Show your money maker!

Every visual artist with a portfolio has one piece that makes up a client’s mind as to whether or not to book them.

Their entire portfolio may be exceptional…but there will always be that one image, clip, or layout that strikes a cord with the audience.

But how do you know which pieces are “the ones”?
I can tell you that from experience… my most “successful” images have been the ones that I did because I felt them. I felt so strongly about the images, either while shooting or editing, that I just knew that I had made something I was proud of.

My portfolio is a collection of images that I like. Of course I’m careful about what I show, but ultimately if I don’t like it, I’m not going to show it.
But am I limiting my potential work?
Maybe…
However…what I’m showing is me.

I can spend hours shooting, editing, and retouching images, in hopes that a particular client or magazine will love them and want use them.
But what if they don’t?
If it wasn’t something I had my heart in…what is the value of that work now that no one else likes?

I used to worry about shooting for other people…I loved hearing feedback (still do), but that’s what I was shooting for…Validation.
At the end of the day when the ticker tape parade stopped, and the excitement over the latest greatest shoot was over… I was still stuck with images I didn’t truly think represented me as a photographer or as an artist.

The point is…we can tweek our ideas, concepts, and art towards clients…but ultimately the client hires an artist for their unique perspective. I doubt most clients want some cookie cutter remake of something they’ve done before.

Produce work for you… and FIND the clients that want your work.

Of course bills and rent don’t always allow for this mentality…but at the end of the day, when it’s time to be creative and have fun doing what you love…

Why do it for someone other than yourself?

Open your doors and light some candles!

For the most part I consider my self a very independent photographer.
I rarely ask for favors or even have an assistant (most days).
I’ve learned to make due with what I have, and If I don’t have something I need I go and get it.

I think most of the shooters here in Atlanta are like that. And proud of it.
But on some level I think there is a sense of paranoia when it comes to helping a fellow shooter out.
Most shooters here in Atlanta tend to keep to themselves for some fear opening up will allow someone to take what they have.
Not stealing equipment, or food, but techniques and possibly clients.

For me this paranoia is one of the reasons why Atlanta isn’t progressive as far as its photography goes.

When I worked in New York, there was a sense of generosity…there were various communities of artists that not only competed with each other, but supported each other. If you were in need of a great stylists…your buddies would suggest one to you. Or If you wanted to work with a particular agency, they’d hook you up with a contact. People would invite you on set, just to hang out, not expecting anything more than your company and occasional opinion.

Back in the late 80′s early 90′s, there was a cluster of up and coming photographers, stylists, and makeup artists in England that all knew each other via assisting and various connections in the business. Most were just doing their own thing, having fun, and shooting what ever motivated them.
They would run into each other in the photo labs while developing their boss’s film. They’d shoot the shit about what they were working on and critique each others work. They’d suggest their friends for shoots, and gladly open up their shooting spaces and locations to help out a fellow shooter.
This group made up of all different styles of visual artist, went on to influence one of the largest movements in fashion (that is still prevalent today).

With each other’s help they were able to break into the American market, and take the world by storm, even discovering who is arguably the greatest model ever. They pushed each other’s work, not only competitively, but gave support when it was needed. To them it was about the art…not the individual.

Who was in this group?
Nick Knight, Rankin, Edward Enninful, Corrinne Day, Pat McGrath, Craig McDean, Juergen Teller, and David Sims, just to name a few.

So next time a fellow shooter asks for a hand…remember that you may be in their situation on day.
If you feel jealousy towards another photographer for using your technique, shooting your Muse, or working with your favorite makeup artist just know that: “You can light many candles with one flame without shortening the life of your own.” -Buddha

We are all a part of the same community. If we keep cutting each others legs out just to get a buck, we (as a group of artists) can’t move past our own borders.

By the way…if you hadn’t guessed, the model was Kate Moss.

First shoot by Corinne Day