still photography – Page 3 – Journeys of a Hybrid

June 26, 2013July 3, 2013

Wipe Your Knees Before Entering

I just learned that Bob Gilka, legendary Director of Photography at the National Geographic for over 20 years passed away yesterday. He was 96 years old. Bob was the “real deal” and he will be missed by many, but his legacy lives on in all the photographers careers that he shaped and mentored. I am reposting a blog that I wrote about Bob on December 1, 2009. Rest in peace Mr. Gilka.

Back in the eighties when I was starting out, every six months or so I made the pilgrimage to Washington DC to see Bob Gilka, The Director of Photography at the National Geographic Magazine. He was the guy who decided if you would shoot for the magazine. He was accessible, answered his own phone and made appointments to look at work. How times have changed.

Gilka was a man of few words and because of that seeing him was always a bit intimidating. If all you had were images to show – and nothing to say, you’d pretty much be in and out of his office in the amount of time it took to click through your slides. Knowing this, I did my homework prior to the appointment. I’d come up with about 10 query ideas, research back issues of the magazine to make sure they hadn’t been done before and have at least one idea written up in a story proposal.

I’ll never forget the first time I went to Gilka’s office. His secretary met me in the lobby, and led me to a small area just outside his office. There on his door was a doormat –with words that read “Wipe Your Knees Before Entering”. Talk about feeling intimidated – as if it wasn’t intimidating enough just to be meeting with the Director of Photography at the National Geographic.

So every six months or so I would show my images and pitch my ideas. This went on for about two years. Each time I went I would almost test myself to see how long I could stay in his office. I would do my best to sell my story pitches that I felt the strongest about and he would reply – “done it –doing it – or – don’t want to do it”. This coupled with a few words of encouragement in regards to some of my photographs would pretty much be it as far as feedback.

Then one day he kept me waiting. He had been detained in a meeting. I had scheduled a pretty tight day to maximize my trip to Washington – so the delay had thrown a wrench into me keeping my other appointments that I had scheduled. When Gilka did show up and apologized, I was already feeling quite anxious and showed it. I told him that I didn’t have much time because I had to be across town at the Smithsonian in 20 minutes. He picked up the phone, called Declan Haun, the picture editor I was headed to see at Smithsonian Magazine and explained that Gail Mooney was running late due to his tardiness. Then he proceeded to look at my pictures and hear me out.

When I did get to the Smithsonian, it was amusing to see how curious Declan Haun was to find out who this Gail Mooney was that got Bob Gilka to call ahead for her. The very next month, I got a call from Bob Gilka offering me my first assignment. Guess I just needed to show my real self. I had sufficiently shown my interest and determination in wanting to shoot for them. And I had demonstrated my photographic ability through my images. But it was when I showed my true spirit that he knew that I could shoot for them. I just had to get over my fright.

May 27, 2013May 28, 2013

Condensing a Life

I have lived in the house that I am in for 19 years. For a kid who grew up going to a new school every year until the fourth grade, this has been the longest I have ever lived anywhere. My husband and I raised a child in this home. We also work here, running our photography business out of a separate section of the house. What that means is that we’ve done a lot of living in this house and with that comes the accumulation of “stuff”.

When you live the kind of life I do, always moving forward with new projects and exploring the world, you don’t realize what a past you’ve had until you begin the process of getting rid of things you no longer need. That’s what I have been doing recently, sorting through years worth of “stuff” and tossing what I don’t need anymore.

I spent the day yesterday, taking on just one small corner of my office, going through folders that contained everything from old stock photo delivery memos, caption information for dozens of destinations, financial information, old contact info, lists of goals and good intentions and LOTS of correspondence.

And that’s where I got totally sidetracked from my mission, looking through almost 20 years of correspondence. There were many letters from a friend who died long ago. My friend had also been a mentor to me, and his letters were thoughtful, insightful and full of encouragement. I suppose I have kept those letters all these years to remind me of where I was at during that time in my life.

