Three Ways Photographers Reinvent Themselves To Make a Living
Yvan Cohen
Mon Sep 23 2024
As the business of photography has become increasingly challenging for photojournalists, many are seeking creative ways to continue earning a living doing what they love.
They realise the landscape of professional photography has changed.
Where once editors may have assigned a photographer, today the same editors know the image they need is just a few mouse clicks away.
Meanwhile, the vast supply of imagery made possible by the Internet and cheap digital technology, has pushed license fees down, making it harder for professional photographers to earn a decent living from their stock.
Photography has become such a universally accessible form of creativity and communication; many professionals have found themselves swamped by an army of camera-toting bystanders and photography enthusiasts.
At the most extreme end of the spectrum some photographers are left asking themselves what it actually means to be a professional photographer. The dividing line between the amateur and the professional has become increasingly blurred.
Despite the pessimism expressed by many professionals, there remains many determined souls who see opportunity in change. They are evidence that true passion doesn't wither in the face of new technologies and shifting market realities—it adapts.
Three ways that photographers reinvent themselves
Photo by Muhammad Khairul Iddin Adnan
1. The photojournalist as an artist
Many photojournalists have responded to the advancing hordes of amateurs by re-casting themselves as artists. It's a subtle repositioning that, when successful, can give renewed gravitas and credibility to a photographer's work.
By labelling one's pictures not as documents but as art, there's an attempt to pull oneself above the masses, into a more refined category of creators. These creators are generally valued more for their uniqueness of vision than their technical skills in handling a camera as digital technology has effectively removed the technical challenges of creating a well exposed and focused image.
2. Photographers becoming teachers
The rising popular interest in photography has also created an opportunity for professional photographers to reposition themselves as teachers (and occasionally as both artists and teachers).
Just 10 years ago I would have struggled to name two professional photographer friends involved in organising workshops, now I find myself struggling to name one who isn't in the workshop business.
The blossoming of the workshop sector is a direct by-product of professional photographers adapting to changing realities and seeking news way to turn their unique experience and knowledge into a decent income.
But as the number of workshops on offer has grown, questions are also being raised about the varying degrees of quality on offer.
Photo workshops are completely unregulated and there is, as far as I know, no recognised qualification for teaching.
Potential students would do well to read up on the background of their would-be teachers. Even so, there is no guarantee that a dazzling portfolio will translate into an enriching course. Word of mouth and online commentary are perhaps the best ways to evaluate the quality of a teacher and his/her course.
Photo by Ethan Wilkinson
3. Blending photography and videography
Diversification is another typical response to changes in the industry. As the traditional role of the professional photojournalist has been eroded by crowd-sourced content, many photographers are diversifying their skills, learning how to work with multimedia—creating web presentations and working with video and editing software.
The technology required to shoot video has become more accessible not only in terms of cost but also as the equipment used to record still and moving imagery has converged. Most digital cameras today now shoot HD or even 4K video footage, creating opportunities for photographers to move seamlessly between these two disciplines.
Though video technology may have become more accessible, the technical and skill barriers to producing a video report of broadcast quality are still high enough to deter many amateurs.
Many professional photographers have spotted this opening and are retooling themselves to shoot and edit video. Most already have the natural visual sensitivities needed to create video, so all that remains is to re-label themselves as ‘visual artists' capable of producing work using stills and video, or a combination of the two in a multimedia format.
The fast pace of technological innovation can create an impression that we are forever racing to learn the latest software or how to use a recently released piece of equipment. Yet, however much technology may have transformed the environment in which photographers operate, the value of great creative work driven by unique ideas can never be overtaken by gadgets and gear.
Technology may have changed the context in which we work, forcing us to reconfigure the ways in which we generate an income to live. But for those with ideas, passion, and talent, whatever the latest format is and however technology may change, there will always be a market for your work.
Written by Yvan Cohen | Yvan has been a photojournalist for over 30 years. He's a co-founder of LightRocket and continues to shoot photo and video projects around Southeast Asia.
Cover image by Amar Preciado
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