A Few Spots Are Open in the Upcoming Workshops

8 WEEK PORTRAIT WORKSHOP ONE

One of the most popular workshops we do. This is an intense, shooting workshop where we study the work of 8 top level photographers to learn what they do, how they do it and why.

MORE INFORMATION HERE

Be sure to watch the video on the page.

8 WEEK STILL LIFE WORKSHOP

The students who take this class tell me they learn so much about shooting still life that it changes their approach to photography. An intense, but totally fascinating look at shooting inanimate subjects.

MORE INFO HERE

“Body and Soul” a New Book by Boudoir Sensation, Susan Eckert

MEET SUSAN ECKERT, BOUDOIR PHOTOGRAPHER

AUTHOR OF "BODY AND SOUL" ONE OF THE BEST PHOTOGRAPHIC BOOKS I HAVE READ

Meet Susan Eckert, a photographer in Long Island, NY specializing in intimate portraiture of women. (Blog)

Her new book, “Body and Soul” is one of the best photo books I have had the privilege to read. It is a wonderful mixture of artful images, and real down to earth business advice for anyone wanting to start a photography business – whether boudoir or not.

Susan’s background in psychology is super interesting, and she brings some wonderful insights into how clients and boudoir photographers relate. This info is not found in any other book I have ever read.

I LEARNED A LOT!!! (And I have been doing this for so long it really does have to be a new idea to get me interested.)

Eckert blends solid business and marketing advice with a wonderful set of interviews with clients, past clients and even a few other photographers. This presents a super valuable read for anyone who is in business, wanting to start a business or possibly struggling in business.

If you are one of those photographers, you will want to purchase two copies. One copy for your bookshelf and one copy to mark up, highlight, post-it-note the hell out of. This is your guide to a successful launch of your business.


AUDIO INTERVIEW


GALLERY

An Interview with Photographer LaRae Lobdell, Florida

INTERVIEW WITH LARAE LOBDELL, FLORIDA PHOTOGRAPHER

ONE OF THE BUSIEST PHOTOGRAPHERS I KNOW!

MEET LARAE LOBDELL

For those who may not know, LaRae started her career in the Seattle area, and is now living in the Miami area. She has been a host on CreativeLIVE, shot many musicians and artists, and is now working with Polaroid University on a project to teach photography to beginners and intermediate shooters.

Recently she was in a very bad car accident, one that may slow most of us down. LaRae powered through it and is really back at it 100%. She is an inspiration for many of us.

I caught up with LaRae and we had a nice chat. I hope you enjoy the interview. She takes us through some of her images in the second half of the video.

“Failure is an essential and inevitable part of success.” – LaRae Tweetable.

LaRae’s Website

LaRae’s Blog

LaRae on Instagram

LaRae Lobdell Contact


 

8 WEEK PORTRAIT WORKSHOP ONE

One of the most popular workshops we do. This is an intense, shooting workshop where we study the work of 8 top level photographers to learn what they do, how they do it and why.

MORE INFO HERE.

8 WEEK STILL LIFE WORKSHOP

The students who take this class tell me they learn so much about shooting still life that it changes their approach to photography. An intense, but totally fascinating look at shooting inanimate subjects.

MORE INFO HERE

PHOTOGRAPHY WORKSHOP INFORMATION

TWO WORKSHOPS AND A WEBINAR COMING UP

8 WEEK PORTRAIT WORKSHOP ONE

One of the most popular workshops we do. This is an intense, shooting workshop where we study the work of 8 top level photographers to learn what they do, how they do it and why.

MORE INFO HERE.

8 WEEK STILL LIFE WORKSHOP

The students who take this class tell me they learn so much about shooting still life that it changes their approach to photography. An intense, but totally fascinating look at shooting inanimate subjects.

MORE INFO HERE

FIND PHOTO CLIENTS NOW WEBINAR

Interested in a system that will help you find commercial clients in your town / city / region? This system works. It simply does. Join me for a full on discussion of why and how this Thursday evening.

