career opportunities in photography

CAREER OPPORTUNITIES

IN PHOTOGRAPHY

CAREER OPPORTUNITIES

IN PHOTOGRAPHY

GEORGE GILBERT

With

PAMELA FEHL

Career Opportunities in Photography

Copyright © 2006 by George GilbertText on pages 26–28, 45–47, 48–50, 139–141, 163–165 Copyright © 2006 by Infobase Publishing, Inc.

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Career opportunities in photography / George Gilbert with Pamela Fehl.p. cm.

Includes index.ISBN 0-8160-5678-1 (hc : alk paper)1. Photography—Vocational guidance. I. Fehl, Pamela. II. Title.TR154.G53 2006770′.23—dc22 2005021495

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Industry Outlook viiHow to Use This Book xi

BUSINESS AND INDUSTRIALPHOTOGRAPHY 1

Aerial Photographer 2Construction Photographer 5Industrial Photographer 8Insurance and Legal Photographer 11Interior Design Photographer 14Real Estate Photographer 17Surveillance Photographer 20Uniformed Photographer 22

CINEMATOGRAPHY ANDVIDEOGRAPHY 25

Cinematographer 26Television Camera Operator 29Videographer 32

COMMERCIAL PHOTOGRAPHY,ADVERTISING, AND PUBLICITY 35

Advertising Photographer 36Assistant Photographer 39Commercial Photographer 42Food Photographer 45Photo Stylist 48Publicity Photographer 51Stock Image Photographer 54

EVENT AND TRAVEL PHOTOGRAPHY 57

Banquet Photographer 58Cruise Photographer 61Resort Photographer 63Safari Photographer 66Travel Photographer 69Wedding Photographer 72

FINE ARTS AND EDUCATION 75

Digital Photography Consultant 76Fine Arts Photographer 79Museum Photographer 82Photography Curator, Museum 85Photography Instructor 88Photography Teacher (Higher Education) 91

MEDICAL AND SCIENTIFICPHOTOGRAPHY 95

Archaeological Photographer 96Medical Photographer 99Oceanographic Photographer 102Ophthalmic Photographer 105Scientific Photographer 108

NEWS MEDIA AND ENTERTAINMENTPHOTOGRAPHY 111

Documentary Photographer 112Entertainment Photographer 115Fashion Photographer 118Magazine Photographer 121Paparazzo 124Photojournalist 126Press Photographer 129Sports Photographer 132

PHOTOGRAPHY BUSINESS ANDRELATED JOBS 135

Camera Designer 136Photo Editor 139Photo Researcher 142Photo Gallery Manager 145Photographer’s Agent 148Photographic Administrator 151Photographic Retoucher 154Photographic Sales Representative 157Photographic Technical Writer 160

CONTENTS

vi CAREER OPPORTUNITIES IN PHOTOGRAPHY

Photographic Equipment Technician 163Photography Store Manager 166Photographic Laboratory Worker 169Retail Sales Associate, Photography 172Stock Photo Agency Owner/Manager 175

PORTRAIT PHOTOGRAPHY 179

Baby and Child Photographer 180Boudoir Photographer 182Pet Photographer 184Portrait Photographer 186Yearbook Photographer 189

APPENDIXES 191

I. Two-year Associate Degree and CertificatePhotography Programs 192

II. Four-year Undergraduate Fine ArtsPhotography Programs 196

III. Four-year Undergraduate CommercialPhotography Programs 205

IV. Cinematography and Videography Programs 208

V. Graduate Programs in Photography 211VI. Associations and Organizations 215

VII. Web Sites 217VIII. Periodicals 218

Bibliography 219Index 221

INDUSTRY OUTLOOK

Photography has evolved tremendously over the years tobecome a truly global industry, due in particular to the devel-opment of digital cameras and photographic design software.Now, more people than ever before are capable of taking pic-tures, manipulating and enhancing the images digitally, andtransmitting them within seconds, via the Internet, to peoplebased anywhere in the world. These technological advancesare simultaneously a blessing and a curse for professionalphotographers. The boon is that digital photography andcomputer design software enable professional photographersto transport their equipment and set up shoots even in themost remote locations while still maintaining consistent con-tact with clients to secure approvals and report on workprogress. Digital photography also saves photographers timeand money in film. If they work solely in digital, they nolonger have to purchase film nor do they have to handle thefilm processing. The downfall, though, is that with the prolif-eration of digital cameras and photographic design softwarein the marketplace, many more people have access to theequipment and are usurping the work. While they may not beprofessionally trained, nothing prevents them from hanging ashingle outside their doorway advertising their photographicservices. Unfortunately, digital technology enables a widerrange of people to create, store, and access their photographswithout need of the professional photographer. On the otherhand, companies and individuals who recognize quality andappreciate highly skilled and experienced photographers willcontinue to need and commission professionals to help themwith their projects.

The photography field has always attracted more peoplethan there are jobs to fill, and competition for those jobs isexpected to remain fierce through 2012, according to theDepartment of Labor. Photographers are generally free-lancers with entrepreneurial spirits; more than half are self-employed and manage their own businesses. The outlook isbright for those individuals who are not only technicallyproficient, creative, and talented but also extremely flexible,adaptable to change, and able to keep abreast of technologi-cal developments in the field. Individuals who have work-related backgrounds and who are savvy business owners areusually the most sought-after and the most successful in theindustry.

In 2002, photographers held about 130,000 jobs. Manyare self-employed and own their own commercial studios orportrait studios. While many work on a contract basis, withportraits and projects varying, still others may also createphotographic images for stock photography agencies. Pho-

tographers may be salaried employees of advertising agen-cies, magazine and book publishers, newspapers, or televi-sion networks, or they may be contracted for individual pro-jects. Most photographers run their own businesses in largemetropolitan areas. The Occupational Outlook Handbookpredicts that employment in the photography field will growabout as fast as the average, by about 10 to 20 percent, forall occupations through the year 2012. Of all the disciplines,portrait photographers will most likely fare the best, asdemand for their services will grow as the populationincreases. Commercial photographers who work digitallymay also have greater success in finding work; they will beable to secure projects with magazines, journals, and news-papers that are increasingly publishing electronic versionsfor consumers.

Industry outlooks for the major media that hire photogra-phers to create photographic images are as follows:

Advertising & Public RelationsIndustry Overview: There are 47,000 advertising and publicrelations organizations in the United States, with one in fiveagencies being public relations firms. Of the advertisingagencies that exist, four out of seven are full-service houses,meaning they offer copywriting services and the creation ofartwork, graphics, and photographic images for advertise-ments. Once the advertisements are completed, test-marketed,and approved, these agencies place the ads on television,radio, and the Internet, and in newspapers, magazines, andother periodicals. Many of the largest agencies, such asOgilvy & Mather, J. Walter Thompson, Grey Global, Young& Rubicam, OMD, and others, have offices around theworld and receive a great deal of revenue from abroad.

Employment: In 2002, the advertising and public relationsindustry employed 442,000 workers, with an additional56,000 contracted as self-employed workers. The majorityof advertising and public relations agencies are located inlarge cities and states. New York and California offer themost opportunities for work; these two states alone accountfor one in five firms and one in four employees in the entireindustry. Some agencies may be small shops, with merely ahandful of employees; others may have thousands ofemployees throughout the world. More than half of alladvertising and public relations agencies, however, havesmall staff structures, with less than 20 employees. Mostemployees are between the ages of 25 and 54, which means

that prior work experience and training that is specific to theindustry are important prerequisites.

Outlook: Keen competition for jobs in the advertising andpublic relations industry is expected because, as with allglamour industries, there is an overabundance of candidatescompared to the number of positions available. The industryis expanding slightly faster, however, than other industries,and a 19 percent growth in employment is projected from2002 through 2012, which is a 3 percent increase over allindustries combined. Advertising and public relations ser-vices are directly linked to the economy, and as thingsimprove, more money will become available for promotingand advertising products and services. The creation of newmedia outlets and expansion of current outlets also offersgreater opportunities for employment, as skilled workerswill be needed to create Internet content and photographicimages. The flipside of this potential growth, unfortunately,is that nonprint media (i.e., Internet, radio) has the potentialto also preclude the need for employees. Also, legislationcan directly and adversely impact agencies that work withclients whose products are controversial or affect publichealth and safety, such as alcohol, tobacco, etc. Laws pro-hibiting advertisements for cigarettes or alcoholic bever-ages, for example, can decrease business for agencies thatwork in these areas. Layoffs are another inherent part of theadvertising and public relations industry. When clientsmove their business to other agencies, or slash their budgets,agencies are directly affected and must lay off workers inorder to survive. People who enter this business understandthis is just part of the terrain.

PublishingIndustry Overview: Publishing companies produce books,magazines, newspapers, directories, greeting cards, calen-dars, software, and other literature in a variety of formats,from print and audio to CD-ROM and other electronicmedia. Job hunters will find that the best opportunities foremployment in the publishing industry are at newspapers.Of all publishing businesses combined, it is a known factthat newspapers employ the most workers. These days, largecorporations such as Gannett own most of the newspapers inAmerica. Many companies are also clustering newspapers,which means they’re buying several newspapers that are cir-culated within the same region, thereby easing productioncosts and increasing efficiency, particularly because thenewspapers can be printed at, and distributed from, the sameprinting plants. Clustering can also create more jobs andmoney for advertisers, who can now place advertisements innumerous publications at one time.

A few large corporations, such as the Hearst Corporationand Time Warner, also own most of the book publishingcompanies in this country, many of which are based in NewYork City. This is not to say that New York City is the only

place to find work in book publishing. Some midsize andsmall publishing companies across the country, particularlythose that specialize in certain subjects, are also thriving.But because they are smaller, it will mean a fiercer competi-tion to secure work. Textbooks, technical, scientific, andprofessional books comprise almost half of the book pub-lishing industry’s revenue, with adult trade (i.e., bookstorebooks, such as paperback, juvenile, religious, referencebooks, etc.) comprising the other half.

Magazines or periodicals are usually either run as smallshops or fall under the umbrella of large media conglomer-ates that publish scores of magazines, again such as theHearst Corporation. Magazines can be geared for trade, orbusiness-to-business, or strictly for consumers. Trade maga-zines are targeted specifically to certain industries, profes-sions, or services, and consumer magazines are for a widerand more general audience.

Employment: In 2002, the publishing industry providednearly 714,000 salaried jobs, with an additional 39,000 self-employed workers. (Note: These numbers do not take intoaccount the freelance contributors to the publications, suchas writers, journalists, photographers, and artists.)

Outlook: As with advertising, the publishing industry is aglamour business that always features more job applicantsthan there are jobs to fill. Competition for work is perpetu-ally keen. The Bureau of Labor Statistics predicts a 1 per-cent drop in wage and salary employment in publishing(save for software) from the 2002 through 2012 period,compared to the projected 16 percent growth for all indus-tries in that same time frame. As the demand for more infor-mation arises, however, publishing companies will have tohire skilled workers to meet those needs. People will con-tinue to want to be informed by newspapers, magazines, andbooks that have been produced in diverse media. Much con-tent is now on the Internet, and e-books are particularly onthe rise and predicted to grow through 2012. The economyalso drives the publishing industry. The consequence of adepressed economy is that advertisers reduce their advertis-ing budgets, local and state governments reduce their bud-gets for school and library books, and publishers search forways to save money, by also cutting budgets and laying offemployees.

Internet news sites are on the rise because each year, thenumber of people who are able to easily access the Internetsteadily increases. While newspaper subscriptions havebeen declining over the years, mergers and clusters areincreasing the efficiency of newspaper production. They arealso helping to expand the reach and scope of writers andphotographers, whose work can often be published innumerous publications at one time. Newspaper mergers areexpected to decline through 2012, and as technologyimproves and newspaper production becomes more effi-

viii CAREER OPPORTUNITIES IN PHOTOGRAPHY

cient, even less people will be needed to produce a newspa-per. This impacts the production and administration side ofthe business more so than it does the creative side. Writersand photographers will still be needed to generate contentand to help share the news with readers. And while newspa-per mergers may decline, magazine mergers are projected tocontinue. The high school and college student population isalso expected to increase through 2012, leading to increaseddemand for textbooks. As new discoveries and experimentsemerge, technical and scientific books and journals will beneeded to share information with the general public. TheFederal Communications Commission (FCC) is expected tolighten its rules in regard to banning ownership of TV sta-tions and newspapers in the same market. Should this hap-pen, employees may be mandated to work in both the printand broadcast mediums. For photographers, this mightmean learning to use video cameras.

BroadcastingIndustry Overview: The broadcasting industry is composedof radio and TV stations and networks that create their ownoriginal content or are licensed and legally permitted tobroadcast (or “air”) taped television and radio programs.Networks are responsible for literally networking the shows.They use satellite signals to transmit from broadcast studiosto local stations or cable distributors. Cable television lines,satellite distribution systems, or transmission tower air-waves then carry the broadcast signals to TV and radioantennae. If they are within the range of the signal, peoplecan see and listen to a variety of programs, such as movies,national and local news, talk shows, concerts, plays, musi-cals, live performances, sports programs and competitions,advertisements, and more. Most stations produce their newsprograms, as well as some other programs, in their own stu-dios. The motion picture industry produces a great deal offilmed or taped programming for radio and television sta-

tions and networks. Television is moving in the digital tele-vision (DTV) direction, which enables the transmission ofhigher-resolution pictures and better-quality sound, or high-definition television (HDTV). By 2007, the FCC aims tohave all stations cease analog signal broadcasting. Almosthalf of all TV stations are already complying with FCC reg-ulations by broadcasting digital HDTV signals. HDTV doesnot require the specialized hardware that was needed foranalog transmissions, thus stations are replacing all of thatequipment with less-specialized computers, which has soft-ware that achieves the same results. Digital cameras, HDTVcameras, and computer-editing equipment and servers arethe tools of choice.

Employment: About 334,000 wage and salary jobs wereprovided by the broadcasting industry in 2002. More thanhalf of all the jobs were in organizations with at least 100employees. Most jobs are located in larger cities, althoughbroadcasting stations can be found across the United States.

Outlook: Employment growth in the broadcasting industryis expected to be slow, increasing by less than 9 percentbetween 2002 and 2012. Industry consolidation, the cre-ation of new technologies, and competition with media out-lets will account for the sluggishness. Consolidation ofbroadcast stations into major networks means corporationswill need fewer employees. They will streamline their staffstructures and increase efficiency by running many stations,for example, from only one office. New technologies willalso reduce the need for specialized staff. And Internetmedia outlets, such as video-on-demand services, also con-strain job growth in the broadcasting industry. Applicantswith prior work experience and degrees in broadcasting,photojournalism, or related fields will have better odds ofsecuring employment in this field.

INDUSTRY OUTLOOK ix

HOW TO USE THIS BOOK

The 62 job descriptions provide basic information about thephotography industry and specific information about vari-ous branches of photography and related careers. Unlikeemployees in many other industries, photographers do notalways follow clear career paths. They often work on a free-lance or self-employed basis, and those on staff are not nec-essarily promoted in a structured, hierarchical manner.Skills and techniques acquired and honed in one particulardiscipline can often be transferred to other photographicbranches, and versatile, reliable photographers can oftenbuild their career by taking on work outside their primaryspecialty. Photographers tend to be independent workers,and their career ladders are often shaped by their personalinterests, creativity, and entrepreneurial spirit.

Career Opportunities in Photography is an excellentstarting point to begin your research into jobs in this indus-try. The information presented here comes from interviewswith working professionals and industry experts, statisticsmade available by the United States Department of Labor(specifically, the Bureau of Labor Statistics and the Occupa-tional Outlook Handbook), surveys conducted by industryassociations and numerous other sources such as trade mag-azines, books, and Web sites.

The careers covered here have been grouped into ninecategories: Business and Industrial Photography; Cine-matography and Videography; Commercial Photography,Advertising, and Publicity; Event and Travel Photography;Fine Arts and Education; Medical and Scientific Photogra-phy; News Media and Entertainment Photography; Photog-raphy Business and Related Jobs; and Portrait Photography.These groupings have been made to aid the reader in his orher research, but keep in mind that while some successfulphotographers specialize in a single field, others may build acareer by working in multiple categories.

Each job article includes the following elements:

Career ProfileThe career profile section provides a brief summary of thejob duties, any alternate title or titles that may exist, thesalary range, employment and advancement opportunities,prerequisites (which include education, training, work expe-rience, and special skills and personality traits), and, if theyapply, licensing or certification requirements.

Career LadderThe career ladder indicates the job that can lead to the titleprofiled and the next job up. The top job listed is usually the

senior-level position, the middle job is frequently the jobprofiled, and the bottom job is the entry-level position. Insome instances, the job profiled is a senior-level positionand may be listed at the top. Senior photographers oftenadvance by growing their businesses and branching out intoother disciplines, as well as teaching and writing. Careerladders are not hard-and-fast career paths but only represen-tative of those that are common or likely.

Position DescriptionThis section provides a more in-depth look at the job. Thisdescription covers a typical working day and the work envi-ronment for workers in the specific career under discussion.It notes the kind of schedule these workers may have, whatemployer expectations will be, what their various tasks andresponsibilities will be, what difficulties they might face,and how the job relates to photography jobs and industries.

SalariesSalary ranges were ascertained from working professionals,trade associations and organizations, and the U.S. Depart-ment of Labor. Some specialized jobs are not singled out ingovernment reports. Information for such jobs has beenbased on other sources, such as information from profes-sionals and industry surveys, or it has been extrapolated bylooking at related jobs and expectations for growth andearnings in key related industries. Salary ranges reflectannual wages, flat day or project rates, or hourly rates. Fac-tors that can impact salaries are also mentioned, (i.e., yearsof experience, educational background, technical expertise,type of clientele, type of product, how the work will beused, geographical location, size of budget, overtime, rushjobs, and more). Tips about how certain artists enhance theirincomes are also included.

Employment ProspectsEmployment prospects are rated poor, fair, good, or excel-lent based upon discussions with professionals who are cur-rently working in the jobs and those who have experience inthe field, as well as the U.S. Department of Labor’s Occupa-tional Outlook Handbook, which predicts expected industrygrowth through the year 2012. Factors that can impactemployment prospects include the economy, technologicaladvances, whether the job is in an exciting or glamorousenvironment and therefore highly competitive, as well as theprospective employee’s background and initiative.

Advancement ProspectsDiscussed here are advancement possibilities. Career pathsin photography can come in different manners, and soopportunities for advancement exist in a variety of forms.The information is, again, based on discussions with profes-sional photographers, industry experts, and research gath-ered from various organizations and publications. Whilemost staff employees require some management expertise, asolid understanding of photography and new and emergingtechnologies is generally necessary for advancement of anykind in this industry.

Education and TrainingFour-year college degrees are often recommended for thejobs listed in this book, but they are not always required. Abachelor’s degree provides an overall, well-rounded educa-tion that serves as a solid basis for working in any branch ofphotography. For some fields, advanced degrees arerequired. The types of courses individuals should take, aswell as any additional training—such as computer imagesoftware or digital photography—are also mentioned in thissection.

Experience, Skills, and Personality TraitsWork backgrounds, special skills, and personality traits thatare important to being successful, comfortable, and happyin this particular field are covered. Freelance employeesshare an independent-minded and entrepreneurial spirit.Staff employees will, perhaps, prefer more structured envi-ronments. Most photographers will be required to dealdirectly with clients, subjects, and the public on a regularbasis, so personality is a big factor in achieving success.This section will help you determine where you fit best inthe industry.

Unions and AssociationsMembership to trade associations and other professionalorganizations can enhance photographers’ careers by offer-ing them workshops, conferences, educational opportuni-ties, and networking targeted to their specialization. Somebranches of photography require workers to belong tounions. Union membership assures members of set wagesand working conditions. The associations discussed in thissection are suggestions based on recommendations fromworking professionals and research. To learn more and findother organizations and those that may be based near you,use an Internet search engine and visit association Websites.

Tips for EntryEach career profile ends with three to five tips that shed lighton important steps a prospective employee can take to get afoot in the door. Professional photographers shared thisadvice based on their personal experiences, as well as whatthey know to be the protocol for entry, whether it is anapprenticeship or internship, networking, creating a stellarportfolio, or a combination of all.

Other Resources in This BookAppendixes: The appendixes provide listings of schools andassociations that specialize in photography. Separate appen-dixes cover two-year programs, four-year programs, gradu-ate programs, and more. Also included are directories ofassociations and organizations, industry periodicals, anduseful Web sites.

Bibliography: For further information or research, thebooks listed here can be helpful.

xii CAREER OPPORTUNITIES IN PHOTOGRAPHY

BUSINESS AND INDUSTRIALPHOTOGRAPHY

Position DescriptionThe widening range of oil prospecting, growing environ-mental monitoring, and the government’s need for updateddata on rivers, lakes, and even golf courses or resorts locatedon waterways has created an increased demand for AerialPhotographers. Through their photographs, Aerial Photogra-phers help specialists observe targeted areas during droughtsand floods, as well as pinpoint damages from storms andrelated environmental changes.

Aerial Photographers survey environmental conditionsand conduct research work for cartographers and scientistsstudying lakes. Real estate agencies appraising land also

hire Aerial Photographers. Advertisers and publishers retainAerial Photographers for a wide variety of products andmessages. Some Aerial Photographers have experience cov-ering the weather for radio or television news stations.Another avenue Aerial Photographers pursue is photograph-ing airplanes in flight for airline companies and others.Sometimes they work from helicopters. They might alsotake aerial photographs for the purpose of creating art. Theypublish their work in books and magazines and post themon their Web sites.

From the air, all focus is at infinity, and all exposures areat 1,000th or higher speeds. Aerial Photographers capture

2 CAREER OPPORTUNITIES IN PHOTOGRAPHY

AERIAL PHOTOGRAPHER

CAREER PROFILE CAREER LADDER

Duties: Takes aerial photographs for architects, builders,landscapers, state departments, national parks, realtors,estate owners, newspapers, magazines, and others;arranges for airplanes and pilots or flies own plane;scouts locations; reviews flight plans; creates estimatesand handles accounts receivable and payable

Alternate Title(s): None

Salary Range: $50,000 to $200,000

Employment Prospects: Excellent

Advancement Prospects: Excellent

Best Geographical Location(s): Massachusetts, Connecti-cut, New York (upstate), New Jersey, Maryland, Virginia,Florida, Michigan, Colorado, Nevada, California, NewMexico, Arizona, and Washington, D.C.

Prerequisites:Education or Training—Four-year degree, with spe-cialization in photography; flight training; on-the-job skyphotography trainingExperience—Prior assignments of high- and low-levelflying, including cliffside approaches, obscured forestsettings, and weak light conditionsSpecial Skills and Personality Traits—Good withheights and comfortable in small aircraft; flexible atti-tude; good eye for detail; solid grasp of lighting; strongcommunication skillsSpecial Requirements—Commercial pilot’s licenserequired for those photographers who fly their ownplane; Federal Aviation Administration certification

Aerial Photographer

Commercial Photographer / Pilot / Radio or Television Weather Briefer

Assistant Photographer

images at oblique (slant) and orthographic (vertical) angles.Technological advances have made things easier and moreconvenient for Aerial Photographers. Many use digital cam-eras, gyro-stabilizing devices, and vibration-reductionlenses and later edit the images using Adobe Photoshop.Small, portable printers that plug right into cameras, operat-ing independently of computers, are also invaluable tools.

If piloting the plane, Aerial Photographers need to bemindful that they act first as pilot and second as photogra-pher. Getting caught up in photographing images can dis-tract from the primary and serious job of flying the plane. Ifworking with a pilot, Aerial Photographers communicate tothe pilot, usually through headphones, when they spot areasthey want to photograph. They take at least several backupphotographs because there is never an assurance that justone will come out accurately.

SalariesAerial Photographers’ annual salaries can range from$50,000 to $200,000 or more, depending on the time ofyear, region, business specialization, and governmentrequirements. Independent Aerial Photographers who owntheir own planes must factor into their earnings costs formaintaining their plane to Federal Aviation Administrationspecifications, plus license and registration upkeep. If theyare renting aircraft and hiring pilots, they must factor this in,also. Aerial Photographers who are pilots and own theirplane can enhance their salaries by renting their services toother photographers.

Employment ProspectsAlthough there are no statistics specific to the employmentof Aerial Photographers, a parallel can be drawn by review-ing the job prospects for cartographers, surveyors, pho-togrammetrists, and surveying technicians. These specialistsoften work closely with Aerial Photographers, thus it is rea-sonable to extrapolate that as they secure work, so, too, willAerial Photographers. According to the Occupational Out-look Handbook (OOH), employment of surveyors, cartogra-phers, photogrammetrists, and surveying technicians isexpected to grow by 10 to 20 percent through the year 2012.

The OOH further explains that in 2002, federal, state,and local governmental agencies provided one of six jobsfor these specialists. The U.S. Geological Survey, theBureau of Land Management, the Army Corps of Engi-neers, the Forest Service, the National Oceanic and Atmos-pheric Administration, the National Imagery and MappingAgency, and the Federal Emergency Management Agencyare the major federal government employers. Local andstate groups such as highway departments, urban planningand redevelopment agencies, as well as construction firms,mining and oil and gas extraction companies, and utilitiesalso employ cartographers, surveyors, and the like.

Advancement ProspectsAerial Photographers are typically well-seasoned profes-sionals and are at the senior-level in the industry. They canalways advance by expanding their studio’s services,branching out into other media (such as video), and hiringmore staff. They can also write for books, magazines, andWeb sites and lecture or teach.

Education and TrainingAerial Photographers should have a college education, oftenat a four-year liberal arts or art college, with a specializationin photography. If planning to fly his or her own plane, theAerial Photographer must pursue flight training and can do soeither during college or any time thereafter. Several years ofphotography experience in a commercial studio is required.

Special RequirementsAerial Photographers who fly their own airplanes or helicop-ters must possess a valid commercial pilot’s license. A smallaircraft can be a primary tool in this industry, though it is notby any means a requirement. Many successful Aerial Pho-tographers do not own their own aircrafts and instead hirepilots for their shoots. Aerial Photographers who pursue thelicense must pass the Federal Aviation Administration’s(FAA) medical examination, as well as meet FAA flight-timerequirements, which can take years to accumulate. Addition-ally, airplanes and helicopters must be licensed by the FAA.

Experience, Skills, and Personality TraitsAerial Photographers are comfortable with heights and atease in small planes and helicopters. They have a goodappreciation of natural light; they understand how to workwith it and how to time their photographs to best capture theimages they seek. They are patient, flexible, detail-oriented,and have strong communication skills. Successful AerialPhotographers know how to work with challenging condi-tions, such as weather, and how to solve problems quicklyand intelligently. They are technologically adept and havedigital camera and Adobe Photoshop experience.

Unions and AssociationsThe Professional Aerial Photographers Association (PAPA)provides members with educational newsletters and confer-ences, annual print competitions, and networking opportuni-ties. Through PAPA, Aerial Photographers can alsoparticipate in Web forums and online chats, sign up for stockevaluations and representation, access historical photographresources, and more.

Tips for Entry1. Check your local phone book for Aerial Photographer

listings and keep an eye on bulletin boards at your

BUSINESS AND INDUSTRIAL PHOTOGRAPHY 3

local airport. Call photographers, introduce yourself,and see if you can set up a meeting. Bring a list ofquestions to the meeting so you can reap as muchinformation as possible while you are there.

2. Offer unpaid assistance to a pilot in order to learnmore about flying and photography. See if you can

get a ride on a flight to an actual aerial photographydestination.

3. Read as much as you can about aerial photography.Immerse yourself in books and magazines. You canalso find innumerable resources on the Web; just keyin aerial photography in an Internet search engine.


Position DescriptionThe Construction Photographer is the visual diarist of theconstruction of any private, industrial, governmental, orother building project for technical or legal considerations.Depending on the photography assignment, he or she maymaintain a photographic project history from the first shovelto break ground to the final ribbon-cutting ceremony. Insome cases, Construction Photographers are hired to photo-

graph interiors, to document floor-by-floor progress ofoffice and apartment buildings.

Such photographs provide construction management withvisual support of worksite progress. The architect tracks con-struction details and monitors the brick-and-mortar progress,from delivery of wet cement to placement of door and windowapertures. The Construction Photographer photographs work-ers installing heating, air-conditioning, and water and sewage


CONSTRUCTION PHOTOGRAPHER


Duties: Records site progress for builders, architects, contrac-tors, and others; takes notes on what is being photographedand angle of view (i.e., 18th floor interior, east to west);creates estimates; handles billing; creates prints and digitalimages; may appear as witness in court cases betweenbuilders and subcontractors, with photographs used as evi-dence of work progress and specific work being done

Alternate Title(s): Architectural Photographer, BuildingPhotographer

Salary Range: $35,000 to $60,000+

Employment Prospects: Fair

Advancement Prospects: Fair

Best Geographical Location(s): Major cities with ongoingconstruction needs, such as New York, Boston, Washing-ton, D.C., Atlanta, Chicago, Dallas, Denver, Las Vegas,Miami (and other parts of Florida), Seattle, Portland, SanFrancisco, and Los Angeles

PrerequisitesEducation or Training—Two- or four-year degree inphotography; digital camera and design software training

Experience—Minimum, several years of experience as acommercial photographer; some experience in or famil-iarity with construction and building equipment andmaterials helpful

Special Skills and Personality Traits—Technologicallyadept; comfortable with heights; physically fit; focused,able to concentrate amid extreme noise and disruption;versatile communicator, able to work with variety of pro-fessionals, from construction crew to building owners;organized; decisive

Construction Photographer

Commercial Photographer

Photographer’s Assistant

flow systems. Most of the work typically takes place duringbusiness hours on weekdays. Construction Photographers maywork after hours or on weekends for special once-onlymoments, such as groundbreaking ceremonies, the removal ofhoists, and the “topping-off” parties, celebrated when the topsof large buildings and skyscrapers are completed.

A Construction Photographer’s primary tools are small,handheld digital cameras with all-weather imaging capabil-ity that work even in difficult lighting conditions or in cor-ners of the construction site. The photographer works fromnotes provided by the on-site offices as requested by respon-sible project participants, ranging from the insurance com-pany, the bank, the architect’s quality-control manager, andothers. Construction Photographers may photograph at thesite daily, weekly, monthly, or at any other time frame asrequired. They photograph in some kind of sequence, tovisually match the progress of the construction. Each pho-tographer sets this up differently. For instance, each timevisiting the site, the photographer may photograph the out-side of the building first, then photograph three floors,shooting every third floor until reaching the top, then start-ing from the bottom for the next sequence.

When Construction Photographers arrive at the site, theycheck in with the construction manager and safety managerfor a status report on the building’s progress and any partic-ular work or blasting that they should be aware of. Photog-raphers may request ladders from the field tool room forhigher views or for security assistance before ascending toaim cameras where girders meet the sky. They work closelywith the quality-control team members to confirm size ofwood and steel before riveting or concrete deliveries. Con-struction Photographers keep timed records and data on thenumber of exposures they make and special listings ofunusual features to e-mail or fax to the photography projectmanager. They also keep track of job-related expenses andmaintain receipts for authorized expenses.

Construction Photographers obey all safety rules, such asdonning a hard hat and wearing an orange outer vest so con-struction workers, tracker and truck drivers, and other oper-ators of large equipment can easily see them. Photographersmust also keep their wits about then when on a site, alwayskeeping aware of any calls or horns signaling blasting orwork breaks.

When builders have disputes with subcontractors, theymay ask Construction Photographers to appear in court aswitnesses to the work being done. The photographers willdocument the work that has been accomplished and whatneeds to be addressed. Builders also use photographs toassure people financing the work that the work they havepaid for has been completed.

SalariesConstruction Photographers can earn annual salaries rang-ing from $35,000 to $60,000 or more for their technical

skills and their commitment to traveling to constructionsites and working in all-weather conditions. Some may earnhigher wages based on their years of experience, specialskills, or the nature of the project they are covering. Largeand smaller companies offer periodic salary growth for staffphotographers, often slightly in advance of the changingcost-of-living index.

Employment ProspectsThe construction industry is a vital American growth indus-try. Most commercial construction projects require photog-raphers on site, so demand is steady and openings can benumerous. The building industry is reaching new growthheights in construction of major downtown, waterside, andnew industrial parks, private-home communities, and resortcities. New commercial zones with funding underway havebeen established from private, state, and federal governmentupgrading of older facilities. Other major construction proj-ects that are on the rise are new or renovated prisons, thereplacement and extension of schools in high-density innercities, and the modernization of office and service facilities.

Advancement ProspectsThere is no specific job to which Construction Photogra-phers can advance. They can explore photographing differ-ent aspects of buildings. They can move into architecturalphotography and other disciplines.

Education and TrainingAn associate’s or bachelor’s degree in photography is usu-ally recommended for work as a Construction Photographer.Digital camera and design software training is required.

Experience, Skills, and Personality TraitsA background in construction or building trades, with someknowledge of architecture, is helpful in this field. Construc-tion photographers should be decisive and self-confident,with natural flexibility for moving from close-up details tooverall views. They are competent, extroverted, and unfazedby weather, noise, massive equipment, and heights. Con-struction Photographers must be physically fit and mentallyequipped to handle working outdoors in buildings that, forthe most part, are not enclosed. Climbing stairs and walkingplanks at extreme heights is a big part of this job. Construc-tion Photographers must be prepared with proper safetyequipment: protective pants, jackets, boots, hard hats, safetyharnesses if needed, and more. They stay tuned into theirenvironment and have extremely good communication skills.As they move about the sites, they always make sure thatwhere they plan to head is safe and won’t disrupt the work.

Unions and AssociationsThere are no associations or unions specifically dedicated toConstruction Photographers. Primary associations Con-


struction Photographers can join for educational resourcesand other benefits include Professional Photographers ofAmerica, Advertising Photographers of America, and Amer-ican Society of Media Photographers.

Tips for Entry1. Check your community for ongoing construction of

major buildings. Visit the streetside trailer office and seeif you can speak with the project managers. Ask whenthe Construction Photographer will next be on site.

2. If the Construction Photographer is based locally, calland ask if you can set up a meeting and the possibilityof volunteering to assist, or trail, for a day on the site.

3. Look through local phone directories and do a Googlesearch for local Construction Photographers. Contactthem and set up meetings.

4. Contact local commercial photographers to ask if theymake periodic photos of building projects. Ask aboutsummer or freelance work opportunities.


Position DescriptionIndustrial Photographers take photographs of differentaspects of industries for company reports and records. Theywork on location at factories, mines, power plants, tankers,and other sites. They photograph machinery and equipment,products and people, and sometimes even the architecture ofthe buildings. They work closely with industry executives,foremen, and factory workers to coordinate shoot schedulesand prepare for any challenges.

Advertising, communications, and public relations officesof the industries hire Industrial Photographers to generate theimages needed for employee training manuals, annualreports, posters, advertisements, brochures, and Web sites.Like commercial photographers, the Industrial Photogra-

pher’s job is to turn the mundane into special images thatwill engage viewers. They may create portraits of industryexecutives and staff or take extreme close-ups of machinery.They may take shots of warehouse interiors or be calledupon for rooftop overviews of a plant’s parking lot.

Depending on the project, Industrial Photographers willeither work alone or hire an assistant to help carry and setup camera equipment and lights.

Industrial Photographers also meet with on-site safetymanagers to discuss safety issues. They discuss logisticalissues regarding upcoming shoots. For instance, areas offactories that are not well lit will require supplemental light-ing. Industrial Photographers need to learn all of this inadvance, otherwise a day’s shoot can be ruined. For larger


INDUSTRIAL PHOTOGRAPHER


Duties: Photographs various aspects of industries, such asmachinery, equipment, and products, for training manu-als, company literature, annual reports, publicity, equip-ment records, and so on; creates portraits of industryexecutives and staff; travels and works on location at fac-tories and power plants; handles invoicing clients andaccounts receivable and payable


Salary Range: $40,000 to $100,000+


Advancement Prospects: Good

Best Geographical Location(s): New England, Washing-ton, D.C., Florida, Nevada, California, and Michigan

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in design software

Experience—Two to three years of experience as a pho-tographer with commercial studio; several years of expe-rience as an apprentice or assistant photographer

Special Skills and Personality Traits—Self-starter;detail- and deadline-oriented; familiarity with the indus-tries, machinery, equipment, and processes being pho-tographed; diplomatic; patient and flexible; organized;able to travel and work on location at various sites

Industrial Photographer

Commercial Photographer / Press Photographer


products, such as factory equipment, battery-operated light-ing gear is inadequate. One of the issues Industrial Photog-raphers will discuss with on-site safety managers will behow best to wire for the shoot. Sometimes taping a cabledown to the floor is sufficient, other times taping overheadto avoid heavy traffic sites, especially those used by cars,which can create a hazard, is a better option. In cases wherethere is no other way, wires are left visible in the shots, to belater retouched out using Adobe Photoshop.

Photographers who choose to enter the industrial photog-raphy field should go out of their way to learn about generalsafety practices as well as any specific safety issues that per-tain to the types of products and equipment they will bephotographing. For instance, if factory employees are work-ing with hazardous materials near a planned shoot location,photographers need to be sure they don’t set up lights andcreate flashes that could distract workers and cause danger-ous situations. They need to check all of this out in advanceand come up with appropriate plans for each shoot.

Industrial Photographers should have their own safetyequipment, including footwear appropriate to the site, cloth-ing that won’t become entangled in machinery, a hard hatand safety goggles, a safety harness, if applicable, flash-lights, and so on. This equipment is not always available atthe site, and photographers need to be prepared to protectthemselves and any creative staff they have hired for theproject. If working in particularly dusty environments (i.e.,a construction site or steel mill), photographers also need totake special care to protect their cameras and gear.

SalariesAccording to many experts in the photography field, Indus-trial Photography is typically the highest paying of all of thedisciplines. The annual income for Industrial Photographerscan range from $40,000 to $100,000, depending upon yearsof experience, types of industry, and geographical location.Most Industrial Photographers work freelance and are usu-ally paid by the hour. Staff Industrial Photographers whowork for corporations will enjoy steady salaries and suchbenefits as paid vacations, health insurance, profit-sharingoptions, pension programs, and possibly even companycars. Industrial Photographers who are willing to contractfor work overseas may earn higher wages.

Employment ProspectsAs with many photography disciplines, the Industrial Pho-tography field is highly competitive. Most Industrial Pho-tographers secure work through classified ads in print andonline publications, as well as through word of mouth. TheOccupational Outlook Handbook predicts that employmentof photographers overall will grow by only 10 to 20 percentthrough 2012, so the industrial photography field willremain a challenging one to enter. Industrial Photographers

who diversify their job hunt by simultaneously pursuing allavenues, from networking and advertising to self-promo-tions and direct mailings, will have greater chances ofsecuring commissions. Trade associations such as Profes-sional Photographers of America also offer photographermembers access to employment listings and work referrals.

Advancement ProspectsStaff Industrial Photographers can advance to becomedepartment heads if they work for large corporations withlarge creative or photography departments. Freelance Indus-trial Photographers, on the other hand, are usually at the topof the career ladder. They can advance by branching out intoother industries, adding more photographers to their staff,and enhancing their services. They can also broaden theirscope by teaching at technical schools and universities,writing articles and columns for trade publications and Websites, and participating in panel discussions and lecture cir-cuits hosted by trade associations.

Education and TrainingA two- or four-year degree in photography, with training intechnical photography, design software, and small-businessmanagement, is a solid foundation for Industrial Photogra-phers. Prior on-the-job training as an apprentice or assistantto an Industrial Photographer, with exposure to safety prac-tices within industrial settings (i.e., factories, mines, powerplants, etc.), is also extremely valuable.

Experience, Skills, and Personality TraitsIndustrial Photographers have prior commercial photogra-phy experience and are adept at dealing with diverse peopleto meet deadlines. They are flexible and professional,always prepared for a variety of minor emergencies withequipment, appointment schedules, personality conflicts,and other potential stressors. Industrial Photographers mustbe fast thinkers with excellent communication skills. Theyknow how to diplomatically offer helpful suggestions toprevent or solve problems, and they know how to stay ontrack to meet deadlines and clients’ needs. Industrial Pho-tographers must also be able to work with a variety of cam-eras and equipment in a wide variety of environments.Many factories and corporations have strict schedules andrules. To succeed in this field, photographers must be punc-tual, responsible, and capable of adhering to the rules andregulations.

Unions and AssociationsIndustrial Photographers join the International IndustrialPhotographers Association and Professional Photographersof America for educational workshops, employment refer-rals, and networking opportunities. They may also become


associate members of trade associations that are dedicatedto the industries they cover.

Tips for Entry1. Promote your business by advertising in publications

prospective clients read. Some photographers securework by advertising in trade publications, such as TheBlue Book of Building and Construction.

2. Contact labor unions to find out if they need photog-raphy services for upcoming annual reports, company

brochures, or even their Web sites. Put together a port-folio of work that matches the clients you plan to seeand set up meetings to pitch your services.

3. Subscribe to mailing lists, such as Adbase, that aretargeted to specific industries. Hire a graphic designerto create a postcard or brochure promoting your busi-ness. Schedule regular promotional mailings through-out the year. You may want to do this biannually orquarterly, whichever works best for your schedule andbudget.


Position DescriptionInsurance and Legal Photographers provide photographsthat support claims of such things as property damage dueto storms, floods, and fires or poor construction materials ordesign flaws; personal injury and medical malpractice; not-at-fault automobile accidents; and other legal matters.Home and car owners, individuals who have been physi-cally injured or scarred, as well as insurance providers,lawyers, builders, building owners, and others hire Insur-ance and Legal Photographers when they need visual evi-dence to substantiate their cases in court trials.

Photographs often lead to uncontested claims. Insuranceand Legal Photographers can help property owners, estate

heirs, and others secure recourse on losses. Their photo-graphs assist in showing the location and extent of damageto homes, such as the conditions of roofs, drainage pipes,windows, stairways and steps, porch construction, founda-tions, beams, and more. Insurance and Legal Photographersalso help owners create timelogs of their homes, providing aseries of photographs from the date of purchase onward.They help document excessive wear, paint deterioration, ter-mite damage, molding and hardware details at the time ofacquisition, and other relevant conditions. Their photo-graphs may also help establish arson as a source of a fireand may equally prove accidental fires from overloadedelectrical connections. Insurance and Legal Photographers


INSURANCE AND LEGAL PHOTOGRAPHER


Duties: Provides photographs for insurance and legal docu-mentation and business transactions, such as real estatesales, accidents, personal injury suits, estate matters, andother matters; may appear in court as an expert witness

Alternate Title(s): Business Photographer, Personal InjuryPhotographer

Salary ranges: $40,000 to $65,000+



Best Geographical Location(s): Major cities and commu-nities with extensive real estate development or housingturnover

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy recommended

Experience—Several years of experience as a freelanceor staff photographer; prior portrait photography or pho-tojournalism experience helpful

Special Skills and Personality Traits—Digital cameraexpertise; knowledge of color-enhancement programs anddesign software (i.e., Adobe Photoshop and Illustrator);deadline-oriented and organized; diplomatic; excellentcommunication and people skills, particularly if photo-graphing for personal injury or medical malpractice suits

Insurance and Legal Photographer

Freelance Photographer


also photograph landscape and structural details whendesigns, materials, or construction differ from what wasoriginally commissioned and agreed upon.

In addition to photographing evidence to support legalclaims, Insurance and Legal Photographers may also appearin court to testify about the photographs. Professional pho-tographers themselves may even need to file suits on occa-sion and will require expert testimony. For example, aprofessional photographer hired an Insurance and Legal Pho-tographer to testify to the worth of damaged slides. The caseconcerned the loss of 50 slides made during unusual andunrepeatable trips into Brazil’s jungle. The slides were colorclose-ups of rare vegetation that were to be delivered to andexplored by a drug company. The slides were organized andstacked in photo trays on a tabletop and left over a weekendin a locked room. During that weekend, a slow leak from theceiling caused irreparable damage to the slides. In the court-room, the Insurance and Legal Photographer testified to thestock value and future worth of these images. This testimonyled to a settlement that included full compensation for thetravel expenses to Brazil, the estimated value of the 50slides, and compensation for the losses.

Insurance and Legal Photographers keep detailed recordsof the photographs they create and retain negatives, digitalfiles, and clear prints for their clients. They may be calledupon to provide enlargements for presentations in court-rooms, corporate meetings, and school auditoriums. Theytravel and work in all conditions—outside at accidentscenes, inside homes documenting damages, and in theirstudios photographing individuals.

