DARRIAN TRAYNOR
A staff job in news and sports photography is starting to become something of a rarity, so what are the challenges of working as a freelancer in today’s ever-changing media market? ProPhoto talks to Darrian Traynor about what it takes to compete successfu
Melbourne-based photojournalist Darrian Traynor has had to become very versatile to make a living and he shoots news, sports, major events and documentary subjects both locally and overseas. In an exclusive interview, he outlines the challenges of working in a fast-changing editorial marketplace, and emphasises why it’s so important to maintain independent journalism.
Things were looking grim in the newspaper business even before the COVID-19 pandemic decimated ad budgets. Many staff photographers had already found themselves out of a job as the major mastheads in Australia tried to cut production costs. Others were facing different demands as more news was being published online, creating a requirement for different types of imagery such as video clips, along with a growing reliance on ‘citizen journalists’ to record new stories.
All this has created a very fluid marketplace, especially for the freelance photographer who is facing more competition, but has to find and chase jobs, often without the backing or support of a big news organisation. Melbourne-based photojournalist Darrian Traynor has had to become very versatile to make a living and he shoots news, sports, major events and documentary subjects both locally and overseas. He’s a graduate of Melbourne’s Photography Studies College (PSC) with an Advanced Diploma Of Photography, and works as a stringer with Getty Images and various Nine Media mastheads, including The Age and The Sydney Morning Herald. He specialises in topics surrounding people in need or those giving assistance. Darrian’s current personal project, titled ‘Occupation Displacement’, is an ongoing examination of the issues surrounding refugees, particularly those in the Middle East.
Working as a freelancer is incredibly rewarding at times,” he states. “However, it’s extremely competitive in the editorial space. Planning your life outside of work can be challenging with a constant eye on where the next body of work will come from. Things like no annual leave or sick leave and no superannuation from an employer need to be considered and planned for.
“With advertising dollars dwindling, news and media outlets are still working out how to stay profitable. The redundancies across all forms of media in recent years are an extremely worrying trend. Although a good portion of my freelance work comes through Getty Images, I want all agencies and outlets to be successful. Competition in the industry is vital and drives everyone to improve. Independent journalism is also crucial to our democracy.”
Darrian sees diversity as the key to success, and a reverse of the traditional idea that professional photographers needed to be specialists in just one or two areas.
“I think working across several areas of photography rather than relying on one type of work is advisable these days. I don’t just mean sport and news in an editorial sense, but have commercial clients as well. In the future, I don’t think you can simply be a specialist in one area as a freelancer.”
Another big challenge, Darrian explains, is finding outlets to publish his personal project, which he considers a crucial element of his professional development.
“You have to work hard at building relationships with different editors at different outlets. Media spend is being reduced in some areas so ‘space’ is at a premium. Also, the projects that I’m passionate about and find newsworthy may not appeal to many outlets. I try to produce some personal project work each year on topics that I’m really passionate about.
For the past five years this has been focused on people displaced by conflict in the Middle East. This work is always self-funded and, while not profitable, it’s incredibly rewarding.”
Of course, working as a freelancer isn’t just about the photography, and a range of other skills and abilities are needed to operate successfully, as Darrian explains.
“As a freelancer, you are running your own business so you quickly have to get your head around the tax system. Understanding GST payments and BAS statements are things I never thought I would care about. Also, getting used to invoicing and chasing payments rather than a regular pay check from an employer. Then, of course, there’s finding andthe
generating work in the first place. For support, I keep in close contact with a group of photographers whose work I admire and opinions I respect. Although freelancers often compete for the same work in the editorial space, most are really open and helpful when it comes to discussions like camera insurance, running a business, website design and all things freelance.”
Getting Into The Game
So where did it all start for Darrian Traynor?
“My first paid photography gig was shooting junior sport while I was studying photojournalism. The hours were long and the pay was low. Very humble beginnings… but as my eye developed, I began a very focused campaign to work for AFL Photos. I would email them every month for about three years with an updated folio until one day my chance came as they were short a photographer for a pre-season game. After a few years freelancing with AFL Photos on weekends during the football season, I began a similar campaign to work with Getty Images.