MORE INFO HERE

Find Photo Clients NOW Webinar This Thursday

Find Photo Clients NOW Webinar This Thursday

THE WEBINAR!

I want to share a few things about the Find Photo Clients Now System, and why I know it will help emerging photographers in smaller markets develop a real and meaningful approach to business.

I will discuss how it came about, how I used it successfully in three businesses, and how it is working for many of the P52 members who are currently using it.

I am not a guru, nor am I gonna spend 30 minutes trying to ‘sell’ you on it. The free stuff that is part of the system is valuable as hell, so this is just a discussion on how it works.

Guest photographers who are using it will be in attendance as well.

Join us on Thursday, 5PM Pacific, for the webinar.

Sign up here.

Why I Changed the Approach to Find Photo Clients Now

WHY I CHANGED DIRECTIONS ON FIND PHOTO CLIENTS NOW

IF IT ISN'T AUTHENTIC, NEVER BE INVOLVED... JUST NEVER

AUTHENTIC TRAINING STARTS WITH AUTHENTIC PRESENTATION

I have wanted to teach this system for quite a while now. It works. I know it works because I have helped dozens of photographers to use it and make it work for them.

There is a wave of teaching going on out there, and it is something I love to do. So I bought a course on how to build a course and found out that I already know how to build a course. I was just $1400 lighter in the discovery.

No matter. I want to make the best courses around and I think I can do that my way. the “engaged” way.

I call it the “authentic” way.

The course I bought teaches one how to make courses that run themselves. “You’ll make more money” they say. “You wont have to work so hard”, they tell me.

OK… fine. But neither of those things turned out to be authentically of any value to me. I don’t teach to get rich. Seriously? I don’t teach to have a free ride or expect it to be easy. I teach because I care – not only about the students, but the material I am teaching as well.

So I changed it up.

Instead of me not being involved and it just being an online set of videos, I decided that I will be involved and work with the students to understand, implement, and be successful with this system. This means less ‘sales’ but it also means we get real interaction and real engagement. There are only 20 total students for each class.

THE SYSTEM

I designed it to get more clients for my studio. And it worked. I implemented it in my ad agency and it worked there too. I have helped others implement it and it has worked for them. And I designed this system back when cell phones were new. Yes… it is a tried and true system.

Now we have the internet to boost us along. We have Google and Email and social media and did I mention Google?!?

The internet was like taking the system and giving a high dose of endorphins and stimulants.

Where it worked before, now it can work quicker. And with even more precision.

Let’s get one thing straight though – it is not a “get rich quick” scheme, or any kind of “secret” to success. It is not a shortcut, fast-track, eezypeezy solution that will allow you to work in your pajamas 15 minutes a day and make “big money”.

All of those things are bullshit. Pure unadulterated BS.

This is a system that helps you organize the businesses and people that can and will give you commercial photography gigs. From discovery of what your authentic work is to researching where those who hire photographers are, the system helps you identify the opportunities in your town, city, or region.

And we do this system to help it make sense to you so you can grow it into something that works for YOU.

Together.

Your success is my success. I sincerely want you to get out of the grind of having no clients, or shooting consumer work because that is all you have to shoot, and into the commercial / editorial / advertising world of photography.

Now there are those who will tell you that that world is dead. Most of those who are telling you that are simply those for whom it was not possible given the amount of work they were willing to commit. If you aren’t driven or committed, your expected successes will be commensurate to that low drive.

They blame the market, the President, their home life, the economy, and blah blah blah.

But they cannot answer the question “why are others who are less talented doing so well?”

I have the answer… HARD WORK – AND A SYSTEM THAT REWARDS THAT HARD WORK.

My friend David spent two and a half months compiling his list, researching names, finding the clients and companies that he KNEW he could work for. If he wasn’t shooting, he was researching. When he finally hit the marketing he ended up with 6 clients that made that work worthwhile immediately.

And he hasn’t stopped growing. From local clients to international clients in less than four years.

The system – customized for him – keeps him on top of the business, and top of mind with clients and prospective clients.