SalariesInsurance and Legal Photographers can earn salaries rangingfrom $40,000 to $65,000 or more. They are contracted forservice on a day-to-day, per-photograph basis or on a monthlyfee basis. Photographers’ salaries may be augmented whentheir photographs become critical evidence in court cases andthey are called into courtrooms to testify about the details sur-rounding the photographs. Because they are freelancers andtheir time is valuable, they typically negotiate their rates inadvance of their court-appearance dates.

Employment ProspectsMost Insurance and Legal Photographers work independ-ently. The field is small and employment prospects are onlyfair because there are more photographers than there arejobs to fill. Insurance and Legal Photographers who are wellnetworked through law firms and insurance agencies willhave greater opportunities to find work.

Advancement ProspectsEstablished Insurance and Legal Photographers can advanceby increasing clientele, expanding services and raising fees,

or adding staff and growing the studio. They may alsoenhance their careers by speaking at conferences, teachingworkshops, and writing articles for trade and mass publica-tion. They may also create agreements with insurance bro-kers and law firms to be the exclusive photographers fortheir clients. Other creative advancement options includeestablishing studio space within the insurance or law firms’offices, helping to increase the client base while reducingoverhead costs. A selling point is that photography prior toproperty loss is like health care prior to illness. Each stepprovides individuals with a more stable base to operatefrom, with increased likelihood of faster resolution whenissues arise.

Education and TrainingA four-year degree in photography, with business course-work, is usually a solid foundation for most Insurance andLegal Photographers. Familiarity with law and real estatepractices and business management is also helpful in thisindustry. On-the-job training in a commercial or portrait stu-dio, with regular use of digital cameras and design software,is recommended.

Experience, Skills, and Personality TraitsWhile it is by no means necessary, Insurance and LegalPhotographers who have a basic understanding of andappreciation for the elements of law may connect betterwith their clients. They will understand the cases better, thepurpose of the photographs will be clearer, and their com-munication will be facilitated with claimants, insuranceagencies, real estate agencies, builders, building owners,contractors, and law firms. Three or more years of priorexperience as a professional photographer in a portrait orwedding studio is beneficial, particularly when photograph-ing individuals who have been injured in accidents or duringmedical procedures. To do this kind of work, Insurance andLegal Photographers must be organized and deadline-oriented.They often work on an on-call, as-needed basis and must beprepared to photograph the details of accidents thoroughlybut quickly. If working with individuals, Insurance andLegal Photographers must have diplomacy, tact, and sensi-tivity. They must know how to make people feel comfort-able and safe, as well as provide them with clean,appropriate studio spaces for their photography sessions.

Unions and AssociationsThere are no unions or associations specifically committedto insurance and legal photography. Insurance and LegalPhotographers can join the Professional Photographers ofAmerica for access to educational conferences and work-shops, industry-related publications, discounts from variousservice providers, networking opportunities, and businessmanagement advice.


Tips for Entry1. Contact those lawyers you may know in the family or

through friends. Ask them whom they hire when theyneed photographic services. Contact these photogra-phers and set up an informational interview to discusstheir experiences in the field and to learn of any rec-ommendations they may have for you.

2. Contact insurance brokers, law firms, and real estateagencies to find out if they hire photographers and if

they are currently in need of one. Set up informationalinterviews and network as much as possible.

3. If you are a freelance photographer and aiming toexpand into this business, advertise your services atreal estate, law firm, and insurance offices, in theirpublications and on their Web sites, and in newspa-pers and magazines.


Position DescriptionInterior Design Photographers photograph interiors of homes,office buildings, historic buildings, museums, hotels, andmore for a variety of clients. Magazines may hire them to cre-ate photographs to accompany articles for publication. Hotelsmay hire Interior Design Photographers to take photographsof accommodations and various on-site facilities for publica-tion in promotional literature and on Web sites. Furniturestores hire them to photograph chairs, tables, bureaus, beds,and interiors of stores for flyers, posters, and advertisements

in magazines and newspapers. They may also work witharchitectural firms, photographing interiors for portfolios andWeb sites. Interior designers themselves may commissionphotographers to photograph their design work either for spe-cific clients or for their own promotional purposes. Interiordesigners’ clients can range from Home and House Beautifulmagazines to the Hilton and Hyatt Hotels, from stores such asIKEA and Levitz to those like Anthropologie and Macy’s.

Interior Design Photographers meet with clients to dis-cuss their specific needs and negotiate contract terms.


INTERIOR DESIGN PHOTOGRAPHER


Duties: Photographs furniture, lights, and accessories asarranged in interior designers’ studios or in photographystudios; also works on location inside homes, officebuildings, museums, historic buildings, and hotels tophotograph kitchens, living rooms, bathrooms, confer-ence rooms, fitness facilities, and so on; creates photo-graphs for print advertisements in furniture showrooms,at trade shows, and in public areas

Alternate Title(s): Architectural Photographer, Commer-cial Photographer, Lifestyle Photographer

Salary Range: $15,000 to $50,000+

Employment Prospects: Good


Best Geographical Location(s): Major cities and suburbanareas

Prerequisites:Education or Training—Four-year degree in photogra-phy, with coursework in graphic design, interior design,and art history; trained in digital photography and pho-tography design software (i.e., Adobe Photoshop andIllustrator)

Experience—Several years of experience as a photogra-pher’s assistant in a commercial photography studio,preferably one with interior design clients

Special Skills and Personality Traits—Excellent eyefor detail; knowledgeable about design; strong communi-cation skills; flexible attitude; able to travel to variouslocations

Interior Design Photographer



They learn how the photographs will be used and to whomthe photographs are targeted. They usually visit locationsprior to the shoot so they can see the colors that areinvolved, the sizes of the objects or rooms being pho-tographed, and the lighting at different times of the day.This helps them determine the specific types of lenses,flashes, and filters they will need, and it also helps savethem time during the shoot because they can predeterminecomposition and framing. They may hire assistants to helptransport cameras and photographic equipment to andfrom locations, set up and breakdown sets, and assist withfilm developing and processing.

Interior Design Photographers usually offer a menu ofservices beyond interior design as a means to broaden theirearnings potential in the marketplace. Typically, they arealso architectural photographers, capturing exteriors,facades, gardens, and landscapes. They may specialize infine art, too, or become specialists in photographing justchairs or tables. They may exhibit their work in fine arts gal-leries, museums, educational institutions, and historicalsocieties, and they may participate in design photographycompetitions.

SalariesInterior Design Photographers can earn annual salaries rang-ing from $15,000 to $50,000 or more. Most are freelance,and those who work for large publications, broadcast net-works, successful interior designers, and long-establishedarchitectural firms often secure the highest wages. Accordingto the Department of Labor’s Occupational Outlook Hand-book, salaried photographers (of all disciplines combined)earned median annual earnings of $24,040 in 2002, with thehighest 10 percent earning more than $49,920. InteriorDesign Photographers can enhance their salaries by enteringand, hopefully, winning photography competitions withlarge cash prizes, exhibiting and selling their work in art gal-leries, and licensing their work.

Employment ProspectsThere are no statistics currently available that pertain toemployment prospects for Interior Design Photographers.Parallels can be drawn, however, to predictions for interiordesigners and architects. The Occupational Outlook Hand-book cites that the employment of architects and designerswill grow by about 10 to 20 percent, as fast as the averagefor all occupations, through 2012, indicating a potential par-allel increase in demand for Interior Design Photographers.Interior Design Photographers will also find greater oppor-tunities for employment as more interior design magazinesand publications are introduced to the market. Of addedbenefit is the growing focus of the media on home renova-tion and “make-over” projects. Experienced Interior DesignPhotographers can find work with lifestyle television shows

and broadcast networks dedicated to interior design, decor,and architecture.

Advancement ProspectsInterior Design Photographers are normally freelancers whorun their own businesses. They can advance by expandinginto new areas of interior design and architecture. If theyspecialize in interiors of smaller homes, they can segue intoluxury homes and estates. They can also grow their busi-nesses by adding photographers with different specialties totheir staff and opening studios in new locations. InteriorDesign Photographers can write articles for magazines andnewspapers. They can also become columnists and teach intechnical and art schools. Some Interior Design Photogra-phers secure grants from public organizations, such as theNational Endowment for the Arts, corporate or private foun-dations, or individuals to pursue photographic projects andresearch and publish articles and books in the field.

Education and TrainingA four-year degree in photography, with coursework ingraphic and interior design and architecture, is recom-mended for this position. Many Interior Design Photogra-phers have a master’s of fine arts degree in photography.Most are trained in digital photography and design softwareprograms.

Experience, Skills, and Personality TraitsInterior Design Photographers usually have at least severalyears of experience as freelance commercial photographers.Some may have backgrounds in real estate, architectural,fine arts, or construction photography. They have an excel-lent eye for color, composition, and light and are adept atboth digital and film photography. Interior Design Photog-raphers work with a variety of clients and must have strongverbal and written communication skills. A strong apprecia-tion for design and architectural form is required. Mostimportant, Interior Design Photographers know how to tell astory and convey a feeling about the rooms and objects theyphotograph.

Unions and AssociationsInterior Design Photographers may join the American Soci-ety of Media Photographers, Advertising Photographers ofAmerica, and Professional Photographers of America forportfolio critiques, photography competitions, educationalpublications and workshops, employment referrals, andother membership benefits. They may also join the Ameri-can Society of Interior Designers and the American Insti-tute of Architects for access to trade publications, tradeconferences and shows, and professional networkingopportunities.


Tips for Entry1. Keep up with industry news and issues and learn

about upcoming employment opportunities by regu-larly reading trade publications. Read design maga-zines such as Architectural Digest, Architecture Week,Home, Interiors and Sources, Frame, and Metropolisand e-zines such as designboom (http://www.designboom.com).

2. Secure an assistant position or internship with a com-mercial photography studio or a studio that special-izes in fine arts photography. This is an excellentfoundation for interior design photography and will

give you the chance to hone your skills and see first-hand how the business works.

3. Network. This is an industry that thrives on word ofmouth. Attend the events, conferences, trade shows, andworkshops that interior designers and architects attend.

4. Create a list of interior design and architectural maga-zines. Familiarize yourself with the styles of photo-graphs published. Contact the art directors of thesemagazines to find out how they secure photographyand if they have need of assistants on any upcomingshoots. Volunteer for a day or two, if you must, to getthe exposure.


Position DescriptionReal Estate Photographers photograph homes, buildings,and their surrounding areas for real estate agencies to pro-mote to prospective buyers. They discuss with the agenciesthe features they should highlight in the photographs, suchas two-car garages, driveways, side yards and backyards,front and back paths, entranceways, home interiors, gardensand sheds, trees and other outdoor foliage, and so on. RealEstate Photographers often visit the locations twice, the firsttime to take test photos and the second time for the actualshoot. The “scouting” visit entails taking photos of variousaspects of homes and buildings at different angles (someeven aerial) and at different times during the day to checkfor lighting and other conditions. They share the test photoswith real estate agents for review and selection of the fea-

tures, objects, angles, and preferred time of day to feature inthe final photographs. They may even photograph nearbyconveniences and attractions, such as schools, libraries, postoffices, supermarkets, malls, salons, restaurants, or cafés.When they return for the actual shoot, they may bring anassistant to help set up equipment and lights. Real estateagencies print the photographs in magazine and newspaperadvertisements, as well as with Web site listings.

Digital photography has both enhanced the Real EstatePhotographer’s work and diminished it. More people thanever before are equipped, though not necessarily adequatelyskilled and trained, to take photographs for immediate post-ing, thanks to digital cameras. Digital technology has trulybenefited Real Estate Photographers, however, in the three-dimensional or panoramic photography arena. A growing


REAL ESTATE PHOTOGRAPHER


Duties: Photographs homes, office buildings, recreation cen-ters, small malls, churches, ponds, lakes, clusters of trees,or shorelines for real estate brokers introducing new com-munities or regenerated older neighborhoods; creates“virtual tours” of interiors and exteriors of buildings usingspecific digital equipment and photo design software


Salary Range: $50,000 to $75,000


Advancement Prospects: Limited

Best Geographical Location(s): Major urban areas, newsuburban communities, and resort areas generating newdevelopment

Prerequisites:Education or Training—Bachelor’s degree in photog-raphy

Experience—Two to three years of experience as a com-mercial photographer

Special Skills and Personality Traits—Skilled in digitalphotography and photographic design software (i.e.,Adobe Photoshop); basic understanding of the real estatebusiness and practices; reliable; deadline-oriented; strongcommunication skills; flexible; able to travel to sites

Real Estate Photographer


Photographer’s Assistant / Studio Assistant

number of real estate Web sites offer virtual tours of homeand building interiors and exteriors, featuring 360-degreephotography. Real Estate Photographers are able to capturepanoramic views by using such equipment as an EGG Photo360° Pack First, which consists of a lightweight lens andsoftware. When viewers click onto images that have beencreated with EGG or other such technology, they can dragthe mouse through the photo and span 360-degrees verti-cally and horizontally. They can see the buildings surround-ing a home, stroll the street, then look straight up at the sky.Real estate agents can also e-mail links to the images forprospective buyers to view.

Real Estate Photographers use photographic design soft-ware such as Adobe Photoshop and Illustrator to correct colorand enhance images. If the weather was less than ideal on theday of the shoot, they can make the sky blue, add billowingclouds, or add or remove light. They can erase distractingshadows or crop out adjacent houses or trees blocking certainselling points of the home or building that is for sale.

Self-employed Real Estate Photographers are responsiblefor maintaining their businesses and studios. They handlepromoting and marketing their services by continuallyresearching prospective clients, creating direct-mail pieces,sending out e-newsletters, networking, and scheduling meet-ings. They handle accounts receivables and payables, or theyhire a bookkeeper and accountant to oversee money manage-ment. They purchase and maintain their photographic equip-ment and accessories, as well as all business and officeequipment and supplies. They also secure permissions andreleases to photograph at certain sites, when applicable.

SalariesReal Estate Photographers can earn salaries ranging from$50,000 to $75,000 or more. Income levels will dependupon real estate agencies’ budgets, geographical locations inwhich the photographer works, and his or her years of expe-rience in the field. Real Estate Photographers can increasetheir earnings by providing 360-degree photographic serv-ices. Not all real estate agencies are offering the panoramicviewing options on their Web sites, and those that are havebeen willing to pay higher wages for this service.

Employment ProspectsEmployment opportunities for Real Estate Photographerswill fluctuate, depending upon the economy and the housingmarket. According to the Occupational Outlook Handbook,employment of real estate brokers and sales agents as well asrelated workers is frequently sensitive to swings in the econ-omy, especially interest rates. When economic activitydeclines and interest rates rise, fewer people are interested inbuying homes and property, thus employment opportunitiesin real estate simultaneously decline. Most photographersoffer real estate photography as one service among many

others in their commercial studio work. Real Estate Photog-raphers will continue to experience some job opportunitiesdue to the growing population and increased need for hous-ing. While some real estate brokers and property managersmay try their hand at digital photography, many others willcontinue to rely on Real Estate Photographers to createimages and virtual tours of properties that are up for sale.

Advancement ProspectsReal Estate Photographers are freelancers who advanceaccording to their own interests and self-initiative. Photog-raphers working in smaller communities may choose tomove their business into larger or more affluent areas. Theymay also expand by growing their client base, offeringarchitectural, aerial, or environmental photography services,and adding more photographers to their studios to widenand enhance their services.

Education and TrainingA two- or four-year degree in photography from either atechnical school or liberal arts college is sufficient educa-tional background for Real Estate Photographers. Trainingin digital photography, photographic design software, andthree-dimensional photographic equipment and software iscritical in this field.

Experience, Skills, and Personality TraitsReal Estate Photographers have at least several years ofprior experience in commercial photography. Some mayhave construction or architectural photography experience.They are accustomed to taking outdoor and indoor shots andhave a solid knowledge of lighting for all times of day andnight. Real estate photography is an on-location job, thusReal Estate Photographers must be extremely organized,detail-oriented, able to follow directions, and prepared witheverything they need to shoot at short notice, if needed.They have excellent communication skills, are reliable, andable to meet deadlines.

Unions and AssociationsThere are no unions dedicated specifically to real estatephotography. The Professional Photographers of America isa valuable association offering multiple benefits and infor-mation, along with its monthly publication ProfessionalPhotographer. Real Estate Photographers can also joinAdvertising Photographers of America for educational andnetworking opportunities.

Tips for Entry1. Peruse the Internet for real estate brokers in your area.

Visit their Web sites and look through the photographsand tours to get an idea of how things are done.


2. Contact the real estate brokers to see if they use pho-tography services. Set up an informational meeting.Put together a portfolio of images of interiors andexteriors of homes and buildings.

3. Check the Internet and your local yellow pages forReal Estate Photographers. Visit their Web sites tofamiliarize yourself with their work. Contact them tosee if they need any assistance.

4. Check the Internet for aerial photographers who mayalso provide real estate photography. See if you canregister as a passenger on a real estate photographymission. This will give you a chance to be exposedfirsthand to another aspect of real estate photography.


Position DescriptionSurveillance Photographers take photographs of people,places, and activities for lawyers, police departments and pri-vate investigators, and property owners and insurance compa-nies. Their photographs are used as evidence to help buildcases to be tried in criminal and civil courts. They photographbuilding and home structures for tenants claiming unsafe con-ditions and demanding repairs. Property owners may also hireSurveillance Photographers when they are considering pur-chasing and building in certain areas. They will have Surveil-lance Photographers photograph sight lines and traffic flow.Surveillance photographs may also play a large role indivorce cases, providing evidence for courts in states whereinfidelity is a basis for divorce proceedings. The husband orwife usually hires a private investigator, who is also some-times a Surveillance Photographer, to follow the allegedcheating spouse to covert meeting spots and photographically

document the trysts. Surveillance Photographers may also beemployed by law-enforcement agencies to track and docu-ment the movements of suspected criminals.

Surveillance Photographers may or may not use hiddencameras to capture interior shots, depending upon local andstate laws regarding privacy. For their images to be acceptedas evidence during courtroom trials, they must operatewithin the boundaries of the law. Otherwise, their work isfutile. For instance, a couple’s innocuous meeting outside ina parking lot may be a completely different type of “meet-ing” behind closed doors. Surveillance Photographers mightuse hidden cameras inside the rooms to document indooractivities, but they must first understand the legal ramifica-tions and the rights of those involved.

Insurance companies hire Surveillance Photographerswhen they suspect disability claims frauds. SurveillancePhotographers will follow the claimants, aiming to photo-


SURVEILLANCE PHOTOGRAPHER


Duties: Takes photographs of business projects and proposals,building inspections and renovations, for lawyers, propertyowners, private individuals, police departments, privateinvestigators, and others; adheres to local and federal lawswhen photographing subjects, as photos may be used incriminal investigations or as evidence for court cases

Alternate Title(s): Private Investigator

Salary Ranges: $20,000 to $50,000+



Best Geographical Location(s): All major cities, and resortcities, and affluent suburbs

Prerequisites:Education or Training—Four-year degree in photogra-phy recommended; training in digital photography andphotographic techniques and printing processesExperience—Several years of experience as an eventphotographer; daily newspaper, publicity, or press pho-tography experience usefulSpecial Skills and Personality Traits—Analytical;patient; observant; persistent; tenacious; self-starter; inde-pendent worker; detail-oriented; excellent written andverbal communication skills; ethical and professional

Surveillance Photographer

Freelance Photographer /Uniformed Photographer


graphically capture them doing an activity that, if truly dis-abled, they would be incapable of doing. For instance, aman who claims a severe back injury may be photographi-cally tracked playing golf, something he could not do if hetruly experienced this injury. The Surveillance Photographerwill photograph the man carrying the golf bag from hishome to his car. He will follow the car to the golf course andusing a telephoto lens, take photographs, with date stamps,of the man bending down to place the tee into the groundand swinging the club.

Surveillance Photographers use photographic equipmentsimilar to that of sports and press photographers. They relyon long telephoto lenses, fast film, and light tripods forportability. They also use a variety of sequence cameras toaccurately capture activities every step of the way at hotelentrances, restaurants, parking lots, and other locations.

SalariesSurveillance Photographers may earn annual salaries rang-ing from $20,000 to $50,000 or more. Photographers new tothe field will earn lower salaries until they build up clienteleand establish their names in the business. They are usuallyindependents who work from their own homes or offices.They will be responsible for covering their businessexpenses, such as photographic equipment and film, rent,utilities, office equipment and supplies, and medical insur-ance. Surveillance Photographers may also be employedfull time or as contractors for private investigation firms,where they may enjoy employment benefits such asbonuses, paid vacation and sick leave, and pension plans.They may enhance their salaries by appearing as expert wit-nesses in court cases.

Employment ProspectsSurveillance Photographers should have good opportunitiesto find work, particularly with the public’s increased interestin security and protection and heightened litigation. Whilethere are no employment statistics available for SurveillancePhotographers, the U.S. Department of Labor predicts thatemployment of private detectives and investigators will growfaster than the average for all occupations through 2012.More Surveillance Photographers will also be needed to helplawyers working on civil litigation and criminal defense.

Advancement ProspectsStaff Surveillance Photographers can advance to becomeheads of photography departments, delegating work, hiring,managing and overseeing staff, and creating departmentbudgets. With years of experience, a steadily growing clien-tele, and appropriate training, they can start their own privateinvestigation firms and hire more Surveillance Photographersto cover assignments. They can write articles and books, lec-ture at association meetings, and teach.

Education and TrainingSurveillance Photographers usually have four-year degreesin photography or bachelor’s of science degrees in criminaljustice. Training in digital photography and particularly insurveillance photography is recommended. SurveillancePhotographers stay educated about new technology in thefield by reading magazines and Web sites and taking contin-uing education courses. They also keep abreast of local andstate laws either by establishing consistent and reliablesources at local police precincts or reputable law firms.

Experience, Skills, and Personality TraitsSurveillance Photographers usually have a background in thedetective field, in private investigation work, or in press orsports photography. They are independent, ethical workerswho have a solid knowledge of local laws and always followthose laws in their work. They research their assignments andpay close attention to all details from beginning to end. Theyare observant and analytical. Much of the job is followingpeople and waiting for the right moments to start taking pic-tures, which can sometimes take hours or days. Patience andpersistence are key characteristics of individuals in this posi-tion. They must also have physical stamina and mental acuity.Surveillance Photographers have excellent communicationskills and are able to speak the language of their clients,whether it is law, real estate, or insurance. They have strongnegotiation skills, understand industry practices, and makesure they clearly understand what is expected of them foreach assignment.

Unions and AssociationsThere are no associations or unions dedicated solely toSurveillance Photographers. They can join the Profes-sional Photographers of America for educational resourcesand networking opportunities, such as annual conven-tions, where new surveillance photography equipment isdemonstrated.

Tips for Entry1. Contact law firms in your area to see if they use Sur-

veillance Photographers in their legal services. Ask ifthis has helped them in their cases and if they haveany current needs for photography help.

2. Contact and meet with private investigators or insur-ance brokers in your area. Ask if they use freelanceSurveillance Photographers, in which types of areas,and if they have any need of photography services.

3. Check online as well as in the public library for publica-tions read by lawyers, private investigators, and insur-ance industry brokers. Look in the classifieds sectionsfor employment listings, as well as for SurveillancePhotographer advertisements. Contact other Surveil-lance Photographers to set up informational meetingsand learn more about the field from them firsthand.


Position DescriptionUniformed Photographers work for city, state, and federalagencies, such as police departments, fire departments, thearmy, the navy, the Federal Bureau of Investigation, andmany others. When they sign up for their jobs, they commitfirst and foremost to the main mission of these agencies,which is to serve and protect the people of our nation. Forinstance, a photographer in the army is trained to be a sol-dier first. After passing rigorous physical and classroomtests, photography instruction follows. During times of war,the military photographer will have a camera for documen-tation purposes but will also be armed and expected to fight.

Uniformed Photographers cover many of the same sub-jects and disciplines that non-agency and nonmilitary pho-

tographers cover, such as advertising, portraits, publicity,and more. They photograph graduations and awards cere-monies. They create portraits of individuals and take groupshots. When people receive medals or promotions, Uni-formed Photographers are there to document the events.Their photographs are also used in public education cam-paigns about prevention and safety. For example, a photo-graph of the scene of a car accident caused by a drunk drivermay be part of a public service announcement to help pro-mote safe, sober driving.

Uniformed Photographers will also document equipmentby photographing parts for groups such as NASA. Thishelps especially when new equipment is being tested andsomething fails to work; engineers and scientists can ana-


UNIFORMED PHOTOGRAPHER


Duties: Photographs traffic accidents, scenes of crimes andfires, police department events, fire department events,parades, awards ceremonies, charity events, precincts,squads, firehouses, police stations, and so on for docu-mentation and reports, archival records, as well as publicsafety campaigns and promotional literature

Alternate Title(s): Crime Scene Photographer, FireDepartment Photographer, Forensic Photographer,Police Photographer

Salary Range: $30,000 to $60,000+



Best Geographical Location(s): Major urban areas

Prerequisites:Education or Training—Two-year degree may suffice;education and training requirements vary dependingupon the organization (e.g., military photographers mustattend boot camp and train to be soldiers first)

Experience—Experience in college as a sports or year-book photographer helpful; prior professional photogra-phy experience beneficial

Special Skills and Personality Traits—Strong interest inthe agency’s mission; able to adhere to rules and regula-tions; able to work in structured environment; team player;thick-skinned; hard worker; physically and mentally fit

Senior Photographer

Uniformed Photographer

Policeman, Fireman, Soldier

lyze the photographs and come to conclusions about whatcaused the failure and what can be done to prevent it in thefuture. Uniformed Photographers’ images are also used forinsurance claims and forensic evidence. Those who work inforensics will photographically document crime scenes foruse as evidence in court. In addition to accidents, they willphotograph fingerprint and footprint recordings as peoplewho have been arrested are processed. They will also photo-graph injuries that were caused by assaults or accidents.

The subjects Uniformed Photographers cover willdepend upon the agencies they work for, and the agencieswill often work together on cases. For instance, fire depart-ment photographers will document buildings and homeswhere fires have occurred and where arson or foul play issuspected, and the police department will collaborate withthe fire department in their investigations of possiblecrimes. Police photographers photograph crime scenes, andmilitary photographers may also document war crimes fornational and international investigations.

SalariesSalaries will vary depending upon the type of agency thatemploys the Uniformed Photographer. Earnings are regu-lated by Congress, state legislators, or union contracts,which dictate conditions, promotions, and health and retire-ment benefits. Salaries are often based upon the rank, yearsof service, and performance record. Uniformed Photogra-phers may not be able to resell their work in the secondarymarket according to the rules and regulations of theiremployer.

Employment ProspectsUniformed Photographers have good opportunities to findwork in various city, state, and federal agencies. First-timeapplicants trying to enter the field must be committed toattending classes, studying and passing tests, and devotingtime to physical training. According to the U.S. Departmentof Labor’s Occupational Outlook Handbook, employmentof firefighters is expected to grow about as fast as the aver-age for all jobs through 2012. Employment of police detec-tives and related occupations is expected to grow faster thanaverage for this same time frame, due to the public’sincreased concern about security and protection. UniformedPhotographers normally work day or evening shifts, whichcan be during business hours, weekends, and holidays.

Advancement ProspectsUniformed Photographers can advance to take on moreresponsibilities in the field. They can become senior photog-raphers, overseeing the photography department staff andmanaging more complicated projects. Through specializededucation and training, they can move into crime-sceneinvestigative work. Depending upon their employment con-tracts with the agencies, they can write articles and teach

others how to do this type of work. Military photographerscan often transfer their experience to successful careers incivilian photography jobs.

Education and TrainingA two-year degree in photography may be sufficient back-ground for Uniformed Photographers. A bachelor’s of sci-ence degree in criminal justice can be beneficial. Somepolice departments require a bachelor’s degree. Further edu-cation and training is mandated by agencies and will be spe-cific to those agencies’ missions. Uniformed Photographerswill be educated by agencies in such areas as hazardousmaterials, crime scene investigation, and emergency med-ical procedures such as first aid and cardiopulmonary resus-citation. They will have to pass interviews, entrance exams,assessment tests, and will also be expected to pass physicalexaminations and medical tests for acceptance into the field.

Experience, Skills, and Personality TraitsUniformed Photographers must be organized, detail-oriented,and able to follow strict rules and regulations while con-ducting their work. Because they will be documenting crimeand fire scenes or scenes of war crimes, they must be tactfuland respectful, particularly if victims, families, and wit-nesses are still on these scenes. Uniformed Photographersmust also be able to pay careful attention to details becausethe smallest details can have a tremendous impact on a case.They must be thorough in their work and have a goodunderstanding of what it is they should be photographingand why. They must be well versed in photographic tech-niques and be meticulous in how they approach photograph-ing images and recording dates and events.

They must also be knowledgeable about the agencies’methods. Those who photograph homicide scenes mustunderstand anatomy, as well as have an ability to do theirjob effectively and efficiently while witnessing disturbingsights in uncomfortable environments. A thick skin and astomach for the business help.

Professionalism and discretion are also key characteris-tics of Uniformed Photographers. They interact with a rangeof professionals, both internally and within other organiza-tions, so excellent verbal and written communication skillsare important. Physical and mental fitness are also crucial inthis field. Above all, individuals who receive the greatestrewards from this type of work are those who are dedicatedto and passionate about serving and protecting the public.

Unions and AssociationsFire photographers can belong to the International Fire Pho-tographers Association (http://www.ifpaonline.com) formembership publications, educational resources, and pho-tography contests. Forensic photographers can join Evi-dence Photographers International Council, Inc. (http://www.epic-photo.org) for educational workshops, industry


news, and employment referrals. All Uniformed Photogra-phers can become members of the National Press Photogra-phers Association and Professional Photographers ofAmerica for career-enhancing benefits.

Tips for Entry1. Do your research on this field before you sign up for a

job. You need to be sure you are committed to the serv-ice the agency provides and that you can abide by itsrules and regulations before you sign on the dotted line.The commitment may be asking for more than you maybe able to give, so you must be sure the work and theorganization fits your skills, interests, and moral charac-ter. Use an Internet search to find out as much informa-

tion as possible about the agency and the employmentrequirements. You will also find useful information onPoliceCareer.com (http://www.policecareer.com) andFire Fighting Careers (http://www.firecareers.net).

2. Check in with local police and fire departments to learnmore about the hiring programs and prerequisites.

3. See if you can speak with photographers who areworking in the field you are considering. Set up aninformational meeting and bring a list of questionswith you about the job. Learn as much as you canfrom them about the pros and cons of this kind ofwork. Ask them what they wish they had knownbefore taking the job.


CINEMATOGRAPHY ANDVIDEOGRAPHY

Position DescriptionCinematographers are responsible for translating scriptsinto visual stories for films and television programs. Theywork closely with movie and TV directors to determine thelook and feel of movies and shows by choosing cameraangles, lighting, and composition to match the action anddialogue. They also survey locations. Before the shoot, Cin-ematographers read scripts and make notes throughoutregarding photography suggestions and potential issues.They meet in advance with directors to discuss the scenesand all aspects of filming that will best capture and conveythe story. Together, they decide upon all photographicaspects of the project, including camera movements, fram-ing, filters, effects, and more. Every decision is crucial tothe end result; the slightest nuance can change the entirefeeling and mood. For example, Cinematographers can

change the mood of a scene by deciding to film the actors inclose-up or panning in from a long shot. They can intensifyscenes, such as a brewing fight, by moving the cameraaround the actors at various angles and speeds. To achievetheir goals, Cinematographers and directors must have goodrapport and clear communication.

In addition to setting the artistic direction of the film,Cinematographers are also responsible for selecting thecamera crew and directing and overseeing their work. Theirtechnical expertise in photography is heavily relied upon inthis role, as there are countless ways to visually capturescenes. The smaller, independent film-production studioswill not necessarily have the budgets for large and special-ized production crews, so job titles with “slashes” maydominate. For example, Cinematographers may also operatecameras, thereby becoming Cinematographers/camera oper-


CINEMATOGRAPHER


Duties: Establishes the mood of a film by translating thenarrative aspects of a script into visual form; responsiblefor framing every shot of the film, as well as the lighting,color level, and exposure

Alternate Title(s): Director of Photography

Salary Range: $14,710 to $65,070+



Best Geographical Location(s): Major cities, such asBoston, Chicago, Hollywood, Los Angeles, New York,and San Francisco

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy or cinematography; coursework in art, literature, andtheater recommended

Experience—Several years of experience as a cameraoperator or assistant cinematographer required

Special Skills and Personality Traits—Artistic; techni-cal and scientific; energetic, with stamina for long workdays/nights; strong communication and interpersonalskills; leadership and management abilities; good visualeye; passionate about literature and theater

Cinematographer

Assistant Cinematographer

Camera Operator

ators. Assistant camera operators test the cameras to makesure they are working properly and help set the camera’sfocus and film exposure, change filters and lenses, load film,track film stock, create camera reports, and sometimes evendo screen tests of actors for the directors. Cinematographersoften get their initial exposure to film projects by working inthese roles. Cinematographers signal the beginning and end-ing of filming. At the end of the shoot, they review the com-pleted film and make adjustments to best suit the film.

Cinematographers who work on a freelance basis mustalso manage their businesses. They will be responsible forpurchasing and maintaining all of their photography equip-ment and film, advertising and promoting their services,networking, setting prices and contract terms, invoicingclients, overseeing accounts receivables and payables, hir-ing and managing staff, stocking office supplies, fieldingphone and e-mail inquiries, and making sure their Web siteis current and functioning.

SalariesAccording to the Department of Labor, Cinematographers’salaries can vary widely, from $14,710 to beyond $65,070,depending upon the employers they work for and the proj-ects they work on. Naturally, well-established and success-ful Cinematographers with excellent reputations in theindustry will command the highest wages, some more than$1 million per year. Most Cinematographers are freelance orunion workers (i.e., the International Alliance of TheatricalStage Employees, Moving Picture Technicians, Artists andAllied Crafts of the United States, Its Territories andCanada, or IATSE). Those who work for major film-produc-tion studios with multimillion-dollar budgets often receivehigher wages than those who are commissioned by small,independent studios. Minimum day rates for Cinematogra-phers, as established by IATSE, are determined according tothe type of film being shot. Cinematographers earn more forlocation shoots ($670 per day) compared to feature filmshoots ($520 per day), with provisions for holiday and over-time work. Freelancers need to factor into their yearly earn-ings costs for health insurance and photography equipment,both of which they will have to pay for themselves.

Employment ProspectsCinematography is fiercely competitive. Film and televisionproduction studios, large and small, often seek experiencedCinematographers with names in the business. This is a hardfield to enter, and any foot in the door, whether by volunteerwork or as an intern, is considered a good start. The Occu-pational Outlook Handbook predicts that employment ofCinematographers will grow about as fast as the average, orby 10 to 20 percent, for all occupations through 2012. Theentertainment market, particularly motion-picture produc-tion and distribution, is expected to continue expanding,

thus creating more job opportunities in the cinematographyand camera-operator arenas. Interactive productions are alsoon the rise for computer and Internet services. Cinematogra-phers will be needed for music videos, sports features, andother entertainment segments for Web sites and various tele-vision and film projects. The U.S. Department of Laborcites that 25 percent of all camera operators, including Cine-matographers, are freelancers, which means 75 percent aresalaried employees and most likely union members. Joininga union, such as IATSE, may provide wider access to jobopportunities and employment benefits. Some Cinematog-raphers also secure agents to represent them and to secureprojects.

Advancement ProspectsFor many, Cinematographer is the top job in the career lad-der, one achieved only after numerous years of training andworking on various projects. Once they have reached a levelof expertise and success in the field, Cinematographers canadvance by taking on more complicated projects and beinghired for multimillion-dollar projects with higher profiles.Cinematographers can broaden their scope and share theirknowledge by teaching at film and liberal arts schools, writ-ing books and articles, and participating in lecture circuits.They can also advance by delving into other areas of filmand television production or by starting their own produc-tion studios.

Education and TrainingA bachelor’s degree in cinematography, photography, lib-eral arts, or film studies is recommended. Coursework inEnglish composition and literature provides essential expo-sure to narrative development. Cinematographers also learnthe basics of lighting and composition through art and pho-tography courses and camera operation and video produc-tion in broadcast journalism and media classes. While notrequired, a master’s degree in film can further enhance one’scareer in the industry. The School of Visual Arts in NewYork City, New York University, and the University ofSouthern California are just some of the well-establishedschools with acclaimed film and fine arts programs. TheNew York Film Academy also offers students an excellenttaste of what filmmaking is like through intensive six-weekcourses, in which students create three short films.

Experience, Skills, and Personality TraitsFilm and television production studios usually require Cine-matographers to have at least several film projects undertheir belts, working as camera operators, assistant cine-matographers, or Cinematographers. Successful Cinematog-raphers are artistic and creative, with strong hand-eyecoordination and the ability to intuit the best ways to trans-

CINEMATOGRAPHY AND VIDEOGRAPHY 27

late a script visually. They have strong communication andmanagement skills and are able to juggle tasks and meetdeadlines. Long days and hours may be required, so theymust have stamina and a certain degree of physical fitness.Freelance Cinematographers need to be entrepreneurial tosurvive in the industry. They must know how to manageevery aspect of their businesses, including creating and nego-tiating contracts, securing permissions and releases, sendingout invoices and paying bills, maintaining camera and officeequipment, and more. Cinematographers must also stay curi-ous and up-to-date on what’s going on in the field. Technol-ogy changes constantly, and they need to stay tuned into thenewest developments and train in the latest creations. Cine-matographers must be technically savvy and extremely com-fortable with the technology. The job requires patience,flexibility, diplomacy, the ability to work in all conditions,both inside and outside, and solid leadership skills.

Unions and AssociationsMany film studios commission only those Cinematographerswho are union members. Cinematographers can join the Inter-national Alliance of Theatrical Stage Employees, Moving Pic-ture Technicians, Artists and Allied Crafts of the United States,Its Territories and Canada (IATSE) for fair wages and workconditions, as well as a variety of professional benefits. TheAmerican Society of Cinematographers and the InternationalCinematographers Guild provide members with access toindustry newsletters and books, professional networkingopportunities, educational forums, and more. Cinematogra-pher members can also learn technical tips, news of awardsand upcoming projects, and read interviews with fellow mem-bers on the Web sites. Cinematography.com also offers usefulresources, such as e-chat information, product information,software and videos, and online forums.

Tips for Entry1. Get an internship in a film, television, or documentary

production studio. You can find internships through

postings at your school, on your city’s film commis-sion Web site, or directly at the studios with whomyou’re interested in working. You’ll get on-the-jobtraining and valuable connections to other crew mem-bers for future networking and job referrals.

2. The best entry into this field is via the film-festivalroute. Create a short film and submit it to a festival.One industry expert says that if your film is shownand receives recognition, you’ll have both of your feetin the door.

3. Study the various filmmaking styles that are out thereby watching great films. Rebecca (1940, GeorgeBarnes), The Diary of Anne Frank (1959, William C.Mellor), Close Encounters of the Third Kind (1977,Vilmos Zsigmond), Apocalypse Now (1979, VittorioStoraro), Schindler’s List (1993, Janusz Kaminski),Titanic (1997, Russell Carpenter), and The Lord of theRings: The Fellowship of the Ring (2001, AndrewLesnie) are just some of the films that have won anAcademy Award for Best Cinematography. Alsowatch the documentary Visions of Light: The Art ofCinematography (1993), directed by Arnold Glass-man, Todd McCarthy, and Stuart Samuels, which is anexcellent introduction to some of the finest cine-matography in the history of film.

4. Use a 16-millimeter camera, a camcorder, or a digitalcamera to experiment with lighting and composition.Volunteer at your school to record activities or eventsfor the media center or journalism department. Checkwith your school’s media center, journalism depart-ment, or even the drama club about reporting on andrecording school events.

5. Immerse yourself in the industry by reading tradepublications and keeping up with the news in thefield. Read magazines such as American Cinematog-rapher, Daily Variety, Hollywood Reporter, and Cine-fex. You can also find educational articles on theirWeb sites.


Position DescriptionTelevision Camera Operators work on programs that areaired on television and cable stations. They also work forindependent production companies. They may work on livetelevision shows or videos for television shows, documen-taries, or cartoons. Television Camera Operators usuallyspecialize in specific cameras and film. They work closelywith a team that typically includes photography directors,producers, editors, grips, focus pullers, clapper loaders, andlighting cameramen.

Camera operators may work in a variety of roles, depend-ing upon the show and how the studio or stage is set up. Tele-vision shows that are recorded with live studio audiences areusually shot in studios or theaters with multiple electroniccameras to capture different angles. There are periods whenthe network’s TV cameras are on standby while the networkis linked to overseas networks or switched to local program-ming. Cameras may be mounted on tracks, enabling cameraoperators to shoot scenes from different directions andangles. Some camera operators, particularly those covering


TELEVISION CAMERA OPERATOR


Duties: Works with specific cameras to convey images fortelevision shows, news, sporting events, music perform-ances, and more; follows action closely and chooses shotangles and directions; takes direction from producers andphotography directors, as well as from shot lists; workswith cameras that are stationary or above stages incranes; may travel and work outdoors; may participate inediting work

Alternate Title(s): Cameraman, Cameraperson




Best Geographical Location(s): Major cities with broad-cast networks

Prerequisites:Education or Training—Two- or four-year degree incommunications, photography, or film and video produc-tion; on-the-job training in television camera work ortraining at a vocational or technical school

Experience—Several years of experience as an appren-tice cameraman at a television or cable station

Special Skills and Personality Traits—Strong interestin photography, video, and film; exceptional eye fordetail; able to visually track movement to keep viewersengaged; observant; meticulous; technical and artisticability; skilled at staying calm and focused in pressurizedenvironment; flexible; able to work odd hours and week-ends if needed

Chief Camera Operator

TV Camera Operator

Remote Camera Operator

sports, sit on cranes, with crane operators moving them intoposition so they can follow the action. Camera operators whooperate steadicams, a special type of mobile camera, movearound as necessary to get the shot they need. They wear itmounted to a harness and move about with the action. Somemay also capture the action from moving vehicles. Studiocamera operators, on the other hand, usually work at a fixedposition. News camera operators or electronic news gatheringoperators are part of a reporting team and frequently travel tothe sites where news is taking place. They use lightweightcameras in their work.

Camera operators follow a shot list, which is literally alist of shots they need to take, with the specific times theyneed to take them. Camera operators have the freedom tochoose the angles and distances. They may start one shotwith an extreme close-up, then zoom out to a wide-angleview. While they are working, they put themselves into theviewer’s seat and imagine the visual flow that will makesense. They listen carefully to show dialogue and match theshots to the action.

SalariesTelevision Camera Operators earned annual salaries rangingfrom as low as $14,710 to more than $65,070 in 2002,according to the U.S. Department of Labor’s OccupationalOutlook Handbook. The range for the middle 50 percentwas $20,610 to $51,000. One in five camera operators isself-employed. These freelancers have to allot money fromtheir earnings to purchase and maintain their own photo-graphic equipment and supplies, as well as businessexpenses and health insurance. As with most freelancefields, earnings will fluctuate each year. Most camera opera-tors belong to a union, which can help secure more workand higher wages.

Employment ProspectsThere are Television Camera Operator jobs to be had, butcompetition is fierce as many flock to this field. The U.S.Department of Labor predicts that employment of cameraoperators and editors will grow by about 10 to 20 percent, oras fast as the average for all occupations, through 2012. Morejobs will be available for Television Camera Operators due torapid expansion in the entertainment field as well as in theInternet arena. Television Camera Operators often bring awide variety of educational backgrounds and work experi-ences to their positions. Some may train specifically for thefield, while others may have started in art or journalism andeventually wound up behind cameras at television stations.Television Camera Operators with an excellent reel of workhave greater odds of securing better jobs with higher salaries.As required by many television production companies, cam-era operators who belong to trade unions such as the NationalAssociation of Broadcast Employees and Technicians—Communications Workers of America (NABET-CWA) or the

International Alliance of Theatrical Stage Employees, Mov-ing Picture Technicians, Artists and Allied Crafts of theUnited States, Its Territories and Canada (IATSE) will also beable to secure better jobs and wages.

