One of the challenges of shooting headshots and portraits is communicating how you want to be seen in your portrait. This is especially difficult because, as in many made-to-order bespoke creative services, clients don’t always know what the want, but they know what they like when the see it. And the reverse is also true, where a client thinks he or she know what he or she wants, but then doesn’t like the way it turns out and wants something different.
Headshots and in-office corporate portraits are particularly subject to this conundrum because, understandably, people are very particular about the way they look – and perhaps more importantly – how they perceive themselves in images.
Not everyone enjoys having their picture taken and when asked why the answer is usually, “I hate the way I look in pictures.” A professional portrait photographer needs a thick skin because hearing this often enough can make you feel like what you do for a living is causing pain and discomfort.
Some of these challenges can be mitigated by taking extra time during the shoot to discuss the kind of look your subject is going for, presenting ideas when asked, and sharing the out of camera images on the spot to let your subject see how the shoot is progressing.
Many people hold their heads at certain angles or pose in habitual ways that doesn’t help them look their best in images. They may be adopting the “selfie” pose when it is not necessary as the photographer is shooting with a vastly superior lens at a different focal length and angle.
Alternatively, they may have some sensitivities about their body image, or really just not like the way they look which is invariably related to deeper issues. Sadly, though I as a photographer can genuinely see a beautiful side to just about every face I train my lens on, few people really believe that about themselves. (I think this is partly an effect of investing too much faith in the glossy, oh-so-perfect lives socialmedialites project in their relentless quest for Influencer status, but I digress…)
In any case, to make the most of your investment in hiring a professional photographer, open up the communication channels.
Don’t be afraid to tell your photographer what you love and what you hate about the images he or she shows you of yourself.
Ask for more or less photoshop. Images can be brightened up, toned down, shadows accentuated or removed….much is possible both during the shoot and afterwards in the editing suite so feel at ease when asking and talking about it.
Part of the cost of a portrait session includes time for dialogue and for making adjustments and tweaks if you wish to have them made.
Even more helpful, take some time before your shoot to come up with a few sample portraits of people you like and share them with your photographer.
A caveat is necessary here, however: while your comments and feedback and express wishes for an outcome are welcome, there is a dash of realism needed to make the recipe complete. If you haven’t slept, your face and hair’s a mess and you’re wearing something you slapped together last minute because you forgot it was picture day in the office, you’re not going look like you just stepped onto the red carpet.
Similarly, while many subjects feel that it is the photographer’s job to get them looking their best – it is necessarily a collaborative effort. No matter how experienced or skilled your shooter is, if you are not willing to participate in the creation of what is ultimately your portrait, you are missing out on an opportunity to influence the outcome of something you have a direct stake in.
Finally, try to enjoy the process! Taking photos does not have to feel like having a tooth pulled without anesthetics. You can laugh, be playful, indulge in a little fantasy and ideation and come up with some creative ideas for what you want to achieve.
Most photographers enjoy having time to spend with their subject and get to know them a little. It helps open up the pathways to communication and ultimately helps bring about a better portrait. So open a little, let your guard down, share and trust that your photographer has your best interests in mind always – and get the headshot you want and deserve!
(If you want to skip the read and jump to the photos click here)
Another high speed train brought us directly into the heart of Hiroshima where we splurged on two nights at the Sheraton. We were welcomed by a friend, Carl, who has lived in Hiroshima for over twenty years, and who took us around the town and into nearby Miyajima.
A visit to Hiroshima, with its heartbreaking history, is a moving experience. We walked through the Peace Park Memorial and visited the Hiroshima Peace Memorial Museum to look at some of the saddest objects in the world: a tricycle buried by a father whose four year old son died in the blast; ragged school uniforms stained with blood; a collection of tiny paper cranes made by a young woman who died of leukaemia resulting from radiation.Having recently lost my father, this was one of the saddest days of my journey, but also necessary to understand a part of the backdrop to the modern face of Japan.
That night we walked along the water’s edge, catching the tail end of a memorial to the victims of the 3/11 quake, and seeing the Atomic Dome lit up at night, poignantly beautiful.
The next day the sky was cheerfully sunny and blue, though the wind still carried the lingering chill of winter. We took the ferry out to Miyajima, walked around the island, and tasted the local bean paste Japanese Maple leaf cookie.
That afternoon we had fun eating at a keiten sushi restaurant were the bill is tabulated based on the height of the stack of dishes you leave behind and number of empty beer steins.
On our last leg of the trip we built in a day to experience a Japanese onsen (spa) at Hakone, and spent a captivating few hours walking through the Hakone Open Air Art Museum
Finally, and all too quickly, we found ourselves once again in Tokyo. With just a day and half left on our epic journey we crammed in another bit of sight-seeing, visiting the ancient Buddhist temple,Sensō-ji temple located in Asakusa, before indulging in a brief spate of souvenir shopping.
Visiting Japan requires a bit more planning and organization than other travels, but the efforts are well worth it. The people, food, views and experiences are unparalleled and I hope to return before too long.
(If you want to skip the read and jump to the photos click here)
KYOTO / NARA / OSAKA
We left for Kyoto on the mid-morning shinkansen and arrived in time to walk to our Airbnb, drop our bags and visit NIJO-CASTLE, a world heritage site and home of the last shogun.
Fushimi Inari Taisha
The next day we were treated to an extraordinary day of hospitality and generosity, led by our host Kenjiro (a professional graphic designer and world-class host), who met us early in the morning at our Airbnb and took us on a whirlwind tour of some of the major sites in and around Kyoto.
We visited the Fushimi Inari Taisha (the head shrine of the god Inari – appearing throughout the grounds as a fox – one of the forms Inari is believed to take) to walk among the orange Torii leading to the outer shrine that reminded me of The Gates installation by the Bulgarian artist Christo Yavacheff and French artist Jeanne-Claude (known as Christo and Jeanne-Claude).
After our walk around the temple grounds, Kenjiro treated us to a sumptuous multi-course meal at the Yudofu Sagano that literally blew our minds and filled our bellies with its delicious signature dish, an Arashiyama Buddhist specialty: yudo (chunks of tofu simmered in broth).
Arashiyama Bamboo Grove
Next we took a stroll through the Arashiyama Bamboo Grove trying hard to capture shots that conveyed the cathedral-like effect of the bamboo trees towering overhead. The images, despite the use of a wide-angle and studious attempts to shoot in the brief pauses between crowds of walkers, don’t really do the space justice.