But I have a confession to make. I am not an internet marketer. I am not a web ‘sales guru’.

I won’t send you 30 emails in a row begging you to take my course. That is really icky stuff… and it is not me.

I have set up a page that you can sign up to see if the system looks good for you. A small portion of it is available if you want it. And it is four highly informative videos you get once per week. After that I will send you two “offer” emails. One on the fifth week, and one when we open a new class.

That’s it. No “hurry up” emails. No “it’s closing at midnight” crap.

Just two.

That is authentic. Life offers you something and you either take it or leave it. I am not going to beg you to invest in this course. That is not me either. I am simply saying it works. I think you should try it.

You will be able to find, connect with, sell to, and keep commercial photography clients. Period.

Interested?

Go to Find Photo Clients Now and sign up for the system. Full of info and no selly-selly.

As I said, your success is my success. And I love success.

BTW – if you want in the class that starts April 16, go directly here. We have 4 open spots.

(Header photograph by SohFong Ung.)

WE ARE ALL ON A JOURNEY OF DISCOVERY.

Sometimes we discover that we need a system to organize all the information we get thrown at us from every kind of media available.

That is what this system does. Like a highway map, it allows us to navigate all the available sources of commercial photography assignments and helps us identify the people and businesses that NEED our expertise to move their product.

I hope you take me up on this offer for the free training. And if you want the premium training, we will have classes starting whenever we have enough interest.

March Madness: 31; Making the Subject Look Cold

March Madness: 31; Making the Subject Look Cold

Making The Subject Look Cold

By Pablo Minier

(This is the last of the March Madness tutorials. If you want to take them all in, just click the March Madness graphic on the right and it will take you to a list page. We hope you enjoyed these little tutorials and got some useful info from them. A very big SHOUT OUT to all the P52 members who took the time to prepare these for you. Interested in next year’s Project 52? Stay tuned for the announcement coming in April.)

One of the challenges of food photography or any visual medium really, is to convey sensory experiences when your viewers can only interact with your image using their eyes. How do you let them know that a beautifully pour espresso is hot and fresh? Or that a steak is tender and juicy? What about a cold beer? That’s where visual cues come in. Fortunately our brains are an amazing feat of biological engineering so we are able to associate certain visual characteristics of different objects to how they feel to the touch or how they might taste or smell. In this tutorial we’ll cover one such visual cue: condensation.

Image 3

When the temperature of an object is colder than the environment that  surrounds it, water droplets will accumulate on its surface and that’s how we know that something is cold just by looking at it. So hurray for condensation! The thing is that this phenomenon doesn’t last for a long time, especially if you’re working on a studio with hot lights or even using window light. We need to find a way to takes advantage of this visual cue without having to pop our subject back in the freezer and wait for 15 minutes. Don’t worry, here comes glycerine to the rescue!

Image 2

The solution is rather simple, mix water and glycerine at a 1:1 ratio, pour your magic liquid in a spray bottle and be ready to be amazed. As it turns out this mixture when applied carefully will take a really long time to dry out and it won’t drip (unless you spray too much of course). So at this point you are probably picking up your keys and going out to your local store to get some glycerine; make sure to also get at least 3 totally different spray bottles while you’re at it (every bottle has a slightly different spray pattern that is further modified by the distance and angle that you use to spray your subject).

So there you have it folks, a nice and easy way to use visual cues to elevate your food photography. Happy spraying!

 

March Madness: 30; Building a Successful Instagram for Paying Clients

March Madness: 30; Building a Successful Instagram for Paying Clients

Building a Successful Instagram for Paying Clients

By Virginia Smith

Is it just about getting as many followers as you can?  As far as Instagram goes (and even twitter) it’s better to focus on up and coming brands, brands that are trending or that interact with their Instagram accounts was well as have a good following of art directors, magazine editors, agencies and bloggers. It doesn’t always mean a large amount of followers either. I have a friend on IG who has 25,000 followers from being involved early on with IG meet ups. She started to offer her work for sale and crickets…not much response.  She’s changing her strategy from just attracting followers to attracting gallery owners, art directors and agencies.  It’s also studying how the audience you target interact with their IG audience. Is the brand or following WORTH targeting?