There were plenty of other letters and note cards from people who have been part of my life, including a card from my daughter with a crayon drawing inside that she had made. It brought back of vivid memory of when I had received it. It was my birthday and I had been on a very long assignment, shooting in France, and as great as that sounds, (and it was) it was also hard because I missed my family terribly.

It was a bittersweet experience, going through decades of correspondence, but I’m grateful that I kept some of it. It was like tangible evidence of chapters of my life and it somehow felt more real than my electronic archives do. And so, while I spent hours shredding documents, feeling like I was in the movie Argo, there’s just some things I’m not quite ready to let go of. For now those tangible memoirs will stay in that corner of the office until the next edit.

February 3, 2013February 3, 2013

What Still Photographers Need to Know About Convergence

We should not think in terms of how we can apply the newest tools of the trade to what how we are shooting today, but rather think about how these tools and future versions may be applied to what we will be doing in the years to come. We also need to remember that it is not just creatives that are determining what we shoot with, how we shoot it and where the imagery will be used, it’s the top executives and money folks from the camera manufacturers, the advertising executives, broadcast networks, movie studios and magazine and newspaper publishers. They set the stage and the content creators and receivers of the content or the “audience” react.

We as creatives have a choice of what tools to use – everything from an iPhone to a camera like the

RED, able to produce 5k resolution stills shooting at 96 frames a second at a 200^th of a second. We make our decisions when choosing which tools to use based on a number of factors – affordability and determining which tool or camera is the best one for a particular job. Many times, it’s the end use that is the deciding factor. We need to remember that not only our tools are changing, but so is the way the information or content is delivered as we rapidly move away from print to electronic delivery. Simply put, mobile devices have dramatically changed the way consumers are receiving content and information.

Who could have imagined just a few years ago that a phone could take photographs that weren’t just “good enough” but really good in terms of resolution and delivery? We need to keep in mind that the limitations of today will most likely not be there in the future. Technology is changing our lives and our businesses in an exponential way and will continue to do so. If we are smart and want to stay in business, we need to look forward and imagine what’s next, rather than look at what is or what was.

When I started my still photography business more than 30 years ago, a photographer needed certain technical skills. We needed to be able to focus a camera and that was tough if you were shooting fast moving action subjects and we needed to know how to get an accurate exposure. The cameras of today have pretty much eliminated those skills with auto focus and exposure. Still photographers still need to know how to light but as software becomes more sophisticated will that be a necessary skill set of the future?

When I’m giving a seminar to still photographers who are thinking of moving into motion, I start out by explaining the differences of the two mediums. Still images are moments in time and video is time in motion. That explanation sounds simple but it’s quite profound when you think in terms of convergence. While today’s cameras have pretty much eliminated the skill sets of knowing how to properly focus and expose an image, a photographer or camera operator still has to be able to capture the “decisive moment” – that is where the skill set comes to play. But is that still true today and will it remain so in the future with motion cameras able to shoot at 96 frames a second at a fast shutter speed with 5K resolution? Why would a client need a photographer to shoot still images when they can pull frames from a motion shoot? They wouldn’t, especially when most camera operators in the motion sector are working under “work for hire” contracts and they don’t hold the copyright to the footage and/or still images or frame grabs from that footage. That’s a game changer for the still photography business and licensing of images.

I read an interview once with Vincent LaForet and he was telling a story about having a discussion with a DP at a Red event shortly after the Red One came out. He asked, “Who in the world would want to shoot a still image with this huge Red camera with a Cine lens? It’s insane. Why wouldn’t I go out with my 5D Mark II that shoots RAW?” The DP answered “We want to take your still jobs away from you, just like you want to take our video jobs away from us with your HD SLR’s.”

That was a few years ago. Now I know a lot of high end still photographers who are shooting with smaller, more affordable and high-resolution motion cameras to shoot still photography jobs and so are DP’s. That’s convergence and who knows what the future may bring, but one thing is for sure – it’s best to be knowledgeable in both.