Leaving the grove we grabbed a cab and took in views of the famous KINKAKUJI, which photographed well even against the greying, slightly rainy skies.
Walking beneath a slightly broken umbrella, after another cab ride into town, we walked one of the main shopping streets in Kyoto, capturing a few fleeting images of kimono clad women walking in pairs and groups along the avenues, as we made our way to our sushi dinner destination which ended with even fuller bellies and ample consumption of sake.
International Manga Museum
The next morning we visited the International Manga Museum which will be of great interest to genuine manga fans, and perhaps a little less to those lacking that particular knowledge. There are some fun activities for kids (getting a manga caricature done) and it’s worth a wander through for no more than an hour. (Alas, another site that restricts photography so the only shots available were from the temporary exhibition space that was on the pictographic language of manga)
As always, our footsteps were guided by our stomachs and we found our way to the warren of streets that is the Nishiki Market where we enjoyed snacking on the local speciality: takoyaki (ball-shaped bite-sized snacks made of a wheat flour-based batter and rapidly cooked in a special molded pan, filled with minced octopus and areas much fun to watch being made as they are to eat).
We had booked (pun intended) a traditional book-making, hands-on lesson for the afternoon, which was was another great hit with all of us (adults and kids alike). Our hosts (www.maniman-kyoto.com) were superbly hospitable, knowledgeable and patient and guided us through every step as we made our own journals covered in silk from vintage kimonos.
On our last day in Kyoto we made to the famous restaurant floor of Kyoto Station (9 restaurants to choose from) and had our first experience of okonomiyaki, a savoury Japanese pancake you cook yourself on an open hot griddle right at your table.
We visited Nara in the morning, feeding (and being chased by) the local deer, touring the famous Todoji-ji and successfully squirming through “Buddha’s nostril” (a carved hole in the base of a column, said to be the same size as the nostril of the large seated Buddha statue in the Todoji-ji, which, if you are able to fit, you gain enlightenment after passing through).
We completed our brief visit with a walk through the beautiful Yoshiki-en (a Japanese garden that we were able to visit almost entirely to ourselves as it was towards the end of the day and most other sites had closed access).
Osaka, famous for its food and its brightly lit Dotonbori neighbourhood, was another visual and gastronomic treat. Here we were again treated by our generous hosts, Masaru and Nobuko, who planned out a day for us visiting the Osaka Tower (Tsutenkaku), a walk through Dotonbori, sushi lunch and a stroll through Osaka Castle’s blooming plum orchard before a visit to the castle itself.
That night we went local and ate a tempura restaurant using our phones to communicate with our host who made us a series of tempura dishes, translating each one for us with his phone.
Japan is a gift to photographers and should be at the top of the list for any traveller who enjoys travel photography and experiencing a unique culture.It is a land that is safe to travel through with expensive gear, offers an abundance of areas to visit and a wide range of photographic genres to immerse yourself in – including landscape photography, street photography, portraiture, nature photography, food and travel photography.
(If you want to skip the read and jump to the photos click here)
I’m in the process of exhaustively culling my vast horde of images taken over the many years that I’ve been living and breathing photography as my profession and passion.
I’d much prefer many other ways to spend my time, including root canal surgery.
Not all photographers are created equal. Some, like me, are born to shoot. I love the thrill of the chase, being out in the wild (even if that “wild” is the inside of a conference ballroom), hunting for smiles, netting moments, bagging trophy images of beautifully human connections.
But I hate – with great and abiding passion – the concomitant task that follows every photo gig: sitting down at the computer afterwards and having to process the images.
My hatred of the task is so intense, I think it helps me be a better photographer. I am so careful about what I shoot precisely because I don’t want to have to make that same decision ten times over if I just machine-gun spray a room holding the trigger down hoping one or two images will come of it.
I’m known as the “one and done” guy and almost 99% of the time it’s all I need. In many situations, the first take is the best if you’ve properly prepped the subjects and warmed them up a bit with a disarming comment or a well-aimed smile. And the great upside to me personally is having fewer photos to sort through post-gig.
I’m not good at curating, I’ll be the first to admit. My website is in desperate need of an overhaul and refresh, and is currently showing images that are almost as old as the original iPhone! (Not good!)
But the task always yawns just a little further ahead of where my energy ends and then there’s all that work work to do, like actually getting new gigs and keeping current clients happy.
For years now I’ve let my website and online presence in general lag behind the daily work I keep up on to keep the gigs rolling in and for whatever mystical algorithmic reasons, I’ve been lucky to have work come to me that keeps justifying my procrastination on the great brutal job that I know awaits me.
But no more. I’ve let it slide for too long and I am now ankle deep in it. I have a ways to go to get through it, but one simple technique I’ve developed to help guide me through the woods is this. (And while this will speak directly to any creative freelancer who has to good fortune to have a big enough body of work behind them that needs sorting through, I think it’s a good technique for categorizing any kind of stuff you’ve generated.)
Here are the rules of my Five Folder GTD System for Photographers:
Active: I have created an active folder on drive into which goes new work in its own subfolder. Once the job is done and the work delivered, I select the one or two truly outstanding images (if there are any) to migrate over to my Portfolio folder
Portfolio: The initial cull is still too big but once I have the first cut down in here I will run through again with a ruthless eye and get this down to only the best of the best images worth showing and sharing online.
Archive: I tag a wider selection of images that are good and may be handy for blog posts and drag them into the Archive folder.
Delete: Anything else, gets deleted, except for images of my travels and family which I’m not even thinking about tackling now (but will one day!), which gets dragged into the Personal folder.
Personal: Here’s where all the school photos go, baby videos and family, and travel shots that I will also eventually need to sort through but don’t have the time for now.
That’s it. That’s the plan anyway. If you’ve got a better system I’d love to hear it. Get in touch!
My self-imposed conditions were simple: take only one a day and use it no matter what. I mostly stuck to this, though due to both technical and user failures on some occasions the resulting image was just so bad, I gave myself some slack and took more than one.
Here’s what I learned:
A daily act of creation is its own reward: Doing something creative deliberately every day requires discipline, but also creates its own universe in a way and adds a little drop of meaning into every day.
Casual, intimate moments with friends and family mattered most: I sought and found something (almost) every day that stood out as the most important part of that day. While the vast majority of the moments I chose to snap the shot are just mundane, everyday bits of my normal life, I realized that these moments were, in fact, the ones I cared the most about. While I was busier than ever in my professional life photographing CEOs and executive portraits, big splashy events, several conferences (and the Prime Minister of Canada, Justin Trudeau on three separate occasions), on most of these days my photo-of-the-day was a picture of my daughter hugging her new puppy, or hanging out with friends and family having a drink and a laugh.