My elopement photographer daughter (https://www.instagram.com/misssamanthasmith/) targets Free People because many of her elopement brides wear the brand for their wedding dresses. (Using key words with a hash tag symbol # and targeting the brand itself with the @ symbol are the terms I’m talking about.)  She submitted a few Free People branded shots to their submission page and she got featured as well as 150,000 likes on the shot including 500 comments. She ended up with 200 additional likes, several elopement inquiries one of which took her to Costa Rica, one commercial inquiry still in discussion. It also gives her creditability her commercial clients.  A wedding photographer’s audience needs to continue to grow their audience as the new followers frequently are looking for a photographer while the older followers have probably had their weddings.  This is why she intersperses her wedding work with lifestyle work to attract the commercial clients.

Samantha-Arroyo-Photography-Instagram

When she and I collaborated on a styled elopement based on a children’s author I tweeted the author when it got featured. His mother tweeted all his friends and the publisher retweeted it. That led to another children’s author messaging me and we are planning an editorial collaboration as well as some paid marketing photography to expand his audience.  So using Instagram and twitter together can be a great strategy for building a brand presence.

Urban-Outfitters-feature-for-Modern-Vintage--Photographer

The series I just finished is bringing me views from some interesting brands. It’s a test of a storytelling series of images from a Road Trip to Zion.  I purposely took shots of the model featuring her as a fitness model on the road wearing her favorite brands.  I created a list of products used in the shots (cosmetics, props, clothing).  As I posted each image, I tagged (@) and hashtagged (#) the brands as well as chose some of the hashtags the brands I am targeting use in their feed that day. Most people check the hashtags they use. The first shot posted featured boots by a particular brand. They loved it and asked to feature it however their terms of service meant that they could use the image in perpetuity for whatever they chose.  Not the results I had hoped for so I turned them down.  However it’s interesting that a leather maker saw it, commented and I’ve started a dialogue with another small leather company who would like to run a similar series.  One of the images got reposted by a major brand on their Instagram featured page that brought me additional views and followers.  I usually look at who is choosing to follow me so I was glad to see that many of the new followers are in businesses that would be in the market for photography.

Samanthas-lifestyle-image-reposted-on-Urban-Outfitters--site

From what I’ve observed from the younger photographers I network with that use it successfully, it’s consistency, focus and interaction that can lead to the right people seeing the work and translate into paying clients over the long run. It’s also interesting that it can be self-perpetuating. For example the client who hired my Sam Arroyo Photography and Arroyo Films for the Costa Rica elopement will in turn be featured on IG as well as submitted to a wedding blog, which also leads to more clients!  Getting the paying clients to post your images tagging you also leads to referrals and more work!  The images are available for viewing in hashtag searches online, which can lead to additional interest in hiring you or in the images themselves for stock photography.

There are many articles on the dangers of giving your work for free, looking at the terms of service in hashtagging a brand and user generated content being used without permission by brands that should be researched as to the perils a photographer would want to avoid.  After researching and trying out different strategies I am targeting brands that have a submission process for images they use to repost from. One has to decide what the end goal should be. Right now, for me each new series is designed to build an audience who are connected to commercial photography, art directors and growing businesses. Hopefully carefully chosen hashtags can prevent implied consent yet attract the right audience.  I am also looking to change my branding tactics with instagram so that potential clients can see my work in story format by running several images in a theme. When they see an image that’s numbered as part of a series, they spend more time on my feed viewing the series.  The end goal is paid work by building my own exposure.