January 5, 2013

10 Ways Photographers are Their Own Worst Enemies

They talk themselves out of things. – Telling themselves that it wouldn’t matter if they learned new skills or shot new images or whatever they didn’t want to make the effort to do.
They try to “educate” their clients (sometimes a bit too much) instead of collaborating and possibly learning from them. A lot of “older” photographers are like this when they are working with younger art buyers or directors. I think the energy needs to work both ways.
They give themselves an A for effort for starting something but too many times their starts lead to nowhere if they don’t have an end goal in mind.
They don’t open themselves up to networking with others by attending industry meetings or events.
They treat their clients like their enemies where one needs to win instead working toward a positive outcome for both.
They make the mistake of creating for an audience, instead of creating for them selves. (Thanks to Seth Godin for that thought)
They take workshops or pay for a service and then don’t utilize them. I’ve been guilty of this too many times.
They don’t shoot for the pleasure of it.
They rely too much on commissioned work instead of taking advantage of new opportunities and ways in which to market and sell their own projects.
They don’t stay true to themselves.

July 27, 2012

Tips for Young Photographers from an “Older” One

I’m not so sure if it’s true that we get wiser as we get older. I think we just have a lot more time to make mistakes and hopefully learn by them. When I was first starting out as a photographer, I was extremely fortunate to learn from some of the legends of my time – not just about photography – but all kinds of things.

Gail showing video to children of remote Amazon village, Peru — Gail with children in small village along Amazon River, Peru

I think sometimes that we have become such a youth centric society in America that we forget what we can learn from those who came before us.

Some things I learned along the way:

Watch out for your “peak” years – most hit those peak earning years during their 30’s and 40’s. When you are at the height of your career, remember to live in the “now” and enjoy the ride. Things change quickly in a creative business. Be prepared for the peaks and the valleys.
Stay away from trends and be authentic to yourself – Don’t emulate others’ style, find your own. Listen to what your inner voice is telling you, despite what happens to be the trend du jour.
Be proactive – not reactive – Don’t fight change – it’s an impossible task. Things are always changing. Nothing is static. Doing nothing is not staying the same – it’s actually going backwards. By the time people react to change – it’s usually too late.
Say yes more than no – Whenever I’ve been brave enough to say yes to a job that I didn’t think I’d like or be able to handle, it has always turned into one of my most rewarding experiences, either creatively, financially or both.
Be more vulnerable – if you’re not feeling vulnerable, even at the peak of “success” – you aren’t pushing yourself enough. During the entire making of my film, Opening Our Eyes, and even now, I have felt vulnerable – first in the journey itself around the world and the trials and tribulations that came with that and now dealing with the rejections that come with submitting the film to top tier film festivals. But I thrive on the wins and we’ve been honored at so many wonderful festivals and that wouldn’t have happened – if I hadn’t been vulnerable.
When a door closes – a window always opens if you recognize opportunity – My worst moments have always been followed by my best ones. Sometimes, something has to happen to motivate me to take the next step. Unfortunately, when the crappy stuff happens, I feel least empowered and optimistic but I plow ahead because I know this must happen to get me where I need to be.
You’re never too old to be mentored – I love learning. In fact I love it more now than I did when I was younger. I love the whole idea of mentoring and I feel that it works both ways. When I mentor someone else, regardless of age, I always end up learning as well in the process.
Marketing & Promotion: Do more pull – less push – The most effective promotion and marketing efforts on my part have been when I’ve spent more time “creating” for the sake of creating, rather than for the intent of marketing. When I’m working on a project that I am passionate about, people who hear about it take notice and the word spreads. When that happens, clients or media attention comes to me. Whenever I have spent more time, “marketing” to potential clients or trying to get publicity, it has never worked. It’s much better when it happens organically.
Network outside your profession – I’ve always found it more interesting to engage with people in all sorts of professions. As a storyteller, I thrive on meeting different people. As a photographer, it makes sense on many different levels. I have found that by broadening my circle of friends and colleagues, it has led to many interesting collaborations.
Making mistakes ISN’T a bad thing – it just means you aren’t afraid to try new things. Well I should probably not imply that I’m not afraid – quite the contrary – but I don’t let my fears become my reasons not to act on something. I often blog about my mistakes and in fact they consistently are the most read posts. I think people would rather read about others’ mistakes than read manuals.
Don’t focus on the gear – focus on the story or the message. The story never goes out of style.
There are no overnight successes – just ask anyone. We just don’t hear about people until they do become a “success”. Be prepared for rejection along the way because it comes with growth and consistently trying.