Image quality doesn’t always matter: while I often found myself frustrated by the extreme limitations of the instant print medium, I loved the authenticity of the print in my hand and the nostalgic reminder of what photography started as: a way to steal a moment of time and put it in your pocket as a memory you could keep and return to whenever you wanted to.
Polaroid has huge name brand recognition!: No matter how many times I told people I was shooting with a Fuji Instax Mini 90 (and no this was not a sponsored project at all though the product links are Amazon Affiliate links which will pay me a small commission if you buy through them), almost 99% of the time people would reply with a comment about what a cool idea it was to take a Polaroid a day.
Puppies are addictive: I finally understand why the internet is drowning in pet photos and videos. (I took A LOT of photos of my new puppy and my daughter!)
I am very lucky and have a good life: I spent time with many friends, family and was able to travel a fair bit this year to Paris, Bruges, Ghent, Brussels, Antwerp, Amsterdam, Quebec’s Saguenay region, Toronto, Brooklyn (a reunion with a good friend and too many martinis-see Aug 24), Trout Point Lodge in Nova Scotia, Tremblant, Florida and many fun nights with friends here in my favourite city in the world, Montreal. While I don’t keep a gratitude journal, this project was like a photo diary of my life and in retrospect it shows how much I have to be grateful for.
Why did I do it?
When I started I didn’t really have any real reason other than wanting to have some kind of creative project to work on that was one step removed from my regular life.
Having completed it, I am happy to have it done, but also happy I did it. I think there is value in the daily practice of anything – whether a piece of creative writing, a drawing, a photo like I did, a doodle, an idea, a blog post or whatever you decide matters to you.If you are stuck creatively or wanting to start a new career as an artist, or writer it can give you the discipline you need to break out of entropy and ultimately it will carry you on its own momentum.
Here’s a fun and inspiring video about the impact a daily project had on an artist who decided to do a drawing a day:
My advice to anyone who’s currently embarking on a 30-day challenge, or an every day project is to stick with it. Cut yourself some slack if you miss a day, but make it up (I admit to plugging in two or three photos in this series that were fill-ins for days I forgot to take a shot). Both the doing-it and the finishing-it parts are important. Share what you learn, and if you’re feeling brave enough, share daily as you do it. I chose not to post daily as frankly, I felt that so many of the photos I took were so bad that it would be boring as a daily stream, but in their entirety they have a kind of raw, genuine quality that I enjoy and hope you do as well.
To see the whole year series click on the image below:
I was recently booked by a large corporation to shoot over 200 employee portraits in just two days. With such a high volume of clients there is no time for fussing around with fancy light setups, make up artists or even much time for banter with the subjects.
Key to success is having an onsite ally within the client who can organize the schedule and keep employees to it. These kinds of mega-portrait sessions are a way for large corporations to give a real benefit to their employees in a highly cost-effective way. (Read on or skip to the end for how to price a large portrait session).
Year-end is a good time to start thinking about planning one of these sessions for your employees. A new year is just around the corner, and with it comes the new energy of a fresh start that many people like to use to level-up their online game, update the profiles across their various social media personae, and refresh their headshot.
When booking your photographer, a few questions that can be addressed ahead of time are:
Classic styles and simple solid colours tend to work best in my opinion. While you can wear whatever you want, especially if you are ultimately receiving a cropped 8×10 headshot, you still want to make the focus be on you and not your clothes. For men, a solid-coloured, collared shirt (with or without tie depending on your company culture/intended use) with a jacket closed at the top button does the trick. Women have more options but necklaces, large earrings or other adornments can seem out of place for professional use. If wearing a necklace, make sure it hangs straight down the centre so it doesn’t look off kilter. While it’s not necessary to stick to the collared shirt and suit jacket (though it’s fine if you do), too much of a plunging neckline can look a tad out of place on LinkedIn or your in-house network. Think of where the final image is likely to get the most use and dress for that audience.
How long does each portrait take?
On these big days, you’ll have no more than five minutes in front of the photographer. That will be enough time to shoot two shots of each side. Only rarely will you need more than four images for the photographer to select from. The lighting will be the same on all faces, and though the background can change (if you are shooting in front of a window, for example, you’ll have changing lighting in the background throughout the day), so the poses should all also be consistent.
Where will the shoot take place?
Typically these large sessions are done onsite at the client’s offices or workspace, wherever that may be. The conference room or board room is best, or if the site is equipped with warehouse space, set up in there. Pay attention to wire placement of your lights (the last thing you want is someone tripping and injuring themselves) and if shooting before a window as is often done these days, place your lights wide enough apart so that they don’t reflect in the glass sparing you hours of tedious photoshopping later.
How to pose?
You will get asked this by everyone who walks in the room, two hundred times in my case recently. While I enjoy taking my time in one-on-one portrait sessions and really working different looks and angles, this luxury is not available to you, humble corporate portrait photographer. You need to get your people in, shot and out on a very tight schedule. While you can vary the height you shoot from a little (I use a step ladder), you want everyone to give you two angles, and do your best to make those who need a little thinning look thin, and those who need a little happiness boost, look happier. The real art of the portrait photographer is in these brief interstitial moments when you must connect with your subject and quickly put them at ease and make them trust you. If it helps, let them look at the shots you’ve taken of them and for the ones who seem particularly fussy, let them choose the shot you’ll edit afterwards.
How will the photos be tracked and delivered?
If you’re lucky enough to have a well-organized client, you’ll start the day with a printout of all the scheduled people each with their assigned time slot (more or less). Jot down one file number from the range you shoot for each person so that afterwards you can either rename the files, or at least have a common language with your client so that the inevitable requests to tweak this, or edit that can be done smoothly and efficiently. For delivery, while I use Photoshelter, you can use WeSendit, Dropbox or whatever large file transfer service you prefer. (Be careful with Dropbox as many clients either can’t access the site from behind their firewalls, or don’t have professional accounts and you will quickly burst through the default 2 gb limit on free accounts).
How much will it cost?