Advancement ProspectsIn an industry with union contracts covering annual salarygrowth and related job changes, Television Camera Opera-tors typically advance by being promoted within the net-work. They can advance to become senior camera operatorsor camera supervisors. As individuals retire from or leavesenior positions, opportunities will also arise for TelevisionCamera Operators to assume greater responsibilities andmore complex projects. They can teach at vocationalschools, create instructional videos, write articles andbooks, and participate in panel discussions hosted by tradeassociations.

Education and TrainingMost television stations require a two- or four-year degreein communications, photography, or film and television pro-duction. Film school can provide an educational back-ground well suited to this position and expose students to allareas of television and film production.

Experience, Skills, and Personality TraitsTelevision Camera Operators must have an excellent eye fordetail and good eye-hand coordination. They must beknowledgeable and versatile in photographic equipment, aswell as lighting, composition, and movement. In addition tobeing technically and technologically proficient, they mustbe skilled editors and understand how to move the flow ofimages, even when nothing is happening for certain periodsof time, so that the picture makes sense to viewers. Televi-sion Camera Operators work closely with camera crews andtake directions from directors, producers, or more seniorcamera operators, so the ability to work with a team andsolid communication and listening skills are critical. Havinga sense of humor doesn’t hurt, either. Television CameraOperators usually work during weekday business hours butalso work at various times during the night, as well as overweekends and holidays. Flexible individuals who are reli-able, responsible, and perform well under pressure thrive inthis field.

Unions and AssociationsTelevision Camera Operators for larger television stationsare usually required to be members of local or nationalunions in order to be employed. Camera operators maybelong to the NABET-CWA or the IATSE for contract nego-tiation help, grievance assistance, educational resources,industry news, and job referrals.


Tips for Entry1. If you have not already done so, get professional film

training. Visit the Web sites of film and art schoolsnear you and learn more about certification programsor continuing education classes. Set up a meeting witha department head, if possible, to learn more about theclasses, job placement programs, prerequisites, and ifnetworks recognize the school and hire graduates.

2. Read everything you can find about film and televi-sion production. Read film and video magazines andbiographies about cameramen, directors, producers,etc. Learn about the masters and the innovators.

3. Find job listings by perusing the employment sectionsof broadcast network Web sites.

4. Be persistent, diligent, and patient. There is not oneright way to go about entering this field, so try a vari-ety of routes. One will eventually pan out. If you can-not find a freelance job, get a lower-paying or evenunpaid internship if you must. Pay your dues and usethe time to train and hone your skills while on the job.Networks often promote from within, so do well andyou can eventually work your way up.


Position DescriptionProfessional Videographers work for a variety of clients tohelp create videotapes for special events, legal documenta-tions, employment training, and classroom education. ManyVideographers specialize in weddings, and couples usuallybook them as part of the wedding photography team soonafter they secure the reception hall and finalize the details.

They also work for local advertising agencies, departmentstores, theatrical and church groups, as well as legal firms,police departments, and government agencies. Hospitalsand medical schools commission Videographers to createeducational films for use in classrooms. Videographers arealso retained by private detectives, architects, home contrac-tors, and industrial construction companies.


VIDEOGRAPHER


Duties: Provides professional videographic services insound and color to families for weddings and parties andto schools and colleges for graduations, sports events,and performances; provides videographic services to cityor county government agencies for recording depositionsand special events and to corporate clients for confer-ences, presentations, trade shows, and more; createsvideos for department stores for new employee trainingand for local police or fire departments for new equip-ment training programs

Alternate Title(s): Wedding Videographer




Best Geographical Location(s): Large cities and urbanareas

Prerequisites:Education or Training—Two- or four-year degree inphotography, with videography training required; course-work in filmmaking beneficial

Experience—Several years of experience as a weddingphotographer or assistant to a Videographer

Special Skills and Personality Traits—Excellent hand-eye coordination and steady hands; able to follow actionwith video camera and tell the story of the event frombeginning to end; strong communication and interper-sonal skills; patient; flexible; able to work all hours ofday and night; physical stamina; team player; reliableand responsible

Videography Franchise Owner

Videographer

Wedding Photographer /Videographer’s Assistant

Videographers prepare for jobs by scouting locationsbefore the day of the shoot. They will physically visit thelocation and take notes about lighting, structures, objects,where activities will be taking place, and other factors sothat they can determine a visual sequence of events. Thishelps them map out their time once they start shooting.They choose the appropriate equipment and cameras tomatch the event and may work with assistants who will holdlights or microphones and run errands, if needed. They alsohave preliminary meetings with clients to discuss theagenda for the evening, what will be happening when, whowill be involved, and the most important people and aspectsof each activity that the client wants captured on video.Large events will require them either to move from room toroom to capture everything or to work with a videographyteam. They will take close-ups and shots from a distance.They may interview people who are attending the events,asking them to discuss their opinions and feelings about theevents, or record their brief messages.

Videographers also have the challenge of assembling thefootage after the event has ended. While the guests and par-ticipants may go home, the Videographer heads to the studioand spends the next few days or weeks reviewing the video,adding titles and special effects, and synching voices,music, and background sounds to the action on the screen.Videographers with training in film and video editing willbe fully equipped to handle this aspect of the job and havefull control of their product.

SalariesMany Videographers are self-employed or work on a con-tract basis. Annual salaries can range from $50,000 to$75,000, depending upon their experience, clientele, andtypes of events they are videotaping. Freelance Videogra-phers will have to allot money for such expenses as videocameras and equipment, studio rent and utilities, officeequipment and supplies, as well as direct marketing andadvertising campaigns to promote their business.

Employment ProspectsVideographers can expect to find good opportunities forwork. Elaborate wedding celebrations are happening every-where, every year. Families with medium-to-large budgets forthese services will continue to need Videographers to helpthem commemorate their special occasions. Universities, lawfirms, major department stores and franchises, city and fed-eral agencies, and many others will also continue to need theservices of Videographers to help them accomplish theirgoals and promote their services. Professional Videographerswho are technically skilled, have developed reputations forproducing quality videos, and who have effective advertisingand direct marketing campaigns will have the best chances ofmaintaining clientele and securing new business.

Advancement ProspectsVideographers who own their own businesses can advance byopening other videography studios in new locations. They canalso purchase other franchises and consolidate with their busi-nesses, thereby expanding clientele and photographic services.They may hire more videographers and add other services totheir studios. If they work full time at a videography company,they can take on more responsibilities by becoming heads ofvideography departments. More senior jobs will entail moreprioritization, delegation, management, and leadership skills.If they specialize in videotaping one area, they can alwaysexplore new terrain. They can also create educational pro-grams on videography (including their own instructionalvideos), teach and lecture at technical or art schools and pro-fessional associations, and write and publish on the subject.

Education and TrainingA four-year degree in photography, filmmaking, or otherliberal arts specification may be required for some posi-tions. Coursework in camera operation and videography isrecommended. Training in videography and film editing is atremendous asset in the field. On-the-job training as anassistant photographer or Videographer is essential.

Experience, Skills, and Personality TraitsVideographers usually have prior experience as photogra-phers or other related employees or freelancers for weddingphotography studios. They enjoy working with people, trav-eling to various locations for their work, and capturing sto-ries with their video cameras. Videographers have excellentknowledge of how to operate a video camera. They knowhow to mesh in with crowds without intruding or disruptingthe flow of activities. While they may be attending wed-dings and parties where people are dancing and having agood time, Videographers always keep their professionaldemeanor and remain focused on the work at hand. Theevents may be long, and they are expected to capture all ofthe action, so physical fitness, energy, and stamina areextremely beneficial to the position.

Unions and AssociationsThere are professional Videographer associations in variousstates throughout the country that offer Videographers bene-fits that can enhance their careers. For a listing of associa-tions and their Web sites, visit the services section of RealVideographers (http://www.realvideographers.com). Profes-sional Videographers can also join photography-relatedassociations, such as the National Press PhotographersAssociation and Professional Photographers of America.

Tips for Entry1. Create a list of wedding photography and videogra-

phy studios in your area. You can find them by check-


ing your phone book or conducting an online search.Call or visit the studios and ask if they have any open-ings in the videography department. If not, find outabout other ways to get your foot in the door.

2. If you have not trained in this arena yet, check withlocal schools to see if they offer courses in videog-raphy. Learn as much as you can on your own, too,by reading filmmaking and videography magazinesand books. It is also a good idea to read what other

Videographers are doing and learn about their back-grounds. You can find information by using an onlinesearch engine and simply plugging in the keywordvideographer.

3. Rent or lease equipment from a photographic supplierand experiment with it.

4. Your local Chamber of Commerce may also haveinformation about videographic services and careersand postproduction services.


COMMERCIALPHOTOGRAPHY,

ADVERTISING, ANDPUBLICITY

Position DescriptionThe Advertising Photographer works closely with a team ofspecialists to create photographs for publication in newspa-pers, magazines, billboards, and television. Before work canbegin, Advertising Photographers meet with clients tosecure the specifics about the project so that they can esti-mate the time and costs involved. They determine the prod-uct and the target audience; review sketches and layouts;learn the style and approach of the photography, key staffinvolved in the project, when the work should be completed;and more. They create the estimate either based on a flat feefor the entire project or a day rate and include billing fortheir hours, any staff required, film and processing, travel,shipping and messengers, and other expenses.

If photographing clothing, Advertising Photographers, ora casting director or stylist whom they have hired, choosethe models, schedule them for fittings, and then book theirtime for the shoot. The Advertising Photographer also hiresartists to handle makeup and hair. If photographing prod-ucts, Advertising Photographers create the sets based oninstructions from the art directors from the advertisingagency or the client. Advertising Photographers workclosely with assistant photographers, who are tasked withloading and unloading film into cameras, keeping notes,taking light readings using a meter, and handling the differ-ent types of lights and other technical and administrativeaspects of the shoot. On the first day of the shoot, Advertis-ing Photographers, the client, and/or agency art director will


ADVERTISING PHOTOGRAPHER


Duties: Takes photographs of merchandise, as directed byadvertising agency art directors or clients, for printadvertisements in magazines, newspapers, billboards,etc.; creates work estimates and schedules; works closelywith and oversees assistants and creative team; attendsclient meetings; manages budgets; may handle accountsreceivable and payable

Alternate Title(s): Commercial Photographer

Salary Range: $50,000 to $150,000+



Best Geographical Location(s): New York, Boston, Wash-ington, D.C., Atlanta, Chicago, Minneapolis, Denver,San Francisco, and Los Angeles

Prerequisites:Education or Training—Bachelor’s degree, with spe-cialization in photography helpful; certification fromtwo-year photography school may suffice

Experience—Several years of experience working as aphotographer

Special Skills and Personality Traits—Strong visualand conceptual eye; creative; flexible; detail- and dead-line-oriented; able to take art direction and contributeartistic insights as needed; able to work independently aswell as with a team

Advertising Photographer

Catalog Photographer


be present to confirm that the setup and test photos matchthe layout sketches agreed upon at the planning meeting.

When outdoor settings are required, Advertising Photog-raphers arrange for cars or vans with drivers for the studioteam, the models, makeup artists, and agency and client rep-resentatives. Advertising Photographers make sure appro-priate permits, insurance coverage, and other permissionshave been secured for use of the locations, such as publicsites, where shoots may be scheduled.

The Advertising Photographer coordinates and overseesa trained team to carry out the requirements of the shoot,both on-site and off. He or she is responsible for this team,the models, light and equipment rentals, and any other spe-cial apparatus to be delivered to the studio or location.When off-site, Advertising Photographers manage the pro-ject’s paperwork, including receipts, petty cash, return ofrental garments, purchases or rentals of props (i.e., floralarrangements, furniture, etc.), and more. Advertising Pho-tographers confirm the signing of photo-use releases bymodels and are responsible for the tracking of all billableexpenses, sometimes laying out monies for expenses to bereimbursed at later dates.

Advertising Photographers need to have a variety ofmaterials on hand for use as the need arises. Some of thesematerials include: seamless paper backgrounds, sawhorses,solid surfaces (i.e., Plexiglas, Formica, tile, wood, glass,etc.), lights, light stands, and lighting control devices (i.e.,flags, gobos, reflector boards, scrims, diffusion material,etc.). A well-equipped studio will also have on hand a vari-ety of common art supplies, drafting materials, and house-hold tools and materials for building sets.

SalariesIndependent Advertising Photographers who own their ownstudios can earn salaries ranging from $50,000 to $150,000or more, depending on the product and the client’s budget.Advertising Photographers who have established themselvesin the field and are recognized names will secure higher ratesand achieve annual salaries in excess of $150,000.

Employment ProspectsAccording to the Occupational Outlook Handbook, employ-ment of photographers in all areas is expected to increase byabout 10 to 20 percent, or as fast as the average, through2012. Digital photography will be in particularly highdemand, as online magazines, journals, and newspaperscontinue to grow. The field, however, is extremely competi-tive. Advertising Photographers may have greater employ-ment opportunities if they secure representation or commit acertain amount of time from their schedules to networkingand marketing their services. Reinvestment in the businessand staying current with technology is also crucial, as thegrowth of digital photography continues.

Advancement ProspectsAdvertising Photographers are at the top of the career ladder,having achieved their positions after working for years, ini-tially as assistants, then as photographers honing their skills.While there is no one particular job that they can advance to,Advertising Photographers are always seeking new accountsand more prestigious clients. They can expand their businessby having a full-service studio, replete with staff photogra-phers, assistants, set builders, and other specialists. They canalso branch out by teaching in universities, lecturing and par-ticipating in panel discussions, and writing.

Education and TrainingA four-year degree is recommended, with a specialization inphotography and coursework in advertising or commercialart. Advertising Photographers may also participate in two-year programs at schools such as the School of Photo-graphic Arts and Sciences at Rochester Institute ofTechnology or, on the west coast, the Brooks Institute ofPhotography in Santa Barbara, California, among others. Itis also important for Advertising Photographers to stay cur-rent with industry trends and developing technologies byparticipating in workshops, trades shows, and conferences,and by reading magazines, books, and Web sites.

Experience, Skills, and Personality TraitsAdvertising Photographers must have a good eye for colorand concept and understand how to translate their client’svisions into photographs that capture consumers’ attention.Awareness of popular culture and what is going on in theworld is important. Because Advertising Photographersoversee a variety of people, they must have excellent com-munication skills, be diplomatic team leaders, and be able tojuggle tasks while keeping everyone on target, withinbudget, and tuned into deadlines. Advertising Photographerswho succeed in this business are exceptional at coordinatingprojects and people. In addition to being creative and exper-imental, Advertising Photographers are technically adept;they know how to use various cameras, materials, and tech-niques to achieve the desired visual effects.

Unions and AssociationsFor access to employment opportunities and peer support;networking, educational events, and conferences; mailinglist; computer software, and equipment discounts; grouphealth insurance; and more, Advertising Photographers canjoin such organizations as Advertising Photographers ofAmerica, Professional Photographers of America, Inc., andthe American Society of Media Photographers.

Tips for Entry1. Get an internship in a catalog studio or directly with

an Advertising Photographer. Use an online search as

COMMERCIAL PHOTOGRAPHY, ADVERTISING, AND PUBLICITY 37

well as the local phone books to find the studios orpeople you are interested in working with. Contact thehuman resources departments or individuals to findout about internship options.

2. Look at such publications or Web sites as BlackBook (http://www.blackbook.com) or Work Book(http://www.workbook.com) to see the work youadmire or find photographers you would be inter-ested in contacting.

3. Look through photography magazines in your locallibrary or bookstore for announcements of seminars andtrade fairs with consumer days. Contact the trade-showoffices to find out about Advertising Photographers inyour area. Contact the Advertising Photographers to setup informational meetings.


Position DescriptionThe Assistant Photographer is the right hand to the photog-rapher, prepared to have the correct camera and lamps at thecamera stand when called upon. He or she has learned thedifference between the mini-spot and the general floodlight,the big Klieg and the small spotlight, and knows how theboom lamp creates shadow-free light across the worktable.It is the Assistant Photographer’s responsibility to arriveearly at the studio each day to prepare the cameras, lenses,lights, and light stands; load film; make sure the floor and

tabletops are clean and the space is completely appropriatefor the day’s work; and more. The Assistant Photographermay also help create sets by moving props such as chair,couches, tables, and dressers, and he or she may even paintsets. When shoots wrap, assistants are responsible for break-ing down the sets and moving, packing, and shipping items,if necessary.

Assistant Photographers clean up and tidy dressingrooms before models arrive. They put out hand towels andtissues, hang clothing, and possibly even replenish bever-


ASSISTANT PHOTOGRAPHER


Duties: Provides daylong assistance to a photographer, aswell as to consultants (i.e., makeup, wardrobe, etc.), atthe behest of the photographer; creates checklists ofitems needed for shoots; may run errands, includingdelivering packages, picking up supplies, and arrangingfor food and beverages for shoots; may clean the studiobefore and after shoots; may help build, paint, and breakdown sets

Alternate Title(s): Photographer’s Assistant

Salary Range: $20,000 to $65,000+



Best Geographical Location(s): Major urban areas, suchas Atlanta, Chicago, Los Angeles, Miami, San Francisco,Seattle, and Washington, D.C.

Prerequisites:Education or Training—Four-year degree in photogra-phy; two-year degree from technical school acceptable;digital camera and photography design software training

Experience—Several years of experience as an intern orstudio assistant in a commercial studio, portrait studio, orwith a wedding photographer

Special Skills and Personality Traits—Knowledgeableabout film, lighting, lenses, cameras, set-building materi-als, etc.; strong communication skills; good listener; able tofollow directions; professional; diplomatic; physicallystrong; able to help build and move sets, as needed; reliableand responsible; detail- and deadline-oriented; organized



Studio Assistant / Apprentice

ages or snacks if there is a refrigerator on hand. If the pho-tographer is photographing tabletops of watches, jewelry, orsilverware, the Assistant Photographer will clean the glasstops and set up appropriate lights. The night before a loca-tion shoot, the Assistant Photographer thoroughly reviewsthe checklist, making sure all film, cameras, equipment,materials, and tools needed for the shoot have been packedcarefully. If working with a larger studio and a largerbudget, Assistant Photographers may also be responsible fordelegating work to more junior staff, such as apprentices orinterns, and coordinating with other assistants.

If the work is being done with digital cameras, AssistantPhotographers set up computer equipment. Throughout theshoot, they keep track of the shots by writing down shotnumbers, brief descriptions of the shots, and whether theyare digital or film. Assistant Photographers prep the film forthe labs and either arrange for messengers or take the filmdirectly to labs themselves.

SalariesAssistant Photographers can earn salaries ranging from aslow as $20,000 or less to $65,000 or more, depending upontheir years of experience, the types of photographers theywork with, and the clients’ budgets. Freelance Assistant Pho-tographers usually charge flat day rates, which can range any-where from $75 to $500 or more, according to severalexperienced professionals in the field. Assistant Photogra-phers who are just starting out usually need to supplementtheir modest incomes by securing other types of part-time orfull-time work.

Employment ProspectsEmployment Prospects for Assistant Photographers are fairbecause the competition is fierce. These jobs are highlydesirable and many more flock to them than there are jobsto fill. According to the Occupational Outlook Handbook,employment of photographers overall is expected to growby about 10 to 20 percent through 2012. As long as photog-raphers continue to secure work, Assistant Photographerswill be likely to secure work with them.

The Department of Labor states that half of all photogra-phers own portrait studios in small towns. They often hirenew studio employees, such as Assistant Photographers,when they expand their businesses or when employees retire.These family-run studios are frequently the sole full-servicewedding and portrait photographers in their communities andmay provide good opportunities for work. The fastest way tostart a career in a small studio is by seeking work in the latespring or early summer, a popular time of year for weddings.

Advancement ProspectsDepending on the economic or population growth of com-munities in various states, the advancement opportunity of

the Assistant Photographer in a small studio will range frompoor to good. If the studio has an active wedding-photogra-phy business, the potential for advancement is better. If thestudio serves a community largely of retired or senior citi-zens, there are fewer opportunities once a trainee hasreached a skilled performance level. Assistant Photogra-phers who freelance in major cities can advance to becomeprofessional photographers within five or more years.

Education and TrainingA four-year degree, with a specialization in photography,and coursework in computer design software (i.e., AdobePhotoshop and Illustrator) is recommended. Several years oftraining with a studio or wedding photographer is an excel-lent way to learn firsthand how daily business is conducted.Assistant Photographers must keep abreast of technologicaladvances by reading industry magazines and books, visitingWeb sites, networking with other professionals in the field,and taking classes.

Experience, Skills, and Personality TraitsAssistant Photographers must have excellent communica-tion skills. They will be working directly with photogra-phers and the photographers’ creative teams, as well as withclients. They must be versatile at working with a variety ofpeople. Assistants are also technologically adept in workingwith cameras, lights, and computer equipment. AssistantPhotographers know when to follow directions and when itis appropriate to offer suggestions to photographers. Theyare diplomatic, professional, organized, extremely responsi-ble, and flexible. Whether they are lighting a set or sweep-ing the floor of the studio, they treat each task seriously.They are always aware that they are being observed andnews travels fast in the industry. In the end, an AssistantPhotographer’s character and the quality of his or her workwill determine success in the field.

Unions and AssociationsAssistant Photographers can join such associations asAdvertising Photographers of America, American Societyof Media Photographers, and Professional Photographers ofAmerica for educational and networking opportunities, dis-counts from various service providers, access to employ-ment listings and competitions, and more.

Tips for Entry1. Volunteer for a day at a photo studio as a messenger

or to help clean or run errands. This is an excellentway to see how the studio is set up and how the sit-tings are arranged.

2. Visit a major resort city in which professional photog-raphy studios abound. Do your research first through


the Internet. Find the studio Web sites, look at theirwork, and make a list of notes and questions. Visitthese studios and speak with the owners and staffabout how best to enter the field. Learn what theirexperiences have been like.

3. Network as much as possible. This is a smaller worldthan you might think, and sometimes the best jobscome about through word of mouth. The more peopleyou meet in the business, the better your chances ofgetting leads about upcoming shoots or job openings.


Position DescriptionCommercial Photographers create photographs to helpclients advertise products and promote messages. They aretechnically and technologically skilled and adept at workingfor a variety of media and with a variety of clients, all for

commercial purposes. Art directors, agency owners, productmanagers, and owners of stores hire Commercial Photogra-phers to deliver photographs that capture their target audi-ences’ attention. Architects, builders, and building ownerswill also hire Commercial Photographers to photograph


COMMERCIAL PHOTOGRAPHER


Duties: Creates photographs for advertisements in newspa-pers, magazines, billboards, posters, books, brochures,catalogs, company reports, and other media; photographsbuildings and environments for reports and records;retouches photographs using digital software; may workwith live models or products, depending upon specialty;sets up lights and backdrops; creates estimates, budgets,and production schedules, and secures client approvals;handles or oversees promotion and marketing of photog-raphy studio; may work with graphic and Web designerson branding; invoices clients, handles accounts receiv-able and payable, and oversees studio management andmaintenance

Alternate Title(s): Advertising Photographer, Magazine Pho-tographer, Portrait Photographer, Studio Photographer

Salary Range: $20,000 to $100,000+



Best Geographical Location(s): Major metropolitan areas,such as Atlanta, Boston, Chicago, Los Angeles, Miami,New York, and San Francisco

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in design software, such as AdobePhotoshop and IllustratorExperience—Two to three years of experience as a pho-tographer’s assistant; several years of experience work-ing in a commercial photography studioSpecial Skills and Personality Traits—Strong knowledgeof light and composition; agile at working with variety ofcameras; computer savvy; excellent communication andlistening skills; creative, with strong business-managementabilities; able to work with variety of clients; entrepreneur-ial and self-motivated; complete knowledge of cameras,lights, films, and photography accessories; solid grasp ofindustry standards and practices and contract terms



Studio Intern / Studio Assistant

landscapes and buildings for company reports, records, andbrochures. Commercial Photographers may also photographevents and even students’ art projects for portfolio pieces.

Commercial Photographers either work in their own stu-dios or on location. They either create the backgrounds andbackdrops themselves or work closely with the client’s artdirectors or creative directors to help create the settings.Photographers make sure they have clear directions fromclients before beginning the shoot. In their initial meetings,they ask the client who the advertisement is aimed towardand how the photographs will be used (i.e., billboard, poster,magazine advertisement, etc.). They include these terms intheir contracts and secure clients’ signatures before begin-ning work. They discuss the theme and style of the photo-graphs and learn whether the client prefers soft lighting orstrong color contrasts. Once all of the specifics have beenreviewed, the photographer sets up the shot, choosing thelights, film, cameras, composition, and camera angles basedon the client’s directions. It is standard practice for Com-mercial Photographers to take “test” shots, usually inPolaroid, before working with actual film. The test shotsprovide opportunities to see what works and doesn’t work inthe setup, before spending money on actual film. Photogra-phers scan the Polaroid shots and then e-mail them to clientsfor review and approval.

Commercial Photographers shoot in both film and digital.Digital photography enables them to synch the camerasdirectly to computers and easily review and retouch imagesusing design software such as Adobe Photoshop and Illustra-tor. They can also scan film and retouch images, with someextra steps involved. If shooting in film, photographers usu-ally have photography labs develop the film and review it tomake sure nothing was altered in the development phase.They then will send the film to clients for approval.

Freelance Commercial Photographers are responsible forhiring staff for projects. Photographer’s assistants help themwith all aspects of shoots, from painting backdrops andmoving props, to setting up lights, cameras, tripods, packinglists, running errands, and more. Photographers also workclosely with makeup artists, stylists, and other creative crew.They negotiate employment terms with their staff and estab-lish schedules before jobs begin. Independent photogra-phers also negotiate contract terms and fees directly withclients. They create estimates and budgets, which they sub-mit first to clients for approval before invoicing for com-pleted work. Depending on their studio structure and size,they may manage all aspects of their business, from han-dling the bookkeeping and the bills, to making sure the copymachine has toner, the water cooler has water, and the stu-dio space is clean and dust-free. Commercial Photographerswill also be involved, to some degree, in the promotion andmarketing of their businesses. They may hire writers,graphic designers, and Web designers to help them createand maintain their brand images, such as their company

logos, stationery, business cards, promotional brochures andflyers, e-flashes and Web sites, and more.

SalariesSalaries for Commercial Photographers can range anywherefrom $20,000 to $100,000 or more. As in many professions,Photographers who are new to the business tend to earnlower salaries as opposed to veterans who have establishedclientele and enjoy repeat business. The Occupational Out-look Handbook cites a lower salary range for photographersoverall in 2002, from $14,640 to $49,920, but does not takeinto account the earnings’ potential for Commercial Photog-raphers specifically. For instance, top advertising agenciesgenerally have larger budgets and can pay their CommercialPhotographers better fees. Freelance Commercial Photogra-phers usually charge flat day rates, and the industry standardis to charge higher fees for rush jobs and work required overweekends and holidays. Photographers charge higher fees ifthe project is an all-rights contract, or a buy-out, and theyalso adjust their fees based on usage. Multiple uses requirehigher fees to the photographer.

Employment ProspectsThe market is flooded with prospective Commercial Pho-tographers. Competition is fierce and only those who havetremendous talent, drive, business savvy, and exceptionalcommunication skills will survive and thrive in this businessfor the long term. Commercial Photographers usually securework through a variety of avenues. They advertise in tradepublications and on Web sites. They conduct promotionalmailings on a regular basis. They network and secure proj-ects through word of mouth. There is no singular right wayto get work in this field, and the more avenues pursued, thebetter.

Advancement ProspectsCommercial Photographers are at the top of their field. Mostfreelance and own photography studios. They can advanceby expanding their businesses, growing their client base,adding staff, and enhancing services. They can share theirexpertise by teaching classes in technical and art schools, aswell as lecturing and writing.

Education and TrainingWhile it is not required, a two- or four-year degree in pho-tography is a solid base for many Commercial Photogra-phers. Alternately, some may learn their trade by assistingCommercial Photographers or interning in commercial stu-dios. Regardless of where they acquire their skills, Com-mercial Photographers must be well versed in digitalphotography as well as in digital design software. They caneither take courses while in school or register for continuingeducation programs at local universities and trade schools.


Experience, Skills, and Personality TraitsSeveral years of experience as a photographer’s assistant in awell-known and respected commercial studio is an excellentway to get a foot in the door in the commercial photographyfield. Successful Commercial Photographers are technicallyand technologically savvy. They understand cameras andcomputers and know how to synch the two to create imagesthat meet clients’ needs. They are creative thinkers withstrong business-management skills and are adept at workingwith diverse people to meet deadlines. They must haveexcellent listening skills to clearly hear and understand whatclients specifically want. Commercial Photographers mustbe independent workers as well as team players. They needto have the creativity and intelligence to translate clients’visions into reality, but they must also know how to collabo-rate with clients and creative staff to accomplish goals.

Unions and AssociationsCommercial Photographers can join such associations asAdvertising Photographers of America, the American Soci-ety of Media Photographers, and Professional Photogra-

phers of America for professional resources and networkingopportunities.

Tips for Entry1. Join a professional association, attend trade shows

and conferences, and network. Attend the events andworkshops your prospective clients attend. The com-mercial photography field is highly competitive, andthe best way to find work is through word-of-mouth.You need to be circulating with your business cardsand portfolio at the ready.

2. Read industry magazines such as Photo DistrictNews, American Photo, and Digital Photo Pro. Takeworkshops and read books. Keeping up with what isgoing on in your industry is critical.

3. Make sure you understand contract terms, industryterminology, and negotiating tactics before you startwork for any client. Many professional associationsoffer workshops to help freelancers hone these skills.You can also glean a great deal of informationthrough the Internet.


Position DescriptionFood Photographers create enticing photographic images ofvarious types of food and prepared dishes for advertisers,publishers, restaurants, food markets, and others. They mayphotograph perfect-looking hamburgers and French fries forMcDonald’s, corn-on-the-cob slathered in butter for Wald-baum’s, or creamy, chocolate-laden ice cream sundaes forFriendly’s. Food Photographers consult with food stylists,

prop artists, and set designers to achieve the crisp shots andthe desired results. They map out shooting schedules basedon the types of food they will be photographing. Somefoods can endure heat from the lights throughout the day,whereas other foods must either be photographed quickly ortreated to make them stay the course. With experience andtraining, Food Photographers know which tricks and tech-niques to use to “doctor” their subjects. For example,


FOOD PHOTOGRAPHER


Duties: Creates appealing photographs of food for con-sumer and trade magazines and publications, cookbooks,and promotional literature for restaurants, culinary artsschools, cooking supply companies, gourmet stores, andsupermarkets; works closely with food and set stylists tocreate images that will entice readers to buy the objectsas well as to create the dishes on their own

Alternate Title(s): Culinary Photographer, Still Life Pho-tographer

Salary Range: $14,640 to $49,920+



Best Geographical Location(s): Major metropolitan areasas well as cultural centers, such as Atlanta, Boston,Chicago, Los Angeles, Miami, New York, Seattle, andWashington, D.C.

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy, with coursework in culinary arts, or culinary artsdegree, with photography background, is recommended;training in photographic design software required

Experience—Several years of experience as commercialphotographer or assistant food photographer, with adver-tising or publishing clients, is recommended; prior expe-rience as assistant food stylist is beneficial

Special Skills and Personality Traits—Creative; goodvisual eye and hand-eye coordination; cooking and foodpreparation skills; strong interest in all types of food;patient; excellent interpersonal skills; team player as wellas independent worker; reliable; deadline-oriented

Food Photographer

Assistant Food Photographer /Commercial Photographer

Assistant Food Stylist

plump, consistent pancakes are usually photographedfrozen. The bright yellow of margarine, as opposed to theduller hue of butter, stands out beautifully on potatoes orslices of bread. Perfect soft-serve ice cream usually isn’t icecream; it is often Dream Whip. Tortillas stay fresh, thanks toa coating of Armor-All, and hamburger buns stay straightwith melted wax.

At the onset of a project, Food Photographers meet withclients to discuss the food, look, and mood they want. Theythen set up a shoot date, select and secure appropriate props,and hire food stylists, assistant photographers, prop movers,and whoever else is needed for the project. Food stylists areespecially crucial for preparing, styling, and placing thefood on the table. Food Photographers, with help fromassistants, prepare the technical aspects of the shot, choos-ing and setting up the cameras, the camera angles, the film,lighting, and props. They take test shots to determine whichlighting and angles work best and adjust until they are satis-fied with the image. The food must hold up throughout,which is why Food Photographers will often substitute anobject, a food stand-in, until all the preparations are final-ized. Clients attend the shoots and review the images. Oncethey approve the test shots, the Food Photographer bringsout the actual food, known as the hero dish, for the shoot.

Food Photographers often maintain their own inventoryof stemware, barware, silverware, flatware, table linens, andmore. They know where to locate what they need to comple-ment and enhance the food and achieve the overall look andmood the clients are seeking in the images. Food Photogra-phers are also constant “shoppers,” always perusing maga-zines and stores to keep up with lifestyle design trends.They know that a certain glass or style of plate or knife canliterally make or break a shot, and when they see that per-fect item, they know when to nab it.

Independent Food Photographers manage and overseetheir businesses. They work with graphic and Web designersto help them develop their companies’ brand images (i.e.,logos, stationery, brochures, Web sites). They handle andoversee direct marketing and advertising campaigns to pro-mote their services. They network for new clients and main-tain relationships with current clients. They hire and overseestaff, create contracts, negotiate fees, make sure bills arepaid and invoices sent out, and plenty more.

SalariesThere are no salary ranges documented specifically forFood Photographers. However, the U.S. Bureau of LaborStatistics cites that in 2002, salaried photographers overallhad annual earnings ranging from $14,640 to over $49,920.Freelance Food Photographers have the potential to earnhigher salaries but must factor in costs for overhead, such asrent, equipment purchases and maintenance, office supplies,taxes, health insurance, and so on. Food Photographers whohave established themselves in the business and who have

good connections will secure the most work and the highestwages.

Employment ProspectsEmployment of photographers in all disciplines will increaseabout as fast as the average for all occupations through 2012,according to the U.S. Department of Labor. Food Photogra-phers may fare even better than other photographers over thenext few years because the food and entertainment industriesare expected to continue to grow. While advertising budgetsmay decrease, restaurants, stores, publishers, and others willstill need professional photographers to help them entice din-ers and promote their services and products through theirWeb sites, menus, literature, and publications. As long aspeople continue to eat and remain interested in food, FoodPhotographers will be needed to get images of the food outthere. Competition in the field will remain fierce, though, sotechnical and creative skills coupled with the right workbackground and connections will be an advantage in the jobhunt. Food Photographers who keep up with technology andlearn the latest digital-photographic techniques will alsohave an edge over the competition. More than half of theapproximately 131,000 photographers working in this coun-try are self-employed. Others work on a full-time or contrac-tual basis for various clients. Many Food Photographersenhance their salaries and secure commissions by placingtheir photographs with stock photo agencies.

Advancement ProspectsFood Photographers can advance by growing their busi-nesses and partnering with other photographers who spe-cialize in certain commercial photography areas. If theywork primarily in editorial, they can explore developingclientele in other areas, such as food manufacturing or theentertainment industry. They can write and publish booksand articles and teach at arts and technical schools.

Education and TrainingA bachelor’s degree in photography, with coursework inadvertising, culinary arts, and consumer science, is recom-mended for this type of work. Alternatively, a degree in culi-nary arts, with coursework and training in photography, isalso an excellent background for a Food Photographer. FoodPhotographers must understand what they are photograph-ing to best capture the images for clients. Training in prepar-ing foods and learning about various vegetables, fruits, andgrains, and other types of foods and how they interact withchemical properties and lighting is critical. Math and chem-istry classes are also relevant for creating effects and treat-ing the foods in order to get desired results. You should alsobe sure to take computer science classes and explore soft-ware that can store and manipulate images, such as AdobePhotoshop and Illustrator.


Schools such as the Culinary Institute of America offer awide variety of courses for all types of students, from thelayperson to prospective chefs. You can find more schoolsby visiting http://www.cookingschools.com. Art and techni-cal schools throughout the country offer degrees in foodphotography. Look for accredited art programs on theNational Association of Schools of Art and Design Web site:http://nasad.arts-accredit.org.

Experience, Skills, and Personality TraitsPhotographing food requires vast amounts of patience andflexibility. It may take hours to cast the right light and sheenon a particular object, and shoots may even take days orweeks, particularly if creating images of food and prepareddishes for cookbooks. Versatile, creative Food Photographersdo best in this industry. They will be able to create unadulter-ated images for those clients who want something simple,such as a Granny Smith apple on a plain white backdrop.They will also be able to successfully create and photographa formal dinner with various courses. Food Photographers’eyes are trained for details. They are able to scrutinize sub-jects as no layperson can and adjust cameras, lenses, filters,and lighting to correct the images before capturing them onfilm. Naturally, of utmost importance in the food photogra-phy field is a passion about food. Food Photographers spendhours getting a bowl of carrots to look just right. This typeof work would drive anyone else mad. Successful FoodPhotographers see what others may overlook—the unique

shapes, textures, and shadows—and they appreciate the artthat is in their subjects.

Unions and AssociationsFood Photographers can become members of the AmericanSociety of Media Photographers and Professional Photogra-phers of America for educational resources, networkingopportunities, and discounts on various services and products.

Tips for Entry1. Get your foot in the door by starting out as a food-

styling assistant. You will have firsthand exposure tothe intricacies of the business and make valuableconnections.

2. If you have not done so already, take some cookingclasses to learn how to prepare certain types of food.Register with a recognized and well-respected school.Name recognition is important in this industry andhaving this on your résumé will attract and impressprospective clients.

3. Join a cooking club and experiment with taking pho-tos of the dishes you and others create along the way.You can even peruse your own refrigerator and exper-iment with taking photos of what is on your shelves.Create lighting effects and set up props. Then shareyour photos to see how others react and take notes ontheir feedback.


Position DescriptionPhoto Stylists help photographers create the overall look andfeel of photographic images for advertisements, magazines,books, Web sites, and other types of publications. PhotoStylists also work closely with art directors, assistants,makeup artists, designers, and clients throughout the shoot.Photo Stylist responsibilities vary according to the types ofprojects and photographers with which they are working. For

instance, Photo Stylists who specialize in fashion will beresponsible for helping to audition and select models, as wellas choosing clothing and accessories that will look best onthem, fit the theme of the photos, and effectively sell theproducts to the target audience.

Photo Stylists may specialize in any number of areas.They may be well versed in prop shopping and purchasingor set decorating and location scouting. Photo Stylists who


PHOTO STYLIST


Duties: Works closely with photographers, fashion andmakeup stylists, and other creative crew members to cre-ate looks and moods of images for clients by choosingprops and backgrounds, styles of clothing and acces-sories, furniture, lights, interior and exterior designobjects, and other set elements; may specialize in certainareas, such as bridal, fashion, prop buying, or locationscouting, or cover many areas at once; may coordinateschedules for shoots, work with models, and managestaff; attends photo shoots

Alternate Title(s): Style Consultant

Salary Range: $350 to $800+ per day



Best Geographical Location(s): Major cities, such asBoston, Chicago, Miami, Los Angeles, New York, andSan Francisco

Prerequisites:Education or Training—Bachelor’s degree, with spe-cialization in photography, is recommended but notrequired; coursework in advertising, graphic design, andfashion design is helpfulExperience—One to three years of experience as anassistant Photo Stylist required; prop-buying or window-dressing experience is beneficialSpecial Skills and Personality Traits—Creative; knowl-edgeable about fashion and lifestyle trends; organized;excellent communicator; flexible; accessible and able towork at all hours of day and night; energetic; problemsolver who can think on his or her feet; able to follow direc-tions and work well with others; reliable and responsible

Photo Stylist

Assistant Photo Stylist

Window Dresser

specialize in food use various artistic techniques, such asglazing or painting, to enhance food and make it moreappealing. Props often come into play in lifestyle images, sostylists who specialize in home furnishings will deal withchairs, tables, lamps, etc. Then there are on-figure and off-figure stylists, with on-figure stylists arranging clothes onmodels and off-figure stylists creating and setting up clothesagainst backgrounds. Soft-goods stylists focus on clothing,fabrics, and linens, and tabletop stylists will make even themost mundane item, such as a pair of pliers, look appealingby adding a dab of Vaseline or glue. Hair and makeup styl-ists work with cosmetics, and casting stylists locate model-ing talent. Many stylists are cross-disciplined and able towork with a wide variety of clients.

Photo Stylists are magicians, in a way. They are often thego-to people for solving problems at the last minute. Theymay use anything from salt to duct tape to keep an objecttogether or create a certain effect. Photo Stylists may also betasked with designing and building props, coordinating crewschedules, securing locations and release forms, and more.They have the solutions, and when they do not, they knowwhere to go to find what is needed. Photo Stylists create andmaintain lists of props and set elements before the shootsbegin, tracking delivery times and checking items uponarrival. Throughout the shoots, they make sure objects arebeing treated respectfully and with care. They oversee return-ing items once the shoot has ended and maintain receipts andfinancial records to assure everything is within budget.

Freelance Photo Stylists without agency representationmust also continually seek work through self-promotionefforts. They must tailor their online and print portfolios tospecific clients, make sure their Web sites are current, net-work at professional events, negotiate fees, send outinvoices, oversee their own accounts receivables andpayables, and, on top of all this, devote time to keeping upwith trends through reading magazines and other print andonline publications.

SalariesPhoto Stylists can earn rates ranging from $350 to $800 perday, depending upon their years of experience in the businessand the types of projects and clients. Many Photo Stylists arefreelance and must factor into their earnings costs for healthinsurance and general business overhead, such as rent andutilities. Experienced and respected freelance Photo Stylistscan earn far beyond $800 per day, with complete coverage ofexpenses such as travel and accommodations.

Employment ProspectsEmployment prospects for Photo Stylists are only fairbecause many people consider the work to be glamorous,and glamour jobs always attract more people than there arejobs available. The field is highly competitive, and it is the

creative Photo Stylists with solid self-promotion skills whowill secure the most work. The advertising, publishing, andentertainment industries are expected to remain steady,according to the Department of Labor, assuring at least con-tinual employment for some Photo Stylists who haveinroads. Most Photo Stylists are self-employed and work ona per-assignment basis. Another route Photo Stylists cantake to secure work and avoid spending time on the job huntis through agency representation. Reps usually receiveabout 20 percent commission for work they succeed insecuring for their clients.

Advancement ProspectsFreelance Photo Stylists who work with mid-level publica-tions can advance by stepping up to a bigger playing field.They can notch up their business and increase their earningsby taking on more work with major, well-recognized publi-cations and photographers. Reputation is everything in thisbusiness; it can make or break a person’s career. Photo Styl-ists must always keep their eyes open for opportunities towork on high-end projects with stars in the field. With yearsof experience, Photo Stylists can also advance to become artdirectors, creative directors, fashion editors, and seniorphoto stylists.

Education and TrainingA bachelor’s degree in photography is a solid educationalbackground for this type of work. While a degree is notmandatory, many Photo Stylists have, at minimum, attendedart schools and taken courses in advertising, marketing,photography, and design. Coursework is also recommendedin the areas Photo Stylists may be interested in specializingin, such as cosmetology classes to learn more about fashionstyling or cooking classes for food styling. Two years ofexperience as an intern, apprentice, or assistant photo stylistin an advertising agency, magazine publishing company, ordesign house is also an excellent way to learn the ins andouts of the business.

Experience, Skills, and Personality TraitsSeveral years of experience as an assistant photo stylist areusually recommended. Successful Photo Stylists areextremely creative yet simultaneously grounded and realis-tic. They are decisive but flexible, able to adjust to changingneeds and schedules. They have good taste, are agile prob-lem solvers, and have clear communication skills. They lis-ten closely to what clients want and understand how best towork with photographers and other crew to achieve thedesired images. The job requires many hats and the bestPhoto Stylists can wear each one well. They are patient, pro-fessional, diplomatic, and able to meet deadlines while oftenworking under stressful conditions. Easygoing stylists whoare approachable and supportive often have the largest clien-


tele. They keep up with trends, know where to get everythingand anything that is needed, and how to negotiate for the bestprices. They have excellent interpersonal skills, which facili-tates working with everyone from corporate executives andart directors, to models, makeup artists, and photographers.They are also familiar with photographic techniques, such aslighting and composition, understand advertising, and arefamiliar with product lines and designers.