June 27, 2012

Mistakes Professional Still Photographers Make When “Moving” to Video

1. They forget about the story – it’s not your camera that tells the story – it’s the person using the camera. Pretty visuals, slapped into a motion timeline with music, doesn’t necessarily tell a story. Video is a story telling medium – don’t forget that.

2. They think they already know how to shoot – if you think because you are a professional photographer and all you need to do is get a camera with a “video mode” on it, you are mistaken. Shooting in motion is far different than shooting still images. An experienced motion shooter can spot a video shot by a still photographer with little know how, right away.

3. Thinking audio isn’t important – audio is more important than the visual when producing video. Hire a sound person to do it right, but don’t discount it.

4. Thinking the DSLR camera is all you need for video productions – this is a biggie. How are you going to go after professional video jobs if this is the only tool in your kit? Sure you can rent a RED – but make sure you are as proficient with this tool as your competition is before hanging out your “motion” shingle.

5. Positioning themselves just as DP’s or Directors and thinking you’ll maintain ownership of your work. If you assume the role of a camera operator, DP or even a director – you will be in a work for hire position in most markets. Position yourself as a producer – shoot if you want to – and direct – but realize that you’ll be just one rung on the “content ladder”.

6. They don’t learn interview skills – this is what separates the pros from the still shooters who have DSLR cameras and think that’s all they need. I’d say about 70% of my work includes on camera interviews. Even though I ask the questions- I’m not on camera, my subject is. I not only need to know how to ask the right questions and get great audio, but I need to produce a usable interview clip for an editor. That means knowing how to get great soundbites. This is one area I excel in – it’s all about rapport with your subject.

7. They try to compete in “old business model” markets – Everyone wants to shoot broadcast spots and feature films (or short films) so they think that after shooting motion for only a few months – or even a year – they will be able to compete in the high end business of video production. First, this market, like the still photography market, has changed drastically, mostly marginalized by still photographers who are just starting to shoot motion, shooting jobs for next to nothing because they have no understanding of this “business”.

8. Learning the “how to’s” in terms of gear – but nothing about the business – this is also a biggie. There are so many “how to shoot motion” workshops and roadshows out there but no one seems to be teaching the business end of things. Still photographers think they already know “the business” but quickly realize that they don’t, and they put themselves out of business in this medium – before they’ve barely started.

9. Teaching “how to” workshops in video with little or no experience – I can’t tell you how many photographers have called me for technical advice about some pretty basic stuff in terms of video, and four months later they are teaching workshops. Please don’t become part of the problem and send more shooters out into this field without teaching them something about business. And if you are considering taking a workshop – do your homework and take the workshop from someone who is accomplished in this field and has done something.

10. They forget about the story – I know that’s #1 but it needs reinforcing.

June 22, 2012June 22, 2012

ASMP and Motion

I’m on the National Board of Directors of the ASMP, The American Society of Media Photographers. About four years ago, I was asked if I had ever thought about running for the board. The person who had asked me this question, knew that I had been shooting video in addition to still photography and thought that it might be a good idea to have someone on the board who had an understanding of this medium. That was four years ago, and even though I had been shooting video for over 10 years – the “explosion” of this medium (in terms of the demand) had really just started.

I did run, served three years, ran again and got elected. I’ve shared my knowledge of this medium through meetings, seminars, blogs, emails and during Q&A’s when I screen my film.

ASMP Motion at DV East Expo — Gail Mooney, Tom Kelly and Chris Hollo at ASMP booth, DV East

This past Wednesday, I spent my day manning the ASMP booth at DV East Expo. Former national board member (and now President of the ASMP Tennessee Chapter) Chris Hollo and my partner Tom Kelly joined me. We were well prepared with a large flat screen monitor displaying a loop of our members work. I was intimate with the reel as I had just finished editing it and I was very impressed with the quality of the work. It certainly was an attention grabber.