Pricing for portraits requires a political approach. The answer really is, it depends…The reason, of course, is that you, as photographer must balance out the effort with the huge volume of work you are receiving while your client is looking to leverage the volume to get a discount. Personally, I always charge a set up fee for going into an office to cover the cost of equipment usage and transport, and start from there. As I work with minimums (and you should too if you want to stay in business), the cost per head on a portrait session decreases as the number of portraits taken increases. While each portrait in post will require the same amount of work, once you are up and running in a shooting session, your time onsite will go quickly. How much of a volume discount you offer is for you to determine vis-a-vis your client’s budget but keep in mind how the portraits are being used and for whom on the client side when you are pricing it out. A CEO portrait with his or her executive team that will be shared around the world, used in media, annual reports and company wide web diffusion is worth a lot more than the cropped headshot of the first year intern who is only using the headshot for a company intranet (effectively a digital id photo).
Conference planners (and the event companies that often interface for them and manage the local suppliers) often book photo/video teams well in advance of their conference, and usually long before the agenda for the event is finalized.
The upside of this practice for a client is that elimination of last minute panic scrambling to hire a reliable team during a busy conference season (ie autumn) when there are many other events running concurrently. For the photographer/videographer it’s a “bird in the hand”, a blocked booked date in the calendar which means paid time – always something comforting in the gig economy.
There is a downside, however, which I’ve encountered on numerous occasions, which affects both the contracting entity (whether that’s the direct client or an agency acting on their behalf) and the supplier, and it affects both the quality of the bid received/submitted, and the price.
“…as the day is long”
I’ll start with an example. When an organizer is trying to lock down costs for an event taking place many months in the future (or sometimes just a few weeks ahead), the aim is to get all supplier costs in on fixed price bids.In order to do so the RFP, or call for estimates usually asks for a day rate on the job.
A day rate is a fixed price, and means the client doesn’t have to worry too much about providing details on the exact schedule for the day. The problem arises when the concept of a “day” gets stretched to include every waking hour from the 7am early-bird registration/buffet breakfast to the 11pm last call after the bar closes at the end of the opening night reception.
When a supplier offers their day rate, they are usually calculating a day to mean 8hrs, give or take 45 mins to an hour. It anticipates a bit of lag time between programs, a meal when photos of open mouthed chewers are eschewed, and maybe the opening round of a cocktail event. Something like 8am to 5pm, or 9 am to 6pm. What people working regular jobs would consider a normal working day.
Alas, for freelance photographers/videographers, the idea of a normal working day doesn’t seem to factor into many client’s thinking.And should you be so unwise as to have submitted a bid based on an average length day rate, you may find yourself working the equivalent of two days in one, or effectively getting paid 50% of your normal rate, because the goal posts shifted after you submitted and won the bid.
Being the lowest cost bidder will often win you work, but it doesn’t help your career and ultimately encourages the unfair practice of being asked to bid on work for which the scope remains undefined.
From a client perspective, it may seem like a win to lock in a supplier on a price based on terms that subsequently get redefined to the client’s advantage, but the result is likely a souring of the relationship and “you get what you pay for” attitude on site from a supplier who realizes they’ve been conned.
Build flexibility into the bid
Most clients are not out to screw their suppliers, but this can be an unintended consequence of asking for fixed price contracts without provided full clarity on the scope of work being requested. One practice that I use that helps is to add a clear note in estimates that the day rate is based on an 8-hour day, and hours in excess of that are billed at a standard hourly rate. This keeps the bid submission price reasonable and averts sticker shock, and if, once the agenda gets finalized it is clear that the day is being stretched to include evening events that expand the hours in the day from 8 to 12, you have a fair basis for negotiating a price that better matches the work actually performed vs. what was anticipated when details were scant.
The gig economy is a hot topic these days and much of what is being said and written about it is negative and casts gig workers as people who’d rather be doing something else and making more money. That couldn’t be further from the truth – or at least my truth – and I’ve written about how freelancing can actually be a joyful, fulfilling, purposeful career choice. If you’re at all interested please check out my book. You can download a free sample section on my book site, www.gigonomicsbook.com and/or read a preview on the Kindle version. Reviews welcome!
As a conference and event photographer I am frequently asked to provide estimates for covering day-long meetings or multi-day conferences. It is not uncommon to be asked to provide a detail costing out for services even before the official agenda for the conference is finalized. The challenge here as the photographer – and I would argue for the client as well – is understanding how much coverage is enough and pricing accordingly.
There are some rare clients for whom budget is no object and they would rather have the peace of mind of knowing the photographer they hire will be there to cover whatever is happening, wherever, whenever and they don’t want to waste time parsing out an agenda to reduce the hours (and the bill). They would rather pay full pop and get more than they need and sort it out afterwards. These are great clients to have.
But the vast majority of clients are not so loose with their purse strings and usually are operating on behalf of their client, who has hired them to organize the event. These kinds of clients may still ask for the complete coverage but they are much more sensitive to cost and may wind up tossing the baby with the bathwater if they receive a bid that seems high, without evaluating if what they had asked for a quote on was completely necessary.
For example, I am often asked to arrive onsite up to an hour to an hour and a half before anything actually begins. This is almost always to mitigate a client’s anxiety or worry about not having a photographer be there when they really need them and may speak more to the reliability of some freelancers than to the anxieties of the client, but the net result is either a lot of unpaid time for a photographer, or an increase in cost to a client paying for something they don’t really need. Every professional photographer or videographer I’ve worked with or hired has been able to size up a space, the pacing of an event and digest the order of action for even multi-day, multi-location events in a very short time. It does not usually require more than 15-20 minutes as it is usually very obvious to a professional what is important, and what isn’t.
Another way clients ask for more than they need is if the event they are hosting involves a lot of repeat action in the same setup, with the same lighting, and most if not all the same people, perhaps moving from room to room for workshops or discussions in slightly different formations. Depending on the final use for these images, it may not be necessary to pay for a full day of coverage if you can capture the main look and feel of the event in fewer hours.
On the flipside, it is unreasonable to ask for a photographer or videographer to show up for a gig that won’t last more than an hour, or an hour and half and expect to pay the same hourly rate offered on longer jobs. I know of few (to no) people working regular jobs who would even consider going in to work if their boss said they only need to be there from 2:30-4 so will only get an hour and half’s worth of pay that day. Gig workers (and photographers and videographers have been working in the gig economy since long before it was even called that) also need to make a living wage and can’t afford to take small jobs without applying a minimum rate to cover their time. In this case the client should be prepared to pay a fee that is higher than a job priced on an hourly basis would be if longer hours were offered for the service provider.
