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Every year, I have countless college seniors come by to meet and show me their portfolios, many of which show very good work. Then I pose the question, “How long did it take to create those 12-20 images?” The answer is always the same, “This is my work, which I did over the last year.”
That’s wonderful, but in the professional world, you need to be creating 12-20 AMAZING images day-in and day-out, everyday, regardless of circumstances, since that’s what is demanded (expected?) of you as a professional.
This is not only true in the world of the collegian, but equally true in the professional world, especially with the adoption of the “Prosumer.” This type of photographer has become so pervasive that the American Society of Media Photographers has adopted an “Associate” level for part-time professionals because (as one of my fellow ASMP members said), “We would rather have them, as they say, inside the tent peering out as opposed to outside the tent peering in.”
To aspiring architectural photographers:
The ability to capture the innate beauty of a significant piece of architecture over just a few days, and then return with exceptional results, comes from the experience gained over a period of many years. It also requires the knowledge of light, lighting, and architecture. In his book, The Outliers, Malcolm Gladwell referred to this as the 10,000 Hours Rule. This is why most of our great architectural photographers — Peter Aaron, Nick Merrick, Tim Hursley, and others — are in their 40s, 50s and 60s.
Yes, digital has changed the landscape, but the ability to SEE architecture is one acquired over time.
I think you are absolutely right about professional photography. What you said about architectural photography is equally true in other areas of commercial photography as well. Experience is an important element in the photographer's tool kit. I hate to use the term “bag of tricks” but photographers who have been photographing regularly and for a long time have an extensive set of techniques to solve problems that can interfere with executing their vision. Successful architectural photography is a subtle and extremely sophisticated form and requires extensive knowledge and experience. I think the idea of taking 12-20 amazing images everyday is an exhilarating notion.
Many have taken issue with some of the phasing since an excerpt was quoted on APhotoEditor.com ( http://www.aphotoeditor.com/2013/02/18/you-need-to-be-creating-10-20-amazing-images-a-day-regardless-of-circumstances/#comments ) with the term AMAZING and the quantity of 10-20 and, when I speak of days, I am referring to days you have been hired to shoot for a client.This is a conceptional statement that one, in the world of the professional, must produce exceptional work, day in and day out and there are no excuses. These are the harsh cold realities of the professional word.
You are a college student working and going to school – carrying 15-18 credits, trying to graduate. Or you're working another job and trying to get better at photography. 10-20 “Amazing images a DAY?” Some of us have to sleep.
Brad,Not sure how I came across the excerpt in A Photo Editor. (I was entrenched somewhere in the web searching for something I've already forgotten). But the subject header definitely caught my attention, if not my complete misinterpretation/dismissal. But after reading some of the responses, and your replies, I now completely understand and appreciate your point. There is something to be respected and said about a person who shares their honest thoughts in an open forum. These days we professionals play it so safe, neutral and with velvet gloves that the real information can be often watered-down and homogenized to the point of it being useless to anyone. (Thankfully I grew up in the 70s/80s with coaches who cared more about my growth than my feelings). I know your name but hadn't seen your website til now. Your work is gorgeous, and your use of light and composition is fantastic. Glad to have made your acquaintance, and would love to talk some time. Best Regards,Raul
Hey Brad–great points. I have a particular frustration with the architectural photo world these days as far too many formerly mediocre and often low-priced product shooters, who lost work as technology has made it possible for anyone to do “good enough” product work, decided they could shoot architecture. Architecture is not some “big product.” It is not easy work. It is, in fact, a subtle and stunning art–when done well. Too many of these former product photographers have lowballed projects, often significantly hurting the truly talented architectural photographers out there. It's frustrating. I'm glad you have spoken out here about the importance of skills and long-trained talent.
Larraine, I TOTALLY understand and I am sorry that you and others may have missed my point. The simple fact is that in college there is plenty of time for trial and error, plenty of time to put together a portfolio of a dozen or so images and that is what that experience is for, preparing you for the real world. My only point in that in the commercial world, you will be expected to produce solid work when hired and it needs to be consistently good. Paul Bartholomew stated it suscints on a comment on A Photo Editor's blog, “Your clients won’t be nice about it. Your images are representing their business, their livelihood and values. If you can’t offer quality images each time your client hires you for a photo shoot, they will find someone else who can.”
Raul, Thank you for your kind words about my work. It is greatly appreciated. I wish always to encourage but not sugar coat. A budding photographer came to me about 5 years ago and picked my brain about the industry and I said, “It is a VERY hard industry to survive in and many don't make it.” Her response was, “Are you trying to scare me off?” to which I replied, “No, I am merely trying to be honest with you so you can be ready for the road ahead.” Thankfully, she is making it and doing some great work and regards me as one of her mentors but when I saw here about six months ago she said, “Brad, you were exactly right in what you told me 5 years ago. I was just too naive to know it”.
Leslie,I have so much admiration for you and your insights, I really appreciate your comments. I am in agreement with you. Most photographers, if asked will say, “Sure, I can shoot a building” but, in truth, they cannot. They may be able to “document” the structure but to do good architectural photography takes time. It is time taken looking at architecture, understanding architecture, appreciating architecture and knowing the language of architecture to truly show architecture in its' best light. Yes, the lower tier are certainly being hurt but those who know what they are doing are still busy. The sad thing is the devaluation, especially in the advertising world. Art directors often know, if they are not getting the price they want, they can go out and get it from someone else who will give it to them. Case in Point, today, a very well respected door company wanted to buy images I shot of a door for a POP display for every Home Depot in the country, my rep entered negotiations wanting what it is worth, in the thousands but, we were told they would buy a similar image from another photographer for $450. We are talking an EXCLUSIVE to an image (meaning you cannot sell it to anyone else) for 5 years, in EVERY Home Depot. SAD.
Brad – – We're of similar “vintage” (I've been a commercial photog for 34 years), but I don't really agree. A portfolio shows your best/favorite/most-appropriate-for-the-audience work; I'm assuming that's what you show on feinknopf.com. Don't see why students – – with much less experience and opportunity to accumulate a body of work – – should be held to a different/higher standard.
Rick,I'm sorry you misunderstand or misinterpret my message.I am merely trying to help them to understand that the working world is a far cry from what they may have experienced to date during collegiate life. This was best stated by Andrew Frasz, a former student of mine, on A Photo Editor's blog. Andrew stated, “I worked with Brad for 3 years as a full-time assistant straight out of college. Brad and I had this same exact conversation the first time I met him in 2004 when I came to interview for an internship. At no point in our first conversation did it ever strike me that he was trying to be rude or harsh or intimidating. He did not immediately scoff or discard the work I shared with him (and I don’t think I ever saw him do that with other students in my 3 years). What he did say is you’re on the right track. “Keep this up and you can go as far as you like.” I was impressed, to say the least. Knowing now how much Brad works (which when I was there we were shooting 150-200 days a year), that fact that he took the time to sit down with me was pretty selfless.I work in New York City now as a professional photographer and assistant to some amazing people as well. The ability and success I’ve had is directly related to skills and advice I received while working with Brad. Every successful career I’ve witnessed can attest to the ability to create 10-20 great pictures in a given day. Perhaps what Brad should amend his advice to say is “you need to be able to produce these kinds of images, on demand, under the pressure of a harsh critic, without excuses, day in and day out if.”This is merely an analogy. You have shown me a body of work that is very good, now expect to be able to produce daily, at the same level, consistently if you wish to be successful. No more, no less.