Monday, June 8, 2009

Why Freelancing is Hard




I recently taught two classes of photojournalism at the Universitat Autonoma de Barcelona in a post-graduate level course. At the beginning of the class I asked every student to state their name, where they were from and what field of photography of photojournalism they wanted to enter. With the exception of one student everyone said they wanted to do freelance "reportage" work. Were they all crazy or just clueless???

Here's why....

Why Freelancing Is Freakin’ Hard

Rock climbing is hard, and so is freelancing. Despite how magnificent it can be to work for yourself, there are some things about freelancing that just plain suck. And no matter where you specialize, these vicious drawbacks usually find a way of asserting themselves.

What drawbacks am I talking about?

* Dealing with the feast & famine cycle
* Managing every aspect of business entirely on your own
* Finding time to market yourself, do client work, deal with clients, keep up the administrative stuff, and still grow the business
* Balancing work and life (and often family) while dealing with all of the above
* Getting sick, going on vacation, or otherwise not working 24/7 while still dealing with all of the above

Now if you only look at these negatives, freelancing seems like a pretty bad idea — that’s definitely not the case. It’s important to acknowledge the challenges of freelancing, though, so that you can manage them and learn to free yourself from the usual limitations.

And that’s what we’re going to do in this article.

The Feast and Famine Cycle

This is a problem that most freelancers deal with painfully at the beginning of their career — and usually still manage later on too (hopefully with less pain).

It starts when you have lots of free time and very few clients, when the obvious thing to do is to market a lot. After marketing for a while you’ll get clients and eventually start running out of time — and then you’ll stop marketing (because you’re packed with work and have no time). Finally, when you’ve managed to hammer through those client projects and finish all of the work, you’re left with very few clients again, and the cycle repeats.

What to do about it
The feast and famine cycle is primarily a problem of time. If you can shave a bit of time off of your client work, and automate some of your marketing, you’ll do a lot to alleviate the stress. You can also even things out by building alternate sources of income that are steadier than client work.
Managing Everything Yourself

Like the feast and famine cycle, this is the hardest at the beginning, but the problem never fully goes away. Truth be told, managing every aspect of a growing business is incredibly difficult to do on your own, regardless of how much experience you have.

The root of the issue is that there is simply too much information for any one person to handle. It’s like trying to view an entire atlas at one time — you can’t do it unless you flip to the front and look at the “general” map that doesn’t have all of the details.

It’s the same for freelancing. Very, very, very few people can think about the accounting, legal, marketing, customer support, industry, and strategy/growth aspects of their business at the same time. Trying to plan, manage, and schedule all of these by yourself is a recipe for disaster.

So don’t try to do it alone.
The solution to this problem is an easy one — get help from other people. You shouldn’t do your own accounting, let an accountant do it for you. If you can delegate the less important tasks, and only focus on what’s important to you, then your business is likely to be in much better shape.
Doing Everything Yourself

If thinking about and managing everything is a problem, than actually doing it is much worse.

Let’s say you’ve found help from an accountant, and you’re using some tools to help with the marketing. That still leaves an enormous amount of work to be done by you — enough that you’ll eventually run into an earnings plateau and have a hard time making more than that. How happy you are with that number and how much time it requires to maintain it will depend on how well you’ve handled the other problems.

But what if your income weren’t time limited? What if there were ways to leverage your time so that you get more work done with less effort? There are…

The way to beat these time and earnings limitations by working with other people. You could outsource some of your work, you could work with other freelancers, you could find partnerships. You can create an entire distributed team. With these concepts time is no longer a limiting factor on your income.
Maintaining a Work/Life Balance

The hardest part about all of this is that freelancers don’t work in a vacuum, separated from everything else. We have lives, families, hobbies, and many other things that demand our time. We just can’t work all day and all night.

Not to mention, freelancers who do work all day and all night typically end up burning out in a spectacular ball of flames (yep, I’ve done that).

How to keep a healthy balance
The trick to keeping a good work/life balance is pretty easy, at least in theory. It tends to be very difficult to actually put into practice.

The ’secret’ is to set limits. Only work during set hours. Deal with clients during designated periods. Take breaks at regular intervals throughout the day.

Unfortunately, there aren’t many ways to make it easier, though having more time overall will help. So in a way you’re lucky: dealing with the other problems we’ve mentioned will help alleviate this one too :-)
Planning for emergencies

Perhaps the worst thing that can happen to a freelancer is getting so sick that they can’t work. Losing the only employee of a one-person business is devastating, and it can happen without warning.

So what can you do?

There are a few ways you can deal with this. The first is to have someone ready to answer emails or take phone calls in your absence. It doesn’t have to be a good solution, it just needs to work in an emergency.

The second part is to have someone you can call to take over some of your work if it becomes absolutely necessary. I recommend working with other freelancers on a regular basis anyhow, which makes setting up a situation like this even easier.

If you have those two pieces standing by, unexpected emergencies will be a lot easier to deal with.
So what’s the big answer?

As we hinted at throughout the article, the answer to these problems is to treat your freelancing more like a business and less like a job. Start building systems that save you time, start working with other people where it’s valuable to you, and start to build assets that bring in some steady money.