In the end, it makes sense both from a photographer’s point of view and a client’s perspective to consider what the desired end result is from the photos (or videos) produced and structure the work accordingly. Complete coverage, half days, partial or minimum fees are all based on finding that balance between meeting a client’s needs and making the work worth the time and effort a professional will provide. A little time upfront spent thinking through the event and even discussing it with the prospective supplier can save both time and money – and ensure that the client receives a fair and accurate quote they can build out their plan on.
I should have known something was off when my puppy ran off into the dark the night before. A foreshadowing I ignored to my despair the next morning. I was lucky with the puppy. He must have sensed the desperation in my voice when I pleaded with him to come, after chasing him out the door with nothing but my underwear on waving my phone around in the air frantically trying to lure him back to me. He disappeared into the woods, popped back out again down the road, then to my horror slipped through the gate leading out to the darkened country road down which, if he had continued, he would surely have gotten lost, eaten by a bear or hit by a car. He turned and trotted over to me, and I managed to grab him by the collar and lead him back to safety.
Unfortunately, my Mavic Pro drone with whom I’ve shared so many adventures, was not so caring. It just decided, all of a sudden, it was over and left.
It happened so suddenly, I’m still in shock. One minute it was rising up over the Porsche I was photographing, trying to capture that beautiful machine in an as beautiful landscape, the next it slowly began drifting off centre.
There were warning signs, (aren’t there always?) but I ignored them, as I had so many times before with no consequence. Alas, not this time. Those strong winds really were strong winds. I just I didn’t feel them from where I stood, alone, in that empty parking lot.
When I realized I was losing it, I began trying to nudge it back home. I didn’t panic immediately, but as I watched the distance grow between us, my attempts to bring it back grew more frantic. I began jamming that little joystick as hard as I could to the return position, but it only seemed to drive it further and further away.
That’s when the low battery warning went off. 30%….29%…..Then I really did panic. I tried the Return to Home button which has saved me more than once, but my max height was foolishly left too low and I was high up on a mountain. There were too many obstacles in the way. Try as I might, it just wasn’t turning around.
And the distance grew. Fast. From 20 metres to 200 before I knew it. 300. 500. 800. Once it breached 1000 I was in the grip of fear.
The owner of the Porsche realized I was in distress and suggested we pull up the map and drive to where the drone was heading. Although I knew in my heart it was already too late (battery at 10% and falling) I was desperate and willing to cling to any shred of hope.
We hopped in and the Porsche sprung into action. But the drone was still flying straight out and away….it was over the lake now. Battery dangerously low. 7%…5%…alarm bells ringing, the Porsche racing, the wind buffeting my ears as I hung out the window desperately trying to get a signal.
Then it happened. Aircraft disconnected. The screen went black. It was over. And there I was, in the middle of my life, suddenly droneless.
I put on a brave face for my companion. I pretended to laugh it off. “It was bound to happen,” I said. Things had been a little rocky between us and we’d just narrowly avoided this very thing happening a week earlier in the Saguenay.
But I knew it wasn’t true. Inside I was still standing there at the top of the mountain, screaming into the invisible winds that had just torn my lovely little drone out of my hands and flung it into the cold, dark lake.
We’d been together for just under two years. Not long, but long enough for the love to grow, while still feeling new and exciting. I took it with me whenever and wherever I travelled – racing over beaches in the Dominican Republic, swirling around the terra cotta roofs and quaint plazas in Lisbon, or simply sailing through the sky around Gatineau at fall shooting the vast and beautiful landscape as it blazes with autumn leaves.
I used to feel a trembly thrill just taking it out of its snug little carrying case and gingerly unfolding its wings. I’d removed the plastic cover that protected its delicate little gimble, set it down carefully on the ground and turn it on. As it whirred into life, I’d feel a surge in my heart.
We didn’t always get along. Just last weekend we had a falling out of sorts as it passed through the magnetic field over an aluminum smelter and skidded out of control until finally we patched things up and it came back for a safe landing. Maybe it was a sign. Maybe I should have been more sensitive. Paid more attention to those screen warnings to calibrate and update the database. Was I too selfish?
All I wanted was for us to be together, flying through the sky, taking in wide, stunning views of the land below. I never meant for it to get hurt. I thought I was doing the right thing, showing it the world, providing it with ample battery power. I even bought it a high speed 32gb micro card so that we could record more of our times together without having to face that dreaded “SD Card Full” warning (like that time in Lunenberg when it was all the way out over the bay ready for a well planned flight home. Sigh.)
It’s still hard to believe. Just a few short weeks ago we were so happy together, chasing after kayakers at Trout Point Lodge. On one sunset flight, mosquitoes swarming around my head, it came down and hovered there just out of reach, blowing all the annoying little bugs away to keep me safe. What we had was real.
But now, nothing. Just a remote controller with nothing to connect with. I still have the batteries. I’ve left them fully charged, in the vain, impossible hope that somehow, someway, it will come back to me.
I don’t have the heart to tell them it’s over just yet.
As the gig economy continues to colonize an increasing share of the real economy, many more Airbnb hosts are popping up in cities around the world. Many people, myself included, have mixed feelings about Airbnb and similar types of business models. While it creates the opportunity for some people to increase their revenue streams and even make a living off of hosting, it has a social cost that is invariably borne by those less-well off people who still need affordable places to live. Sure they too can benefit from becoming hosts, but not everyone has the flexibility and means to share their space with travellers. And while city regulations and condo building by-laws can also control the spread of room shares, in the end it is a trend that is likely here to stay. So how can the wealth it generates for some help create opportunities for others?
In the next few weeks many of us will have a little downtime and maybe even a chance to rest and relax (hopefully) with the people we love.Many too will be receiving, or treating themselves to, new cameras, drones, or phones and will have a chance to start capturing images with them.
I’ve been working as a freelance photographer for over fifteen years, starting from humble beginnings to having a pretty thriving practice today with a team of photographers and videographers to help me better serve the growing and changing needs of my expanding clientele.
Despite major technological changes in photography putting a camera in everyone’s hands, event photography has only grown. While there are thousands of photographers around today, there is also a huge and consistently growing need for images that tell stories, communicate brand personality and help event managers reach their audiences.
In the past month alone I and my team have covered fashion shows, balls, multi-day conferences, trade shows, recruitment fairs, graduation ceremonies, business luncheons, unveiling ceremonies, gala events and parties, executive retreats and several fundraiser evenings. It’s been an exhausting yet still exhilarating fall season and it doesn’t look like it’s slowing down any time soon.