I’ve predominantly been an editorial photographer ever since.”
Darrian says shooting sports is one of his major photographic passions, but over time he’s developed other interests. “I love sitting on the sidelines of major sporting events. The fast-paced nature of editorial sports photography is a serious test of your skills. But while I love photographing major sporting events, as my career has gone on, I’ve discovered a real passion for – and found incredible reward – in documentary photography. In particular, I enjoy researching an issue or subject I find important and then working out how I will go about documenting it. It’s an allencompassing process – thinking about logistics, what you need to know, learning the things you don’t know, what you want your work to say and whom you want your work to speak to.”
Despite the mounting challenges, Darrian says he had no problems with motivation.
“I love my job and feel fortunate to earn a living doing something I love – that gets me up in the morning. As does the variety of work and unknown nature of what the day may bring. I’m also motivated by the opportunity freelancing affords me to discover interesting human-interest stories and explore issues and topics I’m passionate about.
“Great stories are what motivate me – looking for human interest stories. As a freelancer, I look for things that are not being covered by major media outlets. My work will not get picked up if a major media outlet is already spending money on a staff photographer and journalist to cover a story. The role of the freelance photojournalist is to fill the gaps. News happens around the clock, so you have to be prepared to work all hours.”
Inspiration
With the benefit of a photographic education, which helps provide an historical context for today’s practice, Darrian acknowledges the contributions of those who have shaped photojournalism over the decades, but says he is more interested in what is happening currently, especially in terms of his own development.
“I’m inspired by great photojournalism from anywhere in the world. You study all the ‘greats’ while in school and the pioneers of modern photojournalism, but for me,
I’m inspired by photographers I can relate to… not only in their approach and style, but their journey to becoming the very
Competition in the industry is vital and drives everyone to improve. Independent journalism is also crucial to our democracy.
best. In photojournalism, the two guys that stick out for me are Chris McGrath and Daniel Berehulak, both world-class photojournalists. Their work is not only important storytelling and newsworthy, but it’s also incredibly well considered in its approach. I think you can tell it’s not a ‘run-and-gun’ approach. The fact that they both started as freelance stringers covering sport in Australia makes it all relatable to my own path.
“If I think about sports photography, I believe Australia has some of the best sports snappers in the world. Our local sports are very dynamic and challenging to cover. For consistency at an incredibly high level over a long period of time and across all sports, you can’t go past somebody like Michael Dodge. I also love the work of Quinn Rooney from Getty Images. He keeps a low profile and lets his work speak for itself. Quinn’s work stands up and often stands out in Getty’s coverage of major events around the world when he’d be working side-by-side with sport snappers from all over the globe. Quinn has an incredible eye for light and decisive moments.
“I don’t know that I’ve ever thought of my approach and attitudes towards photography as philosophies, but rather as a guide that just makes sense. I try to remember photojournalism is always about the story and the people you are photographing. It’s their story not yours, you are never the story. Ask yourself why you are photographing somebody or something. It should never be about the photographer.
“As for photographic styles, I guess I’m always working on mine. My documentary work is developing a style of its own with the equipment that I use. These days, I tend to prefer a wide-angle lens like a 16-35mm zoom or 35mm prime to shoot my environmental portraits rather than a traditional portrait lenses of 50mm or 85mm.”
Big White Lenses
Talking of equipment, Darrian Traynor has been using Canon cameras since he was at high school, but once he started out professionally in sports photography, he says the key influence came from seeing “all those the big white Canon lenses” at major sporting events.
“I started with a Canon EOS A2 35mm SLR when I was in school. I was fortunate enough to learn photography on film and the discipline that comes along with developing and printing film. From there I entered the digital world with the EOS Rebel, EOS 40D, EOS-1D Mark III, EOS-1D
Mark IV, EOS-1D X and the EOS-1D X Mark II.
“But now, well into my career, it’s not just about the equipment. I would guess most freelancers would say that backup support and customer service is just as important. A photographer who works alone does not have spare equipment back in the office or the pool equipment that some media outlets may still have. The diversity of my work really tests out my equipment. The Canon professional cameras are absolute workhorses. With that said, there are still times when repairs are needed… if I drop a lens covering or get dust and grime in my camera from a bushfire, I can’t afford to have a
lens or body out of action. This is where backup support is so critical. CPS (Canon Professional Services) keeps me in business with loan equipment while my gear is being repaired.
