But if it is all a lie or an artful untruth predicated to help sell more cameras, more blog clicks, more workshops and more secondary engagements then what, in the long run, does this exaggeration do to our markets, your egos or your pocket books. It's so cool that people get who have a big photo website get to go to the Antarctic to photograph ice flows (not for long) and penguins. But no one other than the workshop attendants will be paying them for this service. And so there is no reality to their recommendations, to their prescriptions for photography as it relates to the business of taking images. 

It's exciting to think that someone can make a profit creating and selling workshops all over world but if you have time to do workshops all over the world you have surely run out of good paying clients to work for on a regular basis or you could never afford the time away. Surely, if your work is so majestic that it should be the center of workshops don't you have an obligation to yourself, nay, the world, to go out and keep creating the work instead of squandering your potential and your productivity teaching the unteachable to retired programmers? I am a believer in the idea that art is a combination of personal vision, first person knowledge acquisition and a healthy dose of self-directed trial and error. Through which you learn better lessons that form the foundation of your art. Are thousands of dollars spent "workshopping" a faster way to mastery than doing the time? I don't think it's the same... And I know the results are not the same.

I am equally suspicious of "best selling" landscape photographers or fine art photographers. I would like to see their tax returns to see just what their spouses do for a living...

In the end I have as narrow a point of view as anyone else. I think being in the act of creating and making money with the cameras is a different way of looking at the world. The decisions I make are not always clouded with reason but are many times clear, crisp windows into self delusion. I am as sellable as the rest of you who spend time wandering around the web with our wallets open to the charlatans who sell the promise of artistic fulfillment and riches to be garnered, if only we had their special camera, their special advice, or one of those militaristic straps. 

Maybe I am just tired from spending too much time working the work of photography. Maybe I'd feel better if I just insinuated my talent and leveraged the insinuation to sell something people think they want or need that doesn't require me to move away from my computer keyboard.

But every time I consider doing a workshop or getting chained again to another camera brand I feel this incredible resistance that tells me I'd rather be out, wandering around, taking images that I love and then writing about them to as much of an audience as might care. And never being tied down to the necessity of talking about it instead of doing "it."

It's a bizarre lifestyle. Like being a chef who only wants to cook for himself. Or a writer of books who knows the "formula" for success in a genre but chooses to write what his muse suggests instead. But really, if I'm going to follow the meanderings and teachings of a "professional" photographer it is, for some, reason important to me that they actually have paying clients....


  1. Teaching the unteachable to retired programmers

    Oooooooooo! And don't forget the dentists ;o)

    [Disclosure: I am not a dentist, nor do I play one on TV].

    I know a sole-trader (ie. freelance, not a big company) photographer here (in NL) who was so exasperated at chasing payments that she now works part-time in a clothes shop, and does exhibition-design as a semi-hobby. I suppose there wasn't enough profit margin to use a debt-collection agency.

    Well done for keeping on in the real-world(TM) and letting us know about how it goes. Actual hands-on camera time is just a small part of the business.

  2. Kirk,

    Good to hear someone talk about the realities of doing the grunt work that is often laborious but necessary to keep the doors open and most importantly take care of the family. After spending 42 years working for the same company my job was to help them be profitable for which in turn I received a paycheck and reasonable benefits. Great post, enjoyed it immensely!

    Take care,

    Bruce Bodine
    St.Louis, MO

  3. Excellent post, maybe your best! I too am a "working" photographer, although in a little different area than you. Well said, very well said.

  4. Kirk - Good solid post. Thanks for the grounding. Frank

  5. Kirk you are one of my two favorite photography writers on the web. MJ is the other, you are a working photographer, he is not but you both tell good stories that keep me coming back and I am truly grateful to both of you for the education and entertainment.
    I am a retired COBOL programmer with one degree in painting and one in photography and avoid even the concept of clients like the plague.
    I photograph every single day and paint as many days as I can.
    I read your stories and they make me happy, thank you.

  6. It's because you work as a photographer that your writing is so interesting. I like reading about your job, and you write about it very well.

  7. Excellent post, and so true. My wife was a pro photographer (running a business, with real clients and real bills) for many years, but finally had enough - a lot of the same stuff you're talking about (though in a different area of focus) - and finally hung up her tripod & lights recently (except for working occasionally with favorite clients) to take a 9 to 5 job with steady pay and actual benefits. Professional photographers don't get nearly enough respect for how hard they have to work - it ain't easy, and it ain't glamorous.

  8. andydebruynfotos.blogspot.comAugust 13, 2015 at 8:43 PM

    I would have to agree with everyone here. One of your best post. Stuff I've been thinking all along myself. But I'm not a writer. Glad that someone like yourself could put these ideas into words. Concise, lucid, and funny.

  9. Right back at you guys. I love my readers. For the most part they are both smart and kind. Necessary for my wellbeing. And a shout out to Fred and Frank for taking good care of my kid, Ben. Thanks to both of you!

  10. Absolutely fucking brilliant. Someone who actually walks the walk instead of just talking the talk.

  11. Not that you're Hemingway, don't get a big head here, but when you write like this about the work it puts me in mind of a story about a man in a small boat catching a big fish. The boring, gritty, detail is what makes it.

    And it teaches me, interestingly, that I don't want to be a pro because I dislike driving. There are lots of other reasons, but that's a good one.