Here are some highlight images from this hectic fall season:
Taking a moment to pause and reflect, I think one of the keys to having a successful thriving freelance photography business is keeping the needs of your clients foremost in your mind at all times.
A “client” may be one person, or a team of people, all of whom you as the event or conference photographer are there to serve. The agenda may change, schedules get moved around. You may need to deliver a quick set of select images in real-time, or show up at an ungodly 6:45 am call time for a cold walk outdoors in sub-zero November weather because your client needs you there. It’s all part of the job.
If I had to summarize the most important traits a successful freelance photographer (or any freelancer really) needs it would be the following (and only one really has to do with technical ability):
Adaptability: being prepared and ready to adapt to sometimes (often) very last minute needs and change requests from clients.
Client-first attitude: while it’s important to bring your experience to bear on events you are asked to cover (you should be the one choosing where group shots get taken, and paying attention to details that show up in an image that clients are too busy to think of), you are ultimately there to serve the client. If they need you to take a photo of every award recipient that gets up on stage, you do it.
Technical prowess: you need to know your gear and how to use it. Galas, conferences, meetings, trade shows – all take place in spaces where lighting is rarely natural. Understanding the best way to show off the room, the people and the space with the available light goes a long way towards delivering images your client will be thrilled to receive and happy to share.
Being easy to work with: this seems like an obvious one, but remarkably, not every photographer seems to recognize where they stand in the pecking order. It’s great to be confident and proud of your work, but there is no place for divas or big egos when you are on a job. You do your work with a smile, or not at all in my opinion. No client needs to deal with you and ultimately everyone is replaceable so while getting the photos right is important, being someone people enjoy working with is even more important.
Getting the gig is of course the most important part of freelancing as a photographer, but once you have it, keeping it going relies more on your personality and how you interact with your client than anything else. Your work has to stand out, but in the end, clients may find you because of your portfolio, but they choose you because of your personality and how you work.
When you are meeting with a photographer to discuss an upcoming photoshoot at your office or one of your facilities, using Pinterest boards can quickly bring you and your photographer’s vision for the shoot into alignment.
From a photographer’s point of view the method helps stimulate ideas and allows you to show both your experience and skills in collaborating with your client. From a client perspective, the method can help generate concepts and be an easy way to share the vision for the shoot with everyone else in the company who needs to get on board.
Why not just use your own portfolio? Of course you can add some of your own images to the mix, but by the time you are having a client meeting, odds are your client has already viewed your portfolio or you’ve been recommended to them and they assume you have the skills to do the work you are being asked to do. Using images from your body of work that are relevant to the kind of photoshoot you are planning won’t hurt – but by sharing a “Secret Board” with your client and inviting them to collaborate on it you help ensure stronger engagement from your client and give him or her the opportunity to collaborate creatively in the planning sessions – which is actually a fun part of the project. You can also include a broad range of images – some of which may just be there as a means of showing what is possible, or to get people’s creative juices flowing.
The success of an in-office photo shoot relies in good communication.
As a photographer, your job is to walk your client through a typical shoot: How long will you need for set up? Where are the best places in the office to do the shoot? What should people wear? When will they receive their photos and what’s included in delivery? And of course, how much will it cost?
Your client, meanwhile, has the double task of meeting and coordinating with you but also communicating to the employees being photographed everything you’ve explained about the shoot and more. They will need to coordinate schedules (no small feat), and send reminder-“Tomorrow is photo day!”-type emails to employees much like the notes parents get on the eve of school photo day. (This is surprisingly important: you’d be surprised at how many professionals I’ve had to photograph in morning shifts who show up unshaven, unrested and with a look of dazed confusion claiming they forgot it was photo day).
One very useful way for the client responsible for coordinating the shoot to communicate with the staff being photographed is to share with them a set of images setting the vision for what they are trying to achieve. If you create a board in Pinterest, then (ideally) gather up the employees for a brief meeting with the board projected on the wall you can quickly bring everyone onto the same page (literally). Again, this becomes another opportunity for engagement and collaboration and can be done with or without the photographer being present. It can also help mitigate nervousness about the upcoming shoot and provide context for why it is important.
In portraits especially when dealing with non-professional models (ie most of us), people actually appreciate being told what to do, how to stand, where to look and what to wear. All people think in terms of narratives. If you can show your employees where the photos being taken will fit into a story – “we’re using this photo for the header image on our careers page to show people what it’s like working here”, it helps them understand their role and also alleviates their self-consciousness.
In corporate photography you have to think about what the photo will be used for, and how well it communicates the firms’ brand and culture. A conservative lawyer’s office is not likely to have their team stand out in the street in front of a graffiti covered brick wall for their team photo (which an ad agency may well consider as a great backdrop). You can be creative with the looks you try to achieve but in the end, what matters most is whether or not the photos help – or distract – from their core purpose.
Using Pinterest boards to discover, curate and share visual ideas with everyone involved in an upcoming photoshoot helps make photo day a success. The people in the photographs are likely to enjoy the process more, and the marketing or communications team is more likely to end up with images they expect and will be able to use for their intended purpose.
Give it a try. Create a free account on Pinterest and start pinning. When you’re done you can just delete the board or keep it if you think it will be helpful again. (Just be forewarned – Pinterest can be slightly addictive and you may wind up like me creating boards to match all your interests like reading, cooking, travelling, freelancing, etc, etc…)
I love this time of year.Montreal is blessed with four very distinct seasons, if not of equal length (think 3 months of summer, 6 months of winter, 2 months and three weeks of fall, 1 week of spring). The weather turns cool very quickly, and overnight fall has arrived bringing with it, strangely as it heralds the advent of winter, a bustling, busy sense of growth and renewal as people go back to work after the summer holidays, and students of all ages head back to school.
Even if your work life is not that different from summer to fall, there is still a strong feeling of change in the air that has an effect on your psychology.
In photography, the autumn is a busy time. It is when many professional services firms do their recruitment campaigns, grooming their selected graduates for roles as accountants or lawyers, and the start of many companies year end events. As well, given the high number of universities in Montreal and related services and companies, there are many networking events, product launches and mixers aimed at helping people make new connections and build their networks.
As the leaves soon begin to change, the fall foliage provides abundant and gorgeous backdrops for outdoor portrait sessions, whether you are getting engaged, starting a new job and looking for a modern non-conventional headshot, or gathering with your extended family for Thanksgiving.