Unions and AssociationsPhoto Stylists who are accepted as members of the Associa-tion of Stylists and Coordinators receive access to employ-ment opportunities and referrals, as well as other professionalbenefits.

Tips for Entry1. Learn about advertising and product display by secur-

ing a job in the advertising department of a retail

store. Watch window display artists at work and,when appropriate, talk to them to learn more aboutwhat is involved in a typical day.

2. Join a professional association and network with thepeople who have the potential to hire you and referyou to jobs. Attend design shows and magazinelaunch parties. Go to gallery openings and fashionshows. Consider the time spent meeting and chattingwith people as an investment in your future. Approachit seriously and professionally. Always have businesscards with you, and always follow-up, even if it maynot immediately generate results. It will be worthyour while in the long run.

3. Speak with Photo Stylists to learn more about thework. Search the Internet to find stylists near you ifyou want to set up in-person interviews. Learn asmuch as you can by perusing their Web sites beforecontacting them.


Position DescriptionPublicity Photographers are responsible for creating photo-graphs of a wide range of events, people, and products for usein press releases, newspaper and magazine articles, advertise-ments, promotional materials, Web sites, e-newsletters,annual reports, and more. Press agents, publicists, and publicrelations firms hire Publicity Photographers to create imagerythat will help them convey specific messages to targeted audi-ences about the companies or individuals they represent.

Publicity Photographers may work for publicists for mag-azines such as People and Us Weekly and photograph celebri-

ties to accompany articles or cover awards ceremonies andpremieres. They work for the public affairs and communica-tions department of city agencies, such as the MetropolitanTransportation Authority in New York City. They photographsubway tracks, train platforms, interiors and exteriors oftrains, stairs, turnstiles, subway signs, conductors, and pas-sengers. Their images appear in posters throughout the trainsand platforms, promoting subway rules and regulations andadvertising upcoming events. Their work also appears in pro-motional brochures and flyers and is released to magazines,newspapers, broadcast networks, and newswires.


PUBLICITY PHOTOGRAPHER


Duties: Provides photographs of individuals, places, andevents to publicists and public relations firms to accom-pany press releases and magazine or newspaper articles;may work in communications or public relations depart-ments of associations and nonprofit organizations; main-tains photography libraries; negotiates fees, workestimates, and contracts; may oversee assistants

Alternate Title(s): Public Affairs Photographer, PublicRelations Photographer



Advancement Prospects: Poor

Best Geographical Location(s): Boston, Chicago, Holly-wood, Houston, Las Vegas, Los Angeles, Miami, NewYork, San Francisco, and Washington, D.C.

PrerequisitesEducation or Training—Four-year degree in photogra-phy; training in digital photography and photographicdesign softwareExperience—Several years of experience as a newspa-per or magazine photographerSpecial Skills and Personality Traits—Excellent inter-personal skills; knowledgeable about lighting and com-position; good visual eye; friendly and accessible; able tomake people feel comfortable and natural in front of thecamera; detail- and deadline-oriented; ethical and profes-sional; flexible and available to work days and eveningswhen needed

Director of Photo Department

Publicity Photographer


Some Publicity Photographers are also responsible forvideography and visual production, such as script develop-ment, graphic design, and editing and studio production.Publicity Photographers who work for such associations asthe Red Cross take shots of volunteers in action, either inthe safety of administrative offices, at fund-raising events,or on location at disaster sites. They photograph tents beingset up, food being served, medical equipment, medical careand counseling, and more. The military also hires PublicityPhotographers to photograph training camps, offices, equip-ment, living quarters, as well as military operations andexercises at home and at war.

Staff Publicity Photographers are often responsible fordeveloping and maintaining photo libraries and fulfillinginternal photo requests. They develop and process bothblack-and-white and color film and use Adobe Photoshopand other design software to correct color and light, crop outobjects, and resize images. Depending upon the company,they may be required to operate still, motion picture, andelectronic news-gathering cameras (cameras that record liveevents and transmit them to a studio) and to write captionsfor motion-picture film and photographs. They collaboratewith reporters and public relations journalists in creatingand producing visual stories and publicity films. They alsorecord and file original negatives and transparencies withthe staff involved in the production of the stories.

SalariesPublicity Photographers can earn salaries ranging from$35,000 to $60,000. Annual earnings will vary for free-lancers, depending upon the number and types of clientsthat they have. Publicity Photographers usually enjoy perkssuch as access to events and places from which the generalpublic is typically barred. Travel, hotel, and other work-related expenses are also normally reimbursed. Some com-panies provide their staff photographers with expenseaccounts, use of the company car, and frequent fliermileage. Full-time staff Publicity Photographers may enjoybenefits such as profit sharing, stock options, paid vacationand sick leave, bonuses, and group health insurance.

Employment ProspectsMany people clamor to the publicity field because it is con-sidered a glamour industry. Competition for Publicity Pho-tographer jobs is fierce, but there will be opportunities forwork, particularly in smaller publicity firms. The U.S.Department of Labor predicts employment in the publicrelations industry will grow by 19 percent through 2012,compared to 16 percent for all industries combined. Publicrelations, like advertising, is driven by the economy. As theeconomy expands, companies will introduce more servicesand products to meet consumer demands and more PublicityPhotographers will be needed to help get word out to the

public. Publicity Photographers will also find work as theirpredecessors advance to other positions or retire.

Advancement ProspectsWith years of experience and good connections, PublicityPhotographers can advance to become the heads of photog-raphy departments within publicity agencies and publica-tions. They can start their own publicity agencies, and theycan transfer their skills into media broadcasting. They canalso move up by writing articles for trade publications orteaching in liberal arts and technical schools.

Education and TrainingPublicity Photographers normally have four-year degreesfrom liberal arts schools or two-year degrees from photo-graphic or technical institutes. Coursework in communica-tions, advertising, and direct marketing can be helpful.Publicity Photographers are trained in digital photographyand well versed in color and image-enhancement softwareprograms, such as Adobe Photoshop and Illustrator.

Experience, Skills, and Personality TraitsPublic relations companies and associations prefer PublicityPhotographers with several years of experience as dailynewspaper or magazine photographers. Publicity Photogra-phers need to be technically accurate photographers whocan work fast to meet deadlines. Their job requires travelboth locally and internationally, so they must be organizedand able to adapt to change. They must be able to work at alltimes of the day and night and in all types of weather. Anability to interact with a wide variety of people is essentialin the job, and photographers who can speak other lan-guages are particularly desirable by companies with interna-tional branches. Publicity Photographers need to stayabreast of new developments in the companies they workfor, as well as be knowledgeable about the key movers andshakers, and the companies’ missions and past and currentprojects. They must also keep up with photographic andtechnological advances, so they can work most effectively.

Unions and AssociationsThe National Press Photographers Association, Public Rela-tions Society of America, American Society of Media Pho-tographers, Advertising Photographers of America, andProfessional Photographers of America are just some of theassociations Publicity Photographers can belong to for edu-cational workshops and conferences, networking opportuni-ties, portfolio critiques, employment referrals, and discountson group health insurance and other necessities.

Tips for Entry1. Search for public relations firms and publicity agen-

cies on the Internet. Contact them and set up informa-


tional meetings so that you can learn how they workwith photographers and if they have any openings.

2. Network. The public relations industry thrives on net-working. Join professional associations and attendmeetings and conferences. Always have businesscards, promotional postcards, or even electronic port-folios on CD with you to share at events.

3. Many nonprofits look for volunteer public affairs pho-tographers. While it is always better for the wallet tohave a salary, if you are new to the field, volunteeringcan be a great introduction to the field and an oppor-tunity to create images for your portfolio.


Position DescriptionStock Image Photographers turn the numerous images theyhave created over the years into stock photography librariesfor sale to advertisers, publishers, and others. Stock photog-raphy means they rent the images to clients for one-timeusage or other types of usage as dictated in their usageagreements and therefore have a secondary market for workthey have already completed. When clients have an immedi-ate need for photographs or are operating under tight budgetconstraints, they often use stock photography. Rather thancommissioning photographers to create current work, whichtakes more time and can entail a variety of expenses, clientscan peruse online photographic galleries, choose the imagesthat best match their needs, pay the appropriate fees, and

have access to those images within minutes. Stock photog-raphy is used in advertisements, books, magazines, posters,calendars, Web sites, clothing, accessories, decorative items,textile and industrial products, and more.

Stock Image Photographers choose and categorizeimages by subject. If they specialize in food photography,the categories can be as simple as hamburgers, pizza, delisandwiches, fruit, holiday dinners, and so on. Just about anyimage a photographer creates can become a stock image.Depending upon their projects, clients will look for imagesin any number of subjects, such as scenes in offices, peoplein parks, backyard barbecues, landscapes, flowers, or chil-dren at playgrounds. They may want a martini on a glasstable, a man lounging at the beach while using a laptop


STOCK IMAGE PHOTOGRAPHER


Duties: Creates photographic images (i.e., film and digitalimages, montages, collages) for various clients and self-initiated projects over the years; builds a substantial,diverse library of images and categorizes them by sub-ject; participates in stock image shows and exhibitions;creates and negotiates contracts for buyers; manages andoversees a Web site gallery

Alternate Title(s): Commercial Photographer, Fine-ArtPhotographer, Nature Photographer, Photojournalist

Salary Range: $40,000 to $75,000+



Best Geographical Location(s): Anywhere

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in digital photographic and photo-graphic design software (i.e., Adobe Photoshop)

Experience—Three or more years of professional pho-tography experience in a commercial studio

Special Skills and Personality Traits—Knowledgeableabout photography and photographic techniques; creativeand innovative; savvy about stock image business prac-tices; excellent negotiation skills; ability to understandstock image contracts; self-motivated; organized; ethical

Stock Image Photographer

Professional Photographer


computer, or an older couple laughing as they pick fruit at asupermarket. Generic, everyday life, nonbrand images havethe best potential for reuse in the stock photography market.

Stock Image Photographers may also create stock imageson speculation, meaning they will take photographs of theirown creation and initiative to add to their galleries and pitchto prospective clients. For instance, if a photographer wantsto have images that focus on people using cellphones in avariety of venues, he or she may call a modeling agency andask about creating images of the newest models, both for theagency and for client pitches. The photographer will photo-graph models using cellphones as they walk down a street,sit in a bus, shop in a store, or in other settings. The agencythen uses the photos to promote their models while the pho-tographer adds them to his or her inventory.

Naturally, Stock Image Photographers can create stockimages at any time. They may be working on a commercialshoot, for example, at the Chrysler Building on a particu-larly beautiful day. While there, they can snap a series ofshots of the building with a blue-sky, puffy white-cloudbackground. These pictures can make for excellent imagesfor clients needing New York scenes or examples of archi-tectural accomplishments.

Stock Image Photographers usually commission graphicdesigners to help them create stock image catalogs,brochures, and other promotional literature. They also retainWeb designers to create Web site galleries and stores inwhich to promote and sell their stock photographs. Theymay hire and oversee administrative staff, such as salesassociates and customer service representatives to field cus-tomer inquiries and handle transactions, as well as officemanagers, bookkeepers, and accountants.

SalariesStock Image Photographers can earn annual salaries rangingfrom $40,000 to $75,000 or more. Their earnings willdepend upon the size and scope of their stock libraries, thequality and desirability of their images, the types of buyers,and types of usage being purchased. It costs less to buy one-time usage rights for an image than it does to use that imagein a number of ways and in a variety of media. Multiple-usemeans more money for the photographer. Experienced andreputed photographers can sell their collections for largeamounts of money to such stock image giants as Corbis andGetty.

Employment ProspectsThe proliferation of online stock photography agencies hasprovided photographers with more opportunities to promoteand sell their stock photography images. Creating their ownWeb site galleries and stores has also gotten easier andenabled more photographers to have a secondary market fortheir work. Employment prospects will depend upon a num-

ber of variables: the size of the Stock Image Photographer’slibrary, the quality and marketability of the photographs,whether the photographer is a well-known name in his orher photographic specialty, and how the photographerchooses to promote and sell the images. Stock Image Pho-tographers may sell their images through their own Websites or through stock photography agencies. Those who sellon their own choose to do so because they prefer to havecomplete control of the business and retain more money;they set the terms and negotiate directly with clients. Theychoose how best to promote their stock catalogs. Stock pho-tography agencies, on the other hand, can save photogra-phers time by handling all of the administrative and accountmanagement tasks. They oversee the Web site gallery andmay deal directly with clients and handle transactions on thebehalf of photographers.

Advancement ProspectsStock Image Photographers can advance by expanding theirlibraries. They can partner with other photographers whospecialize in fields other than their own, for the opportunityto diversify their libraries and attract new clients. They canwrite articles and lecture about the business. They can alsoadvance the field by teaching and writing about fair industrypractices.

Education and TrainingA two- or four-year degree in photography, with courseworkin small business management and sales and negotiationtactics, is a solid foundation for this position. Training indigital photography and design software such as AdobePhotoshop is recommended. Stock Image Photographerskeep abreast of industry practices and copyright issues bytaking workshops offered by trade associations and techni-cal and art institutions.

Experience, Skills, and Personality TraitsStock Image Photographers have backgrounds in a widevariety of photographic disciplines from which they buildtheir stock image businesses. Some may be nature photogra-phers; others fine arts photographers or interior design pho-tographers. They are extremely organized and are able tocommit time to creating, categorizing, and cataloging imagelibraries. They have excellent written and communicationskills. If they have full-time staff, they are adept at prioritiz-ing and delegating work and managing and overseeing others.Stock Image Photographers are smart, ethical entrepreneurswho have a thorough knowledge of how the stock imagebusiness works and conduct their business in accordancewith fair trade practices. Stock Image Photographers areself-determined, motivated individuals who are interested inextending the use of their images to make the most of itsmarket potential.


Union and AssociationsStock Image Photographers belong to the associations thatpertain to their photographic specializations. For instance,photojournalists may belong to the National Press Photogra-phers Association for networking opportunities and educa-tional resources. Stock Image Photographers of alldisciplines may belong to the Photo Marketing AssociationInternational, Advertising Photographers of America, Amer-ican Society of Media Photographers, and Professional Pho-tographers of America for workshops and conferences,employment referrals, portfolio critiques, and discounts onmedical and equipment insurance. They may also join theAssociation of International Photography Art Dealers foreducational publications, networking opportunities, and theability to participate in annual photography shows.

Tips for Entry1. Make sure you understand how the stock photography

business works before you dive into it. You need to

protect your rights and price your work in accordancewith industry standards. Read the stock artwork sec-tion of the Graphic Artists Guild’s Handbook of Pric-ing and Ethical Guidelines and publications fromtrade associations such as the American Society ofMedia Photographers.

2. Join the Association of International Photography ArtDealers and learn the full details about how you canexhibit and sell your photography in their annual pho-tography show. The show features vintage and con-temporary photographic images, offered for sale byinternational galleries and private dealers.

3. Stock agencies such as Creative Eye, Stockphoto Net-work, and Media Image Resource Alliance offer awealth of information for photographers and buyersabout the stock image business. Review their catalogsor visit their Web sites regularly to keep up withindustry practices and issues and to network with oth-ers in the field for advice and referrals.


EVENT AND TRAVELPHOTOGRAPHY

Position Description:Banquet Photographers photograph banquets hosted byhotels, convention centers, universities, corporations, asso-ciations, sports leagues, and many others. They cover dinnerdances, holiday parties, awards ceremonies, luncheons fea-turing panel discussions, alumni reunions, and graduationballs. The word banquet doesn’t always apply to their sub-ject matter, however, as they may also be commissioned tophotograph summer camp events and school proms.

Banquet Photographers take pictures of groups at tablesand speakers and honorees at podiums. They photographguests as they arrive, groups mingling during the pre-dinnercocktail receptions, and couples dancing during post-dinnerentertainment. Banquet Photographers also take interior

shots of the facilities, as well as exteriors of the buildings inwhich the banquets are held.

Banquet Photographers travel to locations for their workand have their camera equipment and gear packed and pre-pared in advance for shoots. For large banquets and events,they usually work with a team of photographers and assis-tants, all of whom are either on staff in their studios or havebeen commissioned as freelancers for the event. BanquetPhotographers meet with clients before events to discuss thevarious photographic packages available, the photographicstyle and subject matter the client would like to see, as wellas to review cost estimates and negotiate contract terms.

Normally, Banquet Photographers have digital setups onsite at the banquets, so people can see previews of their pho-


BANQUET PHOTOGRAPHER


Duties: Photographs banquets for associations, universities,large corporations, and other organizations that host din-ners and evening functions at hotels, conventions centers,and banquet sites; oversees film development and pro-cessing; sells photography packages and framed picturesto clients

Alternate Title(s): Convention Photographer, WeddingPhotographer




Best Geographical Location(s): Boston, Chicago, LasVegas, Los Angeles, New York, and San Francisco

Prerequisites:Education or Training—Two- or four-year degree inphotography; trained in digital photography and photo-graphic design software programs

Experience—Two to three years of commercial photog-raphy work; prior wedding or event photography experi-ence beneficial

Special Skills and Personality Traits—Detail- anddeadline-oriented; excellent interpersonal and communi-cation skills; polite and comfortable in social settings

Banquet Photographer

Wedding Photographer


tographs and request retakes if the images do not meet theirexpectations. Banquet Photographer also work in film, cre-ating wide-screen images of large groups and entire rooms.Some Banquet Photographers also offer on-site printing, sothat people can take the prints home immediately. Photogra-phers can add company logos to the prints and offer variousprint options to clients, such as color schemes and photoborders.

Banquet Photographers also work closely with conven-tion center and hotel managers and crew. These facilities areusually run by unions and have set job descriptions for theiremployees. Banquet Photographers may not be authorizedto move certain objects or set up certain electrical wires ifthese tasks fall within an employee’s domain. Photogra-phers will contact employees throughout the location shootto bring cartons and cases, provide and install electric wires,set up or move ladders, adjust and control overhead lights(not photographic lights, though), and more.

Freelance Banquet Photographers are also responsible forrunning and maintaining their businesses. They handle thepromoting and marketing of their services and work withgraphic designers on advertising campaigns and Web design-ers on the creation and maintenance of their company Websites. They either have a bookkeeper and accountant handlethe books, tax payments, and accounts receivable andpayable, or they do it themselves, and they make sure theiroffice equipment works and office supplies are stocked.

SalariesBanquet Photographers are usually freelancers who chargeflat fees or day rates for their services. They may charge any-where from $500 to $1,500 or more per event or per day. Feesdepend upon number of shots and locations involved in theproject, location of the banquet or event, and the photogra-pher’s years of experience in the field. Successful BanquetPhotographers who are well known and in high demand willsecure higher salaries. The few Banquet Photographers whoare full-time employees at commercial studios will usuallyenjoy such benefits as discounted group health insurance andpaid vacation and sick leave. Depending upon their agree-ments with clients, Banquet Photographers may augmenttheir earnings by selling images to stock photography houses.

Employment ProspectsChances of finding work in the banquet photography fieldare good. The growth of group travel to resorts and to year-round convention and trade-show cities has increased thedemand for on-site photography services in hotels and con-vention halls everywhere. The increasingly affluent middleclass and the substantial growth of the senior citizen markethas led to new and improved retirement and resort commu-nities. New hotels, convention centers, and the developmentand expansion of seashore communities have contributed tothe continual demand for Banquet Photographers.

Advancement ProspectsFreelance Banquet Photographers advance by adding morestaff photographers to their studios, expanding into other areasof photography they may not already be servicing (i.e., sports,weddings, etc.), and opening more studios in new locations.Staff Banquet Photographers can advance to become seniorphotographers or owners of commercial studios.

Education and TrainingA two- or four-year degree in photography, with training indigital photography and design software such as AdobePhotoshop and Illustrator, is usually a solid foundation forBanquet Photographers. Sales is an important part of theposition, and Banquet Photographers will do well to takeworkshops in promotion, marketing, advertising, and smallbusiness ownership.

Experience, Skills, and Personality TraitsMost Banquet Photographers have at least several years ofprior experience in commercial photography. A backgroundin portrait and wedding photography is especially helpful tothe position. Banquet Photographers are outgoing, confident,and adept at working with a wide variety of people, fromclients of all ages to banquet and convention center employ-ees. They are professional and firm, able to manage andinstruct groups and individuals about when and where topose to ensure the best images. They take photographs bothindoors and outside and are skilled in lighting and composi-tion. Banquet Photographers need to have strong communi-cation and organization skills and be comfortable promotingtheir services and selling photographic packages. They mustbe energetic and have great stamina because they may worklong days or nights and will have to travel to locations.

Unions and AssociationsAssociations such as Wedding and Portrait PhotographersInternational and Professional Photographers of Americaprovide Banquet Photographers with educational resources,employment listings, and networking opportunities.

Tips for Entry1. Find Banquet Photographers in your area by doing an

Internet search on Google or another search engine.Review their Web sites and online galleries. Readtheir biographies and familiarize yourself with theirclient lists. Contact those studios you are most inter-ested in working for and ask about employmentopportunities. If nothing else, see if you can set upinformational meetings to learn more about the fieldand their work.

2. Contact hotels, catering halls, and convention centersto learn the names of photographers who cover ban-


quets and events. Contact these photographers to seeif they need assistance with upcoming projects. If youcan afford it, volunteer to help at a shoot. It will giveyou the chance to see if this type of work is for youand learn all the steps that are involved.

3. Visit the Web sites of corporations, associations,sports leagues, and others to see their event calendars

for the coming months. Contact these groups to see ifthey have photography needs and schedule a meetingto discuss your services with them. Prepare for themeeting by tailoring your portfolio to include imagesthat best represent the style and content the prospec-tive client will prefer.


Position DescriptionCruise Photographers are roving goodwill ambassadors whophotograph passengers throughout the trip, at both thecruise lines’ and the passengers’ requests. Cruises may belong weekends, one- to two-week tours, or longer periods oftime aboard luxury vessel lines such as Celebrity, Carnival,Royal Caribbean, Holland America, and many othersdeparting from ports on the east and west coasts.

The Cruise Photographer is usually a member of a pho-tography team covering indoor and outdoor youth activities,typically located outdoors at swimming pools or indoors forstorytelling or game periods. The Cruise Photographer alsocovers adult, leisure-time events on decks and indoors,including group portraits at dining tables and at the cap-tain’s table, where special guests are invited.

Cruise ships offer photographers a finishing room andfile headquarters, which feature provisions for tamper-freewall mountings of photo bulletin boards. Each day, CruisePhotographers post an array of photos taken either that dayor the day before, for customers to review and select. Whenpassengers order prints Cruise Photographers can deliverthem long before the trip ends. Digital cameras speed theprocess and enable immediate printing and billing throughelectronic processing. Processing of digital printing is fol-lowed by a bill issued through the cruise operator.

The Cruise Photographer accepts special calls for groupphotos or for publicity photos and press coverage of specialshipboard moments. Once on board the ship, the CruisePhotographer is on the job seven days a week, available andready to photograph all activities day or night, as requested.


CRUISE PHOTOGRAPHER


Duties: Provides photography throughout a cruise, from themoment passengers board to the activities of the finalnight; handles sales and print orders during the voyage;keeps records of all photographs; may work with anassistant


Salary Range: $1,000 to $2,000+ per voyage, plus bonus



Best Geographical Location(s): Major cities with activeports

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in digital cameras, design software(i.e., Adobe Photoshop, Illustrator), and photo processing

Experience—At least three years of experience as por-trait studio photographer or wedding photographer

Special Skills and Personality Traits—Ability to inter-act well with people one-on-one and in large groups;good eye for details; sensitive to appropriate times tophotograph; able to work long days and nights; highenergy; productive; deadline- and detail-oriented; strongknowledge of photo development process

Senior Cruise Photographer

Cruise Photographer

Portrait Photographer /Wedding Photographer

Typically, there is not much rest until the ship returns to itshome port.

SalariesThe Cruise Photographer is often paid per voyage, and ratescan range from $1,000 to $2,000 or more per month,depending on experience. The fee is negotiated in advanceand usually includes a bonus or commissions for high-vol-ume sales of the photographs. Cruise Photographers whowork fast, are adept at capturing special moments, and whoare friendly and have smart sales tactics will succeed inearning higher wages.

Employment ProspectsThe growth of the cruise-line business and the addition ofeven longer voyages have changed normal shipboardemployment conditions and, consequently, improved jobprospects for Cruise Photographers. A new employer in thecruise field is Trans-Ocean Photos, which employs 200 pho-tographers, many of whom are situated onboard the shipswhile others are located at theme parks such as Disneyland.Often husband-and-wife teams sign on for the voyage asphotographer/pianist combinations. Sometimes both arephotographers. Applications are best made when cruiseships are in port for crew changes, provisioning, and repairs,which is usually during weekends. More applications arenow being accepted through the Internet than via mail.When ships are docked, prospective photographers shouldsee the purser to find out about openings for later voyages.

Advancement ProspectsStaff sizes vary widely on cruise ships. The longer the cruiseand the greater the number of passengers, the larger the staffneeded to meet all of the needs. Cruise ships with largerstaffs normally have larger photography departments andhigher turnover, thus providing photographers with moreopportunities to advance. Cruise Photographers with two ormore years of solid, frequent cruise photography experiencecan advance to become senior cruise photographers or headsof the photography department. They can also write abouttheir experiences and share tips in industry, as well as news-stand, publications.

Education and TrainingA two-year degree from a technical school or a four-yeardegree with a specialization in photography is usually ade-quate for employment with most cruise lines as a CruisePhotographer. Of utmost importance is agility with digitalcameras and design software, which can be learned either inthe classroom or on the job as portrait or wedding photogra-phers. Cruise Photographers must also be trained in photo-processing techniques.

Experience, Skills, and Personality TraitsCruise Photographers are professionals who know how toretain a certain degree of decorum while they are at work.While others are vacationing aboard the ship, photographersare always mindful that they are employees, not guests, andhave certain responsibilities to fulfill. They know how to bedetached observers, always at the ready to photograph spe-cial, unique moments. To do this kind of work, they mustenjoy working with all types of people and all age groupsand have huge supplies of patience and flexibility. Theyneed great technical and technological skills and must beadept with digital cameras, design software, and printprocesses. The finish room is a giant responsibility, requir-ing great attention to detail, organization, and deadlines.Cruise Photographers and the photography team may beprocessing prints and coordinating orders for anywherefrom 800 to 1,500 customers, all of whom need to be servedwithin seven to 10 days, depending on the length of thecruise. Because the job is often seven days a week, CruisePhotographers need stamina and high energy to meet all ofthe demands.

Unions and AssociationsCruise Photographers can join such associations as the Pro-fessional Photographers of America and Wedding and Por-trait Photographers International for access to industrynews, technology updates and technical advice, discountson various services (including mailing lists for promotionalpurposes), educational workshops, conferences, and more.There may be other, cruise line–specific associations thatmight offer networking benefits to Cruise Photographers.Use Internet search engines such as Google to researchthese associations.

Tips for Entry1. Read the Web sites of various cruise lines. Visit the

employment sections and see if they have any jobopenings for Cruise Photographers.

2. To secure work in this field, be sure to create a portfo-lio that reflects your best portrait and event or wed-ding photography. Also make sure that your résumé orcurriculum vitae is professional, presentable, andaccurate.

3. Pursue all avenues when you are job hunting. Attendtravel expos and trade shows. Bring business cards soyou can take full advantage when you network.

4. Check listings in national and trade publications. Youcan also find jobs listed with such employmentplacement agencies as Cruise Job Line (http://www.cruisejobline.com) and Cruise Placement HiringAgency (http://www.cruiseplacement.com).


Position DescriptionThe Resort Photographer works with a creative team to pro-vide daily photographic services at a single hotel. The teamcaptures candid shots of daytime activities of guests at thebeach or pool, at tennis, golf, and other sports offered at theresort, as well as at special evening events, such as dinnersand theatrical performances. The coverage will includeclose-ups of activities, such as card playing, bingo, andother table games, as well as high angles of groups takingyoga and dance lessons or attending workshops or perform-ances. The Resort Photographer will also cover the chil-dren’s play areas and children’s team sports and activities.

Resort Photographers take indoor and outdoor shots. Theyphotograph gyms or exercise rooms, card and game rooms,billiards, hair salons, gift shops, bars, dance clubs, and the-

aters. Some resorts may have restrictions about photographyin bars, card rooms, or casinos. Dining areas are often only tobe photographed if requested or suggested by guests at a sin-gle table. Resort Photographers may also photograph newdevelopments and renovations at resorts. They take picturesof interior and exterior shots of buildings, sports facilities,pools, beaches, and so on for promotional purposes.

When a resort has a special dress-up evening or formalevent, the Resort Photographer creates portraits of singles,children, couples, or groups by posing people in screened-off and pre-lit sections of lobbies before and after dininghours. They post signs in the immediate area informing peo-ple that photographs are subject to the guest’s acceptance ofthe results, with print prices charged to the guest’s roomupon acceptance. Guests select and order prints at a cashier


RESORT PHOTOGRAPHER


Duties: Provides photographic services throughout the dayand evening for prestigious hotels; creates portraits ofguests and photographs conferences, special events, andinteriors; provides photographic documentation of resortdevelopment

Alternate Title(s): Travel Photographer

Salary Range: $30,000 to $100,000



Best Geographical Location(s): Beach and mountain com-munities with established hotels featuring entertainmentand sports facilities

Prerequisites:Education or Training—Two- or four-year degree inphotography

Experience—Two to three years of experience as a por-trait or wedding photographer

Special Skills and Personality Traits—In-depth knowl-edge of photographic design software; skilled in colorcorrection and enhancement; excellent people skills;energetic, flexible worker; able to work independentlyand on a team; familiarity with graphic design andvideography; bilingual or multilingual skills beneficial

Resort Photographer



area and pick the prints up when checking out. Resort Pho-tographers are often precluded from accepting payments orgratuities from guests.

SalariesResort Photographers work on a contract basis, typically frommonth to month or from season to season, and are rarely full-time employees of hotel corporations. Industry standard is topay Resort Photographers by the month, and those wages canrange anywhere from $2,500 to $5,000 or more per month.Rates will vary depending on the size and prestige of the resortand the Resort Photographer’s expertise. Resort Photogra-phers are frequently provided with commissions for theirwork, as well as room and board, saving them money on rentand food while they are on the job. They are often also givenlimited access to sports facilities and other resort amenities.Often Resort Photographers hire their own assistants and, insome cases, work alongside their family members.

Employment ProspectsAccording to the Department of Labor’s Occupational Out-look Handbook, employment in hotels and other accommo-dations is expected to increase by 17 percent through 2012,compared with 16 percent growth projected for all indus-tries combined. Resort Photographers have good chances offinding work throughout the year at resorts around theworld. The largest, most prestigious resorts will, naturally,offer the most opportunities. Resort Photographers whohave commercial photography experience, are able to adjusttheir schedules to travel, and can pick up and relocate withinshort notice will have the greatest advantage in securingcontracts. Monthly and seasonal employment also assures ahigher rate of staff turnover within resorts as compared toother industries so that there are often openings.

Advancement ProspectsBecause Resort Photographers are contractual workers, oppor-tunities for advancement within hotel corporations are poor. Insome instances, resorts with large creative departments mayhave hierarchical structures, consisting of junior-, middle-, andsenior-level photographers, where photographers can move upthe ladder. Most Resort Photographers, however, advance byexpanding their technical expertise; they can hone theirvideography, graphic design, or Photoshop skills. They canwrite books and articles about their work, both from thehuman-interest level as well as from the business and technicalside. They can also teach workshops and speak at conferenceshosted by trade associations.

Education and TrainingMost resorts do not require photographers to have specificeducational backgrounds. Well-rounded and successful

Resort Photographers, however, draw from the strong basisof a four-year degree in photography or art. Resort Photog-raphers must have an excellent working knowledge of digi-tal photography and be trained in photographic designsoftware, such as Adobe Photoshop. Customer service orretail experience can be useful since Resort Photographersdeal directly with the public on a daily basis.

Experience, Skills, and Personality TraitsThe Resort Photographer is generally an experienced, priorowner of a small portrait or commercial studio. He or she isadept at working with digital equipment and at lighting,composition, and creating portraits of people. Resort Pho-tographers need to not only be technically and technologi-cally skilled but also have the ability to instantly create arapport with people they have never before met. They mustbe accessible, approachable, and friendly. People are thereto have fun; photographers must have the same attitude tocapture that spirit. They must also be capable of workingindependently as well as with a team. Resorts offer servicesand events around the clock, and Resort Photographers areon call for everything on the calendar. Stamina, energy,organization, attention to detail and deadlines, reliability,and responsibility are key characteristics of successfulResort Photographers. Many resorts are located overseas inexotic locations. Resort Photographers who speak severallanguages, such as English, French, and Spanish, may havethe extra advantage when seeking employment.

Unions and AssociationsProfessional Photographers of America and AdvertisingPhotographers of America provide Resort Photographerswith access to employment listings, educational resources,and networking opportunities.

Tips for Entry1. If you are not yet working in a commercial studio,

seek an assistant or apprentice position at a photogra-phy studio that covers events and activities. Make surethe work you’ll be doing closely matches a portion, atleast, of what Resort Photographers do, such as pho-tographing conferences, weddings, and creating por-traits of individuals and groups.

2. Create a list of the resorts for which you would like towork. Make sure that the activities the resorts offerare activities you are interested in photographing. Inother words, if you love the water and swimming,pursue resorts that offer pool and beach activities. Ifyou have no interest in skiing, delete ski resorts fromyour list. Use an Internet search engine, such asGoogle (http://www.google.com), to find the Websites for these resorts and see the amenities they offer.Contact personnel departments or visit the resorts in


person to find out about employment opportunitiesand application requirements.

3. Immerse yourself in the resort and travel business.Read travel books and industry magazines and check

the back pages for employment listings. You can alsofind job advertisements on the Internet, at such sitesas Escape Artist (http://jobs.escapeartist.com) andJobs Abroad (http://www.jobsabroad.com).


Position DescriptionSafari Photographers photograph animals, people, andplaces in remote locations around the world. They work formagazine and book publishers, Web sites, safari and adven-ture tour companies, advertising agencies, public relationsfirms, and tourist boards. In addition to photography work,they may also lead tours, taking groups of amateur or pro-fessional photographers to picturesque sites that they dis-covered through their own experiences.

Safari Photographers study animals to understand theirbehaviors and patterns and also determine the best times to

set out from camp to photograph them. Through their ownobservations, as well as discussions with national parks offi-cials and locals, they learn about the animals that inhabit theregion in which they operate. They find out the specifictypes of animals in the area, the number of animals in theherds or prides, and the exact locations of watering holes,hunting grounds, and shelters from the day’s heat. They mayphotograph a variety of animals or focus specifically on oneanimal for the duration of their trip. Either way, they set outearly each day with appropriate equipment and gear to takephotos of the animals in their natural environments. They


SAFARI PHOTOGRAPHER


Duties: Photographs animals in their natural habitats, land-scapes, and local cultures in such places as Africa, India,and South America for magazines, newspapers, book pub-lishers, and Web sites; may organize and manage tours toremote areas of the world where wildlife roams freely

Alternate Title(s): Travel Photographer, Wildlife Photog-rapher

Salary Range: $25,000 to $75,000+



Best Geographical Location(s): Major cities, to establishbusiness and attract clients; Africa, Alaska, Botswana,Kenya, India, South America, and other locations, foractual photography work

Prerequisites:Education or Training—Four-year degree in photog-raphy; degree or coursework in zoology and biologybeneficial

Experience—Five or more years of commercial photog-raphy work; experience as daily newspaper, sports, orwedding photographer beneficial

Special Skills and Personality Traits—Strong interestin and knowledge of wildlife; adventurous spirit; excel-lent eye for detail; culturally aware; some multilingualabilities helpful; patient; flexible; adaptable to change;physically fit and healthy; friendly; organized; leadershipabilities; strong communication and interpersonal skills

Safari Tour Owner/Operator

Safari Photographer


will photograph zebras grazing in the plains, hippopota-muses cooling themselves in lakes, lions chasing downgazelles, eagles feeding their young. They may photographlandscapes in the evenings for dramatic, moonlit images.They may spend a day scouting various locations, makingdetailed notes about the specific site, time of day, lighting,and composition pluses or minuses.

While Safari Photographers may focus primarily onwildlife, many also create dramatic and beautiful photo-graphic images of the people and culture of the regions towhich they travel. They may photograph tribes people, mar-ketplaces, homes, rituals and celebrations, daily life activi-ties, and more. Their cultural studies may be exhibited inmuseums and galleries around the world.

Safari Photographers learn everything they can aboutwhere they travel. Whether they have been commissionedby a travel magazine or the trip is self-initiated, they makesure they understand all of the following, and more, beforethey book their flight:

• political climate of the region• languages spoken and cultural mores• climate• common illnesses, health hazards, prevention and treat-

ment• food and water availability• licenses and permits that may be required

They study maps, learn the basics of the local languages (atleast enough to get by), and create lists of photographicequipment and supplies they will need to pack. They mayhire assistants, interns, and others for their photographyteam, depending upon the scope and size of the project.They will oversee and manage their teams, making sureeach person is prepared for the work ahead.

SalariesAnnual salaries for Safari Photographers can range from$25,000 to $75,000 or more. Earnings depend on their yearsin the field and the types of clients for which they work.Most Safari Photographers are freelancers, which meansthey have the burden of covering many of their expenses,especially if they are just starting out. They will need toallot money from their earnings for the purchase and main-tenance of photographic equipment, film and development,and travel gear. Clients usually reimburse photographers fortravel, food, and related expenses. Safari Photographers cansupplement their incomes by teaching safari and travel pho-tography, writing articles, and selling and licensing theirwork to stock agencies.

Employment ProspectsThe safari photography field is extremely competitive. Onlya select few have established themselves as the top Safari

Photographers, and they normally only reach this level afterhaving committed years to the industry. And while the selectfew rise, advances in technology have made it easier thanever for people from all walks of life to take photographs,retouch their own images, and flood the field. This is not tosay that experienced, technically skilled photographers arenot still needed, but it does mean that the market is thatmuch more overloaded with applicants, many of whom arewilling to lower their standards to secure work. Anotherbenefit and detriment to the field is stock photography.Clients can now easily find and purchase exotic imagesfrom online stock photography agencies.

Safari Photographers who can secure work with maga-zine publishers and tourist boards and prove they are reli-able, deadline-driven professionals have the best chances ofreceiving referrals to other clients and projects. Many SafariPhotographers must work in other areas of photography tosupplement their incomes. Some may maintain commercialphotography studios in major cities. Still others may teachin universities and technical or vocational schools.

Advancement ProspectsThere is no standard career ladder for Safari Photographers.The good news is that they have options from which tochoose, and advancement will depend on their strengths andinterests. After years of hard work, freelance Safari Photogra-phers who have entrepreneurial spirits and excellent connec-tions can open their own safari and adventure-tour operations.They may lecture at conferences hosted by professional asso-ciations and teach at universities. They may write books andmagazine articles about their adventures. Safari Photogra-phers may also exhibit their photographs at galleries andmuseums and license their work to stock agencies.

Education and TrainingA four-year degree is recommended for Safari Photographerwork. Degrees can be in zoology or biology, with course-work in photography, or vice versa. On-the-job training as aSafari Photographer’s assistant is highly recommended.Safari Photographers must also be trained in digital photog-raphy and photographic design software programs, such asAdobe Photoshop and Illustrator.

Experience, Skills, and Personality TraitsSafari Photographers usually have backgrounds in commer-cial photography. The skills needed to photograph live newsor sports events for newspapers or magazines, or weddingsfor portrait studios, are very similar to those used in safariphotography. A Safari Photographer must have an excellenteye for detail, be tuned into his or her environment at alltimes, and know the perfect moment to take a picture. The jobrequires the ability to study animals and understand theirbehaviors. This knowledge is especially helpful in determin-


ing when it is safe to be near animals to take photos and whento keep at a distance. Safari Photographers must be curiousabout the world and have adventurous spirits. The workrequires extensive travel and often uncomfortable and dan-gerous environments, so it is not a field for the faint of heart.Physical fitness, sound health, stamina, and energy are crucialin the position. Safari Photographers must also be technologi-cally proficient. They must be adept at digital photographyand fluent in photographic design software programs.

These skills are especially crucial when photographersare on location in remote areas. For instance, if a photogra-pher is on a three-week tour in the Kalahari Desert and underdeadline to get work to his editor in New York City, he or shecan upload the images from the digital camera directly to acomputer, correct light, color, or size using Adobe Photo-shop, then transmit via e-mail or Wi-Fi for near-immediatereceipt. Knowing how to do all of this is the key to building aprofessional reputation in the safari photography business.

Unions and AssociationsThere are no known associations dedicated solely to SafariPhotographers. They may belong to such associations as theAmerican Society of Media Photographers and ProfessionalPhotographers of America for educational workshops,industry news, contests, networking opportunities, andemployment referrals. Safari Photographers can also finduseful information and resources through the Travel Pho-tographers Network (http://www.travelphotographers.net).

Tips for Entry1. Immerse yourself in travel photography. Read travel

magazines such as Outdoor Life, National Geo-

graphic, Condé Nast Traveler, Global Traveler, Travel& Leisure, Travel Africa Magazine, and many others.See what other Safari Photographers are doing by vis-iting their Web sites. You can find many by using asearch engine, such as Google (http://www.google.com), and plugging in the key words: Safari Photog-rapher. Safari Bill (http://www.safaribill.com) is anexcellent Web site with useful information. AnotherWeb site with great resources is Wild Safari (http://www.wildlifesafari.info).

2. Take a summer job with a safari tour operation group.Secure work as a photographer’s assistant, if possible.If there are no photography positions open, work as acamp assistant or in any other capacity so you can seefirsthand how tours run and the tasks and skillsinvolved in being a Safari Photographer.

3. Secure an internship or entry-level job in the creativeor editorial department of a travel magazine. Havingyour foot in the door of a travel publication can be anexcellent way to learn how editors, creative directors,and publishers think and what it is they look for inarticle and photography submissions.

4. If you can afford to, take a self-funded trip to test thewaters. Go on safari and treat the trip as you would aprofessional job. Research the location, get the rightgear, and create a packing list. When you get back,pitch your pictures to magazine publishers and othersand see what happens. In the end, you will know ifthis is the kind of work you want to pursue. And ifnothing else, you will most likely have some goodstories to share!


Position DescriptionTravel Photographers work on assignment for magazine edi-tors or pitch ideas to editors either before or following theirtrips. They travel to cities, rural areas, and remote locationsnear or far and photograph landscapes, architecture, people,animals, foliage, as well as events. Their work is publishedin magazines, books, travel brochures and posters, and onWeb sites. If photographing for advertising clients, theywork closely with models, wardrobe stylists, makeup artists,creative directors, assistants, and others. They may beresponsible for hiring and overseeing creative staff, depend-ing upon the client and the project.

Travel Photographers prepare extensively for their trips.They read as much as they can about the countries they plan tovisit. They learn about the people, the customs, and the basiclanguage they will need to get through the day. They scoutlocations through literature and online research or firsthandbefore the first day of the shoot. If working with a crew, theycreate a shoot schedule. They identify the objects they plan tophotograph and then they determine the angles that will workbest and where specifically to capture those angles. It maymean standing at a street corner near a café 10 blocks away orsetting up on a building rooftop just down the street. Theyneed to know these locations in advance so they can strategize


TRAVEL PHOTOGRAPHER


Duties: Travels around the world photographing people,places, and events for advertising, marketing, and edito-rial clients; works closely with creative directors, mod-els, stylists, assistants, and other creative staff; negotiatescontracts; creates estimates, production schedules, andinvoices; scouts locations; handles accounts receivableand payable; handles self-promotion and marketing

Alternate Title(s): Photojournalist

Salary Range: $40,000 to $100,000



Best Geographical Location(s): Boston, Fort Lauderdale,Houston, Miami, New York, and Seattle

Prerequisites:Education or Training—Bachelor’s degree in photog-raphyExperience—Three or more years of experience as acommercial photographer; several years of experience asa photographer’s assistant or studio assistant for studioswith travel-related clientsSpecial Skills and Personality Traits—Digital photog-raphy and design software expertise; adept at independ-ent work and teamwork; flexible attitude; able to travelon short notice; diplomatic; sensitive to and respectful ofdiverse cultures and communities; curious about othercultures and places; excellent research and organizationalskills

Travel Photographer


Studio Assistant /Photographer’s Assistant

when and how to get there and so that they can secure anyrequired permissions from the city’s officials. Travel Photog-raphers review current maps to orient themselves to the ter-rain. They also familiarize themselves in advance with themodes of transportation available and nearby conveniences(i.e., public facilities, restaurants, film supply stores). Also ofgreat importance is knowing whom to contact for specificthings, as well as when and how to get licenses and permits tophotograph at certain locations.