Instagram-for-Modern-Vintage-Photographer

I am also using the series (in this case “American Southwest Road Trip”) in my marketing materials as well. It will be printed as an accordion fold brochure for art directors and agencies.  In creating a series, I do not automatically share my instagram feed with twitter and Facebook.  I share a few of the series images on Facebook referencing my instagram and targeted towards a certain audience.  For a minimum investment I can run an ad targeted at art directors in my area for a week.  This is not so much to get work about to build a presence and it seems to be effective as more people will recognize the work when I network.  With Twitter I will try and connect with people I’ve met by name to look at the work.  I plan on uploading an image to a twitter post with a link to my website page with the images or to a blog post.  I’ve watched other successful photographers use this method successfully.  It also makes the work go farther when building a portfolio.

Social media has proven to build brands presence successfully over time.  But it’s not just a matter of posting whatever work you’re currently doing.  It’s posting with purpose and a plan.  Think about your audience and the results you are hoping for.  Play around with creative ideas to do just that and have fun doing it!  It’s pretty exciting when you start seeing what works.  I will be finishing a short series today with a stop motion video.  Can’t wait to see what happens!

Virginia Smith

https://www.instagram.com/modernvintagephotographer/

 

March Madness: 29; A Different Approach to Table Top

March Madness: 29; A Different Approach to Table Top

A Different Approach to Table Top

A very common assignment when it comes to table top product photography is to capture a product in a neutral setting. Often you are asked to have white seamless background with no or without shadows and reflections.
The first approach is to just set the object on a white surface like a white Plexiglass, use a large softbox and a couple of reflectors like you see on the image.

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March Madness: 28; Showing Motion

March Madness: 28; Showing Motion

Showing Motion In a Still Image

by Sarah Flannery

Our most recent P52 assignment was a to portray the concept of “speed.”  The image was to be used in billboards and magazine ads for a local motorcycle and bicycle delivery company.  I quickly came to the conclusion that I wanted to somehow show motion in a still image.  I dug out some Matchbox cars from our toy bin, and set to work.  I built a “hill” out of a couple of shoeboxes with a piece of black foam core resting on it.   As you can see in the behind the scene (BTS) image to the right, I used two bookends at the bottom of the ramp to keep the foam core from sliding off the shoeboxes.

BTS-2

To imply motion and show the concept of speed, I wanted to get streaks behind each car, with the car in sharp focus at the bottom of the ramp.  To create streaks, you need three things:  a flash set to rear curtain sync, sufficient ambient light created by using a slow shutter speed, and a moving object.

What is rear curtain sync?  Rear, or second curtain sync, is a speedlight mode where the flash fires right before the camera shutter closes.  It is designated on the flash display by three overlapping triangles.  In front or first curtain sync mode, the flash fires when the shutter opens.  If the flash is set to front curtain sync, the car will be sharp at the top of the ramp and the streaks will appear in front of the car, which is definitely not the look I was after.  Rear curtain sync allows the motion to occur and then the flash fires at the end to capture the object at the end of its journey.  I used one unmodified speedlight positioned at the bottom of the ramp, as I wanted a hard shadow.  I also put a white card on the far side of the scene so that some light would bounce in to fill in the shadows on the left side if the cars.

Why do you need ambient light?  If you were to shoot the image with the flash as the only light source, it will freeze the motion of the car, regardless of the sync mode.  Introducing ambient light into the scene provides light for the camera to track the car’s path down the ramp, showing it as motion blur until the flash fires and freezes the motion of the car.  A slow enough shutter speed provides the ambient light and allows enough time for the car to traverse down the ramp.  For this image, I set up my table next to a window so that it was directly behind the camera and the window light was falling directly on the ramp.  This is a picture with a description of the set up:

BTS-1

After about 20 attempts to release the car in time for the flash to catch it at the bottom of the ramp, I decided to take chance out of the equation and I fell back on a little trick I’ve learned in P52.  Fishing line.  After a couple of different assignments had me throwing things around and hoping my trigger finger was fast enough to capture the object in motion, I bought some fishing line.  In this particular case, I tied it to the back of the cars and was able to slowly release the car down the ramp, while also being able to control the direction of the car.  I shot each car independently and blended them all together in Photoshop.  All I had to do was to edit out the fishing line, which was a quick process using the healing brush.  The three individual shots are below:

Cars

Here is the resulting image; does it say “Speed” to you?