Candids, or photos taken of people who are unaware they are being photographed, often result in the most interesting and emotive images a photographer can produce. These images are valued primarily for the emotions they convey and the stories they tell. However, by definition such images are an invasion of privacy and require an intimacy with the subjects that is essentially taken without consent.But if you first ask someone if it is okay to take a photo, the essence of the moment you are observing is fundamentally altered and many photographers would argue, gone forever. What to do?
Though there are two scenarios where candid photography is essential – event photography and street photography – the challenge of whether to ask or not is one mainly faced by street photographers.
Taking candids in event photography vs street photography
In event photography, the photographer is a professional hired by their clients who often explicitly request a selection of good candids of attendees interacting with one another. Attendees are aware that they are going to be photographed – often through the placement of a sign at the entrance to the event or through explicit consent forms signed ahead of time – so the event photographer generally faces no dilemma and in fact, is encouraged to take as many strong candids as possible as these are the kinds of photos both clients, and subjects alike prefer when reviewing the final set of deliverables post-event.
In street photography, a passtime widely enjoyed by both professionals and amateurs alike, the question of whether to ask or not to ask is more acutely relevant. With some very clear exceptions, my feeling is that the best images come from patient observation and that asking for them in advance can, and often does, ruin them. I believe if you always operate with a respect for other people and you abide by the photographer’s version of the Hippocratic oath physicians take, “to do no harm”, you are in the clear:
Don’t take photographs that could in any way embarrass, endanger or otherwise inflict any kind of harm on your subjects.
Don’t take any photographs of people in cultures where taking photographs is feared or frowned upon, for whatever reason without getting clear consent first.
Photographs of other people’s children is also off the list unless the parents or guardians expressly allow it – and then I make a point of sharing those images with them
No paparazzi photos of any kind
There is something inherently opportunistic with taking photos surreptitiously. The very word “snap-shot” implies a quick, reflexive response to something noticed that will quickly disappear. That precise combination ofcomposition, lighting, and subject matter that makes for a perfect photograph is often ephemeral.
This is both the thrill and the challenge of taking candid images, of course. Getting it all right in just an instant is where the skill lies. A photographer whose aims are to capture meaningful candid images must practice almost daily to develop the reflexes and familiarity with his or her equipment in order to be there when things are happening, and be able to get the shot when they do.
For the same reason, it makes it very difficult, if not impossible, to ask for consent to take a photograph in the same moment that the image presents itself to your eye.
Tips for taking better street photos
You get the best results in street photography when you are discreet both in your manner and the gear you are using. Whether you are at home or travelling your street photography can benefit from taking an anthropological approach.Having knowledge of an area (often gained by having walked around it extensively), understanding they kinds of people who frequent it, what they are doing there and how the lighting and ambience of the place will change over the course of a day and into night, all contribute towards your ability to capture stunning street portraits and capture powerful images that tell stories and convey a sense of place.
Embed yourself in an a “target rich” environment until you effectively meld into the background, then wait before taking any photographs. Anyone who’s ever enjoyed the practice of street photography will develop a sense of where good photos are likely to come from. Even though the moments that occur are randomly generated by the multifactorial interactions of strangers, time, the position of the sun in the sky and countless other factors, a photographer with a good eye will sense a place rich in potential and spend more time there.
There is no question, from an aesthetic point of view, that candid images are generally more appealing and more potent than posed images of the same subjects, or images in which the subjects know they are being observed.
The act of observing something inherently changes that which is being observed. This is one of the mind-bending results of a thought experiment known asSchrödinger’s cat by Austrian physicist Erwin Schrödinger in trying to describe the way two different quantum states can co-exist, or be in “superposition” until observed in which instant the superposition collapses into one or another of possible definite states.
While I don’t suggest taking photographs of two strangers kissing on a park bench in Paris is the equivalent of conducting one’s own quantum physics experiment, it is true that the kiss would be changed or possibly not transpire at all if the photographer gently nudged into their embrace and asked if it would be okay to snap a shot of them.
Ultimately, as is the case I hope every time you press the button on a camera, use your judgement. Take only photos you would be proud to share and show the world, and that enhance or elevate your street photography subjects, or that expose a story or place that brings a higher level of awareness and sensitivity to a wider audience for a subject you actually care about and are trying to make a difference in. In the end, there are no strangers in photography. Under the gaze of your lens, everyone is a somebody if you accord each individual with the respect – and compassion – each and every one of us deserves.
Candid photography lies at the very heart of why people love photographs in the first place. By all means you should pursue it as an art, a hobby or a professional practice. I believe the best photos are the ones where the photographer has gained an implicit trust from his or her subjects. This is gained through the sheer force of personality, the proof of the work you have already undertaken, and the evidence you demonstrate of having integrity whenever and whereever you and your camera are.
If you enjoy photographing the sights you see and the moments you experience while travelling, you have probably done some research into what gear to bring along with you on your summer vacation. As airlines get increasingly cheap with the amount of space they allocate to “cattle class” economy seats – the ones most people use – each piece of additional gear means added weight, and size, to your bag. With space at a premium, how do you choose the optimal travel kit to ensure you get the full enjoyment of your hard-earned vacation and bring home your trophy images that let you relive the experience over and over again when you are back home?
Now if you are one of those people for whom a phone is going to be all you need, feel free to stop reading here. While the phone is often a great addition to the kit (and some new types of gear like the DJI Osmo+ Sports Kit, DJI Mavic Pro or the Ricoh Theta S require a phone interface), it doesn’t match up to any kind of pro lens. I know many would disagree, but the real photographers out there know exactly what I mean.
Whether you are a professional photographer or an enthusiastic beginner, or just someone for whom photography is a part of the travel experience, your first and most essential piece of kit has to be the primary camera you are most likely to use and carry around with you. For me it has to be the Fujifilm X100T. (You may prefer the newer version, The Fuji XT2 but since I haven’t used it yet I can’t recommend it though I suspect it is as good or better than the one I use).
This versatile and compact little beauty of a camera is my favourite travel camera. It hangs around your neck discreetly, looking as good in its case as out, and takes beautiful snapshots wherever you are. Great in low light, and with a few little tweaks you can make to adjust the shooting style to match your own, nothing compares to it in its price range. I would highly recommend it, or one of the similar cameras Fuji puts out for someone looking for a professional quality camera at a reasonable price that they can use in a wide range of settings. Whether you are visiting bars, taking family portraits or artfully composed images of the girl/boy you are trying hard to impress, in cathedrals, on beaches, traversing jungles or all of the above, this camera does the trick and if you only bring one piece of gear this should be it.
