Shooting for a Career in Commercial Photography
by Sonja Albrecht
Career School Directory Columnist
June 26, 2006
If you're a photography buff, you know there's a lot more to it than point and shoot. Think of the world's great photographs--the "unknown rebel" in Tiananmen Square, facing down a tank, or the surreal glass tears in Man Ray's famous portrait. Great photographs evoke an emotion or tell a story. Capturing just the right image at the right moment takes talent, artistic vision, luck... and technical skill. Today's photographers deal with both film and digital images, which means they must master everything from darkroom processing to computer imaging software. It's a highly technical medium, but once you get the fundamentals down, you're free to render the world anyway you like.
Jessica Robinson, a freelance commercial and art photographer based in San Francisco, talked to us recently about her training, her unique approach to photography, and her professional development.
CSD: How did you know you wanted to be a photographer?
JR: Kind of by default, I guess. I knew I didn't want to be behind a desk--I wanted to be out and about. When I started collecting images for a portfolio, I realized I'd actually been doing this for years. I just hadn't thought of it as a career, more of a hobby.
CSD: Once you realized there might be a career in this, what was your next step?
JR: I didn't know too much about cameras and equipment. So I went to school and got a bachelor's in Photography and Digital Imagery.
CSD: What did you get out the program?
JR: Mainly it was helpful in learning the technology. Also, photography school gives you a forum for making mistakes. That's one of the best things about it. In the real world, you can't screw up--it's a small community, and you get your business from word of mouth. Besides, it's expensive when all the materials are on you.
CSD: What equipment and materials did your photography program provide?
JR: We had to buy a camera--that's the biggest investment, but you'll probably use it for years. Darkroom and computer equipment were included in the program.
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CSD: So how would you describe your style?
JR: I investigate things close up--look at the textures. It relates to my personality, I like to strip away the peripheries and get to the essence.
CSD: What techniques do you use?
JR: I do a lot of studio photography, because you have control over lighting. The camera is interesting because you can remove an object from its context and make the viewer see it in a new light. I take an object out of its natural setting and play with it in the studio. By amplifying certain aspects, blocking out others, you can create something entirely different.
CSD: That reminds me of my favorite photo of yours; it's an abstract composition of green, blue and yellow curved lines. What is that?
JR: It's a stack of plastic plates we had in the kitchen, a close-up of the rims.
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CSD: How did you land your first commercial photography job?
JR: I found magazines I liked and contacted the art directors. You want to get in and show your portfolio, start building relationships. It's not like other fields, where someone takes you out to lunch and offers you a job. You have to sell yourself. My first job was as a studio manager.
CSD: Not an assistantship to a photographer?
JR: With a photography degree, you can usually skip that step.
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CSD: What do you do now?
JR: I've since gone freelance. The studio manager job wasn't right for me. Some people prefer the structure and security, but I like being independent.
CSD: What's a typical day on the job?
JR: I might put together a shoot: build a set, get the equipment and lighting together. Sometimes I'm on the phone finding new clients. I did some of that as a studio manager, too. But mostly I coordinated people involved in the shoot. Studio managers do a little of everything, even billing and advertising.
CSD: What do you like or find frustrating about it?
JR: I like the problem solving and the creativity. But being a freelancer is tough too--it's hard to plan ahead. It can be an unstable life.
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CSD: What can someone starting out in the field do to get a foot in the door?
JR: It's a good idea to enter contests. If you're selected, your photograph is printed in a magazine. Also, it's a good idea to do internships with a photographer or a magazine.
CSD: What's the next step for you?
JR: I'm going to New Zealand to explore and do photo shoots there. My business is taking a more adventure, outdoor direction. I'll get a promo piece together and build my portfolio.
CSD: Anything you'd like to add?
JR: In commercial photography, the love of the work has to carry you. It's not easy, it takes time and dedication. Your images will show the passion you put into them. You have to shoot what you love.
Sources
Learn more about Photography programs
About the Author
Sonja Albrecht works as a writer and editor for an online media company. She has also taught college writing and completed a Ph.D. in English.
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