  12. Coincidentally, I read the following post yesterday about my old work. I loved my years as a software developer (well, not the meetings, etc. so much). Maybe this will make you feel a bit better because every sort of work has its difficulties. Don't feel discouraged. We all have the occasional day when doubts creep in and then, voilĂ , a new day starts. :-)

    Software Engineering (Balaji Viswanathan, Product Manager at a VC Funded Startup)

    Software Engineering is a very hard occupation. It requires the creativity of an artist and the discipline of an engineer. It can be emotionally and mentally draining especially when you are debugging where things went wrong in a complex piece of software.

    It requires the following skills that are all hard to master:

    1. Problem diagnosis. This is not too different from the skills required by your physician. Between insufficient data and a human [client] who constantly changes his mind, this can be brutally hard.

    2. Experimentation and invention: This is not different from the skills required by a lab scientist. You are expected to invent something new for the problem in question. You need to use your past experience as well as be willing to experiment with a lot of new things.

    3. Optimization: This is the engineering part of software engineering. A solution is not good enough if it just solves the problem. What you need is to solve the problem efficiently. You need to look for a solution that is least costly in terms of time to run, time to build, time to maintain and the storage space.

    4. Detective skills: One would think their solution works on the first trial. It doesn't. It often fails and the problem might not even be with you but in the system you connect to. You might have noticed this when the software you installed doesn't work for some unknown reason. Debugging is something that will throw rookies out of the system. This is the mark of a real software engineer.

    5. Team discovery: Unlike doctors or detectives or inventors, software engineers have to work in large teams and that makes their job even harder. They have to understand how their piece fits with the overall system and need to build for others to connect to. This is the skills that new software engineers are typically the weakest in.

    6. Estimating complexity: Possibly the hardest part of software engineering. At some point, someone will ask you for an estimate on how long it will take you to complete a task, and they'll expect a reasonably accurate answer. It is extremely difficult to do this unless it's identical to something you've done before (which is almost never the case). Something that "should" take a couple hours can hang you up for 3 days because of unforeseen complexity. Then what? Either you work harder and longer to finish on time, or you lose credibility.

    Less than 10% of people who study computer science can actually do the 6 above. Less than 10% of those who can do these 6 can claim any level of mastery. The computer engineer who has the mastery is thus very rare and thus is highly sought after by top companies.

  13. I found your blog only last week, but have read pretty much the whole lot (been laid up with health problems) and i enjoyed this one the most.
    I'm in my thirtieth year as a pro now and have seen a landscape shift so dramatically, as to create the need for a new 'atlas' - you appear to have to have the cojones to keep at it..... I'm not sure if I can take another year in an industry that now has so little respect (here in the UK at least) that it's old-time pro's are now seen as some gang of perverted and feckless lotharios; charlatan who for decades fleeced the innocent with their snake-oil and voodoo chemistry tricks.

    As a few other commenters have noted, I still do work for clients whom I have become friends over the years, but the days of actively seeking new ones is a thought so abhorrent as to twist my innards into a Gordian Knot of anxiety and despair - seriously!

    Once again, kudos to you for your honesty and articulacy...not to mention your image making talents.



  14. Good job. Nice piece.

    As a retired photographer (and editor) who sometimes thinks of going back to the business, posts like this help keep me on the right track - stay retired and enjoy the hobby. If I really need the money there are easier ways to get it.

  15. Brilliant.
    This has been my favorite blog for several years.
    Thank you for your insightful writing.

  16. Your excellent post certainly reflects the reality of my 38-year freelance career. My business has been winding down the last few years because most of the art directors and corporate communications people I worked with over the years have either retired or gone to other things. And since my wife retired, I haven't really worked at marketing to new people.

    However, I consider myself very fortunate that actual, paying assignments took me to 27 countries and around much of the U.S. But these were not glamorous, high-dollar jobs. Many of the countries were third-world, and most of the clients were non-profits with tight budgets. But it was extremely satisfying work, and I wish I could go back and do it all over again.

  17. Thanks Kirk. My first thought? Don't listen to advice from false prophets. Vet their work first. Thanks for making yours so public.

  18. Kirk, telling it like it is!


  19. I must admit I was amused reading this "expectoration". Mr. Tuck's not-always-subtle remarks about some of the usual suspects is both spot-on and hilarious. I wonder, though, if he doth protest too much. Still, I am sympathetic with the plaints of a working professional photographer. Particularly at the end of a long, hot stressful day. By the by, I am enjoying reading your novel. Thanks for making it available.

  20. Kirk, you said it very well. I was one of the lucky ones, as I found an organization to work for where I worked with good people and on interesting objects. Even better, I was expected to find better ways to make better images pretty much every day. Since I had received a very good technical education at RIT, the job was an almost perfect fit. Best of all (to me) I didn't have to deal with outside clients and an acceptable check showed up every two weeks. I liked the job and the place well enough to put in nearly 40 years. Now I work for myself, a few customers mostly of some length of time, and some charity work. All in all, a good life. And I never had to wake up six days a week knowing I should make lets say ten call , knowing in advance at least 9 of them didn't actually want to talk to me!

  21. I did a workshop once with one of the more popular bloggers. It was more of a photo tour than a workshop. Flew out of state, rented a room, a car, paid for the workshop. It wasn't cheap. I still had fun though. I wasn't there to improve my technique. I was there to add more photos to my portfolio.

    I was looking at the photos taken by one of the other photographers at the workshop. I was joking with him about a small number of similar photos we had taken. He wasn't too amused. With a workshop it is inevitable that a few near duplicates will be made. You're in the same light with the same subjects.

    Kirk. I know you have foregone workshops. Still, it would be great to see a studio lighting class from you. Just the nuts and bolts. The portfolio review, meet and greet stuff can be skipped. Maybe we can bride you with some Franklin BBQ to get it going. :)


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