Paul Wilkinson
It takes many skills to make a living with portraiture, however, Paul Wilkinson says ‘great photography’, is not the number one skill…
This issue, Paul argues that becoming a successful portrait photographer isn’t all about being good at taking portraits.
One day, very early on in my career as a professional photographer, my wife Sarah asked me how the business was going. “Oh, it’s going really well,” I told her, “I’m pleased with the images I captured; I’ve sent them off to all the clients and they’re delighted!” “That’s great,” she said, “and have you invoiced them yet?” “Er, no, not yet.”
No wonder the clients were so happy – they hadn’t paid a penny yet. And left unchallenged by Sarah, I probably wouldn’t have sent those invoices any time soon. Not until the money in the bank started to run out…
I was too busy interacting with clients, creating photographs and perfecting them in Photoshop. Those were the three things I pictured myself doing as a full-time photographer, after all. I was focused on the art and the creativity and the people, not the business.
But I know what comes first. I’ve met some average photographers who run a profitable business. And I know many amazing photographers who live like starving artists. They believe that elegant images are enough – that’s only part of it.
In the end, their money runs out completely and the dream gets swapped for a job with a regular income. Poor cash flow is the epitaph of almost all failed businesses, be it big or small.
The list to live by
So when I think about what you need to make it as a professional photographer, great photography skills are at the bottom of the list. Here’s what I think comes first:
Get professional. Run your outfit as a business. That means being determined, organized and resilient. Why resilient? You’re going to experience a lot of knocks. Most clients are everything you hope for. But there will be some that you’re certain will book you, or buy lots of your images, but then don’t. Clients who negotiate aggressively. Clients who become nonresponsive and vanish into thin air. Don’t let this distract you.
Learn what sells and shoot it. You might love a certain style in one genre, but if the market for that kind of image is nonexistent, then you’ll struggle. There’s a compromise between shooting what you love, and shooting what people pay for. Markets change over time: what works for you now won’t work in five years’ time. Notice the trends in the market and keep learning and evolving.
Get to grips with finances. Learn what kit helps make money. I want every new body, every amazing lens. But buying equipment has to be a well-thought-out business decision. My favourite lens of all time is my 105mm. It’s 40 years old.
Manage time effectively. Learn where to invest time and where it’s lost. Spending four hours editing an image you’re fond of may or may not have a business benefit. Remember that you can have more of everything except time.
Think like a pessimist. If one of your memory cards becomes corrupted, if your camera breaks, if a lens fails – could you still do the job? You need to balance the cost of backup kit against the loss of income if you are unable to deliver the work because of a problem occurring. What if a client trips over your bag and sues you? Contracts, insurances and backup plans aren’t exciting, but they prepare you for the worst. If you’re shooting every day, it’s not a case of if something will go wrong. It’s when.
Get over your fear of selling. Learn sales techniques that help you deliver what clients booked you for – amazing wall art, albums and prints. Understand the value of getting the sale today. If a client is willing to spend £500 today, or might be willing to spend £600 in two weeks’ time, I always push for the former.
Have great photography. Earn the qualifications that give you confidence. Win the awards that impress clients. Deliver the experience that makes people want to be photographed by you. Do all the things that attracted you to this amazing industry in the first place. It’s the best job in the world!
Business nous rarely occurs naturally alongside the creative and technical skills of photography. If you don’t have business skills, learn them or outsource to someone who does. Failing that, do what I did – marry a business genius like my wife Sarah. I know – I’m very lucky. Maybe that’s the final component
– a little bit of luck!
I’ve met some average photographers who run a profitable business. And I know many amazing photographers who live like starving artists