So, what was ASMP, a trade organization of still photographers, doing at a video expo? Essentially, we were there to provide a community and reach out to other professionals who are shooting both mediums and provide information about sound business practices. If this demographic does not understand the value of copyright or value the concept of licensing, then it will ultimately affect the way business is done in the still photography industry.

Some people may think that ASMP is becoming too inclusive or is creating more of a problem by suggesting that video may be the answer for its members, only for them to find out, that industry is glutted as well. The old business models of bloated production companies with fat budgets are hanging on for dear life, along with the old business models of the film industry. But if you think outside the box, especially in terms of how you structure your photography business – the opportunities are out there.

ASMP doesn’t cease to be an advocate for its still photographers who have no interest in motion – it’s actually making the entire industry healthier by educating the hybrid competition. A lot of the people I talked to yesterday, shot both still photography and video, but even the ones who just shot video – called themselves “photographers” and they all had questions about “the business”.

I’m so closely associated with “video” by members of this society; they tend to forget that I am a photographer. I don’t call myself a photographer simply because I spend 50% of my time shooting still images, or call myself a videographer because I spend the other 50% of my time producing video. I don’t want to define myself by my tools, at all. I “see” as a photographer, with the vision of a filmmaker and the heart of a storyteller. I also have a strong desire to stay in business doing what I love to do. By being an advocate for sound business practices across these mediums, I get a lot more back than I give. All photographers’ benefit, regardless of what type of cameras they shoot with.

Friend and fellow board member Ed McDonald, tells his own story about how he had become too rigid at one point in his career, as far as how he perceived himself and what kind of photographer he was. He found that when he became more flexible in how he “defined” himself, his business got better. As I think about Ed’s story, I know we have a lot in common. For me, when I stopped restricting myself to just shooting still images – not only my business got better – so did my still photography. Shooting motion has made me a better still photographer because it has made me a better storyteller.

I got an email late last night from someone I ran into at the expo. They wrote:

“Thanks for your vision and inspiration and all you’ve done for ASMP.” So simple and so poignant and I thought – “isn’t that what I was supposed to do?”

June 13, 2012June 13, 2012

How a Passion Begins

There are a million things I should be doing right now. My husband and I just returned from a 6 day road trip to Chicago to see our daughter, Erin and all the “stuff” of life piled up while we were away. I should be out in the yard picking up dozens of littered branches that had come down in a storm that happened while we were gone – and yet I’m compelled to write.

Writing became a habit a few years ago, when I would wake up early in the mornings with my mind fully active and spinning with ideas. Instead of tossing and turning in bed, I would get up, go to the computer and write – like this morning. I was encouraged by a friend to share some of those writings through blogging, so I did. I know that I break every blogging rule, because I write what happens to be on my mind, instead of being consistent to a theme and I generally don’t provide a lot of links, but somehow readers like these ramblings. Regardless, writing is something that is part of me now.

This past weekend we happened to be in Chicago while the Chicago Blues Festival was going on, so of course we had to devote a day to it. It was a bittersweet experience as so many blues legends had passed away this year and it wasn’t the same without them – Pinetop Perkins, Willy “Big Eyes” Smith and Hubert Sumlin to name a few. But being at this festival brought me back to the first time I attended the Chicago Blues Festival

in 1993 when I was in Chicago shooting a story on the city for the National Geographic Traveler Magazine. My plan was to cover the festival for one day as part of the story – I ended up going all three days and that’s when my passion for the blues began.

I hadn’t even thought of shooting video back then, but 2 years later my partner Tom and I began shooting 35mm motion footage for stock – and that’s when my passion for motion began. Funny, within a two year period, two passions surfaced in my life and collided into the making my first short documentary The Delta Bluesmen, six years later.

As I listened to the music last Saturday in Grant Park, my mind wandered in a million directions, but once again I thought about how the universe works – that is if you don’t fight it. The times in my life when I have just followed my instincts, have been the most gratifying times of all. Most of the time, I was simply listening to a higher voice inside, instead of following the dogma of the day. It hasn’t always worked out and I’ve had my share of rejections, but that all goes into the messy mix of life.