Travel Photographers create thorough and accurate listsof photography equipment needed on location and makesure each and every item is packed. If they hire assistants tohandle these tasks, they are still responsible for overseeingthat everything is accurate and complete. They keep carefultrack of all of their expenses and save all of their receipts.When they return from their trips, they create expensereports, which they submit to clients along with copies of allreceipts for reimbursement. Typically, they secure approvalfor expenses in meeting with clients prior to travel.

SalariesTravel Photographers can earn salaries ranging from$40,000 to $100,000 or more, depending on clientele andtypes of projects. Travel Photographers usually charge aper-diem rate ranging from $500 to $1,000 or more, plus alltravel expenses. Contract terms usually list one-time useonly. Travel Photographers, like all photographers, chargemore when the agreement requires that the images be usedmore frequently and in other media. They enhance theirsalaries by also selling images to stock photography housesand licensing agencies. Freelance Travel Photographersmay travel first and pitch their images afterward to publica-tion editors. To take this approach, they must be able tofront the costs for their trips and cover all related expenses.

Employment ProspectsTravel Photographers face fierce competition because manyconsider the field to be glamorous and ideal. Consequently,there are far more prospective Travel Photographers thanthere are jobs to fill. Travel Photographers secure work bykeeping up with what is going on in the world. They followthe news closely by reading newspapers and magazines,watching the news and documentaries on television, listen-ing to the radio, and networking through memberships toprofessional associations. Smart photographers know topitch magazine and book publishers well in advance aboutevents, festivals, or special celebrations that will be happen-ing in particular countries and cities next year or even thefollowing year.

Advancement ProspectsMost photographers aim to make travel photography thepinnacle of their careers. For many, this is the ultimate way

to combine adventure with work, having already committedyears to honing their skills in commercial photography. Ifthey do not already own their own studios, they can alwaysadvance to become studio owners. Many Travel Photogra-phers branch out by doing things to enhance their careersthat require skills other than photography, such as writingarticles and books about their travels, to accompany theirphotographs. They also teach and participate in speakingengagements and panel discussions.

Education and TrainingA four-year degree in photography, with coursework in pho-tographic design software, is a beneficial background forTravel Photographers. Depending on where they travel, aworking knowledge of the local language can also come inextremely handy. Classes in history can be helpful in choos-ing and understanding shoot locations.

Experience, Skills, and Personality TraitsTravel Photographers need to have their photographic skillsdown solid to succeed in this field. They are often in unfa-miliar turf, where everyday conveniences may not exist. Itstands to reason that organization, follow-through, attentionto details and deadlines, and self-initiative are absolutelycritical. Travel Photographers must be excellent researchersand diligent and self-driven enough to do their homeworkbefore arriving at locations. They must understand local cul-tures and etiquette and have some familiarity with other lan-guages, at least enough to communicate the essentials. Theymust know whom to contact and how best to contact them toarrange for the things they will need throughout the shoot,such as water and food, any last-minute photographic items,or even modes of transportation to remote spots. Above all,Travel Photographers must be deeply curious about otherplaces and people and know how to convey what they learnin their images in ways that inform and rivet viewers asnever before.

Unions and AssociationsTo date, there are no known associations dedicated specifi-cally to Travel Photographers. Many photographers partici-pate in online forums and access valuable information andresources through Travel Photographers Network (http://www.travelphotographers.net). Depending upon their spe-cialties and clientele, they also join Advertising Photogra-phers of America and Professional Photographers ofAmerica for educational conferences, employment listings,and discounts on various professional services.

Tips for Entry1. Visit a local travel office and collect a handful of

brochures on Egypt, India, Greece, Spain, Morocco,


and other places that interest you. As you lookthrough the brochures, study the types of photos thathave been chosen to promote various places andentice people to book their trips.

2. View your city as if you were a Travel Photographer.Map out what you plan to shoot, the angles and whereyou will need to be located to capture those angles,times of day to shoot, and then head out “on location.”Or plan an actual trip. Put together a portfolio of your

best images from the trip and target your pitch tomagazines that you think will be interested in thelocation.

3. Check the newsstand or your local public library forconsumer travel magazines. Study the photographs,the locations chosen, the lighting, and the angles.Learn as much as you can about the images and thestyles each magazine has chosen to print.


Position DescriptionWedding Photographers work closely with assistants and incoordination with wedding service providers to create stillphotographs or videotapes of these special occasions. Theyand their team are responsible for lighting, sound, and stillphotography. Before the day of the wedding, they hold plan-ning meetings with the future bride and groom and theirfamilies to discuss all aspects of the wedding and what isexpected photographically. In this meeting, they discuss thebride’s dress, the number of people in the wedding party,where the wedding will take place, who the important peo-ple among family and friends are to photograph, and more.They secure the address where the bride and her family will

be preparing for the wedding, locations of churches, syna-gogues, or other venues, and the address of the catering hallor wherever the reception is taking place. They discuss thespecifics regarding the vehicles in which the bridal partywill travel, as well as vehicles for the trip to the portrait stu-dio after the ceremony and before the reception.

Wedding Photographers also discuss with the religiousleaders the rules regarding photography. In many religioushouses, flash photography is either prohibited or limitedduring ceremonies. Wedding Photographers arrive early tolearn the specifics and discuss possible alternatives (i.e.,restaging of the ring exchange after the ceremony hasended). They discuss the shots they would like to take and


WEDDING PHOTOGRAPHER


Duties: Photographs all aspects of weddings, everythingfrom pre- to post-ceremonies, at homes, in churches andat receptions, and outside in various settings; creates por-traits of couples and their families; may create video-tapes of weddings; usually works with assistants; meetswith couples to discuss photography services and negoti-ate terms of agreement

Alternate Title(s): Bridal Photographer

Salary: $25,000 to $100,000



Best Geographical Location(s): Major cities and suburbs

Prerequisites:Education or Training—Four-year degree in photogra-phy; training in digital photography and photographicdesign software

Experience—Several years of experience as an assistantphotographer; one to two years of experience as a light-ing assistant, portrait studio intern, or apprentice

Special Skills and Personality Traits—Excellent atlighting and composition; able to recognize and capturespecial moments; reliable and deadline-oriented; organ-ized; flexible and patient; exceptional people skills; ableto work with individuals and groups of all backgroundsand ages

Wedding/Portrait Studio Owner

Wedding Photographer

Portrait or Wedding Photographer Assistant

secure permission to take those shots from various locationswithin the religious establishment.

Wedding photography studios often have mandatory shotlists, meaning shots that Wedding Photographers must getand shots that must be within that studio’s style. WeddingPhotographers create and follow schedules for the pre-wedding photographs. They may start at the bride’s home,photographing the bride preparing at a dressing table or hermother adjusting her veil. They may pose wedding parties inprivate or public gardens, in backyards or at nearby parks.Many create a story line of the day for the photo album,starting with a photograph of the flowers and wedding invi-tation, ending with the rice throwing and then the bride andgroom waving goodbye from their departing limousine, andeverything in between.

SalariesAnnual salaries for Wedding Photographers can range from$25,000 to $100,000 or more. Spring and summer are peaktimes for weddings, and Wedding Photographers will typi-cally see a rise in business during these seasons. Studiosusually pay Wedding Photographers per job and by the day,with more experienced photographers earning higherwages. They may hire photographers for weekend-onlypositions or on a seasonal basis. The Professional Photogra-pher magazine publishes, in most issues, advertisements forWedding Photographers for weekend work as backup pho-tographers in New Jersey, Pennsylvania, Delaware, Mis-souri, and the West Coast. These jobs usually pay $1,000 forthe weekend.

Because these are considered once-in-a-lifetime celebra-tions, families are often willing to spend small fortunes toensure that all of their needs are met. Wedding photographyis one area in which they have no qualms about splurging,making this a timelessly profitable industry. Families usu-ally purchase photography packages from wedding photog-raphy studios. Couples receive the proofs, which theyreview and from which they choose pictures. Packages usu-ally include the wedding album, an 11′′ × 14′′ portrait of thecouple, and several 8′′ × 10′′ framed pictures. Studiosenhance their income by offering extras outside of the pack-age deals, such as extra photo albums and prints for parentsand other family members and friends. They will alsocharge premium rates if people choose to commission spe-cific photographers to cover the weddings.

Employment ProspectsThe affluence of middle-class couples, the increasinglyfamiliar second marriages of more mature couples, and theopportunity for a special party for couples already estab-lished in their communities has measurably widened theopportunities for wedding photography. Further, the first-time married couples have increasingly invested in full-color and sound videotapes, all supplementing the traditional

framed bridal portraits. The traditional wedding has becomemore a Hollywood setting and less a small group at the altar.People are waiting a little longer to get married these daysand saving their money for extravagant gala ceremonies.Those wanting a traditional wedding now have a budget thatnever would have been possible for their parents. WeddingPhotography studios and teams are now larger and moreinvolved in weddings than ever before. Jobs in the weddingindustry are therefore growing to keep up with this demand.

Advancement ProspectsIf working in studios with large staff structures, WeddingPhotographers can move up to become the heads of photog-raphy and video units, as their employers grow. As studioowners retire, Wedding Photographers can also move up tobecome the new owners. If they already own their own stu-dios, they can advance by expanding their staff, addingbackup teams, and opening more studios in other locations.

Education and TrainingA four-year degree in photography, with training in lighting,composition, and digital photography, is a sufficient educa-tional background for Wedding Photographers. Ongoingtraining to keep up with current technological advances iscritical in this industry. Wedding Photographers maintaintheir skills by joining professional associations and attend-ing trade conferences and educational workshops.

Experience, Skills, and Personality TraitsWedding Photographers usually have three or more years ofprior experience in commercial or portrait photography stu-dios, working first as studio assistants or interns, moving upto handling lights, then to photographer’s assistant. Wed-ding Photographers are particularly adept at creating flatter-ing images and capturing special moments in hectic andoften unconventional environments. They are poised profes-sionals who know how to remain calm and instill calm wheneverything around them is otherwise.

They know how to arrange outstanding photographs bymanaging crowds, directing family members and brides andgroups, large groups and individuals, all while being unob-trusive, especially during solemn moments. Wedding Pho-tographers must have poise, confidence, and self-control tobe the silent but important witnesses at these staged events.They are respectful of religious halls and in polite but firmcommand when pushing crowds must be separated andintruding floral arrangements must be moved.

Unions and AssociationsWedding Photographers join such associations as Weddingand Portrait Photographers International and ProfessionalPhotographers of America for employment referrals, pho-tography competitions, news about the industry, annual con-ventions and trade shows, and educational publications.


Tips for Entry1. Search online directories, the Yellow Pages, and

newspaper and magazine advertisements for weddingand bridal portrait studios. See if they have any assis-tant opportunities or offer to drive or provide porterservices, so you will have the chance to see firsthand awedding photography team at work.

2. Check with photo department chiefs at local newspa-pers for introduction to staff members who are week-end wedding photographers.

3. Check bulletin boards at local supermarkets andbeauty parlors for ads by independent Wedding Pho-tographers. Offer to assist at one or more weddings.


FINE ARTS AND EDUCATION

Position DescriptionFirst-time purchasers of digital cameras often experienceconfusion about the cameras’ performance and capabilities.Digital Photography Consultants have thorough knowledgeabout camera brands and models and a solid grasp of eachcamera’s benefits and drawbacks. They share this knowl-edge by advising camera store employees and customers;teaching classes at photography stores, computer stores, anddigital photography conferences and trade shows; as well as

writing articles for trade publications. They may also behired by professional studios to troubleshoot digital cameraissues. While most Digital Photography Consultants arealso professional photographers, many are active photogra-phy and computer hobbyists who have a wealth of knowl-edge and passion about the field. Digital PhotographyConsultants also advise businesses about the cameras, com-puter equipment, and hardware and software they will needto achieve their goals.


DIGITAL PHOTOGRAPHY CONSULTANT


Duties: Trains and advises camera store personnel, photog-raphy teachers, professional photographers, and the gen-eral public; teaches courses in classrooms and at tradeshows; may field questions through Web sites and theInternet; helps photographers set up digital photographyequipment; consults with technology developers on newproducts

Alternate Title(s): Digital Photography Trainer

Salary Range: $15,000 to $40,000+



Best Geographic Location(s): New York, Boston, Philadel-phia, Washington, D.C., Atlanta, Chicago, St. Louis, Dal-las, Denver, San Francisco, and Seattle

Prerequisites:Education or Training—Two- or four-year degree inphotography; thorough training in digital cameras anddesign software, such as Adobe Photoshop and Illustrator

Experience—Several years of experience as a profes-sional photographer, using digital cameras, recom-mended; camera store and customer service backgroundhelpful; one to two years of teaching or consulting expe-rience beneficial

Special Skills and Personality Traits—Well versed indigital photography; knowledgeable about camera brands,technology, and computer software and hardware; organ-ized; personable; excellent communication, public speak-ing, and presentation skills; patient; good listener; flexible;able to work with wide variety of people; deadline-oriented

Digital Photography Consultant

Photographer


Digital Photography Consultants prepare for their classesand presentations in advance. If they are working for specificstores with specific products, they discuss the products andfeatures the employer wants emphasized. They may preparetheir presentations with PowerPoint or with other designsoftware, such as Adobe Photoshop and Illustrator, and fieldquestions during the session. They may also answer ques-tions through the help sections of digital camera–brand Websites. Photographers often hire Digital Photography Consul-tants to help them set up, maintain, and troubleshoot theirdigital photography equipment. Technology developers alsocall upon consultants to serve as testers of new products andsoftware, helping them work through the kinks and enhanc-ing the features before releasing for mass distribution.

SalariesSalaries for Digital Photography Consultants can range any-where from $15,000 to $40,000 per year, depending on theirlevel of experience, client base, and geographical location.Consultants who have at least five or more years of profes-sional photography experience and are based in major urbanareas can secure higher wages. Those who work for majordigital camera stores or professional associations will alsoearn higher incomes. Many Digital Photography Consul-tants are freelancers who work in other capacities as well.They may also be professional photographers, computerconsultants, Web designers and Web consultants, or camerastore owners. Some stores may offer consultants basesalaries and commissions or bonuses for camera sales. Ifteaching or lecturing, Digital Photography Consultantsmight earn between $100 to $300 or more per class, depend-ing on the store, product, conference, or trade show.

Employment ProspectsAccording to Lyra Research, Inc. (as published in InfoTrendsLibrary, http://www.itlibrary.com), digital still-camera ship-ments exceeded 63 million units worldwide in 2004, a 35 per-cent increase over 2003, and shipments are expected tosurpass 100 million units in 2008. As first-time digital camerabuyers continue to flood the marketplace, Digital Photogra-phy Consultants will continue to be needed. Consultants canfind work as teachers at camera stores, in art and technicalschools, in continuing education programs offered by col-leges and universities, and through professional associations,annual photography trade shows, and conferences.

Advancement ProspectsThere is no clear, specific career ladder for Digital Photog-raphy Consultants. Many who enter the digital photographyfield have diverse backgrounds and can therefore advance inequally diverse ways. If they work in structured environ-ments, Digital Photography Consultants may advance tosenior or management levels, where they oversee staff, han-

dle budgets, develop other educational programs, and takeon increasingly higher-level responsibilities. Others mayexpand their scope by becoming columnists in trade andnewsstand publications, writing articles and books, and lec-turing and teaching at various venues.

Education and TrainingA bachelor’s degree in photography is recommended. Eitherstructured training or self-taught knowledge of digital cam-eras, design software, and computer software and hardwareis essential. Digital Photography Consultants who have on-the-job training as photographers may have a better appreci-ation of photographers’ concerns and issues with equipmentand product specifications.

Experience, Skills, and Personality TraitsDigital Photography Consultants can have a wide range ofprior professional experience. Some have worked at least forseveral years or more as commercial photographers. Othershave an avid interest in photography but may have gainedtheir digital photography knowledge by immersing them-selves in the technology, taking classes, and reading booksand magazines. Some may even have a background in com-puters and be technologically agile. Whether speaking one-on-one to customers or teaching large groups at conferences,schools, or trade shows, Digital Photography Consultantsmust have excellent communication skills and be strong pub-lic speakers. In addition to being organized in their presenta-tions, they must also be able to translate technical jargon intolanguage that customers and students will grasp. Individualswho do well in this field are flexible and entrepreneurial.They enjoy working offbeat hours when needed. They real-ize the importance of keeping up with technology and stayabreast by regularly reading trade publications and books,taking classes, and networking at professional events. DigitalPhotography Consultants who are in high demand areextremely knowledgeable without being arrogant. They areprofessionals who enjoy educating people, troubleshootingproblems, and helping people choose digital photographyequipment that is appropriate to their needs and goals.

Unions and AssociationsThere are no unions or associations devoted solely to DigitalPhotography Consultants. Consultants can explore full orassociate membership in such organizations as Photo Mar-keting Association International, Professional Photographersof America, and Advertising Photographers of America fornetworking opportunities, educational resources, and otherbenefits.

Tips for Entry1. Professional photographers and avid, fully knowl-

edgeable and qualified hobbyists are often hired by


photography shops to teach evening and weekendclasses. Check with stores in your area to find outabout employment opportunities.

2. Computer maintenance centers also seek Digital Pho-tography Consultants to help people troubleshoot dig-ital camera issues when synched to the computer.Check job listings by visiting maintenance centerWeb sites directly and searching employment sitessuch as Yahoo! HotJobs (http://hotjobs.yahoo.com)and Monster (http://www.monster.com), as well as the

employment section of the New York Times on theWeb (http://www.nytimes.com). You may also findjobs listed in the back sections of trade publications.

3. Regional offices of major electronic product compa-nies also hire Digital Photography Consultants totrain their own salespeople or to advise and teach attrade shows. Find these companies by doing an Inter-net search. Contact the human resources departmentsto inquire about employment opportunities.


Position DescriptionFine Arts Photographers create photographic images, basedon their own individual visions, for display and sale in gal-leries, auction houses, and museums. They may also becommissioned by wealthy individuals and corporations tocreate works for interior decor in homes, offices, prestigiousresorts, and other facilities. They experiment with a wide

variety of photographic processes in their work, such asphoto gravure (images produced from an engraving plate),daguerreotype (the first successful photo process, based onusing copper plates instead of film), calotype (the first photoprocess to use paper negatives), ambrotype (a process usingglass negatives), ferrotype (a process using iron-plate nega-tives), cyanotype (blueprint making), and hybrids of their


FINE ARTS PHOTOGRAPHER


Duties: Creates photographic images for exhibition inmuseums and galleries; creates images for home andoffice interiors commissioned by individuals and corpo-rations; mounts or frames images for display; worksclosely with gallery owners and managers on shows; maywork with models, celebrities, and average citizens; mayphotograph products, objects, buildings and homes,street settings, and landscapes; secures licenses, permis-sions, and releases when appropriate

Alternate Title(s): Environment Photographer, LandscapePhotographer, Photojournalist, Portrait Photographer

Salary Range: $10,000 to $250,000



Best Geographic Location(s): Boston, Chicago, Dallas, LosAngeles, New York, San Francisco, Santa Fe, and Seattle

Prerequisites:Education or Training—Four-year degree in art andphotography; coursework in photographic design soft-ware and printing processes and techniques; courses inpainting, sculpture, and art history helpful

Experience—Several years of experience as a photogra-pher’s assistant or studio assistant; apprenticeship ingallery beneficial

Special Skills and Personality Traits—Passionateabout experimenting with photography and printingprocesses; extremely creative and innovative; excellentvisual eye; strong knowledge of color and lighting; indi-vidualistic; self-motivated; familiar with art history andphotography history, including cameras, accessories,photographic techniques, film-development processes

Fine Arts Gallery Owner

Fine Arts Photographer

Photographer’s Assistant /Studio Assistant

own invention. Their mission is to highlight the ordinary orextraordinary or transform one to the other. Pioneers of finearts photography include Edward Weston, Ansel Adams,and Man Ray. In the 1930s, Weston transformed beach sand,tree limbs, and gleaming vegetables into classic studies.Ansel Adams used his technical skills and exceptional tim-ing to capture beautiful landscapes and skyscapes. In 1981,his extremely popular photograph Moonrise, Hernandezsold at an auction for $71,500. Emmanuel Radnitsky, akaMan Ray, was heralded for photographing Dada and surre-alist images, part of a school of art that featured deliberatelyirrational and often dreamlike subjects. One of his smallphotos recently auctioned for $250,000. Californian MarkKlett only two decades ago aimed his view camera at the still-visible trails of the Lewis and Clark expedition. O. WinstonLink captured the dwindling moments of America’s greatrailroad engines puffing into stations at night in countlessvillages and towns.

Fine Arts Photographers not only create interesting,lovely, or bizarre images but also comment on what is goingon in the world and enlighten society by photographing sub-jects that disturb, provoke thought, and incite debate andcontroversy. One example is the work of Robert Map-plethorpe, who initially created art with photographicimages before moving fully into photography. He pho-tographed pornographic stars, friends, and lovers, sheddinglight on sexuality and the beauty, strength, and fragility ofthe body at a time when AIDS and HIV were part of a newlexicon. He also created floral studies using old cameras andphotographic techniques.

SalariesThe Fine Arts Photographer is self-employed, with an earn-ings capacity beyond that of most studio photographers.Earnings can range from as low as $10,000 to more than$250,000, depending upon the number of pieces commis-sioned and sold during the year. Many Fine Arts Photogra-phers hire representatives to secure gallery and museumshowings and negotiate contracts and fees. Photographersfind commission-paid agents by asking for recommenda-tions from photography gallery and museum curators andby speaking with other photographers and perusing suchtrade books as American Showcase and Workbook. FineArts Photographers also publish their work in books, maga-zines, posters, postcards, advertisements, calendars, greet-ing cards, and other formats. They can augment theirsalaries through advantageous licensing agreements.

Employment ProspectsFine Arts Photographers often edge their way into the fieldwhile working simultaneously as photojournalists, museum,travel or studio photographers, or in any other number of pho-tographic disciplines. Because Fine Arts Photographers are

freelancers and self-directed, they can enter this discipline inany number of ways and secure sales and commissions iftheir styles and themes engage an audience. Employmentprospects are good but are completely dependent upon thephotographer’s creativity, technical skills, and initiative.

Advancement ProspectsFine Arts Photographers can advance to become fine artsgallery owners, if this part of the business interests them.They can write books to accompany their artwork. They canalso become speakers as part of lecture series offered byschools, museums, and arts associations, or they can teach.

Education and TrainingFine Arts Photographers should have at least a four-yeardegree in art or photography for a well-rounded educationalbackground. The field requires in-depth knowledge of con-temporary art and a strong appreciation of the fine arts pho-tography stories of the past 50 years. Coursework shouldinclude art history, either as taught in colleges and artschools, or in local museums. Training in and appreciationfor various photography equipment and processes, both oldand new, enable Fine Arts Photographers to more fullyexperiment and explore when creating their imagery. Train-ing in Adobe Photoshop and Illustrator is also recommended.

Experience, Skills, and Personality TraitsFine Arts Photographers usually bring several years of expe-rience in a photographic or arts discipline to their work.They are immersed in and passionate about photographyhistory and are well aware of the works and techniques ofthe fine arts photography masters who preceded them. Theystudy these masters and can become influenced by them, butsuccessful photographers are still able to retain and expresstheir individuality in their imagery. Fine Arts Photographerswork independently and must be self-motivated. They mustbe curious and adventurous in their work, always tuned intopast and current economic, social, political, and religiousissues. They must be able to translate their passions andinterests into styles and themes that spark interest. The finearts photography field is extraordinarily competitive andonly the wise and the innovative survive and thrive.

Unions and AssociationsThere are no known associations or unions dedicated solelyto Fine Arts Photographers. To learn more about businessstandards and practices in exhibiting fine arts photography,photographers subscribe to literature and visit the Web siteof the Association of International Photography Art Dealers.Fine Arts Photographers can also join such trade associa-tions as Professional Photographers of America for contractassistance, lobbying efforts to protect copyrights, credential


programs, educational workshops and literature, and accessto discounted insurance for equipment, liability, and health.

Tips for Entry1. Create a list of the photographers, past and present,

whose work interests and inspires you. Learn as muchas you can about their work by reading books, perus-ing Web sites, and visiting galleries and museums.Read their biographies to learn their backgrounds,influences, and creative processes.

2. If you are ready to pursue this field, secure a photog-raphy representative. Before you set up meetings tosee if you have a fit, make sure your portfolio repre-sents your best work and reflects styles and themesthat have current market potential.

3. Network as much as possible. Attend gallery show-ings and talks where curators, museum and gallery

directors, and representatives will be in attendance.Always have postcards with you that feature a sampleof your work that reproduces well and include all ofyour pertinent contact information.

4. Another great way to gain exposure in the fine artsphotography field is through photography competi-tions. There are millions of them, though, and navi-gating through the rules and regulations can be aslippery slope. If you choose this avenue, approachwith extreme caution. Make sure you understand thefine print first before registering and sending in yourwork. You can learn more about ethical and unethicalcontest rules and regulations by reading the art con-tests guidelines in the Graphic Artists Guild’s Hand-book of Pricing & Ethical Guidelines (11th edition).You can also seek advice from the American Societyof Media Photographers.


Position DescriptionMuseums throughout the world feature paintings, photo-graphs, sculptures, crafts, and ethnic artifacts mounted onwalls or displayed in glass cases. When museums acquirenew pieces for display and exhibition, they need MuseumPhotographers to photograph the collections. These photo-graphs accompany press releases and appear in newspaperarticles, museum brochures and Web sites, auction catalogs,and art books and postcards typically sold in museum stores.The photographs may also be used for wall-size displays andprominent posters throughout the museum, as well asthroughout other venues around the country. They serve asvisual records for museum archives, as well as for conserva-tion and insurance purposes, particularly if pieces are being

shipped. Museums can e-mail the images to art experts forreview and verification. Museum Photographers also photo-graph interior spaces when museums are setting up galleries.Historical societies hire Museum Photographers to photo-graph artwork for their publications and Web sites.

Photographs may also be used for authentication and todetect forgeries. For example, Museum Photographers pho-tograph paintings outside of their frames, which hide asmall portion of the image around the edges, for museumrecords. These frame-less images are seen only by an exclu-sive few, thereby diminishing the chances of a forger re-creating the artwork in its true, complete state.

Museum Photographers work closely with museum cura-tors, exhibition designers, public relation directors, and edu-


MUSEUM PHOTOGRAPHER


Duties: Photographs full exhibitions, individual displays,holdings in storage, and special events for museum pub-licity and archives; prints negatives; may mount andframe photographs for displays

Alternate Title(s): Commercial Photographer




Best Geographical Location(s): Boston, New York,Philadelphia, Washington, D.C., San Francisco, and LosAngeles

Prerequisites:Education or Training—Four-year degree in photogra-phy, art, or art history; advanced degree may be requiredby some museums

Experience—Three years or more as a photographer at aknown and respected commercial studio; experiencephotographing products for catalogs; some experience ina museum environment beneficial

Special Skills and Personality Traits—Computersavvy; adept at photographic technical processes; stronginterest in history; detail-oriented; able to work inde-pendently and on a team; patient; respectful of and care-ful with artwork

Director of Photography Department

Museum Photographer


cation directors in creating the images that best meet themuseum’s needs. They discuss which objects to focus onand which aspects of the objects to highlight. For somepaintings and artwork, they may use ultraviolet or infraredphotography. When paintings are restored, the original (andold) paint will photograph differently under different kindsof lights. There are scientific aspects to this work, andMuseum Photographers understand art materials and thechemical makeup of the pieces with which they work. Thisknowledge helps them determine the proper photographicequipment and techniques to use.

SalariesMuseum Photographers can earn salaries ranging from$35,000 to $60,000, depending upon the museum’s budgetand the photographer’s years of experience. Staff MuseumPhotographers may not earn higher salaries than freelancers,but they will enjoy benefits that freelancers must allocatefunds for, such as paid vacations, bonuses, group healthinsurance, and immediate and often free access to museumevents and offerings.

Employment ProspectsThe American Association of Museums reports that thereare approximately 15,500 to 16,000 museums in the UnitedStates, a number based on separate surveys by the NationalConference of State Museum Associations and the Instituteof Museum and Library Science. Large or small, all muse-ums depend on photographers to create the images theyneed to help promote the artwork and entice the generalpublic to visit the collections. Large museums such as theAmerican Museum of Natural History in New York City andthe Smithsonian Institution have full-time photographers tocontinually create photographic inventories as well as pho-tograph new and revised exhibitions. These institutions alsoemploy photographers for all archaeological and travelactivities conducted abroad. Museum Photographers workon staff or on a contract basis; they work in studios locatedwithin museums or in their own studios.

Museum Photographers can also find work with organiza-tions that provide museum-related services, such as the Sci-ence and Society Picture Library (SSPL) in England. SSPLrepresents the collections of various museums and historicalsocieties, such as the Science Museum, the National RailwayMuseum and the National Museum of Photography, Film &Television. They create online records containing digitalimages and transparencies from the museums’ collections andloan them for various fees to clients for reproduction. MuseumPhotographers are on hand to photograph images from the col-lection, as well as for on-location filming projects.

Advancement ProspectsStaff Museum Photographers who work for larger museumscan advance to become department heads. Museum Photog-

raphers with advanced degrees in art history, conservation,or library science may be able to work their way up tobecome directors of photographic collections. This requiresresearch and data-management skills and experience in cat-aloging and archiving electronic images. It also calls formuch less actual time behind the camera. To advance to thistype of position, Museum Photographers need to have first-hand knowledge of the practices and standards involved inmanaging museums’ collections and should acquire severalyears of experience as an assistant to a collections director.

Education and TrainingA four-year degree in photography is a solid foundation forMuseum Photographers. Some museums require photogra-phers to have advanced degrees and coursework in art cura-torial and conservation studies. Museum Photographersshould be adept at working with digital photography andtrained in photographic design software.

Experience, Skills, and Personality TraitsMuseum Photographers need to have at least three to fiveyears of experience as commercial photographers undertheir belts to handle the serious responsibilities of the job.Catalog photography experience is particularly beneficial tothis type of work, as they will be photographing a variety ofobjects often for advertising and promotion. Museum Pho-tographers are photographing original creations and must beextremely knowledgeable about cameras, lighting, currentand historical art materials and chemical compositions ofthose materials, as well as how to handle the artwork with-out harming it. They must be particularly adept at lightingsurfaces to highlight textures and differences in colors.

Museum Photographers will collaborate with a variety ofmuseum staff, sometimes under tight deadlines and some-times on projects that last for months or years. They musthave patience, flexibility, and speed to deliver quality work.Success in this field requires thoughtfulness, respect for theideas of others, strong communication skills, and an appre-ciation of budget and time constraints.

Unions and AssociationsMuseum Photographers can join the American Associationof Museums for educational resources, job listings, grantopportunities, and networking events. They can also join theProfessional Photographers of America for photography-related benefits.

Tips for Entry1. Create a portfolio featuring your best product photog-

raphy, from jewelry to home decor. If you have priorcatalog photography experience, include photographsfrom this body of work, also.



2. Contact the public relations and communicationsdepartments of local museums and inquire aboutemployment opportunities. See if you can set upinformational interviews.

3. Visit the museums and collect promotional literatureto familiarize yourself with the collections and stylesof the photographic images.

Position DescriptionPhotography Curators oversee and manage photographicexhibitions and collections within museums. PhotographyCurators have diverse responsibilities, and the smaller themuseum, the more diverse those responsibilities will be.They may research collections and come up with plans forexhibitions based on current collections. They may collab-

orate with museum education directors to create educa-tional programs tailored to tour groups, students, and seniorcitizens. They may also participate in lectures and help cre-ate and coordinate seminar programs.

Photography Curators are responsible for maintaining thepermanent photographic collections and make recommenda-tions and prepare proposals to appropriate museum execu-


PHOTOGRAPHY CURATOR, MUSEUM


Duties: Directs photographic collectibles departmentswithin museums; plans for periodic displays based onsocial themes and various current and historical issues;coordinates loans of appropriate images for exhibits inAmerican and overseas museums; liaises with museum’seducation directors regarding school tours and educa-tional programs related to photographic collections; maytrain docents in leading tours through photographic exhi-bitions; liaises with museum’s public relations depart-ment regarding press releases, exhibition openings withpress coverage, and other communications-related issues;may deal with public inquiries directly

Alternate Title(s): Photography Administrator, Photogra-phy Director

Salary Range: $30,000 to $70,100+



Best Geographical Location(s): Large cities, such asChicago and New York, with private and public museumsthat have existing photographic image holdings

Prerequisites:Education or Training—Four-year degree in photogra-phy, art, art history; master’s degree in photography his-tory or art history; Ph.D. required by some organizationsExperience—Four or more years of experience as anassociate photography curatorSpecial Skills and Personality Traits—Extremelyknowledgeable about photography, photographic history,and current and past photographers; knowledgeableabout the era or genre in which the museum specializes;aware of and interested in current events and issues; pas-sionate about educating and enlightening the generalpublic; creative, innovative, and imaginative

Chief Curator / Museum Director

Photography Curator

Associate Photography Curator

tives for purchases and acquisitions. They are also involvedin loaning photographs to museums and requesting loansfrom other institutions. They are responsible for authenticat-ing, evaluating, and categorizing photographs. They workclosely with exhibition designers in creating exhibitions andconsult with other museum administrators as well in deter-mining appropriate wall spaces, display cases, lighting, anddesigns for exhibitions. They collaborate with the publicrelations and communications departments in preparinginformation about exhibitions and collections for museumbrochures and promotional literature, press releases andannouncements, and the museum’s Web site. They also workwith educational departments in training docents to lead stu-dents and groups through exhibitions.

Administrative tasks are an intrinsic part of the Photogra-phy Curator position. Curators create department budgetsand may also document collection in management data-bases. In smaller museums, Photography Curators may havemore direct contact with the public and will field inquires byphone, e-mail, or mail from museum visitors, scholars, pro-fessors, art and photography dealers, and staff at othermuseums and arts institutions. They may also write articlesfor trade and academic publications.

SalariesPhotography Curators can earn annual salaries ranging from$30,000 to $70,100. Earnings will vary depending upon thesize of the museum or institution and the curator’s years ofexperience. The Occupational Outlook Handbook cites$33,720 as the median annual earnings for archivists, cura-tors, and museum technicians in 2002 in museums, histori-cal sites, and similar organizations. Curators who work inlarge, well-funded museums earn far higher wages thanthose who work for small institutions. The federal govern-ment also pays higher salaries, with museum curators earn-ing an average annual salary of $70,100 in 2003.

Employment ProspectsJob prospects for Photography Curators is expected toremain very competitive, as there are many more peopleinterested in this field than there are jobs to fill. According tothe Occupational Outlook Handbook, employment of cura-tors is expected to increase by 10 to 20 percent, about as fastas the average for all occupations, through 2012. Art and his-tory museums are the largest employers in the museum busi-ness, so job opportunities will be best there. More public andprivate organizations are focusing on establishing archivesand organizing information and records, and public interestin this information and art history, overall, is simultaneouslyincreasing.

Advancement ProspectsPhotography Curators who work for large museums andinstitutions can advance to become chief curators, depart-

ment heads, and, with years of extensive experience, eventu-ally museum directors, depending upon the structure of thestaff. Curators in small museums can advance by takingpositions of greater responsibility at larger museums. Theycan enhance their skills by writing articles for trade publica-tions, exploring new areas of photography, and giving lec-tures at other institutions and educational facilities. Theycan also advance by attracting and coordinating high-profileexhibits at their museum.

Education and TrainingMost museums require Photography Curators to have amaster’s degree in art history or photography history, withcoursework in particular eras and genres. Some museumsmay require doctoral degrees. Photography Curators whohold two degrees, one in museum studies (museology), onein a specialized subject area such as art history or photogra-phy, will have better chances of securing work. Curatorstake continuing education workshops to maintain theirknowledge of the field. Museums, historical societies, andmuseum associations, as well as the National Archives,offer educational programs and training for curators andother museum professionals.

Experience, Skills, and Personality TraitsMuseums prefer to hire Photography Curators with exten-sive museum experience, which can be five or more years ofprior experience as associate curators. Photography Cura-tors must be adept in handling rare photographs and beknowledgeable about photographers and their backgrounds.Diplomatic skills are critical in this job, as PhotographyCurators interact not just with museum staff but with thegeneral public as well. They must have excellent written andverbal communication skills, be organized, efficient, anddeadline-oriented. Proficiency with Microsoft Word, Excel,and database-management programs is a must. Some muse-ums may also require multilingual skills. Curators need tobe creative and imaginative. They must know how to chooseand organize photographic content and materials and thedesigns and displays that will most accurately and effec-tively convey the themes of the exhibitions. A key compo-nent to this job is intellectual curiosity, a deep understandingof photography, and a passion for sharing this knowledgewith the purpose of educating and enlightening the generalpublic.

Unions and AssociationsPhotography Curators and other museum professionals jointhe American Association of Museums and the Society forPhotographic Education for educational workshops, annualconferences, networking opportunities, and employmentreferrals. They also keep up with industry issues and devel-opments by joining Professional Photographers of America.


Tips for Entry1. Get an internship in a photography museum or art

museum with photographic exhibitions. The best wayto get work in this field is by already having a foot inthe door. Internships provide excellent opportunitiesto learn the intricate details behind forming museumcollections and creating exhibitions.

2. Join a professional association such as the AmericanAssociation of Museums. Take workshops and attend

events. Go to photography exhibitions and openings.Network whenever possible and tell people that youare looking for work. You just might meet someonewho can offer you your next job.

3. Create a list of the museums you would like to workfor and look at the employment sections on their Websites. You can also find job listings at no cost on theAmerican Association of Museums Web site (http://www.aam-us.org).


Position DescriptionPhotography Instructors teach photography to students of var-ious ages and skill levels, from high school students to adultsin professional associations, community centers, photographycenters, and so on. They research and organize lectures aboutphotographic techniques and processes and also train studentsin such darkroom work as developing and printing images.Photography Instructors will tailor their classes to students.Some classes may be strictly lectures covering the technicalaspect of photography as well as the art forms. Instructors

will discuss shutter speeds, f-stops, knowing what differenti-ates a good picture from a bad picture, how to take pictures ofsubjects that are in motion, light and composition, framingshots, camera settings, effects, depths of field and contrast.

Instructors will also discuss photography history, sharingimages and facts about professional photographers and pho-tography innovators from the past. They may show slidesand films and arrange field trips to galleries and museums.They may assign students photography work outside of theclassroom, then guide peer reviews and critiques.


PHOTOGRAPHY INSTRUCTOR


Duties: Teaches students of all ages and skill levels variousaspects of photography, from shooting pictures anddeveloping film, to creating prints and evaluating fin-ished photos; works for schools with continuing educa-tion programs, as well as in high schools, or teachesmembers of clubs and professional associations

Alternate Title(s): Photography Teacher




Best Geographical Location(s): Major cities, such asAtlanta, Boston, Chicago, Miami, Los Angeles, NewYork, and San Francisco

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy recommended; photo instructions training or teach-ing certification may be required by some employers

Experience—Five or more years of experience as a pro-fessional photographer; some experience training or teach-ing others about photographic techniques and processes inclassroom settings

Special Skills and Personality Traits—Excellent knowl-edge of photography techniques and processes, as well asthe history of photography and photographic trends; pas-sionate about sharing knowledge and educating andinteracting with others; clear verbal and written commu-nication skills; good listener; organized; reliable; patient;diplomatic; energetic

Photography Instructor



If the school or institution has a darkroom, PhotographyInstructors will demonstrate how to develop exposed filmand supervise students in everything from mixing and prop-erly handling development chemicals to printing the film.They will orient students to the darkroom before turning offthe lights, explaining the different machines and enlargersand how adjusting exposure times will create differenteffects in the images. Once the students print their film, theywill examine the prints in the classroom to see what needsto be changed.

Instructors help students understand how to examine thework with a critical eye, see where to enhance or adjust, andhow to make the corrections. They will teach them how tosalvage a poorly shot image, such as by dodging and burn-ing, where they can make an image lighter or darker in cer-tain areas by increasing or decreasing the picture’s exposuretime to light. Students can also use light filters to changeimages in the darkroom.

Photography Instructors are also responsible for writingcourse descriptions and bios; fielding prospective students’questions; meeting with students to discuss their work andprovide guidelines and referrals, as needed; providing sup-port, encouragement, and constructive help to students;coordinating and establishing class schedules with schoolsor community centers; and taking class attendance and fil-ing paperwork as specified by their employers. In additionto teaching duties, self-employed Photography Instructorsmust also handle promoting their services, networking forfuture work, maintaining relationships with current clients,pitching classes and negotiating fees, invoicing clients, andpaying their bills.

SalariesPhotography Instructors’ earnings are based on the types ofschools and organizations that employ them and theirrespective budgets. Nonprofit organizations and communitycenters generally have smaller budgets and may pay as littleas $20 per hour or as high as $60,000 per year. According tothe U.S. Department of Labor, self-enrichment teachers,meaning those who teach as part of continuing educationprograms or at art and community centers, earned mediansalaries of $29,320 in 2002. Overall, annual salaries thatsame year ranged from as low as $15,240 to $55,090 ormore. Instructors in technical and trade schools earned$50,470. Salaries for full-time Photography Instructors mayalso be enhanced by such benefits as medical insurance,paid vacations and sick time, and educational discounts forfamily members.

Employment ProspectsThe future looks bright for Photography Instructors,according to the U.S. Department of Labor’s OccupationalOutlook Handbook. Through 2012, employment for all self-

enrichment teachers, including Photography Instructors,will grow faster than the average for all occupations, withjobs opening up due to employees relocating or retiringfrom their positions. People who are interested in pursuingnew hobbies, as well as retirees who will have more time totake classes, will account for much of the growth in thefield. Classes that require hands-on education and demon-strations, such as photography, will be extremely popular.Larger high schools, community centers, and professionalassociations will continue to need Photography Instructorsto round out their educational programs. About 280,000people held self-enrichment, adult literacy, and remedialeducation instructor jobs in 2002. About 20 percent wereself-employed and many additional Photography Instructorswere volunteers. As digital photographic technologyevolves, the need for skilled and knowledgeable Photogra-phy Instructors will also remain strong, as students willneed to learn digital photographic software and how to usethe latest equipment and processes.

Advancement ProspectsPhotography Instructors can advance by moving on fromcommunity centers to more prestigious professional associa-tions and schools. They may teach more classes with largerstudent bodies. Instructors with years of experience andtomes of student testimonials can command more work andhigher rates. They can also advance by becoming photo-graphic consultants, expanding their own commercial pho-tography businesses, participating in lectures hosted byprofessional organizations, contributing articles to trade pub-lications, as well as writing and publishing their own books.

Education and TrainingEducational requirements will vary depending upon theschools and institutes in which Photography Instructorsteach. Professional associations, community centers, andprivate high schools may require Photography Instructors tohave a certain number of years of professional photographyexperience. Public high schools usually require Photogra-phy Instructors to have teaching certificates and specificwork backgrounds. Many instructors train by sitting in onphoto classes and observing instructors or by working asassistants to instructors. A B.A. in photography is always asolid educational foundation for Photography Instructors.To find accredited schools with photography programs, visitthe Web site of the National Association of Schools of Artand Design, http://nasad.arts-accredit.org.

Experience, Skills, and Personality TraitsPhotography Instructors must be well versed in photographyto effectively educate others. They must know how to shootpictures, develop film, and examine and correct images, andthey must also understand how different cameras work.


They need to have a solid grasp of lighting and composition,framing, lenses, filters, shutter speeds, and more. A big partof the job also entails demonstrating equipment and tech-niques. To engage students and keep them interested, Pho-tography Instructors must know how to organize theirthoughts and be able to choose the right words that will getthe messages across. They will be teaching individuals of allages, skill levels, and personalities. Some students will beseriously interested in photography as a career; others maybe approaching the class from a hobbyist perspective. Suc-cessful Photography Instructors embrace all of the differ-ences and tailor their lessons and feedback to each student.They are knowledgeable but at the same time approachable.They must have vast amounts of patience and flexibility andalso be good time managers and extremely organized.Diplomacy is also important, particularly when reviewingand critiquing students’ work.

