Going Pro #1
Sometimes professional photography is more about money than photos...sorry.
by Benjamin Weatherston - August 23, 2011
Many photographers talk about "Going Pro." Some of them actually do it, some of them say they do it and really don't, most of them never do it. There is even quite a bit of dispute as to what "Going Pro" really means. Does it mean that you got paid for doing a job? Does it mean you earn a certain percentage of your income with your photography? Does it mean you have no other job? If you haven't read Ken Rockwell's definition, I strongly suggest you devour it, regurgitate it, and feed it to your young. And what I mean is that his information is very palatable and good to share even if it doesn't necessarily benefit you (I don't really agree with all of his categories).
I personally don't ascribe to a particular definition and am cool with most of them. If a person tells me they're a professional photographer I typically just say "Cool" and move on. I call myself a pro for a number of reasons but I know that the proof is in the pudding and your body of work is more telling than your name tag. I'm also a firm believer in professional (small P) and a firm skeptic of Professional (big P). One is a title respectfully bestowed by others, and one you give yourself.
What I wanted to discuss here is one small aspect of making that jump. One line on your to-do list, one step down the path to Professionalism. And that is...bills. How do you pay your bills? Who pays your bills? How many bills do you have? I think the final reincarnation of your career, the photo nirvana, is when all your bills are paid by the money you make shooting. This makes a certain income irrelevant. This eliminates percentages, formulas, gear, and even years of experience to a degree.
Now let me take a step back and say that I don't care if you were here, are here, or ever get here. My goal is not to offend and the moral of this story is toward the end (don't worry, you won't miss it).
This exercise begins with a sober analysis of your expenses. Not just how much is spent by you but how much money is spent on you. This became shockingly clear to me in 1998 when I called myself a professional photographer simply because I was making money shooting. I would spend every dime (and then some) on new gear and then ask my girlfriend to cover the rent. In 2000, after a year in LA, I came back to Ann Arbor and got a job at the mall just so I could eat. My debt was strangling me and my credit was so bad I got turned down for a bank account.
How do you spend your money? I've got tons of really bad stories about money misspent. And you mustn't turn a blind eye to the money spent by others on you. Parents, spouses, girl/boyfriends, roommates, and just friends. I will never begrudge someone for relying on others, but as a recovering freeloader, I do think it needs to be factored into the equation.
Now let's look at how much you earn from shooting. Are you a regular shooter? Do you charge reasonable rates? Do you have a good system for referrals? Can you sell yourself? Is your income something you can budget? Anyone looking to make the jump must have a firm grasp on where they stand right now in terms of money making potential.
We're getting close to the moral of the story. Now let's look at the deficit between how much you bring in with your photography and how much you (or your household) have to pay out every month. For most of us, that deficit is a little depressing. It's the realization that your chosen path might be one of poverty and dependence on someone else. I remember wanting to start a business for a sense of freedom and control. So why was I calling my estranged girlfriend back East to help me get my repo'd car out of impound? Simple, she supported me but I never would have admitted at the time that I was living off of her good grace. I look back and wish I just would have come to terms with it, discussed it, been a little more humble, and made a plan for the future rather than just take advantage of her.
So here's the moral of the story. Here's my pearl of wisdom for photographers who want to take that step towards photo nirvana. Here's my drop in the sea of unsolicited advice.
Stop spending so much money.
That's it. Lower your bills. I'd end right here (since I hate writing so much) but I feel you are owed a little more explanation.
I don't mean to sound like the Tea Party on you but the most responsible way to cut that deficit between your expenses and income is to spend less money. So what does this mean for photographers? Stop buying gear, stop buying the latest smartphone, stop buying fancy coffee, stop eating dinner out, just stop buying stuff!
I realize, as someone who sells services to photographers, that I shouldn't be preaching restraint to a group of people known to throw money away. But here at the studio we hope that we provide a clearly evident value and we still know that not everybody can use us. But what about your membership to the FPS (Fancy Photo Society) or the dozen online training sites? Is the value perceived or measured? If you had a business manager who required a cost/benefit analysis for every penny going out the door, could you whip up a PowerPoint and present it to the Board of Directors (spouse and kids)?
Here's a true story: Starbucks actually sponsored one of my lenses. Did you know they do this? They have a secret grant set aside for broke artists who can't manage their money to help them get new gear, finish their album, make their movie, etc. It's actually quite simple, here's how you apply:
-Go to the nearest Starbucks
-Order a quad Grande, non-fat, no whip, 2 pump Mocha
-Pay the broke artist employee $5.62
-Immediately declare you would like to apply for their Broke Artist Grant (ie. cancel your order)
-Watch in amazement as The Starbucks Corporation makes a charitable contribution to you
in the amount of $5.62
-Do that everyday for a year
-Go buy the 85mm f1.4 of your dreams, THANK YOU STARBUCKS!
But this only scratches the surface because you still need to stop buying so much gear. Professional photographers seem incapable of being content with what they have. Some of the world's most famous photos were taken with cameras we would scoff at. Our photo forefathers would be mocked for reliance on such simple techniques. How did Ansel Adams do anything without an iPhone? (future blog alert!)
If you want to make the jump and be a more professional Professional, my advice is to resist the temptation to keep up with the photo-Jones's. Self sufficiency is an admirable achievement even if you can't pull it out of your bag to the ooh's and ahh's of your fellow shooters.