I try to not linger on the negativity that comes with “rejection” and focus on the “rewards”. There may not have been as many as I would have liked – but they would not have happened at all, without the lead up. It all comes with the many years that go into the “overnight successes”. Life’s too short to put road blocks in my own way or talk myself out of doing something with a hundred “great” reasons to rationalize it. And so – I’ll take the bitter with the sweet any day.

February 21, 2012February 21, 2012

Monetization of Photography in Spite of a Lousy Economy

I talk to a lot of photographers. I don’t define the word “photographer” by the type of camera he or she shoots with. Whether someone is shooting with a still camera, a traditional video camera, a motion picture film camera or a hybrid camera that shoots both stills and motion – a “photographer” these days is apt to embrace more than one of these tools.

Regardless of the tools you may use, I’ve come up with a few tips on how photographers can stay afloat and make money in this continued stagnant economy.

Think outside the box – don’t think of yourself as one who just shoots still images. Even your “still” clients will have a need for motion imagery these days. It may not warrant the need for them to hire a big video production crew to make a broadcast spot. But it could be one of your corporate clients needs a “talking head” for their website. Even if you don’t shoot motion or don’t want to – collaborate with someone who has these skills to fill your client’s needs instead of sending your clients elsewhere.
You don’t need someone else to commission your services in order for you to make a living. When photographers take on personal projects, not only are they creating a buzz and getting noticed by potential clients, they are also creating their own “content” to monetize. It is possible now to get our content to market without the need of a middleman. Portals are open and plentiful to all.
Take advantage of what is “free”, rather than be put out of business by it. There are so many ways to build your brand and get noticed without spending a fortune. The costs of building and maintaining a website have dropped significantly because of advances in technology. And utilizing social media to create a buzz and get the word out about your company is virtually free with Facebook, Twitter,LinkedIn and YouTube. But be prepared to do the work and discipline yourself because this territory is ripe with distractions.
Re-purpose your content. If you’ve been blogging or have something useful to share – consider packaging your “knowledge” into ePubs, podcasts or “how to” webinars. One thing I’ve learned about making an ePub is that you can either do it yourself or hire a formatter so that it gets to market quickly – via Amazon, Barnes and Noble or the iTunes platform. Price it right – and offer more than one ePub at a time. (I’m working on my 2nd ePub now) In this market, if someone has just spent $3 or $4 to buy your ePub and they see you have another one for sale – it’s not a big stretch for them to buy that other book you offer at the same time.
Collaborate with others. Partner with others to put on webinars, podcasts, call in phone seminars etc. Use this opportunity to build your own brand. Don’t always feel that you have to be the only “act” offered. In fact many times, if you join forces with other creatives, it will get you further than if you are the only speaker in a half filled room. Get out there and get noticed and learn from your colleagues at the same time.
Be authentic. I cringe when I write that word because it has become a bit trite. I guess in a way I have always been authentic. In fact I just can’t help myself. If you are true to yourself, you will be ready, eager and able to work hard on your dreams. And hard work is exactly what is necessary to make it in this profession. You’ve got to want it bad enough in order to do the work. If you are a clone of other photographers, you’re career will be short lived. I guarantee the photographers that you are emulating will be “moving on” because their passion is driving them to new things. So, what happens to the cloned versions then?
Don’t focus solely on the money. Easy to say and really hard to embrace when you can’t pay your mortgage. But look at any successful person – I don’t care which business you choose to look toward in terms of finding successful people – but you’ll see that most people who have “made it big” were not driven by the money. I’m not saying that money is not important, but if you are solely focused on the money and not on the act of creating – it will show. Being too focused on the money part of the equation, can sometimes push it away. People sense it. It’s human nature to want to be around a “winner” – not someone who is begging for a job to keep them afloat financially.
Be patient. Everything turns around. While the old days and ways of doing things won’t come back, better opportunities will replace them. Don’t be paralyzed by your own fears. Do what you can that won’t cost you a lot of money and there is plenty you can do. Work social media, learn new skills – audio, editing, writing etc., network with people, create new content for ePubs, webinars, and podcasts. Use your imagination, pursue what you are passionate about and when the economy turns around – you’ll be ready.