Of course, doing all of this can be very difficult, and there’s not a lot of information out there. Which is why, I’m happy to say, we’ve been working on an ebook for the past several months that outlines exactly how to do all of these things — in detail. If you find yourself dealing with these problems, I highly recommend you check it out.

Find more great posts about Freelancing here.

Saturday, June 6, 2009

Tired of the abusive clients? Here's some comic relief.



The killer for me was when an agency of the UN came to me saying they didn't have a budget to pay for the use of a photo. I mean, come on the United Nations! For a laugh watch this video that's floating around on client relations.

Friday, June 5, 2009

MediaStorm Multimedia Piece: Driftless


MediaStorm has a new multimedia piece on life in rural Iowa entitled Driftless. It's well worth watching as it integrates still photography, ambient sound and really well done video. Kudos to Danny Wilcox Frazier.

Thursday, June 4, 2009

Fight For Your Rights



You've got to fight for your rights to...digital images? Paul Melcher over at Blackstar Rising asks the question and proposes 10 Ways to Fight for Your Digital Rights as a Photographer. For all you up and comers who write me asking if you should give your images away because it's good publicity...fahgedabodit! Well the same thing applies to digital images and here's why:

Fighting for your digital rights would seem to be an uphill battle these days. Let’s face it; the rights of photographers have been badly battered.

First came Google, when it won the case to publish images in its search results without paying anything. Then came National Geographic and others, republishing entire issues on CD-ROM without paying additional fees. Even today, the magazine industry poor-mouths its way to paying pennies for images on Web sites that now have bigger circulations than the corresponding print editions.

And yet, many in the photo industry still view the Web as their savior. The question is, How so?

An image posted on the home page of a site that receives one million hits per week is not licensed at the same price as an image on the cover of a weekly magazine that has one million readers. Why is that?

What makes publishers believe that images online are worth less than those in print? What makes photographers and photo agencies agree?

Most of the discourse is about how a magazine’s online edition generates far less revenue than its print edition. Since when has that been the concern of photographers and agencies? Is this now one of our responsibilities — to guarantee revenue on top of licensing images?

It shouldn’t be.

Here are 10 ways we — all of us in the industry — can fight back.

1. Stop treating “digital rights” as an add-on to a license. Maybe we should make “print rights” as an additional right. We should treat Web usage as a full-blown license of its own.

2. Stop licensing images online as “one week on home page” or “one day inside, 1/4 page.” A Web site is not a magazine; it doesn’t work that way. We should also stop making a distinction between commercial and editorial usage. Most editorial sites have a hundred times more traffic than corporate sites. We should treat the Web as an entity. It has measurable traffic — much more so than a magazine. Charge a license based on traffic; that is how sites charge advertisers, isn’t it?

3. Don’t buy into the poverty talk. Many editorial sites today have a budget bigger than their print siblings. As publications close their print editions for online only, they shift their budgets. Some with the biggest traffic charge $400,000 for a one-day banner ad.

4. Don’t buy the “it’s good publicity” argument. How many images have you ever licensed because one of your images appeared online? Would you offer your images for pennies to a print magazine because it’s “good publicity”?

5. Stop believing that because the image is of a smaller size and only 72 dpi, it has less value. That is like saying that if an image is used in B/W, although it was shot in color, it has less value. Where does that come from? The value of an image has nothing to do with the numbers of pixels it has — nothing. Does a Cartier-Bresson or Leibovitz image lose value with fewer pixels?

6. Stop waiting for others to act. Stop expecting someone else to show you the way. Google is taking your rights away, yet you turn a blind eye. Call that association to which you pay a hefty membership fee, and tell them to act. Tell your agency to stop giving away your rights and your images. And if they don’t, leave them. This is your problem, now. Not someone else’s in the future. It’s not going to go away; it’s only going to get worse.

7. Focus less on what to shoot next — and more on licensing what you already have. Unless we start dealing with the issues at hand, those magical pictures you plan to shoot in the future will only generate a fraction of what your existing images can.

8. Stop being beggars. Your images are needed. In fact, they are the core value of many publications and Web sites. These publishers are not doing you a favor by using your work; you are bringing them the value they need in order to run their business. What you do is unique. Trust me, if they could do it themselves and shut you out, they would. But they can’t.

9. Stop being technophobes. It’s not cute anymore. All the information is at your fingertips. Read, learn. Saying you don’t understand is no excuse anymore. You shoot digital, don’t you? So stop the crap about how you do not understand RSS feeds or HTML, or anything Web-related. No one buys it — and if they do, it’s only so they can squeeze more out of you.

10. Stop being afraid. Stop being afraid of losing clients, afraid of tomorrow, afraid of big corporations, afraid of your own decisions. The images you shoot or that you license have the value you give them. Bargain if necessary, until you have no breath left. And leave the table if you have to.

Your images are like your children. Don’t let them be mistreated.

You can go directly to the article here

Wednesday, June 3, 2009

More on Salgado


Following my posting yesterday on Salgado and the slide show from The New York Times, I am posting another link of an interview with Salgado from the Guardian. Salgado is such an inspiration, not only because of his outstanding work and dedication to it, but because he made a career change in his late 30's after working as an economist. There's hope for all of us fallen financial types.