P52 Assignment 33-078-Edit v2

There are many uses for this technique, both in and out of the studio.  You can use it to capture motion with someone running or biking outdoors.  Just remember that you need a slow shutter speed, which on a bright and sunny day may require the use of a neutral density filter.  Experimentation is your friend with this technique, so give it a try.

March Madness: 26; Photographing Cosmetics

March Madness: 26; Photographing Cosmetics

PHOTOGRAPHING COSMETICS

By Anjali Fong

ASSIGNMENT:

Shoot an ad for a local cosmetics company. Use something as a prop to help stage the cosmetic(s) you choose to shoot. Perhaps a stone, or a flower, or a lovely piece of wood. Set off the cosmetic item with a single, dramatic item. It doesn’t have to be in focus, and it is there only to reinforce the cosmetic item.

THOUGHT BEHIND THE SHOT:

I love the design of the packaging of this all-in-one makeup for face and eyes, but the color palette is very nude & neutral. So I decided to create a dramatic effect to the provided brush – by having fun with the blusher powder.  Hence, layering of images are required.

EXECUTION:

I decided there need to be multiple images with different lighting setups:

  • The base image of the makeup box and the brush (darker exposure)
  • The base image of the makeup box and the brush (correct exposure)
  • A brighter bristle brush shot.
    (Note: The above 1-3 images need to be created first before the mess begins with the flying powders)
  • One clean image of some blusher powder on top of the brush bristle.
  • A few shots of the flying powder effect. I found the best way to make the powder fly is by tapping a straw on the top of the brush.

ADDITIONAL BTS IMAGES:

March Madness: 25: One Thing About One Thing

March Madness: 25: One Thing About One Thing

How would you say just one thing in an image?

by John McAllister

Moreover, how can you convey a wide-ranging concept such as ‘just one thing’ that is both immediately understood and eye-catching?  For me, it’s starting with the creation of a list of descriptive words – writing down what pops into my head. Getting ideas out onto paper without restriction, not concerning myself with whether it is right or wrong. Just five minutes later I had well over a hundred words in front of me… a great starting point.  To simplify the list, I put them into vague groups such as emotion, movement, colour, senses and so on.  Now that I had this organised in front of me, I was starting to add more words as ideas feed on ideas.

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March Madness: 24; Steaming Coffee Still Life

Shooting a Steaming Cup of Coffee

By Teresa SteMarie

unnamed

This image was made to respond to a P52 conceptual photography assignment with the task of say one thing about one thing.

Concept
The concept I chose was to show that the coffee was HOT.  To emphasize the hot concept I wanted a tight shot of the coffee with a bit of drama in the lighting.

Setup
The image was shot on a Canon 5D Mark II with a 28mm lens at f22 on a tripod. I chose the lens to be able to get in close and show the whole cup. I wanted to have a large depth of field so chose a very narrow aperture.

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March Madness: 23; Retouching a Headshot

March Madness: 23; Retouching a Headshot

Portrait/Head shot Retouching Tutorial:

By Alex Baker

Most portraits need some amount of retouching in Photoshop to help them look their best, and to an extent, many clients expect it. The most important thing to remember when retouching is to do everything on a separate layer so that you can easily go back to an earlier stage in the process, delete a layer or reduce the opacity of a layer if things have gone a little too far. My final PSD files have more layers than an onion! A really great retouch in my opinion doesn’t look as though it’s been retouched at all – the skin should retain all of it’s texture and not look plastic or soft, and (especially important with a portrait or headshot) the subject should still look like themselves (albeit after a really great night’s sleep!). I especially find working on skin to be quite rewarding (maybe I don’t get out enough…) and below you will find my methods for retouching. As anyone familiar with Photoshop will know, there are many different ways to achieve similar results, this is merely my preferred method. As you will see I almost never use frequency separation unless I absolutely have to so this will not be covered in this tutorial (there are many great ones online for this). I always keep the brushes at 100% opacity and just adjust the flow.

