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What to Consider when Investing in Professional Photography Training.
It was about 25 years ago now that I was teaching a class in Atlanta, Georgia, called “Portfolio,” which featured visits to various commercial photographers in the area. These professionals would give us tours of their studios, show their portfolios and talk with us about their careers—professional careers in photography, mind you, that kept them busy for more than 40 hours a week. Sure, they were taking images of coats, peppers or mouth wash for advertisements and catalogs, but they were gainfully employed professional photographers! What I soon learned, however, was that while each was using their camera to pay the bills, they still pursued their real passions (such as landscape and macro photography) off the clock (indeed, it isn’t easy or without compromises to turn a hobby into a sustainable, paying profession). Still, our spirits prevail and many of us make it happen. I see it each summer as students from ages 17 to 70 arrive in Missoula to make a go at professional photography. Absolutely, some are just here for fun. Many, however, are here because they have summoned the courage (despite skeptical parents, friends or little voices in their heads) to fill their workdays with activities others usually reserve for weekends.
This past week I chatted with three people who had little previous experience and were curious about pursuing a career in photography. But where to start? Where to end? And what should the journey between these two points look like? It is these conversations that have inspired many of the suggestions below (that and last month’s newsletter about non-professional photography programs). Of course, as I said last month, there is no way around my bias: I love Montana and I love our school. Still, I do realize that our program isn’t for everyone and that there are many fine schools around the United States and the world that offer reputable, engaging and inspiring professional programs.
So here they are; my suggestions for choosing a professional photography program.
- Deem your Education an Investment. Successful, self-taught professional photographers are rare. There is simply too much competition from well-educated photographers out there—not to mention the myriad of related digital skills to master. Treating your education like an investment will give you the courage to shop around with quality and not necessarily cost, in mind (which is not to say that your search should be cost-blind). Today, with our economy as volatile as it is, the more diverse your skill set, the more stable your bank account.
Be Patient. Many professional photographers start slow—they earn $5,000, $10,000 maybe $20,000 annually from photography to supplement their regular income. Soon, though, with dedication and perseverance, this can change, as it has for the hundreds of RMSP graduates who now make their entire or a significant part of their living by taking photos (many of whom came to RMSP with zero knowledge and experience).
Chose an Expertise Wisely. When studying photography, consider all areas of concentration knowing that some are more conducive to making money (and doing so in a shorter time period). Portrait and wedding photography, for example, are foci that tend to pay rather than just generate bills. A more difficult area in which to make a living is fine art, which many professional photographers use for their second income.
Look for a Well-rounded Program. Following my previous point, the more well-rounded the program, the more apt students are to understand all their professional options (and the pros and cons of these options). At the end of Summer Intensive, I often ask students if their initial interest matches their current one. More than 60 percent have a complete change of heart. Most frequently, this swap occurs in those who come with visions of photographing landscapes and leave with a proclivity for studio work.
Consider Instructors’ Skill Set. Different instructors bring different teaching expertise and ideas about photography to any program. Instructors should have extensive teaching experience and be able to skillfully articulate subject matter and their experiences to students. Good instructors also bring real-life elements that can’t be gleaned from a book or website such as genuine excitement and passion for photography, or their personal experiences. The more exposure to talented and excited teachers a student has, the more likely they are to successfully cultivate their own skills and identities as photographers.
Reflect on Length. For many young people, a four-year university program makes sense. There are also many two-year programs at community and technical colleges with good photography classes. Many folks, however, don’t want anything but photography, and for these people a condensed program (like our Career Training program) makes more sense. Of course some students can have it all, a two or four-year program during the school year and an intensive program during their summer break.
Look at Location. The physical location of a school often dictates student’s subject matter. If you choose a program in the city, you are more apt to photograph skyline and street scenes than wildlife. If you end up in a more rural and wild environment, chances are that flowers and mountains will find their way to the end of your lens in lieu of street signs and subways. Also, some folks just prefer urban settings while others prefer big skies and proximity to wild places. I, for one, have had both: I started in Atlanta and now see mountains out of my bedroom window.
Curriculum. A school’s curriculum should be changed every year to reflect the latest technology as well as student and instructor feedback. Nothing about a program should be stagnant—including the students! A strong program challenges its participants to work outside of their comfort zones and preconceived ideas about their skills and interests.
Consider Consistency and Availability of Instruction. A good program ensures that students work with their instructors and/or assistants while they shoot, work in the studio and edit in the lab. For students to really grow, they should have ample access to their teachers. I recommend looking for programs with low teacher-to-student ratios.
Expect Honest and Extensive Critiques. Students learn the most by shooting and shooting and shooting ….and then shooting some more. Shooting, however, must be followed by honest critiques. The more instructors give students feedback and opportunities to implement this feedback, the faster students grow and find their own direction.
Pay Attention to Business and Marketing. Essential to becoming a successful photographer is learning how to market your skills. I know many OK photographers who are very successful because they can sell themselves. Unfortunately, I also know many excellent photographers who cannot piece together a living because they don’t have a strong business sense. Good programs should include these topics in their curriculum.