Enjoy the interview:

I was in Kuwait in 1991. The first Gulf war had just finished, but the oil wells were still burning. To get into the country, I had to go to Saudi Arabia and hire a four-wheel drive the colour of the sand - because that was the colour of the US army vehicles. Then, to cross the border, someone told me to find a card in the same sort of colours as a US army ID card and wave it upside-down. Nobody stopped me, and I got through.

What was incredible inside Kuwait was the sense of being in this huge theatre the size of the planet, with these oil wells burning all around. Sometimes you would go two or three days without any sunlight getting through the vast clouds of black smoke, then suddenly the sky would open. It was also quite dangerous. There were unexploded cluster bombs in the sand. A journalist and a photographer were killed when a slick of oil ignited as they crossed it.

This photograph comes from a series of pictures I made with a group of specialist firefighters from Canada, who were trying to deal with a blazing oil well. Putting out the fire took days and days, but that wasn't the biggest problem, even though they then had to light another smaller fire, so that a lake of oil did not accumulate around them. It was capping the well, for these guys, that was hell. Saddam Hussein's men had used a large number of explosives, leaving the wellhead badly deformed. Because Kuwait is at the lowest point of a vast Middle Eastern oil field, the pressure was enormous, pushing the oil out with a noise like a 747's engines. Everything was completely black. You couldn't hear anyone speak.

It was an incredibly dangerous place to work, because the oil was very light, much like the fuel in cars - so it catches fire very quickly, and its smell is very strong. At one point, one of the Canadians got too close, inhaled too much gas, and fell down unconscious. Meanwhile, as these guys worked away with their tools and instruments, they knew that if they touched metal against metal hard enough to create a spark, a fire would have engulfed them. As I was photographing, we did sometimes have a kind of explosion, as gas burst up through the well, but it did not ignite. The firefighters were making a lot of money, of course, but the work was so tiring and so tough that a few times I saw some of them just sit down and cry.

Working in the middle of all this was extraordinary. One of my lenses got warped by the heat, so I was left with just two: a 35mm and a 60mm. This obliged me to stay very close to these guys the whole time. As a result, I was covered in oil, and felt so involved with the danger, the environment, the strange beauty and the hard work that was happening in front of me. The only way I could keep going was to carry a two-litre tank of petrol and a roll of kitchen paper inside my photo bag. I would put some petrol on the kitchen roll, clean my hands, the lens and the back of the camera, then go in again. Eventually, I felt part of the team, working with them for many days. We all became very close.

I work on stories rather than individual pictures. But for me, this one picture was special: it's an incredible shot of two guys trying to cap a well. They are completely covered in oil and one of them is standing like a statue that has become black over time. It reminds me of those images you see from the first world war, in the grey light of Verdun. The moment I took it,

I knew it would be good. At the same time, I was very afraid. My mouth was dry. That evening, when I got back to my hotel in Kuwait City, I found my jaw was tense and my gums were in pain from gritting my teeth all day long. But I had to be there to take these pictures. I knew I was witnessing powerful, extraordinary things that would not happen again.
Curriculum vitae

Born: Aimorés, Brazil, 1944.

Studied: "I am a former economist. I never went to photography school to learn photography."

Inspirations: "Bill Brandt was an incredible photographer. The many different studies he did in England - miners, nudes, life during the second world war - were important to me."

High point: "When I was starting out, when I put aside my career as an economist. I looked at every book, went to every show, did my first stories, developed my first films. A fabulous time."

Pet hate: "Photography has become a small world with so many jealous people. You do a story and then a lot of people try to do the same thing."

* guardian.co.uk © Guardian News and Media Limited 2009

Tuesday, June 2, 2009

Salgado featured in the New York Times


About a year ago I was in the offices of Contact Press, an agency in New York. The guy I was meeting with said, "this is your lucky day as Sebastião Salgado is here. He said, he's very frustrated as he simply feels like he just isn't making it in this profession any more. He just can't live off the few publications he gets each month." That sure was an omen of things to come.

So as not to lead in to a negative rant about the state of photojournalism, let's just celebrate some wonderful photography of Salgado on The New York Times site

Wednesday, May 27, 2009

Time Magazine Publishes Maldives Story


Time Magazine publishes photos from my story on the Maldives.

Monday, March 2, 2009

Lonely Planet Magazine in Spain publishes Ireland Edition




I am pleased to announce that Lonely Planet Magazine in Spain has published a very personal story of mine on my relatives in County Cork, Ireland. Since the story was so personal, Lonely Planet Magazine asked me to write the text as well, which was a first for me.

Monday, February 16, 2009

Out of Focus Magazine No. 5




I'm pleased to announce that Out of Focus Magazine in Sweden has published my photos in a Flash piece on Life in the Shadows, a story about African immigrants in Barcelona, Spain.

Thursday, February 5, 2009

Ancestral Calling featured in National Geographic Traveler en Español

This photo feature on my second cousins in County Cork Ireland hit the newstands last week in the January/February edition of the magazine.