Unions and AssociationsPhotography Instructors receive such benefits as job list-ings, educational resources, and useful newsletters and mag-azines through membership to the Society for PhotographicEducation. They may also join the Professional Photogra-phers of America for networking opportunities, workshops,and discounts on professional services and products.

Tips for Entry1. Find out about teacher certification requirements by

contacting the National Council for Accreditation ofTeacher Education (http://www.ncate.org).

2. Contact Photography Instructors and set up meetingsto learn more about what’s involved in doing this typeof work. Ask about their work and educational back-grounds to get a better idea of what is required. Makesure to find out what they think the pros and cons areof the job.

3. See if you can audit photography classes, with themission of observing Photography Instructors inaction. Otherwise, take several classes and take noteson the way the teachers organized their lectures andthe different techniques and tactics they use to keepstudents interested and engaged. Record key phrasesand questions and any language that will help youcreate your own style of instruction.

4. Volunteer to teach a class at a community center orthrough a professional organization. It is an excellentway to test the waters and see if this is for you. If theclass goes well, students will refer colleagues andfriends to you for future classes. You can then startcharging appropriate fees for your services.


Position DescriptionPhotography Teachers educate students about single-lensreflex (SLR) cameras and digital cameras, photographicequipment, film, lighting, camera angles, backdrops and

props, choosing subjects to photograph and framing shots,developing and printing processes, and retouching imageswith design software. They teach in the art departments ofcolleges and universities and in art and technical schools.


PHOTOGRAPHY TEACHER (HIGHER EDUCATION)


Duties: Teaches aspects of photography (i.e., cameras,accessories, lighting, composition, darkroom techniques)at colleges, universities, and technical schools for pho-tography; teaches aspiring professional photographers,continuing education classes, and amateur photographygroups; may give private consultations and workshops;creates course outlines and syllabi; assigns projects andhomework; reviews, critiques, and grades work; handlesadministrative tasks as required by schools (i.e., filingattendance and performance records)

Alternate Title(s): Instructor, Lecturer, Professor

Salary Ranges: $23,080 to $92,430



Best Geographical Locations: Major metropolitan areasand major university towns

Prerequisites:Education or Training—Four-year degree in photogra-phy; master’s degree may be required by some schools;in-class training with an experienced PhotographyTeacher beneficialExperience—Minimum five years of experience as aprofessional photographer; one to three years of experi-ence in classroom setting helpfulSpecial Skills and Personality Traits—Able to translatetechnical content to student-friendly terms; interested insharing information and being part of the educationprocess; skilled at engaging and motivating others;strong interpersonal and communication skills; passion-ate about photography; knowledgeable and tuned in tocurrent photography practices and technology; organ-ized; patient; personable and accessible; good sense ofhumor; able to relate to students young and oldSpecial Requirements—Certification or licensingrequirements will vary by state and school

Photography Teacher



They tailor their classes to specific levels. Beginning pho-tography students will learn the basics about how the cam-era and all of its accessories work, how to take picturesusing black-and-white and color film, and developing andprinting images. Advanced students will learn the finerdetails of lighting and composition, as well as darkroom andprinting techniques.

Photography Teachers create course descriptions forschools to publish in educational catalogs and on their Websites. They field prospective student inquiries by e-mail andtelephone and provide students with class outlines, requiredreading lists, and what they should bring to class. They mayteach classes either in-person or online. Photography Teach-ers demonstrate camera techniques, show slides, and discussphotographic themes and styles. They discuss the history ofphotography and the latest developments in the technology.They also demonstrate styles by introducing students to thework of famous and respected photographers in the field,taking trips to photo galleries and museums, and havingguest speakers visit classes. Photography Teachers areresponsible for assigning homework, monitoring each stu-dent’s performance on projects, and conducting group andindividual critiques of work. They also meet with studentsone-on-one to review and advise on their portfolios.

Photography Teachers are also responsible for filingappropriate paperwork with school administrators by certaindeadlines. They must take attendance, keep track of grades,and maintain performance reviews. They must also maintaintheir own education on the photography field. PhotographyTeachers stay tuned in by reading industry publications, fre-quenting Web sites, attending trade shows and conferences,attending photo shows, and networking as much as possible.

SalariesSalaries for college-level educators vary by state and by eachinstitution’s budget. Full-time photography educators do nothave special status and are paid according to the same salaryscales as other professional educators. The starting salary forstaff teachers in many schools is in the $30,000 range. Four-year schools generally pay higher than two-year schools, andprivate institutions usually pay lower wages. The Occupa-tional Outlook Handbooks cites $64,455 as the average salaryfor full-time faculty, based on a 2002–03 survey by the Amer-ican Association of University Professors. Professors earnedapproximately $86,437; associate professors, $51,545;instructors, $37,737; and lecturers, $43,914.

Photography educators who create and market their ownworkshops, independent of schools, have the potential toearn higher salaries. They will have to factor in overheadcosts, though, such as advertising and promotion, travel,rent, utilities, and personal health insurance. Many Photog-raphy Teachers also supplement their incomes by consultingor writing and selling articles to publishers or by working asfreelance photographers.

Employment ProspectsThe future looks bright for Photography Teachers, espe-cially those who seek part-time work. According to theDepartment of Labor’s Occupational Outlook Handbook,more college and university teaching jobs are expected toopen up; many of the positions will be for part-time or non-tenured teachers. Employment of teachers overall is expectedto increase much faster than the average, by 36 percent ormore, for all occupations through 2012. Part-time Photogra-phy Teachers will work weekdays, nights, or weekends.Those who have flexible schedules will have more opportu-nities from which to choose.

Advancement ProspectsStaff Photography Teachers can advance to become depart-ment heads, deans, or presidents of universities. The naturalnext step for part-time and nontenured Photography Teach-ers is to join the school’s staff of educators. Freelance Pho-tography Teachers usually teach while still practicing theirprofession, so advancement in the school system is often notwhat many are seeking. Advancement may also come bymoving to a position at a larger or more prestigious college.

Education and TrainingA four-year degree in photography is usually the minimumrequirement to teach, although some universities may onlyhire Photography Teachers with graduate degrees. Part-timeteachers who work for art schools and continuing educationprograms may not be required to have degrees. Of utmostimportance is years of experience in the field, the quality oftheir work, and their ability to share knowledge and suc-cessfully educate others. Photography Teachers should havesome prior training or orientation to teaching, either byworking as assistants to Photography Teachers or devotingtime to observing live classes.

Experience, Skills, and Personality TraitsPhotography Teachers should have at least five years of priorprofessional photography experience, as well as some expe-rience in the education and consulting end of the business.They must be able to share what they know in ways that arelogical, engaging, and effective. To do this, they need to beable to organize their thoughts into lectures that fit the classlevels and schedules. Patience, flexibility, excellent writtenand verbal communication skills, and the ability to workwith groups as well as with individuals are key to enjoyingthis type of work. Photography Teachers must be dedicatedto their students and willing to help them learn and succeed.

Special RequirementsSome schools may require teachers to be licensed accordingto state guidelines. Photography Teachers should be clear onthe requirements in their state before applying for positions.


Unions and AssociationsPhotography Teachers can belong to such associations asthe National Photography Instructors Association, theNational Education Association, the Society for Photo-graphic Education, and the Society of Teachers in Educationof Professional Photography. Full-time teachers usually jointhe United Federation of Teachers, or other teachers’ unions,for support in securing fair contracts, wages, and treatment.Photography Teachers may also belong to professionalorganizations such as Professional Photographers of Amer-ica for industry-related resources.

Tips for Entry1. Make sure you have the appropriate certification or

license to teach in the schools where you would liketo work.

2. Contact the heads of the art departments at local uni-versities and colleges or technical schools that offerphotography programs. Explain that you are inter-ested in teaching and ask if you can speak with thePhotography Teachers about observing a class.

3. Prospective employers will need to see your portfolioand check your references before hiring you. Puttogether work that best reflects your interests and styleand make sure your list of references is up-to-date.


MEDICAL AND SCIENTIFICPHOTOGRAPHY

Position DescriptionArchaeological Photographers at excavation sites aroundthe world, from Greece to Sri Lanka and beyond, have a sin-gle responsibility to the archaeologist: preserve every stepof the expedition. Archaeological Photographers are respon-sible for documenting items found at digs for archeologicalrecords. Some may record the actual excavation itself, frombreaking ground to covering the site in the end. Each photo-graph is an important record of the dig, which is whyArchaeological Photographers take a scientific, methodicalapproach to their work. Artifacts may be intact or in hun-dreds of pieces. The Archeological Photographer may shoot

shards of pottery and statues, pieces of clothing and bones,or entire sarcophagi. Those who photograph for books andmagazines may take a more artistic approach to their workand pay closer attention to composition, color, and lighting.

Archaeological Photographers may photograph artifactsin studios or directly on site at excavations. If working atexcavations, they might be in any number of geographicallocations: in the desert or jungle; on mountains; in sand pits,bogs, swamps, and caves; aboveground or below the sea.They are well prepared for these challenges with appropri-ate photography equipment and tools, as well as technicalgear and clothing. Archaeological Photographers need to be


ARCHAEOLOGICAL PHOTOGRAPHER


Duties: Photographs archaeological objects for museums,universities, publications, etc.; works closely with archae-ologists and other specialists; photographs in studios,and travels to and works on-site at excavations; mayoversee assistants and interns


Salary Range: $20,000 to $35,000+



Best Geographical Location(s): Diverse sites around theworld

Prerequisites:Education or Training—Four-year degree in photogra-phy; master’s degree helpful; coursework in archaeologyand history beneficial; design software training (i.e.,Adobe Photoshop and Illustrator)

Experience—Minimum three to five years as an assis-tant archaeological photographer, with studio and exca-vation photography experience

Special Skills and Personality Traits—Knowledgeableand passionate about archaeology and social and culturalhistory; extremely detail-oriented and organized; physi-cally healthy and able to work in challenging weatherconditions and landscapes; able to work independentlyand with a team; strong knowledge of lighting; patientand flexible; curious; adventurous spirit

Archaeological Photographer


Studio Assistant / Intern

particularly mindful of their equipment because they areworking in conditions that are inherently harmful to cam-eras, lenses, film, and lights. While dust, sand, grit, water,and other elements are always concerns for any photogra-pher, they are huge problems for Archaeological Photogra-phers working in the field. Archaeological Photographersmust be aware of and prepare for the conditions in whichthey operate. Taking proper precautions is critical. Forinstance, a photographer working on an underwater site willneed to familiarize himself or herself with underwaterequipment. Lenses cannot be changed at depth, so planningis especially important. On the opposite side of the spec-trum, working in a dusty or desert environment forces pho-tographers to consider the risks of sand and grit on movingparts and optical surfaces. It is useful and economical toknow that underwater camera equipment is also well suitedto desert conditions, as the seals designed to keep out waterwork just as well at keeping out dust. Dual-purpose equip-ment can be a great money-saver. When working inextremely cold conditions, fluids that normally keep a cam-era lubricated can actually turn into sludge. Photographersworking under arctic conditions need to have their equip-ment serviced and prepared with special lubricants designedfor this type of weather. Another useful tip is to wear exter-nal battery packs inside a coat to keep equipment function-ing under frigid conditions.

SalariesArchaeological Photographers usually work on a freelancebasis and earn wages on a project-by-project basis. Annualsalaries can range from $20,000 to $35,000 or more,depending on the number of excavations and projects theArchaeological Photographer is able to secure. There arevery few long-term employees because expeditions mayspan only a few months or extend over several years.Archaeological Photographers typically charge flat rates forprojects, with all expenses included.

Employment ProspectsAccording to the Occupational Outlook Handbook, employ-ment of archaeologists is expected to grow by about 10 to20 percent through 2012. As archaeologists are employed,so will Archaeological Photographers secure work. Moreexpeditions are occurring due to increased private fundingto museums, colleges and universities, and philanthropicgroups. Competition will be fierce, though. Photographerswith advanced degrees and experience working with archae-ologists will have a much-needed edge.

Advancement ProspectsThere is no specific job to which Archaeological Photogra-phers can advance. They can expand by working on digsthat are different from what they normally have done in the

past or by securing steady employment. They can write forvarious publications, participate in panel discussions, andteach at colleges and on the graduate-school level.

Education and TrainingA four-year degree in photography, with coursework inarchaeology and history, is recommended. Some educa-tional institutions may require Archaeological Photogra-phers to have advanced degrees. Skill with computer designsoftware (Adobe Photoshop) is required.

Experience, Skills, and Personality TraitsSeveral years of prior experience as an assistant to anArchaeological Photographer is recommended. To succeedin this field, Archaeological Photographers must have greatpatience and be passionate about archaeology. Photograph-ing artifacts and expedition sites, traveling to excavations,and witnessing the discovery of new worlds can be over-whelmingly exciting. At the same time, the reality is thatmany photographs will be needed of countless, oftenunidentifiable pieces and particles of those finds. TheArchaeological Photographer who is deeply interested inlearning about other cultures and how people lived eons agowill enjoy this work immensely and thrive in the field.

Archaeological Photographers who work at excavationsites must be hale and hearty. Weather, terrain, and otherfactors will strive to distract from the work at hand. Photog-raphers who are in good physical shape, extremely focused,and have flexible attitudes will overcome the challenges toachieve the goals of the project. They must also be adept atworking independently and as part of a team and be capableof taking and following instructions from archaeologists anddig leaders. They must also be educated about and respect-ful of local customs.

Unions and AssociationsThere are no associations specifically committed to Archae-ological Photographers. Membership in such organizationsas the Association of Archaeological Illustrators and Sur-veyors and the Archaeological Institute of America, how-ever, offers access to educational publications, news aboutcurrent and upcoming expeditions, networking opportuni-ties, and other beneficial resources.

Tips for Entry1. Volunteering or interning is the best way to get expo-

sure to this world and also gain invaluable on-the-jobtraining. Volunteer as an assistant in a museum or atan archaeological program in a university.

2. Immerse yourself in the field by reading as much lit-erature as possible. Read archaeology magazines andfrequent Web sites to learn about upcoming excava-tions and help that may be needed. Visit the library

MEDICAL AND SCIENTIFIC PHOTOGRAPHY 97

and take out books about digs, archaeologists, andother specialists in the field.

3. Use Internet search engines to find information aboutArchaeological Photographers. Read their biogra-phies and visit their Web sites. If you get the sense

they might be approachable, e-mail a note asking ifthey can spare a few moments to answer questionsabout their work. Tell them you are considering enter-ing the field and that their feedback will be extremelybeneficial.


Position DescriptionMedical Photographers aid medical research and educationby taking photographs of medical conditions, as well as bytaking photographs to help in the prevention of certain con-ditions. For instance, some Medical Photographers maywork closely with dermatologists to help detect the earlysigns of skin cancer. They will photograph a patient’s entirebody each year, which enables dermatologists to comparephotographs from year to year and identify any changes in

skin markings. Medical Photographers may photograph eyeconditions to assist ophthalmologists in formulating theirdiagnoses.

Medical Photographers either work on site at doctors’offices or in their own studios, providing patients with com-fortable, clean, private dressing rooms. Medical Photogra-phers may also regularly visit rehabilitation hospitals tophotograph and track body changes due to scoliosis, spinalinjury, obesity, and other conditions. They may photograph


MEDICAL PHOTOGRAPHER


Duties: Photographs medical conditions for patients’records and treatment; photographs medical proceduresfor scientific papers, records, textbooks, pamphlets, andteaching models, as well as for use in educational films,slides for future classes at medical centers, and evidencein civil and criminal legal procedures; keeps detailedrecords of photographs and slides; handles accountsreceivable and payable

Alternate Title(s): Biomedical Photographer




Best Geographical Location(s): Major urban areas and allcities with teaching hospitals

Prerequisites:Education or Training—Two- or four-year degree inphotography; coursework in health-related subjects (i.e.,biology, medicine, etc.) beneficial; design software train-ing (Adobe Photoshop)

Experience—Several years of experience as a profes-sional portrait or commercial photographer; some experi-ence assisting or working in some capacity with aMedical Photographer beneficial

Special Skills and Personality Traits—Strong interest inhealth, medicine, and science; detail-oriented; able to workwith diverse people, from patients to medical personnel;comfortable with medical terminology; excellent commu-nication skills; diplomatic and sensitive; adept at computersoftware programs; PowerPoint knowledge helpful

Medical Photographer



surgical procedures for later use in teaching hospitals. Theyphotograph patients before operations for close-up shots ofthe injuries, photograph them on the operating table fromstart to finish, and then take further close-ups following theoperation. Patients use these photographs as proof when fil-ing insurance claims. Medical Photographers may also pho-tograph autopsies.

Larger hospitals generally have dedicated staff photogra-phers who specialize in the areas being photographed.Smaller hospitals usually hire freelance Medical Photogra-phers who are multidisciplined and able to juggle manyprojects. Some Medical Photographers also use video cam-eras in their work. Depending on the size and structure ofthe hospital, Medical Photographers may be tasked withproducing charts and graphs, digitizing X-rays, and creatingslides for presentations. Their photographs are often used inbrochures, advertisements, textbooks, and other literature.Some Medical Photographers are also skilled in graphicdesign or Web design. They may work with medical centersto create Web sites to help patients learn about certain con-ditions and diseases.

Medical Photographers manage their schedules. Doctorsand hospitals often refer patients to them and leave it to thephotographers to book the photo sessions and confirm thelocations and all of the specifics (i.e., conditions to photo-graph, types of images being created). Freelance MedicalPhotographers must also bill clients, handle the photo stu-dio’s accounts receivable and payable, and maintain officeequipment and supplies.

SalariesMedical Photographers can earn salaries ranging from$25,000 to $50,000 or more, depending upon clientele, geo-graphical location, and number of years in the field. A Med-ical Photographer’s fee may be derived from grants teachinghospitals receive for their services. Patients pay fees directlyto photographers either on a per-photography-session orper-package basis. The photography package usuallyincludes the photography session plus the types of photo-graphs commissioned, which may be 35-millimeter slides or8′′ × 10′′ or 9′′ × 12′′ digital prints. Medical Photographersmay also enhance their salaries by creating images for useas evidence in legal procedures.

Employment ProspectsThe medical photography field is small and highly competi-tive, thus employment prospects are expected to be only fairfor Medical Photographers. According to the OccupationalOutlook Handbook, employment of photographers overall ispredicted to increase about as fast as the average for alloccupations, or by about 10 to 20 percent, through the year2012. Patients and doctors who seek medical historiesthrough photographs will continue to hire Medical Photog-

raphers but generally will hire those they are most familiarwith and have developed a relationship with over time, par-ticularly if the conditions being photographed are of a sensi-tive nature. Medical Photographers have greater chances offinding work with rehabilitation centers, which normallyneed photography services for post-corrective surgery, priorto and after operations, and for diagnosis or further medicalfollow-through. Medical Photographers can also find workwith teaching hospitals, universities, and medical book andmagazine publishers.

Advancement ProspectsMedical Photographers are usually freelancers. Mostwork independently with no or very little staff assistanceand are already at the top of their profession. While thereis no specific job to which Medical Photographers canadvance, they can grow their businesses and expand theirskills by lecturing and writing, teaching at technicalschools and universities, and exploring other areas ofmedical photography.

Education and TrainingA four-year degree in photography is typically a solid founda-tion for Medical Photographers. While most do not need tohave a background in the particular medicine or science theyare photographing, having a grasp of the language, terminol-ogy, symptoms, and treatments is helpful. Photographers whotrain for one to two years with Medical Photographers receivegreat exposure to this field. They need to be well versed indigital photography and trained in software design programssuch as Adobe Photoshop and Illustrator, as well as suchMicrosoft Office programs as PowerPoint.

Experience, Skills, and Personality TraitsSuccessful Medical Photographers have artistic skills cou-pled with a strong interest in health and medicine. Becausethey work with a wide variety of people, from doctors topatients, they need to have exceptional communicationskills. They must have the knowledge to speak with doctorsabout the conditions and diseases they will be photograph-ing and the diplomacy, tact, and sensitivity to help patientsfeel comfortable and safe while they are being pho-tographed. Some conditions are difficult enough for patientsto handle, so Medical Photographers must present them-selves professionally yet humanely while they work. Theymay work from the studio, at hospitals, in doctors’ offices,and at patients’ homes. It is important that they be able totravel as needed and maintain a flexible attitude.

Unions and AssociationsFor educational and networking opportunities, technicalexpertise, and advice geared specifically to medical commu-


nications specialists, Medical Photographers can join theBioCommunications Association and the Health and ScienceCommunications Association. Medical Photographers canalso join the Association of Medical Illustrators, either as fullor associate members, depending upon their art disciplines.For professional photography resources and discounts onservices, they may also join Professional Photographers ofAmerica.

Tips for Entry1. If there is a teaching hospital in your community, call

and ask to speak with the Medical Photographer. Askfor an appointment to discuss the possibility of assist-ing or observing.

2. Speak with your family doctor about upcoming med-ical trade shows. Attend these shows and be sure tobring business cards with you. Network and speakwith exhibitors and attendees about their medicalphotography needs. Find out the names of the Med-ical Photographers they work with and contact themto learn more about the type of work they do.

3. Research the medical photography field to learn whichconditions are photographed. Check the public libraryfor reference books and conduct Internet searches onmedical photography and Medical Photographers.

4. Search for medical publishers to see which photogra-phers they hire and the types of photographs theypublish.


Position DescriptionOceanographic Photographers photograph images bothbelow and above water for research about marine life, waterconditions, and environmental changes and impacts. Theymay document coral reefs and fish habitats, water tempera-tures and currents, tides and circulation. They photographi-cally monitor land erosion of beaches and inlet shorelinesperiodically at high and low tides at the request of the town-

ships, the U.S. Coast Guard, and for local environmentalgroups. Oceanographic Photographers often speak abouttheir work and their findings at science and research confer-ences and sometimes even at city and town council meet-ings focused on local environmental issues.

Most Oceanographic Photographers specialize in an areaof oceanography and are trained in underwater photography.Their area of expertise may be in marine biology or marine


OCEANOGRAPHIC PHOTOGRAPHER


Duties: Provides photographs of the environment above andbelow the ocean; photographs beaches, harbors, inlets,and relevant natural and human-made elements for scien-tists, researchers, the U.S. Coast Guard, the U.S. military,builders of bridges, dams, and other human-made struc-tures, historians and agencies in Congress and state leg-islative departments; may write and pitch articles andphotographs to magazine and book publishers

Alternate Title(s): Marine Photographer

Salary Range: $20,000 to $50,000+



Best Geographical Location(s): Seacoast university cities,Washington, D.C., and major harbor cities

Prerequisites:Education or Training—Master’s and doctoral degree;on-the-job training with oceanographers and Oceano-graphic Photographers

Experience—Research work at institutions, environmen-tal centers; prior writing or teaching experience beneficial

Special Skills and Personality Traits—Strong interestin marine life and oceans, science, research, and math;comfortable in the water; skilled diver; knowledgeableabout cameras, film, lighting, and accessories that workbest under water; physically fit, with excellent stamina;excellent interpersonal and communication skills; able towork independently and on a team; organized; logical;detail-oriented

Special Requirements—Specialized scuba diving licenserequired by various states and countries

Marine Scientist

Oceanographic Photographer

Researcher or Teacher

geology, in which they study seabeds and coastal interac-tions or analyze marine bacteria, algae, and animals andtheir interactions. They may specialize in computer model-ing, in which they will create simulations of variousprocesses in the ocean to help predict sea level and climatechanges. They work in offices, laboratories, and travel tovarious parts of the world to conduct fieldwork in smallboats or large research vessels. They take notes on whatthey observe, date-stamp photographs, and use computers toanalyze the data. Oceanographic Photographers also spend agreat deal of time keeping up with research and news in thefield by reading scientific journals and publications. Theymay work with interns, delegating assignments to them andguiding them in their work.

Some Oceanographic Photographers write articles toexplain the research and the stories behind their photo-graphs or team with writers to help them tell the stories.They pitch their ideas to magazines, such as National Geo-graphic, Outdoor Life, BioScience, and others. Once the sto-ries are accepted, they negotiate the terms of agreement.Some magazines will cover travel and other expenses. Ifnot, photographers or writers can approach resorts in theareas where they plan to travel, explain that they have beencommissioned to write an article, and that they plan toinclude pictures and information about the resorts in thearticle. In exchange for this promotion, many resorts offercomplementary rooms and meals. Oceanographic Photogra-phers may also work closely with educational textbook pub-lishers in covering various aspects of the field for highschool and college students.

SalariesSalaries for Oceanographic Photographers can range from$20,000 to $50,000 or more, depending upon their years ofexperience, the agencies for which they work, and the num-ber of paying projects they are able to secure. Oceano-graphic Photographers may work for government ornongovernmental organizations and museums as free-lancers, consultants, or staff employees. Many freelancephotographers also write and publish articles in magazinesand books. Photographers who have established themselvesin the business and who are known for high-quality imagesof unique subjects in remote parts of the world usuallysecure the most work and the highest rates. OceanographicPhotographers may also write research proposals and securegrants to cover expenses for projects.

Employment ProspectsOceanographic photography is incredibly competitive andonly a few top-notch photographers are able to successfullycommit 100 percent of their time to the field. Many Oceano-graphic Photographers are freelance, and those who are wellconnected secure the commissions. Networking and going

on lecture circuits, even if it means you must lecture forfree, are key to building a name in the business. There are nostatistics currently available for employment predictions forOceanographic Photographers. A close parallel, however,can be drawn to the employment rates of oceanographersand other related scientists. According to the OccupationalOutlook Handbook, the overall employment of environmen-tal scientists and geoscientists is expected to grow by about10 to 20 percent, about as fast as the average for all occupa-tions through 2012. Public policy will spur the job growth,inducing organizations and companies to comply with envi-ronmental laws and regulations. Environmental scientistsand Oceanographic Photographers will be needed by thesecompanies to research and analyze the environment, partic-ularly the waters and shorelines, to help determine specificchanges they may need to make to meet the standards.

Advancement ProspectsThere is no standard career ladder in the oceanographicphotography field. Some Oceanographic Photographersmay advance by heading research teams and organizingmore complex projects. Others may get ahead by pursuingfurther studies in particular areas of oceanography andsecuring postdoctoral degrees. They can also advance byteaching, lecturing, and writing.

Education and TrainingOceanographic Photographers usually have advanceddegrees in oceanography, biology, chemistry, or otherrelated subjects, with training in underwater photography.Many have master’s and doctoral degrees.

Experience, Skills, and Personality TraitsOceanographic Photographers must be passionate about sci-ence, research, marine life, oceans, and the environment.They need to understand the science behind their photo-graphs. They must be curious and creative, detail-oriented,and have strong communication skills. Much of their workentails writing and reporting about their research, experi-ments, studies, and findings, so strong writing skills areimportant. They also must be tenacious and persistent inpitching ideas to magazine and book publishers. Naturally,they must be healthy, in good physical shape, and be com-fortable in and around the water. Multilingual skills andappreciation and respect for other cultures are also impor-tant qualities.

Special RequirementsOceanographic Photographers need to have a specialtylicense for underwater photography. They must first receivecertification in advanced scuba diving to receive the spe-cialty license. Visit the Professional Association of Diving


Instructors Web site (http://www.padi.com) for details abouthow to get certified.

Unions and AssociationsThere is no union or association specifically dedicated toOceanographic Photographers. Those photographers who arelicensed and teach diving can join the Professional Associa-tion of Diving Instructors. Oceanographic Photographers mayalso join Professional Photographers of America and Ameri-can Society of Media Photographers for career-enhancingmembership benefits. Nikon Professional Services is anotherorganization that offers professional photographers who useNikon equipment updates on technology, news about otherprofessionals in the field, various classes, and more. TheAmerican Littoral Society also offers members useful infor-mation about local environmental issues and events.

Tips for Entry1. Conduct an Internet search for summer workshops

including underwater photography training. If youhave not done so already, get certified in scuba diving.

2. Visit the Web site of the Archaeological Institute ofAmerica (http://www.archaeological.org) and see ifthey have upcoming tours of underwater sites. E-mailor call them to find out about openings for volunteerunderwater photographers.

3. Join the Professional Association of Diving Instruc-tors. Take advantage of networking opportunities, fur-ther training, and employment referrals.

4. If you have already been diving and taking photo-graphs, enter as many underwater photography con-tests as possible to start getting your name out thereand building connections.


Position DescriptionOphthalmic Photographers photograph eyes to help ophthal-mologists determine eye disorders, diseases, and treatmentsand to help them discern congenital problems and documentsurgeries. Photographers use specialized cameras (i.e., thefundus camera, which documents the retina) and micro-

scopes to take two- and three-dimensional photographs ofvarious aspects and angles of the eye, under the supervisionof opthalmologists. The patient sits facing the photographer,looking through the microscope and camera lens, and fol-lows the photographer’s instructions before the shot istaken. An angiogram, which is an examination of blood ves-


OPHTHALMIC PHOTOGRAPHER


Duties: Works at ophthalmology practices and performsophthalmic photography; helps ophthalmologists diag-nose and treat eye diseases by performing fluoresceinangiography, fundus photography, and optical coherencetomography; reviews patients’ charts; attends meetingsand seminars; trains on site in surgical procedures andimaging technology; may be required to transport recordsand supplies to sites

Alternate Title(s): Biomedical Photographer, OphthalmicPhotographer/Technician, Ophthalmic Photographer/Angiographer, Retinal Angiographer

Salary Range: $23,000 to $50,000+




Prerequisites:Education or Training—High school diploma may suf-fice for some positions; most practices will require two-or four-year degrees, with training in ophthalmic photog-raphy and angiographyExperience—Two or more years of experience in spe-cialized ophthalmology in hospitals, laboratories, orhealth-care organizationsSpecial Skills and Personality Traits—Working knowl-edge of fundus photography; knowledgeable about 35-millimeter film processing; understands how to readpatients’ charts; excellent communication and interper-sonal skills; calm, presentable, and professional demeanorSpecial Requirements—Certification as a clinical oph-thalmic assistant, clinical ophthalmic technician, or clini-cal ophthalmic medical technologist is mandatory inmany practices; cardiopulmonary resuscitation (CPR)certification is also often required

Ophthalmic Photographic Supervisor /Certified Ophthalmic Medical Technologist

Ophthalmic Photographer

Ophthalmic Photographic Assistant

sels, is achieved by injecting patients with a contrastmedium, a fluorescent dye, which eventually flows into theretina or iris vessels. This is also known as fluorescein orindocyanine-green angiography. Ophthalmic Photographersalter light by using various filters.

In addition to fundus photography and angiography, Oph-thalmic Photographers perform a variety of ophthalmic pho-tographic functions, such as slit-lamp photography, externaleye photography, videography, and optical coherence tomog-raphy imaging. They not only photograph eyes to createbaseline medical records and document disorders but mayalso contribute work to new research projects in collabora-tion with other medical departments and organizations.

Ophthalmic Photographers process and develop black-and-white and color photographic materials, using manualor automated methods. They may prepare photographs formeetings, conferences, and ophthalmic photographic exhi-bitions. They may also be responsible for maintainingpatients’ records in hard-copy files as well as in computerdatabases. They review and choose ophthalmic photo-graphic equipment and supplies for purchase, as well asmaintain and repair the equipment. They coordinate patientscheduling of diagnostic exams and may give patientsvision tests. Ophthalmic Photographers may also be respon-sible for instructing resident physicians in fundus photogra-phy procedures, training other Ophthalmic Photographers infundus and external eye photography, as well as in fluores-cein angiography, and may supervise medical photogra-phers in their work.

SalariesSalaries for Ophthalmic Photographers are commensuratewith experience and can range from $23,000 to $50,000 ormore. Most Ophthalmic Photographers are full-time employ-ees of hospitals, health-care organizations, or laboratories.Upper-level Ophthalmic Photographers, such as certifiedophthalmic medical technologists, with six or more years ofexperience, will command higher wages. In addition tosteady salaries and annual raises, Ophthalmic Photographersmay enjoy such benefits as medical, dental, and life insur-ance; 401Ks; profit sharing; paid vacations and sick leave;disability; and continuing education and certification assis-tance or reimbursement.

Employment ProspectsOphthalmic Photographers usually work in private practices,clinics, laboratories, and hospitals, as well as in academia.According to the Mississippi Hospital Association (http://www.mshealthcareers.com), Ophthalmic Photographers havegood chances of finding work at least through 2012. As babyboomers age and the elderly population continues to grow, so,too, will the need for diagnostic eye exams and photographicmaterials.

Advancement ProspectsWith years of experience, Ophthalmic Photographers canadvance to become supervisors in ophthalmic photographicdepartments. They can freelance as consultants to privatepractices, hospitals, and health-care clinics. They canbecome faculty members at technical schools and universi-ties and share their knowledge by writing articles for med-ical journals and Web sites. Those who have lower-levelcertification can find greater employment opportunities byseeking higher-level certification as medical technicians ortechnologists.

Education and TrainingFor gainful employment, Ophthalmic Photographers usuallyneed at least a two-year degree, with an emphasis on sci-ence, and two years of vocational training in ophthalmicdiagnostic photography and angiography. Certification isthe next step after completing vocational training. Oph-thalmic Photographers keep up with research, photographictechniques, and technology by regularly attending continu-ing education workshops and conferences and reading oph-thalmic journals and books.

Special RequirementsOphthalmic Photographers must be certified as clinical oph-thalmic assistants (COAs), technicians (COTs), or medicaltechnologists (COMTs) to perform photographic servicesfor patients. They can receive certification through suchorganizations as the Joint Commission on Allied Health Per-sonnel in Ophthalmology (JCAHPO; http://www.jcahpo.org). To receive certification, photographers must completeand pass exams for lower-level certification and pass hands-on tests for higher-level certification. At JCAHPO, the COAexam is at the entry level, the COT is the intermediate level,and the COMT is advanced. Some ophthalmic departmentsmay also require cardiopulmonary resuscitation (CPR) cer-tification, in case a patient has trouble breathing or experi-ences a cardiac emergency. The American Red Cross offersclasses and certification in infant, child, and adult CPR.

Experience, Skills, and Personality TraitsOphthalmology practices normally require photographers tohave between three and six years of prior diagnostic eye-photography experience, preferably in medical schools,health-care organizations, or laboratories. Ophthalmic Pho-tographers must be knowledgeable about film processingand, at minimum, understand the basics of fundus photogra-phy. They must be adept at taking close-up photographs,duplicating slides, and working in hectic environments.Long days and overtime are often required, so dedicationand flexibility are key characteristics in the position. Oph-thalmic Photographers must also be independent and self-


motivated, as well as capable of interacting with patientsand staff. To enjoy this field, photographers need to be pas-sionate about science, research, and helping people main-tain and improve their eyesight.

Unions and AssociationsOphthalmic Photographers join the Ophthalmic Photogra-phers’ Society, Inc. for membership newsletters, industryjournals and educational publications, employment listingsand referrals, and discounts on certification programs(http://www.opsweb.org). They may also join ProfessionalPhotographers of America for educational resources, annualconferences, and networking opportunities.

Tips for Entry1. Get work in an ophthalmic department as a trainee.

Use an Internet search engine, such as Google, to findhospitals, private practices, and health-care organiza-

tions near you. Locate the employment sections forjob listings or contact the human resources depart-ments directly to find out about openings and how toapply.

2. Join the Ophthalmic Photographers’ Society and sub-scribe to the society’s Journal of Ophthalmic Photog-raphy and The OPS Newsletter.

3. Hone your skills by taking continuing educationcourses that focus on digital imaging, fundus photog-raphy, and fluorescein angiography.

4. Prospective Ophthalmic Photographers can also findjob opportunities through myriad employment place-ment Web sites, such as HealthJobsUSA (http://www.healthjobsusa.com), HealthCareerWeb (http://www.healthcareerweb.com), Monster (http://www.monster.com), Hotjobs (http://hotjobs.yahoo.com), as well asthrough the U.S. Department of Health and HumanServices (http://www.os.dhhs.gov).


Position DescriptionScientific Photographers create accurate, objective photo-graphic images of experiments and scientific procedures forscientists to use in their analyses, measurements, andresearch data. These photographic images may be incorpo-rated into scientific, medical, or forensic reports or be pub-lished in articles and research papers as visual support ofscientific discoveries and issues of debate. Their work mayalso appear in such magazines as Discover, Science, and Sci-entific American.

Research organizations, universities, and governmentdepartments hire Scientific Photographers to work closelywith their scientists on a wide range of projects. They mayphotograph high-speed events up close or use remote cam-

eras to photograph missile paths or the progress of explo-sions. Scientific Photographers use specific photographictechniques and technologies to capture these images. Toolsand techniques common to the trade include ultraviolet andinfrared photography, thermal imaging, and time-lapse pho-tography. Scientific Photographers also use micrography intheir work, by attaching a camera to a microscope and tak-ing a picture of the object on the microscope slide. Theyoften assist in the preparation of specimens to be pho-tographed by preparing slides. Many Scientific Photogra-phers also use 16- or 35-millimeter video camcorders ormovie cameras to record images and experiments.

Scientific Photographers are responsible for reviewingand selecting appropriate photographic equipment for pur-


SCIENTIFIC PHOTOGRAPHER


Duties: Photographs various subjects to illustrate or recordscientific or medical data or phenomena for scientistsand medical researchers; may prepare microscope slides;creates photographic procedures and plans for work

Alternate Title(s): Medical Photographer




Best Geographical Location(s): Silicon Valley, California;Boston; Phoenix; and Seattle

Prerequisites:Education or Training—Four-year degree, with spe-cialization in a scientific discipline (chemistry, biology,physics, etc.) beneficial; master’s degree or doctoraldegree may be required

Experience—Several years of experience in photogra-phy, preferably in a lab or science department of univer-sity, research facility, or governmental agency

Special Skills and Personality Traits—Strong interest inscience and research; extremely knowledgeable about pho-tographic equipment and photographic science techniques;good team player; clear communicator; strong listeningskills; detail-oriented and organized; patient; diplomatic;objective photographer; able to follow directions

Head of Scientific PhotographyDepartment

Scientific Photographer

Assistant Scientific Photographer

chase. After they learn what the assignment is, they plan thephotographic methods and techniques that will be needed tocomplete the job. They position cameras, select the expo-sures, set up all of the equipment, which can range frommicroscopes and telescopes to X-rays and infrared lighting.They may photograph fragile documents and material forarchival records. They may also develop film and createprints, slides, and transparencies. Normally, Scientific Pho-tographers specialize in the field they are covering, such aschemistry, medicine, physiology, astronomy, or others.

Scientific Photographers are also experimenters andinventors in their own right. An excellent example of this isthe story behind the earliest-known scientific photographs ofa galloping horse in 1872. These photographs helped settle adispute and inspired scientists, inventors, and researchers foryears to come. According to historical reports, then Califor-nia governor Leland Stanford bet $25,000 that all four feet ofa galloping horse are sometimes completely off the ground,but he needed visual proof to win. Stanford commissionedPhotographer Eadweard Muybridge, who was doing govern-ment survey work at the time, to photograph a gallopinghorse. Muybridge experimented first with still photography,which proved useless. Through trial and error, he eventuallysucceeded by using multiple cameras, with trip threadsattached to the shutters, to take a series of photographs. Theseries was of Occident, a white horse, running against ablack, painted background, showing the horse in differentpositions in each photograph. When flipped through, theseries was also an early crude action movie that inspired fur-ther experiments and developments in that field. And yes, allfour hooves of the galloping horse left the ground, and Stan-ford won his bet.

SalariesAnnual salaries for Scientific Photographers can range from$50,000 to $75,000. Their earnings will depend upon theireducational backgrounds, number of years in the field, andthe type of organizations for which they work. ScientificPhotographers who specialize in research and experimenta-tion in photographic science (i.e., researching and inventingnew photographic equipment and techniques) can apply forgrants and financial assistance to help meet business andoverhead costs in their work.

Employment ProspectsScientific Photographers have good chances at findingemployment opportunities because the skills required are sospecialized. Due to the rigorous educational and photo-graphic technique requirements, there are not as many pho-tographers flocking to the scientific photography field asthere are to the more glamorous fields, such as entertain-ment or sports photography. Scientific Photographers withadvanced degrees in the scientific areas of the companies

that are hiring, as well as the proper photographic training,will have the advantage in the hunt for employment.

Advancement ProspectsScientific Photographers can advance to become heads ofphotography departments within industrial laboratories andresearch facilities. They may also move into other areas ofscience, which they may not have yet covered, after firstsecuring advanced degrees in these areas. They may writeand contribute to the magazines that focus on the areas theyphotograph. They may also write books, give workshopsand lectures at universities and scientific association confer-ences, and participate in expeditions around the world. Sci-entific Photographers may also advance by pioneering newtechniques or contributing to scientific breakthroughs.

Education and TrainingA four-year degree in chemistry, biology, physics, or anyother scientific area the photographer chooses to work in isrecommended in the position. Many companies require Sci-entific Photographers to have a master’s or doctoral degree.Scientific Photographers must be trained in digital photog-raphy and photographic design software, as well as the vari-ous photographic techniques they will use in their work,such as thermal imaging or micrography. They must alsohave some training and education in the scientific proce-dures they are photographing.

Experience, Skills, and Personality TraitsSeveral years of experience as a photographer in a lab or sci-ence department of a governmental organization is helpful.Scientific Photographers must be passionate about scienceand research and have a strong knowledge of the specific sci-entific disciplines in which they work. They must be techno-logically adept because their work requires absoluteaccuracy. They work closely with scientists and researchers,so they must have excellent interpersonal and communica-tion skills and be able to follow directions to meet deadlines.They must know which equipment, cameras, and techniquesto use. This type of work requires a great deal of objectivityand the ability to properly prepare for shots and patientlywait for the right moment to take them.

Unions and AssociationsThere are no associations dedicated solely to Scientific Pho-tographers. They can belong to the American Associationfor the Advancement of Science for educational publica-tions and films, access to research papers and scientificnews, networking opportunities, and discounts on variousservices. They can also join Professional Photographers ofAmerica for professional resources.


Tips for Entry1. If you are still in college, speak with your chemistry,

biology, or physics professor about creating a portfo-lio of scientific photographs for review and incorpora-tion into your final grade for the semester.

2. Create your own scientific images for your portfolioby following the examples of early scientists. Visit theonline encyclopedia MSN Encarta (http://www.encarta.msn.com), read about Isaac Newton’s three laws of

motion, then create scientific photos, illustrating theselaws. Follow the same path with Galileo’s projects,such as his night-sky studies using primitive telescopes.

3. Join the American Association for the Advancementof Science and regularly peruse the Web site foremployment referrals and networking opportunities.


NEWS MEDIA ANDENTERTAINMENTPHOTOGRAPHY

Position DescriptionDocumentary Photographers comment on what is going onin the real world by capturing it photographically. They pur-sue their subject matter either through their own personalinterests and convictions, or they work according to assign-ments received from government and social agencies; maga-zine, newspaper, and book publishers; or other media. Theirwork may appear in publications like the New York Times,Newsweek, Time, Life, and many others. Documentary Pho-

tographers, like photojournalists, can ignite public outcryand change by pointing their camera lenses at such topics aspeople’s living conditions or the consequences of environ-mental disasters. In the early 1900s, Documentary Photog-raphers enlightened the world to the horrendous livingconditions in city slums, helping to pave the way for newlegislation to protect residents in these areas.