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March Madness: 21; A Unique Pour Shot

March Madness: 21; A Unique Pour Shot

The Beauty of the Pour

by John McAllister

Freezing the movement of liquid will always captivate the viewer.  Each snap of the shutter creates a unique image. Take a moment to think about the multitude of variables involved in the simple act of pouring a wine into a glass; they are numerous, complex and compound.  It’s this random element that fascinates me… the angle and flow of the pour, the timing of the shot, the curve of the glass and a whole lot more result in a diversity of shapes and swirls of varying translucence as the liquid glances off the surfaces. The usually unseen or barely glimpsed turmoil becomes visible and a natural beauty is captured in an instant that can never be exactly repeated again.

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March Madness: 20; Making the Image by Making the Shadow

David Travis is a Project 52 member, and a quite wonderful photographer. For the Still Life Class, the assignment was to create powerful images using a “point source” light which would create a powerful shadow.

In fact, the shadow should define the subject in many ways/

This image uses the shadow to make a visual pun. Can you see it?

Lighting setup below.

Without the shadow, we would not have much information about the subject.

Lighting setup below.

March Madness: 19; On Going Pro After Working Corporate

March Madness: 19; On Going Pro After Working Corporate

GOING PRO?

Quitting the day job for a life as a freelancer?

OK… but here is something to think about.

You can quit that soul-sucking cubicle job, but can you let it go?

I think that is going to be the toughest challenge you face.

Corporate life and the life of a freelancer are so different that they are polar opposites in the mindset of humans. To approach your entrepreneurial freelance career as you would a corporate career will doom you to instant, painful, and ugly death (business wise).

In corporate world:

You have a set time for nearly everything. Go in at 9, go home at 5. Monday through Friday. Two weeks of vacation – SCHEDULED. Sick pay (numbered). A boss that tells you what to do, for every hour you work. Someone is watching and monitoring and measuring what you do. You earn the same amount of money per week whether you fucked up the Jones account, or helped land a new, even bigger account. You get the same money for the hours you work as the person in the cubicle next to you, the same benefits, the same job description, the same parking pass, the same “permission”.

Permission to do a limited, company defined, corporate defined set of actions.

And the good news for corporate folks is that they get used to it.
And the terrible news for corporate folks wanting to become freelancers is they got used to it.

In ‘freelance’ world, none of that exists.

No set time for in or out, no vacations scheduled. No rules on what you have to do, when you have to do it, who you have to report to, when you have to report it, or whether the report was good or not. You do not have the same ‘perks’ as anyone, nor do you make the same amount of money for the same amount of hours worked as a competitor, and you may actually go weeks without making any money at all. You do not have a manager standing over you telling you what to do, and whether or not you did it correctly.

You do not need permission from anyone else, because you are the only one able to grant it.

And if you fuck up the Jones account, YOU take the hit.
And if you bring in a bigger account, YOU accept the gig.

In a corporate world it is them first, you second. In a freelance world it is you first, the world second.

Working corporate means going home at 5, having dinner, watching some “Game of Thrones” then off to read for an hour before going to sleep. You have some balance of life and work. Sixteen hours of life, 8 hours of work.

Freelance means you are working most every moment of that time, and building/making/creating your business.

There is no fucking “work-life balance”. There is work, and more work.

Then if you have done all that work well, you get a job that is work.

Eight hours of life, 16 hours of work.

Does that sound impossible? Does it sound harsh?

if it does, perhaps the corporate world still lives in your head and you are trying to bend a freelance world into what you know… the corporate world.

Stop.

Stop right now.

They do not mix. They have never mixed. They will never mix.

If you are recently corporate, and struggling with the freelance, you may need to do a mental reorganization. A ‘reboot’. Start over with your life.

Try a freelance retreat, or meditation. Read books by entrepreneurs. Stop watching TV, or playing video games.

Success is only granted to those that demand it, not ask for permission to chase it.

 

— Don Giannatti

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STOP SPINNING YOUR WHEELS!

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