Consider Costs.As I said at the beginning, starting a new career is an investment of time and money. And don’t just pencil “tuition” into your budget; consider all the expenses that enrollment will incur. To this end, schools should give students a thorough and honest list of expenses.
Evaluate Equipment. As with cost, there should be no “other” surprises when you arrive at a school—like the long list of equipment they now want you to buy. And once you do arrive and gather all you need to participate in the program, there should be extensive instruction on how to use what you have, including your camera, studio equipment, computer hardware and software, and any extras that make their way into your camera bag.
Think Reputation. As I said last month, if a school has a solid reputation, it’s probably for a good reason: they deserve it! It takes years to establish a strong reputation and therefore is important to consider when choosing a program. The school should also make graduates available to talk to about their experience (both the good and the bad). A school’s administrative and teaching staff should not be a program’s only advocates. That said, those who do work for a school should be available to prospective students for questions.
Believe in Yourself! Truly, all the above points aside, it is you, the aspiring professional photographer, who makes the biggest difference. There are great photographers that come from weak educational backgrounds as well as weak photographers who have had more schooling than one resume can reflect. The difference lies in your motivation, your courage and your confidence. If you don’t think you can pull off a career in photography, chances are you can’t. If you do, however, I’m willing to bet you can.
By using these guidelines as a reference point when looking for a professional photography program you will be better equipped to find the right education for your career path. These same points have been important bench marks for RMSP in creating and maintaining a professional program. Of course I am biased towards our programs, but I should be; I truly believe we provide an excellent education for aspiring photographers.
For 25 years our Career Training Program has been a place for people who believe in their dreams and took the steps to make them a reality. Most have realized not only their dreams of becoming a professional, but also found that being with a growing and caring community of people has profoundly changed their lives in other ways. As for me, I come away at the end of each summer more in love with life and with so many new friends. Watching people grow and finding their direction is much of what I live for. This summer take the risk and make your dream a reality with RMSP. | |
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David H. Wells—by Page Orb Pedde
I have an immense amount of respect for professional photographers who are also gifted teachers. A successful photographer does not necessarily make a good teacher. While many professionals can teach the technical aspects of photography, some hold back a great deal of information in fear of giving up their trade secrets. The professional photographers who are also skilled instructors have an immense passion for photography, a desire to share everything they know and an incredible amount of self confidence in their own work. David H. Wells falls into this category.
I first became familiar with David H. Wells through images that he submitted to RMSP for his workshop, Light Studies: The Light and Atmosphere of Place. I was immediately drawn to his use of shape, color and shadow. His images told stories in an unconventional way which intrigued me. During one of his workshops, I sat outside the door of his classroom listening to a lecture and immediately noted his energy and passion for using his own experiences to make others better photographers.
Last fall at the PhotoPlus Expo in New York, David introduced me to his new website, thewellspoint.com. This site is dedicated to sharing technical and creative techniques with his audience through podcasts and his written blog. His podcasts are a great introduction to his work and his teaching style. As I was preparing this newsletter I came across a podcast he posted in February. The podcast, “One Photographer’s Career Path” is a fantastic narrative of photographer’s journey to becoming a professional. I approached David with the possibility of asking him a few questions regarding his career and he was more than willing to help out. Below is a short interview with David H. Wells.
- What was your photographic turning point? When did you realize you wanted to become a professional photographer? I fell in love with photography in high school with that magical "paper in the photo chemistry" moment that many photographers today do not experience.... I studied the history of photography to try to come at photography more "academically" but was bored working in a gallery so I started down the career path of a professional photographer.
- What was the most important thing you learned in the process of becoming a professional? Anyone can do photography or thinks they can do photography. However, here are the top five “predictors of success,” according to Dan Miller, an author and life coach. These are the things I discovered I needed to do or to have in order to be successful.
- Passion: What gets me out of bed at four in the morning.
- Faith: Even with everything lining up logically or financially, real success required that step of faith into the unknown.
- Determination: I have a lot of determination--somewhere between determination and obsession.
- Joy: What are the things you love to do whether or not you get paid?
- Self-discipline: If you are going to be a self-employed photographer this is debatably the most important thing because nobody is going to tell you what to do. You’ve got to organize yourself and do it yourself.
- What made you want to teach? I learned that I loved the process as much as the end result and teaching is about process. Over the years of teaching, I realized I love teaching. My students tell me I am pretty good at teaching them to “see like a camera.” It may be a skill I inherited from my mother, who was a teacher by profession and passion.
- What piece of advice would you give to aspiring professional photographers? Learn to accept the tug of war between what you want to do and what you need to do. They inform each other. Too much personal work and one becomes self absorbed. Too much commercial work and you lose the soul that makes the commercial work good. Like life, commercial work is a balancing act.
Click here David H. Wells’ podcast “Some Thoughts on Being a Professional Photographer” at thewellspoint.com |