Documentary Photographers map out their stories well inadvance of traveling to the location(s) for photography


DOCUMENTARY PHOTOGRAPHER


Duties: Takes photographs of living conditions, human con-ditions, natural environments, wars, and other political,social, and cultural activities in cities and rural areas todocument history and inform the public; provides photo-graphic information for researchers, social scientists,world leaders, and others who can analyze and commenton conditions and affect change when needed; travelsaround the world

Alternate Title(s): News Photographer, Photojournalist,Press Photographer

Salary Range: $14,640 to $49,920+



Best Geographical Location(s): Major cities where mediahubs exist

Prerequisites:Education or Training—Bachelor’s degree in photo-journalism; training in digital photography and photo-graphic design softwareExperience—Five or more years of experience as a newsphotographer; travel photography and portrait photogra-phy experience beneficialSpecial Skills and Personality Traits—Excellent visualsense; passion for current events and world history; inter-est in cultural, political, and social studies; politicallyaware; able to choose visual images that best capture thestories; professional; diplomatic; curious; intuitive;excellent written and verbal communications skills; mul-tilingual capabilities helpful; adaptable to change; cre-ative, fast thinker and problem solver

Documentary Photographer

News Photographer


shoots. They might work closely with other researchers andwriters or alone, hiring photographer’s assistants and othercrew as needed. This type of work can be drawn out over longperiods of time because the topics are often serious andrequire painstaking attention to the facts to ensure accuracy inthe pictures. It is often necessary to follow up later to makesure the facts still hold true and the stories remain worthtelling. Documentary Photographers may also exhibit and selltheir work in galleries, possibly raising funds for the issuesthey have documented. They may travel to war zones andphotograph war victims, troops, machinery, destruction, orsurrounding cities and villages. They may do a photographicstudy of people with disabilities who have found interestingand empowering ways to overcome those disabilities, or theymay simply photograph them in their daily lives. They mayalso document gentrification in neighborhoods, areas oftowns and cities that have fallen into disrepair, towns wherepopulations have dropped dramatically due to industries clos-ing, and more. The subject matter will vary widely.

SalariesDocumentary Photographers can earn annual salaries rang-ing from $14,640 to $49,920 or more, depending upon theirexperience, connections, and subject matter. According tothe U.S. Department of Labor’s Occupational OutlookHandbook, the median annual earning for full-time, staffphotographers working at newspapers and periodicals was$31,460. Documentary Photographers are normally free-lancers who, unless well established in their fields, supple-ment their incomes by providing other photographicservices. If they are shooting overseas, for instance, they canprovide photographs for travel, resort, or lifestyle magazines,thereby sparing the magazines from sending other photogra-phers to the locations. Documentary Photographers may alsosecure grants for their work, to help cover expenses.

Employment ProspectsIt is difficult to predict employment prospects specificallyfor Documentary Photographers. Many work independentlyand therefore are able to secure commissions and grants,providing they have new stories to tell that impact the world.Employment of photographers for all disciplines and mediais expected to increase at a rate average with all occupations,about 10 to 20 percent, through 2012. Documentary Photog-raphers may secure additional work as more magazines,newspapers, and journals make their publications availableon the Internet and as the public’s demand for more in-depth,truthful stories increases. Declines in the print newspaperindustry, however, may reduce demand for photographers.

Advancement ProspectsDocumentary Photographers are typically at the top of theirfield. True advancement for many will be the day when theycan commit 100 percent of their time and energy to docu-

mentary photography. This may take years of commitmentto the field, honing their skills until they are a recognizedname in the industry. They can also advance by writing arti-cles and books to accompany their photographs, as well asdelving into other media such as film and television broad-casting. They can always expand their documentary photog-raphy studios by adding more photographers and others totheir staff and offering more photographic services.

Education and TrainingA four-year degree in photography, with emphasis on docu-mentary photography and photojournalism, is beneficial.Coursework in world history, cultural studies, and politicalscience can provide a solid reference ground for this posi-tion. Training in digital photography and photographicdesign software programs is highly recommended.

Experience, Skills, and Personality TraitsDocumentary Photographers can have diverse backgrounds.Many will have prior experience as news or press photogra-phers and photojournalists. Some will have commercialphotography and portrait photography experience. Whatthey bring to their work is a desire to document the facts andnot to create illusions about what is being seen. They areoften compelled to tell a story that the world needs to knowabout and will work relentlessly and sometimes for little orno money to accomplish this goal. Documentary Photogra-phers are sensitive and intuitive about how to photographpeople and places, and they know how to tell a story visu-ally. They know what makes for good images and how tocommunicate with people in ways that encourage naturalbehavior and the expression of true emotions. This soundseasier than it actually is. Documentary Photographers willoften photograph people dealing with difficult situations.Many may be in remote areas of the world and in cultureswhere photographers are either not welcome or are shunnedor feared. They are patient, flexible, excellent communica-tors who can secure people’s trust. They are technicallyskilled and able to work in all weather conditions day ornight. They are also adept at working alone and at workingwith journalists and reporters. Documentary Photographersmust also remain aware of their surroundings, recognizewhen situations become dangerous, and know how to dealwith it.

Unions and AssociationsDocumentary Photographers may join groups such as theInternational Association of Documentary Photographersand AmericanPhotojournalist.com for access to Web blogsand online message boards, industry news, employmentreferrals, self-promoting Web portfolios, employment list-ings, and photography critiques. They may also join theAmerican Press Institute, American Society of Media Pho-tographers, or National Press Photographers Association.

NEWS MEDIA AND ENTERTAINMENT PHOTOGRAPHY 113

Tips for Entry1. Research and create a list of documentary photogra-

phy studios in cities near you. Find their Web sitesand read about the issues that they cover and wherethey have traveled. Contact the studios that mostinterest you and see if you can set up an informalmeeting to discuss the field. Bring a thorough list ofquestions with you, business cards, and a portfolioand solicit advice and referrals. Be sure to follow upwith a letter expressing your gratitude for the person’stime and advice and giving your contact informationso that you can continue to be in touch.

2. This is a hard field to enter, so be prepared to pay yourdues. Get an entry-level job, an internship, or evenvolunteer for a little while, if you can afford to, in adocumentary photography studio or a studio that pro-

vides documentary photography among other photo-graphic services. Have an open mind, be flexible, andremember that this is your training ground. You areinvesting time in a future career, and this is youropportunity to learn as much as you can about thefield. Use your internship experience wisely!

3. Join professional associations and check their Websites for employment listings in the field. You mayalso find job listings as well as other educationalresources and career tips on such sites as Mediabistro(http://www.mediabistro.com), JournalismJobs (http://www.journalismjobs.com), the New York Times onthe Web (http://www.nytimes.com), Monster (http://www.monster.com), Yahoo! HotJobs (http://hotjobs.yahoo.com), and others.


Position DescriptionEntertainment Photographers work closely with talentagents and entertainers to create photographs for publica-tion in newspapers, magazines, playbills, television, bill-boards, and other media. Their work is often on displayinside and outside theaters, in train and subway cars and sta-tions, and on the sides of buses. Show publicists, advertisingagencies, and club owners also hire Entertainment Photog-raphers to photograph performers, including dramatic actorsfor stage, TV, and film; comedians; cabaret performers;musicians; magicians; circus performers; and many others.

Entertainment Photographers speak either directly withentertainers or with their talent agents to schedule photogra-phy sessions. They may be responsible for hiring and sched-uling wardrobe, hair, and makeup stylists, as well as

photographer’s assistants, for the shoots, negotiating theterms of employment and day rates, and overseeing theirwork. They learn in advance from clients how the photo-graphs will be used and the types of poses and emotions theyare expected to capture. Entertainment Photographers nor-mally schedule follow-up meetings with entertainers or theirrepresentatives to review the pictures and choose the bestimages for print. Entertainment Photographers may work outof their own studios or attend performances and photographentertainers live on stage. They may also attend press confer-ences to get publicity shots for newspapers and magazines.

Entertainment Photographers are normally freelancers.They are responsible for all aspects of running and main-taining their businesses, including creating company brandidentities and promotional literature; researching and con-


ENTERTAINMENT PHOTOGRAPHER


Duties: Creates photographs for publicists and advertisersto promote theaters, nightclubs, concert halls, and otherstage settings where audiences pay to be entertained;photographs entertainers for CD covers, postcards, busi-ness cards, and headshots

Alternate Title(s): Glamour Photographer, Portrait Pho-tographer

Salary Range: $25,000 to $75,000+



Best Geographical Location(s): Chicago, Hollywood,Los Angeles, Las Vegas, Miami, New York, and SanFrancisco

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in digital photography and designsoftware programs essential

Experience—Three or more years of experience as por-trait photographer in commercial studio

Special Skills and Personality Traits—Solid knowledgeof lighting and composition; excellent communicationand people skills; professional yet outgoing and friendly;reliable and self-motivated; organized; deadline-oriented

Entertainment Photographer

Portrait Photographer


tacting prospective clients; creating advertising and market-ing campaigns; scheduling appointments, negotiating agree-ments, and drafting work estimates, budgets, and contracts;invoicing clients; handling bills and tax payments; main-taining photographic equipment and office machinery;stocking office supplies; and networking.

SalariesAnnual salaries for Entertainment Photographers varydepending upon their years of experience, their reputationsin the field, and the economy. The entertainment field isdriven by the economy and when things are going well andemployment is up, people spend more money on luxuriessuch as plays and concerts. Earnings can range from$20,000 to $75,000 or more. Entertainment Photographerswho are smart marketers and know how to effectively net-work have the potential to secure more work and higherwages.

Employment ProspectsEntertainment Photographers who are located in major citieswith numerous theaters and entertainment centers will havegood opportunities to find employment. As long as the enter-tainment field continues to overflow with actors seeking workand auditioning for parts, Entertainment Photographers willbe needed for promotional photography purposes. Employ-ment of photographers in general is expected to increaseabout as fast as the average for all occupations through 2012,according to the Occupational Outlook Handbook. Demandfor photographers who create portraits should increase as thepopulation grows. Entertainment Photographers who havegood connections in the field will have the advantage ofsecuring job referrals and word-of-mouth advertising.

Many photographers include entertainment photographyamong myriad commercial photographic services availableat their studios. They may also offer portrait photography ofbabies and children, adults and their families, as well as ofcorporate executives. They may photograph weddings,events, conferences, and banquets. While specializing in aparticular niche may benefit some photographers finan-cially, others find that by expanding and rounding out theirservices, they also increase their employment options andearnings.

Advancement ProspectsEntertainment Photographers are normally independentemployees who own their own photography studios. Thereis no specific career ladder for them to climb. They advanceby expanding their studios and adding more photographerswith different specializations to their services. If they haveworked solely with theater entertainers, they may branch outby photographing writers, musicians, and fitness celebrities.

Depending upon the terms of their agreements with clients,they can license their photographs and sell their work tostock houses. They may also teach in technical and artschools, write articles and columns for industry magazinesand newspapers, and write and publish books.

Education and TrainingThere is no education requirement for Entertainment Pho-tographers, but a two- or four-year degree in photographycan provide a solid foundation for their careers. Courseworkin lighting and composition, as well as some exposure totheater and the performing arts, is relevant to an Entertain-ment Photographer’s daily work. On-the-job training in por-trait photography is also extremely helpful.

Experience, Skills, and Personality TraitsEntertainment Photographers begin their careers as photog-rapher’s assistants in commercial photography studios andmove on to become portrait, wedding, or event photogra-phers. They work with a diverse group of people, includingtalent agents, publicists, entertainers, publication managers,and many others, and thus must have excellent interpersonalskills, professionalism, and diplomacy. They can only suc-ceed if they are driven, responsible, reliable, and creative inthe ways they market their services to prospective clientsand maintain their current client base.

Successful Entertainment Photographers are skilled atmaking people feel comfortable and natural in front of thecamera. Knowing how to bring out the best in people is acritical component in creating images that will best promotethe individuals and the shows in which they perform. Enter-tainment Photographers must be outgoing and personable toenjoy this work. In addition to being technically versed,they are fluent in digital photography and photographicdesign software, such as Adobe Photoshop. They need theseskills to adjust and enhance images for framing, color, andlighting. Entertainment Photographers are motivated, ener-getic, and responsible. They are adept at juggling shootingschedules, keeping appointments, working well withdemanding personalities, and delivering prints to clients ontime.

Unions and AssociationsEntertainment Photographers can join several associationsfor networking and career advancement opportunities, suchas Advertising Photographers of America, American Societyof Media Photographers, and Professional Photographers ofAmerica.

Tips for Entry1. The best way to get into this business and start building

important connections is by getting a foot in the door,


sometimes by whatever means possible. Get an intern-ship or assistant position in a commercial photographystudio that specializes in entertainment photography.

2. Contact talent agencies to find out the names ofEntertainment Photographers they use for theirclients’ headshots. You can also check playbills to seecelebrity photos and photographers who have beencredited for the shots. Contact the photographers tosee if they need any assistance or if you can volunteerto help during a shoot.

3. Search for employment opportunities on such Web sitesas EntertainmentCareers (http://www.entertainmentcareers.net), Monster (http://www.monster.com),and Yahoo! HotJobs (http://hotjobs.yahoo.com).

4. Read industry publications such as Backstage Maga-zine and check employment listings in the classifiedssection.


Position DescriptionFashion Photographers help designers enhance and promotetheir work by creating eye-catching images for advertise-ments and articles in magazines, such as Harper’s Bazaar,Mademoiselle, or Vogue, and newspapers; for billboards; fordepartment store catalogs, inserts, and promotional signage;for television; and for Web sites. They photograph men andwomen in various designer clothing labels and accessories.Fashion Photographers who work on high-end fashion pho-tography often photograph models and celebrities at designhouses, at fashion shows, and on location around the world.

Depending on the size of the studio and the staff, FashionPhotographers may be responsible for handling casting ses-sions and choosing models. Even if clients are choosing themodels, photographers still contribute their thoughts aboutwho they think will work best for the images. Fashion Pho-tographers also hire and book wardrobe, set, and hair styl-ists, makeup artists, assistants, and other crew as needed. Ifworking with advertising or publishing clients, art directorsmay either create the sets or make suggestions for the sets.Art or creative directors are typically present during shootsto oversee the work. Throughout the shoot, it is the Fashion


FASHION PHOTOGRAPHER


Duties: Photographs designer clothing in studios, on loca-tion, at fashion shows and special events for magazines,newspapers, department store advertisements, catalogs,and Web sites; may create images for gallery or museumexhibitions; works closely with publication picture editors,advertising clients, writers, stylists, makeup artists, mod-els, assistants, and others; handles casting sessions; mayhandle promotion and marketing of photography studio;creates estimates; handles accounts receivable and payable

Alternate Title(s): Lifestyle Photographer

Salary Range: $350 to $2,000+ per day



Best Geographical Location(s): New York City, Chicago,Los Angeles, and San Francisco; major internationalcities such as London, Milan, and Paris

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy; trained in digital cameras and design software pro-grams (Adobe Photoshop and Illustrator); coursework infashion design history and advertising beneficial

Experience—Several years of freelance experience as acommercial, portrait, or wedding/event photographer

Special Skills and Personality Traits—Awareness ofand appreciation for fashion and popular culture; excel-lent communication skills; able to work with variouspeople; diplomatic; patient; energetic and creative

Fashion Photographer

Assistant to Fashion Photographer /Portrait Photographer Assistant

Studio Assistant

Photographer’s responsibility to make sure that art directorsand clients are happy with how things are progressing and todiscuss and make adjustments should issues arise.

Freelance Fashion Photographers are responsible formanaging other aspects of their business. In addition tooverseeing office equipment maintenance and making surethey are adequately stocked with office supplies, they han-dle marketing and promoting their business. They may buymailing lists and create promotional mailings by hiringdesigners or doing it themselves. They will contact agen-cies, publishers, fashion houses, and other prospectiveclients by telephone or e-mail, set up meetings, and drop offtheir portfolios and other promotional literature. They willeither hire a bookkeeper and accountant to handle theiraccounts or take care of the accounts receivable and payablethemselves. Fashion Photographers may or may not assumeany of these tasks based on their annual salaries, size of thestudio, and their strengths and interests.

The fashion world transcends time. Designers have thefreedom to draw from the past and present in their creationsand can imagine and interpret the future in their lines. Fash-ion Photographers stay tuned into all of the trends and keepabreast of designer news by reading fashion magazines(Vogue, In Style), trade publications (Women’s Wear Daily),and regularly visiting fashion news Web sites.

SalariesFashion Photographers’ salaries can vary widely, dependingupon years of experience, clients’ budgets, whether celebritymodels are being photographed, how the photography willbe used, and more. Fashion Photographers usually chargeanywhere from $350 to more than $2,000 per day, plusexpenses. Photographers who are celebrities themselves,meaning they are among the top photographers in the fieldand are known names, can command extremely high day-rates and annual salaries well in excess of $200,000.

Employment ProspectsAs in all glamour businesses, the fashion industry is highlycompetitive and employment prospects are only fair. Thenotion of working with models, top designers, and advertis-ers and being part of a trendy world draws more applicantsthan there are jobs to fill. Word-of-mouth and having con-nections in the fashion world are the best ways to securework. Fashion Photographers need at least several years ofprior experience as professional photographers to fullygrasp how the business works. They also need prior profes-sional work so that they will have tear sheets (publishedmagazine pages) to add to their portfolios. Many FashionPhotographers get their first taste of the business by work-ing as studio assistants. Commercial photographers oftenhave the edge in securing jobs because they are experiencedin working with products which advertisers and clients are

trying to promote. The skills used in commercial photogra-phy are the same as those needed to help promote designerclothing.

Advancement ProspectsFashion Photographers are at the top of the career ladder inthis field. Staff photographers who work in small studioswill have few opportunities to advance, whereas the largerstudios may have more turnover and offer greater chancesfor growth. Fashion Photographers can advance by movingto larger studios, expanding into other types of photography(i.e., beauty, entertainment, travel), participating in paneldiscussions and lecture series, teaching at the universitylevel, and writing articles or books.

Education and TrainingMost Fashion Photographers have either a two- or four-yeardegree in photography. Coursework in art and fashion his-tory and training in digital cameras and design software,such as Adobe Photoshop and Illustrator, are beneficial inthis field. On-the-job training as a studio assistant or as anassistant with a wedding photography or event photographyteam can provide skills that will help later during fashionshoots.

Experience, Skills, and Personality TraitsFashion Photographers must have several years of commer-cial photography experience or solid work experience assist-ing a Fashion Photographer. Because the job is demandingon many levels, Fashion Photographers must have greatenergy and stamina, as well as multitasking abilities, to keepeveryone happy and to meet deadlines. Their job is oftenmore than photographing models; it entails coordinating agreat number of details and people. This requires patience,diplomacy, excellent communication skills, wit, and goodhumor. Fashion Photographers set themselves apart by beingas visionary in their approaches to photography as designersare in their creations. To succeed in this business, photogra-phers must be imaginative and creative, as well as techni-cally and technologically versed.

Unions and AssociationsThere are no associations or unions specifically dedicated toFashion Photographers. For networking and educationalopportunities and other career-enhancing benefits, FashionPhotographers can join such associations as AdvertisingPhotographers of America, American Society of Media Pho-tographers, and Professional Photographers of America.

Tips for Entry1. Volunteer, get an internship, or assist a Fashion Pho-

tographer. If you have even just one connection in the


fashion business, take advantage and contact that per-son. One of the best ways to get into this fiercelycompetitive field is through referrals.

2. Make sure your portfolio contains images that areappropriate to the magazines, stores, or advertisingagencies you approach. If you have tear sheets of yourpublished work, be sure to include those as well.

3. Read as much as you can about Fashion Photogra-phers. Do an Internet search by keying in fashion pho-tographer in Google. Go to the bookstore or libraryand find biographies and autobiographies about Fash-

ion Photographers. Learn who and what influencedand inspired them, how they approach and solve prob-lems, what kind of lighting and props they use, andanything else you can find.

4. Look through American and European fashion maga-zines. Pay attention to the stories the fashion adver-tisements are telling and how the photographershelped tell these stories. Note the differences in com-position, layout, and photographic style. And takenotes while you are doing this, so you can referencethem in the future.


Position DescriptionMagazine Photographers help magazines meet their editorialgoals by taking photographs as assigned, as well as pitchingphotographs to accompany articles or to appear as stand-alone stories. Magazine Photographers may work on staff oron a contract or freelance basis. They may photograph peo-ple, animals, or various objects in studio sets, in homes, andat locations both locally and internationally. Depending onthe slant of the magazine, Magazine Photographers may beassigned to cover events such as weddings, court trials, galaopenings of restaurants and stores, concerts, political debatesand elections, protests and rallies, sports events, or celebrityappearances. They are adept at working in tranquil environ-ments as well as in areas where there may be strife. Some

assignments will be dangerous, which is why most photogra-phers secure appropriate business and personal insurance.

Magazine Photographers may be given only one or twodays’ notice of their assignment, or they may have longsetup times in which they will meet with editors, art direc-tors, and others to discuss the job requirements. MagazinePhotographers prepare their budgets and estimates forapproval and request cash advances when needed for out-of-pocket expenses. They are careful to keep receipts andrecords of all of their transactions to include with theirinvoices and any requests for reimbursement. They areresponsible for hiring assistants and other crew (after firstsecuring client approval), coordinating schedules, and over-seeing staff during shoots.


MAGAZINE PHOTOGRAPHER


Duties: Photographs people, events, products, and more forregional, national, international and trade magazines;attends editorial and art meetings; creates budgets, esti-mates, and schedules; works closely with editors, writ-ers, art and creative directors, and other magazine staff;responsible for hiring assistants; may be responsible fororganizing and archiving photographs

Alternate Title(s): Editorial Photographer, Photojournalist

Salary Range: $15,000 to $50,000+



Best Geographical Location(s): Atlanta, Boston, Chicago,Dallas, Los Angeles, Miami, New York, San Francisco,and Washington, D.C.

Prerequisites:Education or Training—Two- or four-year degree inphotography or art

Experience—Three or more years of experience as afreelance photographer for a commercial studio

Special Skills and Personality Traits—Excellent com-munication skills; detail- and deadline-oriented; ener-getic; organized; professional; flexible attitude; able totravel when needed; strong knowledge of digital photog-raphy and design software

Magazine Photographer


Photographer’s Assistant / Photography Studio Assistant

SalariesThe median annual salary in 2002 for photographers was$24,040, according to the Occupational Outlook Handbook.Photographers who worked for newspapers and periodicalsearned slightly higher wages at $31,460. Staff MagazinePhotographers may earn higher incomes than freelancersbecause they do not have the burden of covering their ownoverhead and expenses (i.e., rent, photography equipment,health insurance). Freelance Magazine Photographers usu-ally charge day rates, which can range anywhere from $500to $1,000 or more. They will bill for expenses as well as forthe type of usage. In other words, if their photograph is usedas a full-page cover of a magazine, they will be paid morethan if it is used only in the table of contents. The fee scalewill depend upon the size, placement, and the frequency ofplacement in the magazine.

Reuse is another arena in which Magazine Photographerscan secure higher incomes. Providing the original contractwas for one-time use only and not an all-rights sale, if aphotograph has been published in one magazine and is laterpicked up by a textbook or another magazine, that textbookor magazine publisher must pay for the reuse.

Most Photographers who work in editorial do so for theexposure. While the pay may be less than that of other indus-tries, securing a photo credit line in a magazine with a widecirculation is all-important. Photographers should be sure toinclude a clause in their contract about credit-line omissions.Many double their fees when their name is not publishedwith their work, with the justification being that they havelost countless opportunities for future jobs and money.

Employment ProspectsCompetition is fierce for Magazine Photographer positions.These are highly desirable jobs, and the market is floodedwith candidates. According to the Occupational OutlookHandbook, employment of photographers overall isexpected to grow by only 10 to 20 percent through 2012.Magazine Photographers who have a distinct, unique styleand have established reputations as professionals will havethe advantage in finding work. Novice photographers canfind work at local publications as entry to this field. Therethey will learn firsthand how to work on assignment, meetdeadlines, and effectively collaborate with key editorial andcreative staff.

Advancement ProspectsStaff Magazine Photographers can advance to become pho-tography or creative editors, depending upon their skills andyears with the magazine. Freelance Magazine Photogra-phers are typically at the top of their field. For them, growthmay be taking new and different assignments, covering top-ics and environments they have not delved into before. Theymay share their experiences by lecturing at conferences

hosted by professional associations and universities, partici-pating in panel discussions, and by also teaching collegeand continuing education students.

Education and TrainingA two- or four-year degree in photography or art is a solidfoundation for this type of work. Training in digital photog-raphy and design software, such as Adobe Photoshop, isrequired.

Experience, Skills, and Personality TraitsMagazine Photographers must be interested in the topicsthey are covering to successfully and accurately capturethem. While they must have a distinct style that sets themapart from other photographers, they must also be comfort-able with the commissioning magazine’s slant and approachin order to meet its creative needs and fit within its parame-ters. Magazine Photographers will work in any number ofplaces: in their own studios, on sets, and at diverse locationsaround the world. They must have the energy and stamina totravel and put in long days and odd hours. And regardless ofwhere they work, they must be organized. Either they or theirassistants must be able to keep track of shoot schedules,equipment lists, and equipment and accessories for packing.Excellent communication skills, self-motivation, and an abil-ity to inspire trust are key skills needed to succeed in andenjoy this work. Magazine Photographers will not always bephotographing under ideal circumstances and will need tocall upon local residents for cooperation and assistance dur-ing shoots. Diplomacy and tact are also critical.

Unions and AssociationsMagazine Photographers can join the American Society ofMedia Photographers (ASMP), the National Press Photog-raphers Association, and the Professional Photographers ofAmerica for educational, employment, and networkingopportunities.

Tips for Entry1. Familiarize yourself with contracts. Understand the

terms, the terminology, and the industry standard.Make sure you know all of this and have defined whatyour own work standard is before you sign anything.Professional associations such as ASMP can provideyou with contract language and guidance.

2. Put together a portfolio that not only reflects your bestwork but is also specifically tailored to the magazinesyou approach.

3. Create a list of the magazines for which you wouldlike to work. Research the names of the photo editorsand e-mail or telephone to briefly introduce yourself.See if there is a convenient time to meet or find outthe schedule for portfolio drop-offs and pickups.


4. If you drop your portfolio off for review, be sure toget a signed receipt that includes the date and time ofyour drop-off and the name of the person receiving it.This will be added insurance in case your portfoliogets lost or misplaced.

5. Freelance for local magazines or even magazines pub-lished by nonprofit organizations. While the pay maybe lower than publications for the mass market, youwill gain excellent firsthand experience and have tearsheets to add to your portfolio.


Position DescriptionA Paparazzo is a photographer who follows celebrities andtakes surprise photographs of them while they are in theirdaily walks of life (i.e., shopping, eating, visiting friends,and so on) or while they are doing something uncharacteris-tic or looking uncharacteristic. Often their mission is to cap-ture celebrities in embarrassing situations and sell thepictures to publications that thrive on debunking the mythsof perfection surrounding stardom. The targets are leadingfigures in television and film, politics, royalty, the crimeworld, music, sports, and other high-profile careers.

The plural form of Paparazzo is paparazzi, which means“annoying insect” in Italian. To the famous movie directorFrederico Fellini, who coined the phrase, it was synony-

mous with the aggressive, overly determined magazine pho-tographers who besieged his movie studio doorways, wait-ing to capture new photos of the stars. When limousinesarrived, the photographers would chase celebrities down thestreet just to get their shots.

Paparazzi spend a lot of time in their cars, driving aroundcelebrities’ homes and cruising by restaurants, bars, clubs,stores, and salons that celebrities are known to frequent.They travel by whatever means possible to get close tocelebrities and wait patiently, sometimes for hours. Theycamp out in doorways, hide in bushes and trees, and eventake rowboats to remote spots. They hunt, or trawl, for starsand stories. They hope for a celebrity to step out of a door-way, stroll down a sidewalk, or appear in a storefront. Betteryet is if the celebrity appears with someone they are rumored


PAPARAZZO


Duties: Takes candid photographs, often of private moments,of celebrities without their awareness or without their per-mission; sells photographs to tabloid newspapers and gos-sip magazines

Alternate Title(s): Celebrity Photographer, Tabloid Pho-tographer

Salary Range: $25,000 to $50,000+



Best Geographical Location(s): Hollywood, Los Angeles,Miami, New York, San Francisco, and Washington, D.C.

Prerequisites:Education or Training—Two-year degree in photogra-phy; training in digital photography and photographicdesign software

Experience—Two or more years of experience as a wed-ding, event, or portrait photographer

Special Skills and Personality Traits—Must be inter-ested in following and photographing celebrities; tena-cious, persistent, and thick-skinned; able to work at allhours of day and night to secure shots; patient; must beable to deal with stress, angry people, threatening body-guards, and, on occasion, physical injuries, lawsuits, andpossible jail time

Photo Editor

Paparazzo


to be romantically involved with. In addition to photographsthat add fuel to the gossip fire, the most coveted and highlysought-after photographs are of those celebrities who areextraordinarily private and successful at evading the press.

Some Paparazzi photograph celebrities from a distance,choosing not to intrude on their personal space by using longcamera lenses for telephoto close-ups. Others chase celebri-ties down by foot and by car, causing hazardous situationsand angering or scaring celebrities. Emotions can get out ofhand in these scenarios, and it is not uncommon for body-guards or celebrities themselves to take control of the situa-tions by violent measures. Scuffles, fistfights, brokencameras and gear, and more, go with the terrain. Manycelebrities issue restraining orders against photographers. Forinstance, Princess Diana had won a restraining order againstone English Paparazzo in the same year she died. The crashthat killed her was blamed on a car chase by the Paparazzi.

Celebrity photographers have the power to spread goodor bad publicity about celebrities, which is why they havemixed reputations in the photography field and the world atlarge and why many celebrities hate them.

SalariesThe Paparazzo is a freelance photographer whose annualsalary can range from $25,000 to $50,000 or more. Earningswill depend upon the number of photos sold throughout theyear, as Paparazzi are only paid when publications buy theirwork. Depending upon the size of the publication, its circu-lation, and whether the content is “hot” or not, a single pho-tograph can sell for as low as $35 or as high as $500,000 ormore. Tenacious, hard-working paparazzi who are consis-tently able to be at the right place at the right time will beable to secure higher wages.

Employment ProspectsThe celebrity photography field is fiercely competitive. Theratio of photographers to celebrities can be hundreds to one,making it extremely challenging for neophytes entering thebusiness. Photographers need to be living and workingwhere celebrities are, and those photographers who aredoggedly committed to their work, to the point of beingconsumed by it, are usually the ones who take and sell thephotographs tabloids want. Employment prospects are bestfor the determined, aggressive, thick-skinned photographerwho knows how to track down the stars and photographthem at just the right time.

Advancement ProspectsPaparazzi are usually freelancers who establish relation-ships over the years with editors and publishers of a varietyof tabloids and celebrity gossip magazines and Web sites.There is no specific career track for them to follow. Theycan advance to become photo editors of celebrity magazinesor start their own tabloids or gossip publications. They can

write articles or columns about their experiences, appear asguest speakers at association conferences, and teach classes.

Education and TrainingA two-year degree in photography is a sufficient educationalbackground for a Paparazzo. Photographers must be trainedin digital photography and photographic enhancement soft-ware, such as Adobe Photoshop.

Experience, Skills, and Personality TraitsTwo or more years of experience as a freelance portrait,event, or wedding photographer for a commercial studio isusually helpful in this position. Magazine or newspaper pho-tography experience is also beneficial. Paparazzi need tohave solid knowledge of digital and film photography. Theyneed to be passionate about the entertainment world becausethey will be spending all of their time physically trackingdown celebrities. They must love learning about celebrities’lives, their relationships, their successes and failures, theirweaknesses and strengths. They must also be extremelyknowledgeable about how and where they spend their time.The Paparazzo is usually not welcomed with open arms. Heor she must be able to deflect the negatives in order to main-tain a livelihood. He or she must be able to deal with beingyelled at, threatened, and even sometimes assaulted. This is atough, uncomfortable job, and it takes a certain personalityto enjoy the challenges and thrive in the work. Aggressive,persistent, sharp individuals who can consistently be at thefront of the crowd before the competition arrives have thebest chances to succeed in this business.

Unions and AssociationsThere are no associations specifically for Paparazzi. TheAmerican Society of Media Photographers, National PressPhotographers Association, and Professional Photographersof America can provide useful benefits to help enhance theircareers.

Tips for Entry1. Visit your local supermarket or newsstand and buy all

of the tabloids on sale. Peruse them and see the typesof photographs they are publishing.

2. Read celebrity magazines like People, Us Weekly, andEntertainment Weekly. Stay in the loop on celebritynews (i.e., family issues, relationships, and upcomingprojects). The only way to know who is important tophotograph and who is in the spotlight is by keepingup with the magazines the fans are reading.

3. Look for a video or DVD of the MTV show, “TheAssignment with Iann Robinson: Paparazzi,” whichaired in 2003. Rock journalist Robinson investigatedthe trade by spending time with celebrity photogra-phers and Paparazzi photographers and shedding lighton the distinction between the two.


Position DescriptionPhotojournalists photograph breaking news, individuals,and issues for newspapers, magazines, wire services, andbroadcast networks. Their work appears in print and on theInternet. Some Photojournalists cover local news withintheir community, where they photograph meetings and pressconferences at city halls, as well as school functions, con-

certs, plays, street and highway accidents, weather-relatedevents, and other issues that impact people within the com-munity. Other Photojournalists may travel around the worldand specialize in covering international events, such aspolitical elections, protests and rallies, cultural stories, andwars, often risking their lives to help people see what is hap-pening beyond their backyards.


PHOTOJOURNALIST


Duties: Helps document history by photographing newsitems such as courtroom trials, accidents, arrests of crim-inals, events surrounding wars, protests and rallies, presi-dents and political figures, and more, for print and onlinenewspapers, wire services, magazines, television net-works, and the Internet; often travels and works on loca-tions around the world; may also write stories toaccompany photographs; works closely with editors andphotography directors

Alternate Title(s): Documentary Photographer, News Pho-tographer

Salary Range: $27,600 to $75,000+



Best Geographical Locations: New York, London, Berlin,Paris, Rome, and other large cities that are home to majornews outlets

Prerequisite:Education or Training—Bachelor’s degree in photogra-phy, with coursework in communications, journalism,and history; trained in digital photography and photo-graphic design software

Experience—Three or more years of experience as anewspaper or magazine photographer

Special Skills and Personality Traits—Knowledgeableabout digital photographic technology and software; self-determined; intellectually curious; diplomatic and pro-fessional; culturally aware; multilingual skills beneficial;strong communication skills; able to interact with a vari-ety of people on many different levels; energetic, withgreat stamina to work long days and nights; physically fit

Director of Photography / Editor

Photojournalist

Magazine or Newspaper Photographer

Photojournalists tell stories with their pictures and oftenenlighten the world to important issues. They are freelancersor staff employees. They work on assignment, come up withtheir own ideas and pitch them to editors, or fund their owntrips and pitch photographs and stories afterward. Their workalso frequently inspires outrage and change. W. EugeneSmith’s photographs from the 1970s documented innumer-able villagers harmed by mercury poisoning in Minamata,Japan, where a factory was dumping chemicals into thewater, causing birth deformities and physiological damages.Smith’s photographs helped the cause of the victims, whowere eventually compensated. Lewis W. Hine’s photographsof children working in cotton mills and coal mines con-tributed to social efforts that culminated in passage of theChild Labor Act of 1916. The work of Jacob Riis, beginningin 1889, depicted the awful conditions of New York cityslums of the period and led to direct action by TheodoreRoosevelt, who was then the New York City police commis-sioner, and later efforts to improve living conditions.

Today Photojournalists work with 35-millimeter cam-eras, a variety of lenses, and lighting gear. They are increas-ingly working with digital photography and downloadingtheir images directly into computers. They develop theirown film manually or with film-processing machines andscan the negatives into computers to create digital files.Many Photojournalists work alone and are responsible foreverything, including promoting their services, bookingassignments and negotiating contracts, handling travelarrangements and creating equipment packing lists, secur-ing permissions and licenses to photograph in public places,and invoicing clients and handling the bookkeeping.

SalariesPhotojournalists earn salaries ranging from $27,600 to$75,000 or more, depending upon the medium in whichthey work and their years of experience. Other determiningfactors include the size of the publication or broadcast net-work and geographical location. According to the 2002Radio-Television News Directors Association and Founda-tion (RTNDA)/Ball State University survey, TV photogra-phers earned starting salaries of $26,600. A city-basedPhotojournalist with a bachelor’s degree in mass communi-cations or journalism and five years of experience in thefield can earn an average salary of $34,900, as cited inPayScale (http://www.payscale.com). Many staff Photojour-nalists freelance, also, and enhance their incomes by sellingphotographs to other media.

Employment ProspectsCompetition is keen for Photojournalist positions. There arenot enough positions to keep up with the masses of peopleinterested in this field. The Department of Labor’s Occupa-tional Outlook Handbook does not cite statistical informa-

tion for Photojournalists specifically, but does state thatemployment of news analysts, reporters, and correspondentsis expected to grow more slowly than the average for alloccupations through the year 2012. This lag in growth isexpected to result from newspapers and broadcast networksmerging, consolidating, and closing. As online magazinesand newspapers grow, so, too, will Photojournalist and othernews-related positions. Because the work can be heavilytaxing, some positions will open up as Photojournalists burnout and move into other fields or simply retire. There maybe greater opportunities for work with local, small newspa-pers and broadcast networks.

Advancement ProspectsWith years of experience, Photojournalists can advance tobecome directors of photography or editors, dependingupon their strengths and interests. They can move to largerpublications and better-known networks. If they have notdone so before, they can become feature article writers andcolumnists. Photojournalists can share their experiences byparticipating in industry conferences and gatherings asguest speakers, and they can teach at the university level.

Education and TrainingA four-year degree in photography, journalism, or masscommunications is preferred for the position. Education inpress law and ethics is of utmost importance. Hands-ontraining in digital photography, photographic design soft-ware, and technology is recommended. Some publicationsand networks offer training or financial assistance and reim-bursement for workshops.

Experience, Skills, and Personality TraitsTo successfully handle the responsibilities and challenges ofthis position, Photojournalists must have at least three ormore years of prior experience as newspaper or news maga-zine photographers. They must be passionate about theirwork and aware that their presence can actually influenceevents. While committed to taking pictures that communi-cate stories truthfully and fully, they know when to draw theline on risks they are willing to take. Photojournalists mustknow how to stay calm in all situations and be able to workefficiently, creatively, and with technical accuracy underdeadline pressure. Technical and technological proficiencyare critical skills in photojournalism, more so now than everbefore. Photojournalists can be in a jungle, the desert, at sea,or in the mountains, equipped with digital cameras, comput-ers, and cell phones. They must know how to coordinateevery piece of equipment and be versed in software pro-grams in order to deliver quality pictures to publishers.Travel is an intrinsic part of photojournalism, and Photojour-nalists need to be flexible, organized, and adaptable tochange. They must be ready to go at the drop of a hat. They


often travel to different countries and are immersed in a widevariety of cultures. Sensitivity to and respect for people andcultural practices are important. Multilingual abilities canalso be extremely helpful in this field. Photojournalists alsoneed to be physically fit to carry heavy camera gear and havestamina to work long days and nights, either indoors or out-side, in all weather conditions.

Unions and AssociationsPhotojournalists can join the online group AmericanPhoto-journalist (http://www.americanphotojournalist.com) foraccess to message boards, employment listings, photographycritiques, and self-promoting portfolio options. They may alsojoin the American Press Institute, American Society of MediaPhotographers, National Press Photographers Association, andthe White House News Photographers’ Association foremployment referrals, information on business and negotiat-ing practices, networking opportunities, updates on copyrightlaws, and more. Some publications may require Photojournal-ists to belong to unions such as the Newspaper Guild.

Tips for Entry1. Life magazine is rich in photojournalism and an

excellent resource for Photojournalists of all levels.You can find scores of issues at your local library.Study the work of W. Eugene Smith, MargaretBourke-White, and many others. Learn the subjectsthey covered and how they chose to photograph thosesubjects. Treat this study as you would a class—takedetailed notes for future reference.

2. Set up informational interviews with photographerswho work at newspapers in your city. Buy them cof-fee or lunch, have a list of questions prepared, and askthem their top-three recommendations for ways to getinto this field. And if possible, have several differentphotographers look at your portfolio and critique itfor content and presentation.

3. Intern at a magazine, newspaper, or television station.Many Photojournalists get their foot in the door thisway. They develop their skills, then work their way upto positions of greater responsibility at larger publica-tions and networks.

4. Word of mouth is often the best way to get work inthis field. Join professional associations, take work-shops, and attend parties and events. Network asmuch as you can. Join Mediabistro (http://www.medi-abistro.com), a group that caters to media profession-als. They offer a variety of workshops, industrygatherings, and professional benefits and can helpphotojournalists connect with editors and writers.

5. Look for job listings online at JournalismJobs.com(http://www.journalismjobs.com), Monster (http://www.monster.com), Yahoo! Hotjobs (http://hotjobs.yahoo.com), as well as the classifieds at the New YorkTimes on the Web (http://www.nytimes.com). Staytuned to what is going on in the field by subscribingto magazines such as Aperture and The Digital Jour-nalist. Regularly visit industry-related Internet sitessuch as Poynter Online (http://www.poynter.org) andWorld Press Photo (http://www.worldpressphoto.nl).


Position DescriptionPress Photographers take photographs of breaking news forvarious media, including newspapers, magazines, and wireservices. Depending upon their assignments, they cover localevents or international issues. They photograph car accidents,fires, crime scenes, protests, rallies, charity events, sports,street fairs, political figures giving speeches, celebrities onthe town, people at beaches and parks, and others. Their pho-tographs are used to help illustrate written articles, or theymay be published as stand-alone images, not needing muchexplanation beyond a short caption. Press Photographers may

also create images outside of the assignment, if they seesomething that they sense is newsworthy. These images mayinspire photography directors and news editors to developstories and photography projects.

Freelance Press Photographers often listen to policescanners so that they can be the first to hear about local sto-ries that can make for headline news, such as a robbery inprogress, a murder that has just occurred, or a fire in anapartment building with people needing to be rescued. Theywill gather their gear and race to the scene to photograph theevents as they unfold. These spontaneous stories cannot be


PRESS PHOTOGRAPHER


Duties: Photographs events and people for news coveragein newspapers, magazines, wire services; works locally,nationally, and internationally, depending upon assign-ments; works closely with photography directors, edi-tors, and reporters; edits digital images, creates captions,and submits work to editors via the Internet

Alternate Title(s): News Photographer




Best Geographical Location(s): Major cities and commu-nities with newspapers and media centers

Prerequisites:Education or Training—Two- or four-year degree, spe-cialization in photography or journalism, with training indigital photography and photographic design softwaresuch as Adobe Photoshop

Experience—Two or three years of prior news photogra-phy, sports photography, or event photography helpfulbut not always required

Special Skills and Personality Traits—Strong interestin current events and news coverage; excellent visual-reporting skills; deadline-oriented; self-motivated andenergetic; comfortable working under stress and in oftenchaotic, hectic environments; excellent verbal and writ-ten communication skills; organized; technologicallysavvy; adaptable; fast learner

Chief Photographer

Press Photographer


assigned and are often covered by freelance as opposed tostaff Press Photographers.

Many Press Photographers use digital cameras and Wi-Fitechnology to deliver their work. It is particularly helpful tophotographers who are on location and need to send largeimage files quickly and efficiently. Many newsrooms alsohave file transfer protocol (FTP) sites that enable the trans-fer of digital files into password-protected Web servers.

SalariesPress Photographers can earn annual salaries ranging from$25,000 to $50,000 or more, depending upon the size of thecorporation, the newspaper’s circulation, and the geographi-cal location. Many Press Photographers work as full-timeemployees. Sometimes newspapers provide them with pho-tographic equipment and company cars or reimbursementfor travel. They often receive benefits that freelance photog-raphers must pay for themselves, such as medical, dental,life, and equipment insurance. Press Photographers whowork for large corporations such as the Associate Press andReuters may be able to secure higher wages. A stringer isanother type of Press Photographer. He or she usually workson assignment and has established a relationship with anews editor. Stringers are usually paid per photographyproject and do not receive staff employment benefits. Free-lance news photographers are those who pitch unsolicitedphotographs for publication. They are paid only upon publi-cation and are often paid rates based on the size of the spacein which the photographs will be printed. The larger theprint size, the more they will be paid.

Employment ProspectsThe press photography field is competitive, but there shouldbe good opportunities for employment with smaller publica-tions across the country. Employment of photographersoverall is expected to grow about as fast as the average forall occupations through 2012, according to the U.S. Depart-ment of Labor. As more magazines, journals, and newspa-pers move onto the Internet, more photographers will beneeded to create digital images. Press Photographers willalso find openings as other photographers move to lessstressful positions, open their own studios, or retire.

Advancement ProspectsNormally after five or more years of daily newspaper experi-ence, full-time Press Photographers can advance to becomesenior photographers. They can eventually take on moreoffice-bound managerial responsibilities by becoming pho-tography directors, overseeing other photographers, assign-ing projects, and working on layout. Press Photographerswho have excellent writing skills and an interest in reporting

can move in the photojournalism direction and become pho-tographers/reporters and eventually senior correspondents.