For a bit of extra weight it is worth considering a small GorillaPod tripod (useful for attaching camera to trees or rocks of you want to be in any of your own photos).
If you love drone photography (which once you’ve tried it is hard not to) than nothing beats the compact, travel-friendly DJI Mavic Pro. It is the smallest most portable professional drone on the market today and performs admirably in a wide variety of conditions. While I use it sparingly, I love being able to capture broad vistas, shorelines and other natural landscapes with its high definition 4k camera. Just the sheer thrill of flying it is worth bringing it onboard.
As I like to have options when I travel, I am willing to put up with the extra hassle of committing one bag of carry-on purely to camera equipment. Here’s what mine looks like for a two week tour of three European countries (the DJO Osmo+ kit not shown).
This is excessive I know but as I plan to attend a wedding in London, tour Hamburg and then spend a week touring around Portugal with my family and some friends I wanted to have the fullest possible range of options for shooting the many varied settings I will find myself in, both urban and rural. With this kit I can shoot handheld video, panoramic photos, time-lapse videos, aerial photography and videos, landscapes, portraits and family sized groups of people. I’ll be equipped for virtually any type of lighting, and can be guaranteed to bring home a set of images and video clips that will satisfy my appetite for complete coverage.
When traveling by air, remember to keep all your batteries (at 50% charge or less) inside your carry-on as you are not allowed to pack batteries in your checked luggage. Given the way most checked luggage gets treated I keep all my gear with me at all times. The Thinktank Airport International V2.0 (though pricey) has a truly solid, well-made bag that theoretically fits inside most carry-on spaces. On smaller regional jets (the ones you are most likely to find yourself on if you are flying between cities in North America), as the overhead bins are designed for fitting a child’s lunch pail and perhaps a rolled up newspaper, you will have trouble with this bag. However, I always manage to bring it in and get it under the seat in front of me, even though a portion does overlap into your seat mate’s leg room. With a little understanding and friendly banter this can usually be smoothed over.Do not, under any circumstances, allow the airline to gate-check your bag which is airline speak for handing over your precious cargo to unhappy workers who treat passenger luggage with the contempt and disdain of cruel prison wardens for prisoners. I suffered through one agonizing flight from Washington to Montreal watching my bag full of $20k worth of equipment be first picked up and tossed down the slide from the bridge to the ground, then get slammed onto a baggage rack, tottering on the edge, half falling off, as the cart was manhandled out of my site to the baggage loading area. Were it not for the sturdiness of the Thinktank Airport V2.0 construction I am sure my gear would have suffered. Nonetheless, I vowed to never let that happen again.
What to shoot?
Everyone has their own fun choosing what to focus on when travelling, so what follows is nothing more than a view into my own idiosyncratic way of interpreting my travels through my lens. Aside from the obligatory (and still treasured) shots of family and friends, I love shooting the kinds of things you see but quickly stop thinking about when travelling for a few days in a foreign country:
shots in the airport/train station on arrival/departure
book covers in stores
postcards / souvenirs
art and displays in museums
market stalls of produce
street posters for upcoming shows
bus, train or plane ticket stubs
the different kinds of foliage you find in gardens
doors, store fronts, building façades
products on display in grocery stores
and random, quick snapshots of parks, skylines, views and anything else that tells the story of the place you are in without worrying all that much about compositions, lighting or even focus sometimes (a blurry shot through a train window moving at high speed sometimes is exactly the right expression of that moment in time).
When I get back home I love looking through the images and putting together a mosaic of my time away.
I also love shooting a video (with my phone), of me speeding through all the images on my Fuji X100T to give a high speed tour of my travels. Stay tuned for June (coming soon)
My particular gear and shooting preferences aside, in the end, the best camera for travelling is the one you have with you at the time and the best things to shoot are what you see that strikes you as new, interesting, unusual or representative of the place/season/mood/experience you are in at the moment you experience it. Rather than make a production out of hauling out your big gear, use the simplest, most versatile camera you can reach readily when something – anything – twigs your curiosity. Whether that’s just your phone, or something as lightweight but also a full-fledged camera, having a camera in your hand when you see something that excites you matters more than having the absolute perfect camera and lens for the shot that’s packed away in your bag.When you travel, you are ultimately a visitor – a tourist. You can dress and act however you want to to fit in, but ultimately, your time is limited in your destination of choice so if you care about taking home visual souvenirs, do yourself a favour and keep your camera around your neck or in your pocket, with a spare, fully charged battery and a card with ample space to hold your images in RAW or the highest JPEG you can shoot in so that you have the option to do prints or make a photobook when you get home and don’t have to deal with the frustration of having a great shot in resolution too low to do anything with but post online,
The gig economy, alternatively known as the connected economy, the sharing economy, or the on-demand economy, is a growing and still not very well documented trend that is changing the way many different kinds of people work.Characterized by short-term contracts, a high degree of autonomy and payment by task or assignment, working a gig is how many people today earn part or all of their income.
For professional photographers, who have been in the gig economy long before it ever had a name, this trend is hugely beneficial and they are poised to be big winners in a future where there will still be a lot of work, but a lot fewer permanent jobs.
In the gig economy there are three main categories of work, all of which benefit professional photographers (and videographers too).
Freelancers – people who sell their labour or offer services either directly to clients, or via a digital platform like Upwork, or Uber, or Taskrabbit.
People who sell goods (artists, artisans, up cyclers, makers, etc) directly through their own blogs or websites, or via a digital platform like Etsy or eBay.
People who lease our assets (a couch, a spare room, a condo, a stock pot) mainly through digital platforms like AirBnB.
For all three main groups photographers are either major players (freelance photographers) or creating the gorgeous images necessary to enable people to sell their goods and services or lease out their condos to travellers.
Photography, as a craft, is also open to anyone with enough drive and passion to develop their talent and build up a portfolio of good work. It is a perfect second career for a retiree (people age 55-64) who doesn’t necessarily need to earn his or her primary income from the trade (which actually represents one of the largest slices of the gig economy workforce), and it is often a profitable sideline for people working other main jobs, or, in true gig economy fashion, living a portfolio lifestyle. (Also known as “slashers” as in, I am a photographer/writer/podcaster).
As with the rise of any hobbyist-turned-worker trade, their can be a negative knock off effect on professionals whose work is undercut by others willing to do the same work for less pay (think Uber drivers vs professional taxi drivers) but this kind of change is unavoidable and must be faced head on by the working professional.