“Along with this backup, Canon has also assisted me when I’ve needed an extra camera or lens for a special event. Their support during major events like the Australian Open is second to none. Working as part of the editorial team for Getty Images at this year’s Open, I was fortunate enough to be one of the very first photographers to use the new EOS-1D X Mark III. Recognising Getty’s reputation for quality and speed of delivery, Canon allowed me to use the camera for the entire tournament.
“I think the major camera manufactures like Canon have recognised the changing landscape of photography and understand that freelancers make up a huge part of their professional market, so it’s imperative they support these photographers as well as the staff photographers.”
While Darrian’s current camera kit is all DSLR-based, he says that he’s not averse to considering mirrorless technology, at least for certain applications.
“There is some pretty incredible mirrorless technology in the latest EOS-1D X Mark III. It’s clearly the technology that the photography industry will have to fully embrace now and in the future. I have not road tested the mirrorless cameras in a working environment yet, but I think I will adapt over time like we did when digital come in. I still like seeing through the lens when tracking my subject and find it a little odd watching a screen. I love the way an SLR feels in my hand. Vertical and horizontal grip positions are somewhat covered with a battery grip applied to the new mirrorless bodies. I think I’d really enjoy a mirrorless setup for my project work. I’m looking forward to giving the Canon EOS R5 a run.
“However, things like long and fast telephoto lens and high frame rates are important for sports photography.
The autofocus system in the EOS-1D X Mark III will be a game changer in sports photography. Press photographers and photojournalists often have a go-to lens and require cameras with that will tackle all conditions. That said, while having the right equipment is definitely helpful, the best photographers out there could still produce amazing pictures even on entrylevel models.“
Against The Odds
Asked about the most challenging of his recent assignments, Darrian quickly nominates his visit to Israel and Palestine in February of this year.
“My intention was to continue working on my project with people affected by conflict. The focus of this trip was to look at the Palestinians in Gaza shot by the Israeli Defence Force while attending the Great March Of Return at the border fence. I had done all the groundwork from home as far as the permissions and media passes I needed from the government of Israel, and I had enlisted the services of a fixer in Gaza who was to secure my entry credentials from HAMAS. I had arranged with Médecins Sans Frontières (Doctors Without Borders) to look at the work they were doing in
Gaza around this very issue, and they were waiting for my arrival.
“The day I arrived in Jordan before crossing into Israel, the armed resistance group Islamic Jihad in Gaza launched a rocket into Israel in retaliation for Israel shooting and killing a young man at the border fence. This action escalated events as Israel sent guided missiles into Gaza and the border crossing, that is normally open to only journalists, aid workers and diplomats was now closed completely. These events threatened to derail my project altogether as I waited for days near the crossing hoping that a cease-fire would see it re-open. Couple these events with the impending COVID-19 outbreak, and my chances of getting into Gaza were looking slim.
“A cease-fire finally came and I crossed into Gaza for four days, although the original plan had been to stay for 12 days. Then I had to work fast as the crossing was about to close again because of COVID-19. I crossed back into Israel on the very last day the crossing was open. After that, I crossed out of Israel before they shut their borders and then out of Jordan just before they also closed their borders!”
Despite these serious challenges,
Darrian says his work in Middle East is also been his favourite assignment so far.
“I think it’s really important to challenge yourself as a photographer and I find this work so challenging on many levels. Using your skills as a photographer and the privileged position you hold, I believe it’s important to shine a light on people and events that might otherwise be ignored. This work is also my favourite because it’s work that matters.
“For me the highlights are the people you meet and the things you get to cover. This career has allowed me to learn so much about people and cultures I previously knew nothing about.
“Put simply, I love what I do now and if I can continue to make a living as a freelance photographer here in Australia and working with outlets like Getty Images then I’m sure I’ll be happy…
“Oh, but I would love to cover an Olympic Games before it’s all over.”
Ask yourself why you are photographing somebody or something. It should never be about the photographer.