January 31, 2012

Why Did You Want to Become a Photographer?

That was one of the questions posed to me during an interview this past weekend. A young woman had asked to interview me for a college paper she was writing. The call and the questions started out somewhat clinical, most likely another task or paper that she needed to check off her list. She proceeded through the usual list of questions: “Did you go to photography school?” “What type of photography are you interested in?” So on and so forth.

I could hear her typing my answers and I paused to let her catch up. But then she asked a question that really struck me on many levels. “Did you get into photography because it was cheaper?” I asked her what she meant by that – did she mean the tools of the trade were cheaper? When she responded “yes”, I told her that was somewhat of a misnomer and that the first cameras I bought (mechanical ones) I had used for 10 years. I added that now, because of the exponential impact of technology on my profession, my cameras and the software I need on the post end, have to be upgraded at least every two or three years, and that was only part of the investment required in the “tools of the trade.”

As she typed my response, I felt myself getting a bit anxious and I started speaking rapidly. I told her that even if that were true – meaning that I got into the photographic profession because it was cheaper – that would have been the absolute worst reason for me or anyone else, to choose photography as a profession. I went on to say that you need to be passionate about some aspect of photography that makes you want to do it more than anything, if you want to have a chance of sustaining yourself financially in this profession. Pursue photography because it brings you joy and that if you are getting into it because the entry level costs were “cheaper” you’ll simply be competing with thousands or tens of thousands of button pushers.

I went on to tell her that I became a photographer as a means to an end. I had been studying architecture in college and after two years left school to travel. I traveled the world for a year and came back knowing that I wanted to pursue a lifestyle that would incorporate travel but more importantly fill my endless curiosity of people and cultures and exploration. I wanted to become a storyteller, and became a photographer as a means to that end.

As the interview progressed I noticed the typing started to diminish as I told her that I have never separated my business from my pleasure and that they have always been tied together throughout my life. Simply put – my business is my pleasure. I talked about my frustrations starting out as one of a handful of women in a man’s world and for the most part a man’s profession – at least in the early days. I talked about the endless stream of rejections and the “wins” that seemed to pop into my life when I needed them most, rescuing me in the knick of time, just when I was thinking of quitting and moving into another career. I told her that unless she really wanted to do photography, she wouldn’t survive in this profession. I talked about my mentors when I was her age and how grateful I am that I had those people in my life. I relayed a couple of anecdotes about things my mentors had said to me and how those words had been pivotal moments in my life and that when things got tough, I drew upon those words of wisdom to get me through the day.

Then there was a very loud audible sigh, followed by a long period of silence and my mind raced through the various things that I had said to her. Was I too harsh? Did I paint too bleak of picture? Or worse yet – did I make it sound too easy and that all she had to do was “just do it”. I felt this overwhelming sense of responsibility that maybe I said something that was going to dictate the rest of her life and I kind of panicked in that moment of silence. And then she said “thank you so much for talking to me today, I started out just wanting to write my paper, and I’m going to have a great paper, but you have no idea how much talking to you has helped me.” She went on to tell me that she had been struggling with a decision that she was trying to make between going to law school and going to film school. I told her that she needed to make that decision all by herself and that it wasn’t a decision that anyone else could make for her – not I – not her parents – not anyone else. I told her to dig down deep into herself for the answer, beyond the influence of others, the dogma of the day and all the noise. And most importantly to remember that it was her life and that she got to choose how to live it and that she had every right to change her mind along the way.

Quite honestly, it has been one of those “onion” months for me, with layers of setbacks and second-guessing myself. I got off the phone feeling good about paying forward what I have learned along my way and in that moment, I realized that this might be my “purpose” at this point in my life. The day had turned into one of those sweet “strawberry days”. She didn’t know it, but she had helped me as much as she said I had helped her. It’s those conversations and those little moments that keep me going, and come to my rescue, just in the knick of time.

I would love to hear from you all – why did you want to become a photographer? Something you say or write just may help someone and paying it forward is the best feeling in the world.