Education and TrainingA four-year degree in photography or journalism, with train-ing in digital photography and color and image-enhance-ment systems (i.e. Adobe Photoshop), is recommended inthis position. College graduates who worked on collegenewspapers as sports or campus event photographers areoften solid candidates for entry-level photography positionsat newspapers and media companies.

Experience, Skills, and Personality TraitsMany newspapers and media corporations prefer Press Pho-tographers with one to two years of experience as photogra-phers with daily publications. Those companies hiring morejunior-level photographers will normally accept candidateswith college degrees and portfolios that show their abilitiesto tell stories visually. Press Photographers must love thenews. They must be passionate about what is happening inthe world and clever about the ways they photograph sto-ries. Press Photographers must be ready at any givenmoment to travel to news sites. There is a tremendousamount of stress in this job. They need to be able to reactquickly and capture the stories while there is still somethingto tell. It requires a great deal of racing around, so flexibil-ity, stamina, and patience are critical. Unless they haveaccess to a company car, they must have their own form ofreliable transportation and be prepared with the right photo-graphic and computer equipment for on-location shoots.They must also have excellent interpersonal skills becausethey work with a variety of people, from reporters and pho-tography directors to police and fire officials and others, aswell as the general public. Professionalism, diplomacy, andsensitivity are key components in this position.

Unions and AssociationsPress Photographers join the National Press PhotographersAssociation, the American Society of Media Photographers,and the Professional Photographers of America for educa-tional resources, employment referrals, networking opportuni-ties, and discounts on photographic equipment and insurance.

Tips for Entry1. Get an internship with a newspaper, news magazine,

or wire service.2. Before you start hunting for work, make sure your

portfolio best represents your work in press photogra-phy and that you have a print and electronic portfolioon CD or online as options for prospective clients.


3. Check for job listings on the Internet at such Web sitesas JournalismJobs.com (http://www.journalismjobs.com) and the National Press Photographers Associa-tion’s site (http://www.nppa.org).

4. Visit the Web sites of media corporations and lookthrough their employment sections for in-house posi-

tions. Such companies as Gannett, New York Times,Tribune, Knight Ridder, Media General, and otherslist photography jobs throughout the nation.


Position DescriptionMany consider sports photography to be a dream jobbecause it has a number of positives. For one, most athletesand fans alike welcome Sports Photographers to help telltheir stories and share their enthusiasm and energy. Photog-raphers who are sports fanatics can get to know the playersand coaches, particularly of their favorite teams. And theicing on the cake is that Sports Photographers take picturesof people living out their dreams, rising to the challenges,and enjoying themselves for the most part, regardless ofhow the game is going.

Sports Photographers are on the sidelines of games andtake photographs of athletes, coaches, referees and umpires,stadium officials, and the fans. Their photographs are pub-lished in newspapers and magazines, such as the New YorkTimes and the New York Post, ESPN, and Sports Illustrated.Their images also appear in online news outlets such asReuters or Yahoo! and are sent to wire services such as theAssociated Press and United Press International for world-wide distribution. Sports Photographers photograph base-ball, basketball, football, hockey, soccer, tennis, swim andtrack meets, marathons, road races, skiing, snowboarding,


SPORTS PHOTOGRAPHER


Duties: Provides photographs of a wide variety of gamesand sports events and the athletes for newspapers, maga-zines, Web sites, and wire services; travels to variouslocations to cover games, practices, and training ses-sions; works closely with editors and reporters

Alternate Title(s): Athletics Photographer, Team Photog-rapher

Salary Range: $20,000 to $50,000+



Best Geographical Location(s): Cities where professionalgames are played and where teams train

Prerequisites:Education or Training—Two- or four-year degree inphotography; training in digital photography and designsoftware programs

Experience—Sports Photographer for college newspa-per or yearbook; several years of prior experience as aphotographer, preferably for daily newspaper or sportsmagazine; some prior experience as an athlete helpfulbut not required

Special Skills and Personality Traits—In-depth knowl-edge of sports; able to take action shots at the rightmoments; motivated, energetic, and enthusiastic; thick-skinned and aggressive; works well in highly chargedenvironments, with constant pressure; technologicallyskilled; attentive; extremely focused

Sports Photographer



skateboarding, surfing, boxing, martial arts, golf, and more.They attend games and training and practice sessionsthroughout the year and photograph in all types of weather.They photograph national events such as the Super Bowl andWorld Series and international events such as the OlympicGames and the Tour de France. Some Sports Photographersspecialize in certain sports, such as track and field or foot-ball, and become known for their expertise in those arenas.

Sports Photographers work closely with editors andreporters. They use digital cameras with long telephotolenses, laptops, and satellite phones and are able to transmitimages immediately to their editors via a range of wirelesstechnologies. In fact a growing number of stadiums have setup permanent high-speed networks that Sports Photogra-phers can access for the fastest transmissions. With thistechnology, pictures can be posted onto sports Web siteswithin five minutes or less.

SalariesSports Photographers’ annual salaries vary between $20,000and $50,000 or more, depending upon the size and circula-tion of the publication or company for which they work.Large newspapers and major publications normally payhigher salaries, particularly to experienced photographers.Some companies allot certain amounts of money to SportsPhotographers for cameras and equipment, but many pho-tographers who are new to the field will initially have tocover these expenses themselves and provide their ownequipment. While the salaries may be modest, Sports Pho-tographers do enjoy such benefits as access to major sportsevents, often the best seats at games, the continual opportu-nity to be accidentally tackled by their favorite players andstars, as well as travel to different parts of the country andthe world. Depending upon their contracts with companies,Sports Photographers can also augment their salaries byselling their images to stock agencies and licensing theirwork.

Employment ProspectsSports photography is an incredibly competitive fieldbecause many people want this job. Very few staff SportsPhotographer positions exist, and there are hundreds ofapplicants for those few opportunities that happen to arise.Newspaper mergers, consolidations, and closures havemade the quest for employment more challenging. Accord-ing to the Department of Labor, employment of reportersand other related positions is expected to grow more slowlythan the average for all occupations through 2012. Employ-ment of Sports Photographers draws a close parallel to thatof newspaper and magazine reporters. Sports Photographerswill have good chances of finding freelance work andopportunities, however, at online newspapers and magazinesand at suburban newspapers and publications.

Sports Photographers travel heavily in their work, partic-ularly between March and June. They work days, evenings,and weekends in a variety of capacities. They may beemployees, stringers, or freelancers for newspapers or mag-azines. They may work for companies that sell sports photo-graphs to the media or for companies that produce sportscards. They may also be employed as press photographerswith a specialization in sports, or they may work for profes-sional sports leagues or teams in the capacity of officialphotographer.

Advancement ProspectsAdvancement comes primarily through rising toward thetop of the field and photographing high-profile games andplayers and major sporting events. Sports Photographerswho have excellent writing and reporting skills and someexperience in journalism can move into other areas of sportscoverage. They can become sports announcers or sportswriters. They can start their own sports Web sites or maga-zines and hire other photographers to cover specific sports.Depending upon their agreements with the publications forwhich they have photographed, they can sell and licensetheir images to stock photography agencies.

Education and TrainingA two- or four-year degree in photography, or communica-tions with training in photography, is recommended. ManySports Photographers photographed sports and events fortheir college newspapers and yearbooks. Training in digitalphotography and photographic design software is critical tothe position. Photographers can also take sports photogra-phy workshops, often offered by individuals already in thefield.

Experience, Skill, and Personality TraitsSports Photographers often develop a love for this fieldfrom their college-day experiences photographing gamesand athletes for their school newspapers and yearbooks.Photographers who are passionate about sports and deeplyknowledgeable about the games and players they are cover-ing are more likely to take better action shots. Once thegame starts, they need to be completely tuned into what isgoing on. They have to follow the ball or the puck, the runs,the scores, the baskets, the flags on the field, all of it. Thisjob requires complete immersion, focus, and the ability toknow the right moment to take the shot. Some publicationsand companies may also require Sports Photographers towrite captions to accompany the images, so strong writingskills will be beneficial. Sports Photographers work indoorsand outside, so they must be flexible and prepared bothphysically and equipment- and gear-wise to deal with alltypes of conditions. Additionally, Sports Photographers—freelancers in particular—must be able to purchase all of the


equipment and gear they need to do this job effectively anddeliver quality images at professional standards.

Unions and AssociationsStaff Sports Photographers for metropolitan newspapers andnational magazines may be required to become union mem-bers in unions such as the Communication Workers ofAmerica, depending upon the structure of the publications.Sports Photographers may also belong to the National PressPhotographers Association and Professional Photographersof America, which offer conventions, educational seminars,membership publications, employment referrals, and otherbenefits.

Tips for Entry1. Internships are an excellent way to get started in the

sports photography field. Get an internship at a news-

paper, sports magazine, or Web site or with a wireservice such as Associated Press. Be patient, flexible,and keep a positive attitude. Your work may be entrylevel, but you will have the unique opportunity to beat games and observe firsthand how the job is done.

2. Subscribe to and read the magazines and newspapersthat publish sports photographs. Subscribe to RobertHanashiro’s newsletter Sports Shooter and visit theWeb site http://www.sportsshooter.com to learn moreabout the business. Hanashiro is a staff Sports Pho-tographer for USA Today.

3. Attend local school games on your own and practicephotographing the players and fans. You can go to soc-cer matches, high school basketball games, or littleleague games and get a sense of the type of equipmentyou will need and the skills required to take shots ofthe players in action. You can also use these photo-graphs to get paying work from local newspapers.


PHOTOGRAPHY BUSINESSAND RELATED JOBS

Position DescriptionCamera Designers work closely with camera and photo-graphic equipment manufacturers to enhance and improvecamera and equipment designs, as well as to create newproducts to help grow the customer base. Camera Designersmay change such aspects as the product’s color and shape,the locations of specific features or their size, shape, andcolor. They can also impact the cost of the product and theefficiency of production by altering the types of materialsused in creating the product. They may also be asked to

review and take into account findings from market researchand customer surveys when creating their designs. CameraDesigners take into account the end use, whether the camerawill be used by the layperson for snapshots of a family pic-nic or by a dentist for pictures of a molar. They may special-ize in particular camera brands and models or types ofcameras and photographic equipment. Designers canchange every aspect of a camera, thereby affecting howphotographers use and experience the cameras. Forinstance, Canon cameras focus in completely different ways


CAMERA DESIGNER


Duties: Designs cameras and photographic equipment forcamera manufacturers, such as Canon, Nikon, and so on;works closely with design and engineering teams andclients, reviews camera designs, alters designs toenhance and improve product performance or appear-ance, and creates new designs to meet customer needs;creates designs by hand, as sketches, and uses clays,plastics, and other materials to create models of the prod-ucts; uses computer-aided design (CAD) software

Alternate Title(s): Camera Engineer, Industrial Designer

Salary Range: $28,820 to $82,130+



Best Geographical Location(s): Major industrial manufac-turing areas

Prerequisites:Education or Training—Bachelor of Science in indus-trial design or engineering; coursework in photography,sketching, advertising, and marketing

Experience—Three or more years of experience as anapprentice to a camera designer

Special Skills and Personality Traits—Knowledgeableabout CAD software; creative; mathematical; excellentproblem solver; able to work well on a team and inde-pendently; clear communication skills; good listener;detail-oriented and organized; strong interest in photog-raphy, cameras, and camera features; excellent designsensibilities and aesthetic taste

Senior Designer / Design Supervisor

Camera Designer

Apprentice Camera Designer

from how Nikons focus, due to design decisions. Designershave more influence than many people realize.

Camera manufacturers hire Camera Designers to makeproducts easier to use and more appealing to clients, withthe main purposes being to meet customers’ needs andincrease sales. They may create completely new cameras orrework original designs to improve certain features. CameraDesigners either work independently or as members ofdesign teams. Clients provide product specifications andother data to support the designs they seek. Each CameraDesigner approaches the work differently. Some may startby creating lists of ideas, then sketching out their thoughtsby hand. Others may go directly to computers and createspreadsheets of design specifications and proposed produc-tion materials and use computer-aided design software(CAD) or computer-aided industrial design software (CAID)to create their designs. Tools of their trade can range frompens, pencils, inks, and watercolors for sketches, to clay,plastic, and wood for models. Some designers may beresponsible for also providing costs for various design fea-tures and materials, which they usually first discuss withproject leaders to secure approvals. Camera Designers willtest their designs and make adjustments as needed. Theymay also be responsible for presenting their designs andproduct models, as well as budgets and schedules, to clients.

Camera Designers who work independently are responsi-ble for managing all aspects of their business. In addition topromoting their services and negotiating and securing con-tracts, they may hire and oversee staff, handle accountsreceivable and payable, make sure appropriate tax forms arefiled, and maintain computer equipment and photographicand CAD software.

SalariesCamera Designers can earn annual salaries ranging from aslow as $28,820 to $82,130 or higher, depending upon theiryears of experience in the field and the types of manufactur-ers for whom they work. In 2002, industrial and commercialdesigners earned an average of $52,260 per year, accordingto the U.S. Department of Labor’s Occupational OutlookHandbook, with about half earning between $39,240 and$67,430. Freelance Camera Designers normally work forvarious clients, usually under nondisclosure agreements, asthe information is proprietary. They base their fees on esti-mated time frames to accomplish the work and usuallycharge one set price for the entire project.

Employment ProspectsEmployment of Camera Designers is expected to growabout as fast as the average, or by about 10 to 20 percent, forall occupations through 2012, according to the U.S. Depart-ment of Labor. There is an increased interest in productsthat are convenient, ergonomic, and easy to use. Aiding this

rise is the proliferation of digital cameras and continuallyimproving technology. More consumers are using digitalcameras and digital photographic equipment, and, as aresult, more Camera Designers will be needed to improveand enhance camera designs.

Advancement ProspectsStaff Camera Designers can advance by taking on morecomplex projects and overseeing larger staff. Manufacturerscan promote them to senior Camera Designers and heads ofcamera design divisions. Freelance Camera Designers mayadvance by increasing their client base, hiring more staff,and teaching in design and engineering schools. Some mayenhance their skills and marketability by taking classes andsecuring more advanced degrees in specific areas of designand engineering.

Education and TrainingCamera Designers must have, at minimum, a bachelor ofscience degree in industrial design or electrical engineering,depending upon design specialization. Some companiesmay require master’s degrees. Coursework in advertising,marketing, sketching, and photography is highly recom-mended. On-the-job training as an apprentice to a cameradesigner is also highly recommended, as is training in CADand CAID software.

Experience, Skills, and Personality TraitsSeveral years of experience as a camera designer apprenticeor assistant are a solid background for this position. CameraDesigners need to understand how cameras work from thephotographer’s perspective in order to improve designs andusability, so photography experience or experience workingwith photographers is extremely beneficial. The ability towork well on teams as well as independently is critical. Tosucceed in this field, strong written and verbal communica-tion skills, coupled with excellent design, mathematical, andengineering abilities are essential. Camera Designers arepatient, diligent, flexible, and curious. They love to experi-ment and come up with the most aesthetically pleasingproducts that perform best. If a design must be scrapped,they are ready and willing to get back to the drawing boardand start over until they get it right.

Unions and AssociationsCamera Designers can become members of the IndustrialDesigners Society of America (IDSA) and the InternationalCouncil of Societies of Industrial Design for educationalresources, networking opportunities, international news andevents, and more. Women designers can join the Associationof Women Industrial Designers for news about industrialand product designs, membership newsletters and maga-

PHOTOGRAPHY BUSINESS AND RELATED JOBS 137

zines, and workshops and conferences. Camera Designerscan also find useful information about contests, design tipsand techniques, manufacturing issues, and peer interviews,on IDFuel (http://www.idfuel.com), an industrial designWeblog.

Tips for Entry1. Get an internship or apprenticeship with a camera

manufacturer. You can find job listings directly oncamera manufacturer Web sites and by checking post-ings on such employment placement sites as Yahoo!Hotjobs (http://hotjobs.yahoo.com) and the New YorkTimes on the Web (http://www.nytimes.com).

2. Stay tuned into what is going on in the area you planto specialize in and keep abreast of the product designworld overall by joining professional associations,such as the IDSA, and reading trade publications,such as Design Diffusion, ID Magazine, and Indus-trial Equipment News.

3. Create a portfolio of design work that is tailored to thecompanies to which you apply and the products youare most interested in designing. Make sure you haveyour work in a variety of formats, from electronicfiles to a traditional print portfolio. You never knowwhich format you may be asked to submit, and it isbetter to be prepared in advance than scrambling toget it together at the last minute.


Position DescriptionPhoto Editors work closely with art directors and editorialdirectors, as well as with writers, reporters, copy editors,and executive staff, to create the overall look of publicationsand Web sites. Advertising agencies, magazine and bookpublishing companies, newspapers, photo stock agencies,greeting card companies, and many others retain Photo Edi-tors to help them select the photographic images that aremost effective in promoting and selling their services.

Photo Editors attend editorial and art department staffmeetings to discuss projects and bounce ideas around. Theydiscuss editorial content, themes (if any), and the look andfeel that is being sought. If they have photographers and cer-tain images in mind, they share their thoughts with the headof the project, which may be the editorial director, creative

director, art director, or the publisher. Once a direction andspecifics are agreed upon, Photo Editors choose the photogra-phers for specific assignments, based on their specialties. Forinstance, if their client is a fashion magazine, they will selectfashion photographers to cover certain stories for the publica-tion. If it is a sports magazine and the article is about football,they will choose a sports photographer who is known forexcellent football coverage. In their role as Photo Editors,they do not take photographs but rely on their photographybackgrounds in making decisions about the photographersand the images they use. They negotiate photographers’ feeson behalf of their clients, provide photographers with con-tracts and any releases or permissions that may be needed forshoots, and set deadlines for final submission of work.

Photographers submit their work to the Photo Editors,who review the images to make sure the requirements of the


PHOTO EDITOR


Duties: Creates the overall look of photographs in books,magazines, periodicals, and Web sites; chooses photogra-phers, assigns projects, reviews photographs, requestsadjustments, selects final photos, and makes sure dead-lines are met and invoices paid


Salary Range: $44,522 to $59,298+



Best Geographical Location(s): Major cities, such asAtlanta, Boston, Chicago, Dallas, Los Angeles, Miami,New York, San Francisco, and Washington, D.C.

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy recommended; training in photographic design soft-ware beneficial (i.e., Adobe Photoshop and Illustrator).

Experience—Several years of experience as assistantphoto editor recommended; editorial or magazine pho-tography background an advantage

Special Skills and Personality Traits—Good visualeye; strong knowledge of lighting and composition;strong interest in and familiarity with the publications’editorial philosophy and goals

Photo Editor

Magazine or Editorial Photographer

Assistant Photographer /Assistant Photo Editor

assignment have been met. If anything needs to be reshot,they contact the photographer to discuss the issues, terms,and time frame. Photo Editors may ask photographers toadjust images, composition, or lighting by using AdobePhotoshop or whatever photographic design software theymay have. Or, Photo Editors may adjust the images them-selves, enhancing light, cropping shadows, and deleting oradding objects. Photo Editors tasked with creating realisticimages are careful not to stray too far from the original. Ifthey are under time constraints, Photo Editors may securephotos from stock agencies. Most agencies have onlinephoto libraries. Photo Editors can peruse by subject, choose,and purchase images that match the style and size requiredwithin a matter of minutes.

Photo Editors may work with assistants and a publica-tion’s creative staff and will be responsible for delegatingand overseeing their work. Depending upon the size of thecompany for which they work, they may also be responsiblefor maintaining photography libraries (online and hardcopies), keeping track of invoices and paperwork, andordering and maintaining supplies, photographic designsoftware, and equipment.

SalariesPhoto Editors’ salaries can vary widely, depending upon thetypes of clients for which they work and their budgets.Major media, such as advertising agencies and corporations,typically pay higher salaries than publishing and editorialcompanies. In 2003, according to Salary.com, the medianannual income for Photo Editors ranged from less than$44,522 to more than $59,298. Full-time, salaried PhotoEditors usually have such benefits as group health insur-ance, disability, and stock options, as well as paid vacationand sick time, and bonuses. Freelance Photo Editors havethe potential to earn higher wages, providing they have solidbackgrounds and strong self-promotion and networkingskills. But they will have to allot monies for businessexpenses and health insurance.

Employment ProspectsThe job outlook for editors overall is fairly bright. Employ-ment is expected to increase by about 10 to 20 percentthrough 2012, which is as fast as the average for all profes-sions, according to the Occupational Outlook Handbook. ThePhoto Editor field interests far more people than there arejobs to fill, however, so keen competition will continue. Thegood news is that magazine publications are on the rise, as arecorporate and organizational newsletters and Web sites, all ofwhich will require Photo Editors to choose and manage thephotography. Photo Editors can secure work with governmentagencies and nonprofit organizations, to help with their publi-cations and Web sites, as well as take on freelance jobsthrough, or work on staff with, stock photo agencies.

Advancement ProspectsPhoto Editors who work for large publications can advance bybecoming senior and eventually chief Photo Editors, manag-ing and overseeing staff and taking on more complex responsi-bilities. Freelance Photo Editors can advance by expandingtheir client base, diversifying their business, and writing forvarious publications, as well as by speaking and lecturing atschools and events hosted by professional associations.

Education and TrainingA bachelor’s degree in photography, with coursework inadvertising and publishing, provides a solid educationalbackground for Photo Editors. Some knowledge of graphicdesign is also beneficial. Photo Editors will work in differ-ent media and must be technologically savvy to meetclients’ needs. It is to their advantage if they are well versedin photographic design software, such as Adobe Photoshop,Illustrator, Apple iPhoto, among others, and if they keepabreast of new and developing technology.

Experience, Skills, and Personality TraitsSeveral years of experience as an assistant photo editor witha publishing company or corporation is looked upon favor-ably. A commercial photography background or some pro-fessional photography experience is extremely helpful.Photo Editors can refer to their photography experienceswhen choosing photographers for assignments and dis-cussing the intricacies of the projects. Photo Editors whounderstand the basics of design and have a grasp of theprinting and publishing process stand out in the field.Knowledge of photography and photographic techniques isrequired, as is the ability to visualize and plan photos andlayouts that work with the publication and achieve theclients’ goals. Photo Editors spin many plates and must beorganized and able to keep track of schedules and details tosuccessfully meet deadlines and prevent everything fromcrashing. They work closely with various people, from staffmembers to outside consultants, thus excellent, clear com-munication skills are frequently called upon. They must begood managers and be equally adept at working with teamsas well as working independently.

Unions and AssociationsPhoto Editors join such associations as the American Societyof Media Photographers and Professional Photographersof America for employment referrals and career-relatedresources. Photo Editors who work in editorial can also joinsuch groups as the National Press Photographers Associationand Editorial Photographers for access to conferences, mem-bership directories, networking opportunities, and more.

Tips for Entry1. Do your research first on this field to see if your skills

and interests match. Speaking with people who are


actually doing the job is one of the best ways to learnmore about the work before taking the plunge. You cansearch for Photo Editors in your area by surfing theWeb. Use an Internet search engine and the keywords“Photo Editor.” Visit their Web sites, read the FAQ sec-tions, and look at their work and the client lists. Con-tact the ones you are most interested in learning moreabout and see if you can set up a brief, informationalmeeting. Make sure to bring a list of questions withyou and always write a thank-you note afterward.

2. Get an internship or a job in the photography depart-ment of a magazine or Web site. Trial by immersion isanother great way to learn more about the businessand to see where you best fit.

3. Keep up with industry trends and news. Read trademagazines, go to museums and gallery shows, andnetwork with photographers. The Photo Editor’s jobis to help publications stay competitive by havingunique and interesting looks, so staying inspired andcreative is as important as doing the work itself.


Position DescriptionPhoto Researchers work part time or full time for photolibraries or agencies, museums and galleries, or for publish-ers and advertising agencies. They may also work as inde-pendents, developing and maintaining a client base whilemanaging their own businesses. Photo Researchers workclosely with art directors and art buyers to locate photo-graphic images that meet the needs of specific projects.They will put together various photographs, based on theclients’ directions, with creative directors or publishersmaking the final decisions regarding which images they will

use. Photo Researchers source these images through onlinephotographic libraries, as well as by searching in-houseprints and negatives. They may provide the images to clientsby e-mail, transparencies, or CDs.

Photo Researchers first meet with clients to learn thetypes of images they need and how and where the photo-graphs will be used. They help select photographs for bookcovers, magazine articles, company literature such asbrochures and newsletters or even Web sites, and advertis-ing campaigns. One example of an assignment may be tohelp the creative director of a fitness magazine locate his-


PHOTO RESEARCHER


Duties: Searchs for and selects photos for various mediaand clients, including textbooks, magazines, trade books,design firms, corporations, advertising agencies, film andvideo production companies, Web sites, and others; pro-vides photography editing services

Alternate Title(s): Photo Editor




Best Geographical Location(s): Major metropolitan areas,such as Atlanta, Boston, Chicago, Miami, New York,Philadelphia, San Francisco, and Washington, D.C.

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy helpful, with coursework in advertising, art history,English literature, and publishing

Experience—Several years of experience in book or mag-azine publishing as an assistant photo researcher; museum,gallery, or stock photo agency experience also helpful

Special Skills and Personality Traits—Strong interestin and knowledge of photography, photography history,and photographers; excellent research and organizationalskills; detail- and deadline-oriented; able to work well ona team as well as independently; computer savvy, able towork with different software programs; well versed incopyright laws; strong verbal and written communicationskills; diligent; thorough; and patient

Senior Photo Researcher /Photo Research Director

Photo Researcher

Assistant Photo Researcher /Assistant Photo Editor

toric photographs of gyms to accompany an article aboutthe history of working out and the evolution of physical fit-ness. The Photo Researcher needs to have a series of ques-tions addressed before beginning the search. How manyphotos are needed? What size will they be in the article?Should they be in portrait or landscape format? Will they bein color or black and white? What specific things about thegyms or fitness activities should they be searching for, suchas types of exercises or equipment? Should the photographsbe of gyms from any particular area of the country or world?

Photo Researchers who work on staff with magazine orbook publishing companies, or for large stock agencies suchas Getty Images, can source images from in-house photo-graphic libraries. They will look at scores of images beforedeciding upon the photographs that meet all of their clients’criteria. In addition to discerning images based on photo-graphic and artistic merits, they must also take into accountlicensing and copyright issues. For some Photo Researchers,a large part of the job may be administrative. Many photolibraries, publishers, and agencies require specific formsand reports to keep track of the images, particularly if theyare originals and if they are of great value. Licensing rightsand fees, and contract negotiations, are also critical parts ofthis type of work and can add to the complexity of the job.

Other job responsibilities may include creating and gen-erating contracts, negotiating fees with stock agencies andlibraries on the behalf of clients, using digital photographicsoftware to enhance photographs (when permitted andlicensed), refiling or returning photographic images oncethe project is completed, and invoicing clients. Some PhotoResearchers with more experience may oversee and managestaff. Freelancers are also responsible for maintaining theirbusinesses, which can entail everything from advertisingand promoting their services, to handling their own book-keeping and making sure their office equipment functionsproperly.

SalariesSalaries for Photo Researchers vary, depending upon thetypes of clients for which they work and the project budgets.Advertising companies with national advertising campaignswill typically allot higher wages for Photo Researchers thannonprofit associations with company brochure projects.Photo Researchers usually earn annual wages ranging from$30,000 to $65,000 or more. Full-time Photo Researchershave the advantage over freelancers in that they are pro-vided with such benefits as health insurance, disability, paidvacations, sick time and personal days, bonuses and raises,and stock options and retirement plans.

Employment ProspectsPhoto Researchers often work in similar industries as writersand editors, and a parallel can be drawn regarding employ-

ment prospects. According to the U.S. Department of Labor,employment of writers and editors is expected to grow aboutas fast as the average for all occupations through the year2012, and the same can be said for Photo Researchers. As thedemand for various publications increases, such as newspa-pers, magazines, books, and zines, the demand for photo-graphic images to enhance these publications will similarlyincrease. Additionally, each year more businesses and organ-izations are expanding their promotional efforts and needingPhoto Researchers to help them select appropriate photos toinclude in their brochures and Web sites. The public’s inter-est in museums and art is also on the rise, as cited in theOccupational Outlook Handbook, and Photo Researcherswill be needed for various advertising and promotion cam-paigns, as well as for exhibitions and display.

Advancement ProspectsFreelance Photo Researchers can advance by expanding intoother industries. For instance, if they have worked primarilyin book or magazine publishing, they may explore workingwith advertising clients. They may also expand by growingtheir businesses and hiring more staff that specialize in cer-tain areas. With years of experience, Photo Researchers canmove up to become heads of photography research depart-ments within publishing companies, libraries, museums,galleries, or stock agencies. They can contribute articles onthe subject to trade publications and lecture at schools andprofessional associations.

Education and TrainingA bachelor’s degree from an arts or liberal arts school is asolid educational background in this field. Photo Researchersusually have degrees in any number of areas, from Englishliterature or photography, to political science or art history.More experienced Photo Researchers may have advanceddegrees in library science or archive administration. Anapprenticeship or previous work experience as an assistantphoto researcher or editor is highly recommended.

Experience, Skills, and Personality TraitsSeveral years of experience as an assistant photo researcherare generally a solid background for Photo Researchers.Those who enjoy this work the most are passionate aboutphotography and extremely knowledgeable about photogra-phers and photographic images. They have a good grasp ofphoto history as well as current trends in the industry. A largepart of the work can be administrative, so strong organiza-tional skills and the ability to manage paperwork is a must.

Photo Researchers who are clear communicators withexcellent interpersonal skills will do well in this field. Thejob entails working closely with clients, listening carefullyto their needs, and effectively meeting those needs anddeadlines. Clients may also change their minds midway dur-


ing projects. Photo Researchers need to be problem solverswith vast amounts of patience and creativity to get the workdone on time and keep clients coming back with newassignments.

To save time, Photo Researchers need to keep track ofwhere they found specific images and where to locate themagain, if needed. Exceptional research skills and sharpminds and memories are absolute requirements. Addition-ally, Photo Researchers need to have a solid grasp of licens-ing issues and copyright laws and be able to educate theirclients in these arenas as well. To advance within the field,strong management and team-building abilities will also beneeded.

Unions and AssociationsPhoto Researchers may join the American Society of Pic-ture Professionals, Professional Photographers of America,the American Society of Media Photographers, and theNational Press Photographers Association for professionalresources and employment referrals.

Tips for Entry1. Referrals and word of mouth are often the best ways

to get work in the photo research field, so network asmuch as you possibly can. Go to gallery show open-

ings, museum events, conferences, parties, and anyand all events that your prospective clients will attend.

2. Read the publications of the clients with whom youare interested in working, to familiarize yourself withthe subject matter and artistic styles, as well as thephotographers they have used in the past. If you wantto work for magazine publishers, subscribe to themagazines they publish. If you are leaning towardbuilding a career with advertising agencies, studytheir past and current advertising campaigns. ManyPhoto Researchers work in a variety of media, so besure to cover all of the bases if you are opting for anall-encompassing path.

3. Get a job as an assistant photo researcher. Volunteerfor a short time, if that is the only way to get your footin the door. Working firsthand with a trained and expe-rienced Photo Researcher is the best education and anexcellent way to determine if this work suits you. Findwork in the photo research departments of galleries,museums, or publishers. Search the companies’ Websites directly, as well as employment sites such asMuseumJobs (http://www.museumjobs.com), Muse-umEmployment (http://www.museum-employment.com), or the New York Times on the Web (http://www.nytimes.com).


Position DescriptionPhoto Gallery Managers exhibit and sell photographs in gal-leries and oversee permanent collections. They are responsi-ble for helping with or overseeing the matting and hangingof exhibitions. They keep inventory of photographs that areon site, in storage, and in the process of being shipped. Theycoordinate exhibition schedules with photographers andphotographers’ representatives. Photo Gallery Managersalso make sure that photographs, particularly old images,are exhibited in appropriate environments to prevent dam-

age. They also ensure that all archival images are packed inappropriate materials and stored in safe environments.

Photo Gallery Managers are approached directly by pho-tographers or pursue those whose work they want to exhibit.They negotiate contracts with photographers on behalf ofphoto gallery owners. They help set prices for photographsand are responsible for sales to collectors, curators, and thegeneral public. Depending upon the staff structure of thegallery, managers may come up with the ideas for showsand choose specific photographers to exhibit based on pho-


PHOTO GALLERY MANAGER


Duties: Manages a gallery exhibiting and selling photo-graphs of past and contemporary photographers; adver-tises to and networks with museum curators, privatecollectors, interior designers and decorators, and culturalinstitutions; arranges exhibition and sales contracts withphotographers and photographers’ representatives; over-sees and manages gallery staff and freelance consultants


Salary Range: $50,000 to $100,000+



Best Geographical Location(s): Major cities and townswhere photographers, artists, and collectors live andwork (i.e., New York, Los Angeles, Santa Fe)

Prerequisites:Education or Training—Four-year degree in photogra-phy or art history; coursework in small business manage-ment; master’s degree may be beneficial

Experience—Five years of experience as a fine arts orcommercial photographer; several years of experience inphoto or art gallery

Special Skills and Personality Traits—Knowledgeableabout photography, photographic styles and techniques,film development and printing processes, and past andcurrent photographers; entrepreneurial; versed in industrypractices; skilled in negotiation and sales ethical; reliableand responsible; excellent verbal and communicationskills; diplomatic;

Photo Gallery Owner

Photo Gallery Manager

Photo Gallery Assistant /Freelance Photographer

tographic techniques, styles, color and lighting, and themes.They may work with exhibition designers and photogra-phers on exhibitions and help promote the shows. PhotoGallery Managers work with graphic designers to createpromotional literature (i.e., flyers, postcards, brochures) andadvertisements for shows and events. They also oversee thewriting and placement of press releases and the manage-ment and maintenance of the gallery’s Web site. They man-age and oversee gallery staff, freelance consultants (such asgrant writers, bookkeepers, and accountants), office clean-ers, and others.

SalariesPhoto Gallery Managers can earn salaries ranging from$50,000 to $100,000 or more. Earnings will vary, dependingupon the desirability of the photographs in the marketplaceand whether the photographers are up-and-comers,respected veterans in the field, or masters from long ago.Photo Gallery Managers may earn commissions on theirsales, thus those who are excellent negotiators and have rep-utations for being professional and ethical have the potentialto secure higher wages.

Employment ProspectsPhoto Gallery Managers have good opportunities to findwork. According to the U.S. Department of Labor’s Occu-pational Outlook Handbook, the general population hasbeen showing an increased interest in art and art museums,and this is an interest that is expected to continue to growthrough 2012. Large, major cities that feature an abundanceof galleries and museums, such as New York and Philadel-phia, as well as smaller cities that artists and collectors flockto, such as Santa Fe, will always need Photo Gallery Man-agers to oversee collections and draw in new and interestingphotography and photographers.

Advancement ProspectsWith years of experience, Photo Gallery Managers canmove up to either own the galleries they work for, once theowners retire or sell, or they can open their own galleries. Ifthey already are in the dual-role position of manager/owner,they can always open other galleries in other towns andcities. They can also expand into new areas of photography,exploring different styles or focusing on a wider variety ofthemes and issues. Photo Gallery Managers with strongspeaking skills and an urge to share information to help ele-vate the industry can speak at industry conferences andpanel discussions, as well as teach at photography associa-tions and technical and art schools. They can also write arti-cles and columns for industry publications and write bookseither about the industry or about particular photographersand photographic styles.

Education and TrainingA bachelor’s degree in photography or art history is usually asolid educational foundation for Photo Gallery Managers.Small business management coursework and training in word-processing and data-management programs is recommended.

Experience, Skills, and Personality TraitsSome galleries may prefer managers with several years ofprior experience in gallery management or administration.Managers with professional photography experience mayalso have the advantage in their job hunts. Photo GalleryManagers need to be able to juggle projects and people.Their job is multifaceted, from soliciting photographers andconceiving photography shows, to networking and main-taining relationships with curators and collectors, to makingsure gallery staff receive their paychecks on time. Success-ful managers have a combination of all of the followingskills and traits: clear, forward thinking; creative and inno-vative; resourceful; self-motivated; detail- and deadline-oriented; excellent interpersonal skills; strong leadershipabilities; energy; enthusiasm; passion for photography;savvy business managers.

They must be able to speak the language of photogra-phers one minute and the language of curators and collec-tors the next. As a representative of the gallery and often thefirst impression people have of the organization, PhotoGallery Managers must be professional and presentable.They will often field inquiries from the press and formulatestatements for publication. Clear communication skills areessential. They must always know what is happening in theindustry, who the top in-demand photographers are, what isbeing sold where and for how much, who the collectors are,and what the current industry business practices are.

Unions and AssociationsPhoto Gallery Managers can become members of the ArtDealers Association of America, once they have beenendorsed and accepted, and enjoy a wide variety of profes-sional benefits to further their careers. They can join thePhoto Marketing Association International for news aboutnational and international gallery shows as well as educa-tional resources, and they can also join Professional Photog-raphers of America for access to networking opportunitiesand other career-enhancing benefits.

Tips for Entry1. Visit photo galleries near you to see the types of pho-

tographs exhibited, the mountings and exhibitiondesign, how the galleries are set up, the staff size andjob responsibilities, and other features. Speak withgallery managers or owners to find out how theystarted their businesses.


2. Network at events that photographers attend. Go tophotography association meetings and conferences,take workshops, and visit photography shows andexhibitions.

3. Get your foot in the door by taking an internship in aphoto gallery. The best way to learn how this business

works is by full immersion. Find job listings throughemployment placement sites, association Web sites,and classifieds in trade publications. This is youropportunity to get a taste of everything, from staffmanagement styles to photography selection to showconception and design.


Position DescriptionPhotographers sign up with a Photographer’s Agent typi-cally when they have reached a certain juncture in theircareers and it is time for a new direction or when they havesimply had enough of handling the business side of thingsand would rather devote their time to what they do best,which is taking photographs. A Photographer’s Agent works

independently or in partnerships with other agents. He orshe represents those photographers who have reputationsthat most suit his or her business and whose styles matchcurrent and prospective clients’ needs.

A Photographer’s Agent helps forge relationships on thebehalf of photographers with prospective clients. Agentshelp promote and market photographers by researching the


PHOTOGRAPHER’S AGENT


Duties: Represents photographers to art directors, curators,publishers, corporate public relations executives, interiordecorators, for-profit and nonprofit social organizations,museum publicists, government officials, political par-ties, collectors, philanthropic groups, unions, and otherorganizations that use photography; negotiates contractsand fees on behalf of photographers; creates estimatesand handles billing; helps photographers create portfo-lios tailored to specific clients and coordinates or createsphotographers’ promotional and marketing campaigns;manages own business, including self-promotion throughmailings and Web site

Alternate Title(s): Photographer’s Representative

Salary Range: $30,000 to $75,000+



Best Geographical Location(s): Major cities, such asAtlanta, Boston, Chicago, Los Angeles, New York,Philadelphia, and San Francisco

Prerequisites:Education or Training—Four-year college degree, withcoursework in photography and business management

Experience—Several years of experience in a photogallery; firsthand experience either as a photographer oras a photographer’s assistant beneficial

Special Skills and Personality Traits—Extremelyknowledgeable about photography and photographers;well aware of contract terms and industry practices;excellent negotiation and sales skills; strong interper-sonal and communication skills; professional, organized,and presentable; resourceful and creative

Agency Owner

Photographer’s Agent

Professional Photographer /Assistant Photographer’s Agent

market and identifying the advertising agencies, publishinghouses, corporations, and other organizations that can useand benefit from a particular photographer’s work. Agentscreate postcards and direct mailings, always in collaborationwith photographers to make sure their approach is what thephotographers want. Agents advise photographers abouttheir portfolios, discussing which pieces best represent themand which work well together as a collection for viewing.They also guide photographers toward other avenues of pro-motion, such as through competitions and trade publications(i.e., Workbook, American Showcase, and The Black Book)that showcase the work of different photographers and areoften used by art directors and clients to locate the rightphotographer for a job. Agents handle all of the details, fromreviewing contracts to filling out and submitting registrationforms with accompanying fees and artwork. Agents alsousually have their own Web sites, in which they showcasesamples of their photographers’ work.

Agents set up meetings with clients and present theirphotographers’ work. While they may represent many pho-tographers, to avoid overwhelming clients, they first deter-mine the clients’ style, past campaigns, and current needsand tailor the presentations by showing the work of eitherone or only several photographers. Agents are responsiblefor negotiating the terms of the contracts. They reviewclients’ agreements or create their own agreements onbehalf of the photographers. They advise photographersabout which terms are acceptable and which need to beadjusted. They act as liaisons between the photographersand the clients, overseeing the work of the photographersand making sure quality of work and deadlines are metaccording to agreements and that fees are paid as scheduled.

A Photographer’s Agent is responsible for invoicingclients, making sure photographers are paid, making surecommissions are received, and keeping records of all trans-actions. Agents create contracts with their photographersthat spell out terms of service based on standard businesspractices, including commission percentages, promotionalwork that will be done, and terms of separation should theydecide to part ways.

Agents also run their own businesses as well as those oftheir photographers. They must develop their brand imagesthrough creative Web sites, promotional literature, resource-ful networking and advertising, writing and placing articlesin appropriate industry publications, and participating inpanel discussions and speaking engagements.

SalariesA Photographer’s Agent receives a percentage of commis-sioned jobs, with the industry standard being 25 to 35 per-cent, according to the Graphic Artists Guild’s Handbook ofPricing & Ethical Guidelines. Depending on the number ofphotographers an agent represents, the desirability of thework in the marketplace, and years of experience in the

field, Photographer’s Agents can earn annual salaries rang-ing from $30,000 to $75,000 or more. Agents also enhancephotographers’ salaries as well as their own by pursuingopportunities for reuse and licensing agreements. They mayalso offer side services on a fee-per-service basis, withoutrepresentation, such as portfolio reviews.

Employment ProspectsNot every photographer wants or needs a Photographer’sAgent, so prospects for employment can be random and dif-ficult to predict. Additionally, according to the Departmentof Labor’s Occupational Outlook Handbook, digital photog-raphy has made it easier for people to access photographson their own. A Photographer’s Agent who is good at pitch-ing his or her business and following through on the serv-ices has the best prospects of securing talented photographersand matching them with reputable clients.

Advancement ProspectsSeasoned agents who work in larger agencies with otheragents can advance to become owners of or partners in theagencies. Agents who already own their own agencies canopen their doors to other agents who represent styles andtypes of photographers that are different from the originalcollective. A Photographer’s Agent can boost his or herbusinesses by speaking about the business of being a repre-sentative or about photography issues, such as copyright andother contract terms, at trade conferences and panel discus-sions. Agents can teach at art and technical schools, writearticles for print publications and Web sites, as well as par-ticipate in online forums.

Education and TrainingA four-year degree in photography is beneficial to a Photog-rapher’s Agent but not required. An undergraduate degree inany arts-related subject, with coursework in and exposure tophotography, is equally useful in this field. Agents must befluent in the language of contracts and can learn and keepabreast of terms by reading industry publications and Websites and subscribing to literature from such associations asthe Society of Photographers and Artists Representativesand Volunteer Lawyers for the Arts. Agents must also under-stand how to run a small business and can learn useful skillsthrough continuing education courses at local universities aswell as through professional associations for entrepreneurs.

Experience, Skills, and Personality TraitsThree to five years of experience as an assistant to a Photog-rapher’s Agent is an excellent way to learn about this busi-ness firsthand. Agents need to be knowledgeable aboutphotography and photographers and have a good grasp ofhow the business works. They must have a strong under-


standing of contracts and contract terms and be smart nego-tiators who know how to close deals that are beneficial totheir photographers as well as to their clients. As essentialliaisons, they need to have exceptional written and verbalcommunication skills, as well as organizational abilities tokeep all of the paperwork straight. To succeed and thrive inthis business, a Photographer’s Agent must be professional,have excellent presentation skills, self-motivation and deter-mination, strong ethics, and good judgment. To maintaingood working relationships with their photographers andtheir clients, agents must be accessible, responsible, andreliable.

Unions and AssociationsAgents can join the Society of Photographers and ArtistsRepresentatives for industry news, resources, and network-ing opportunities. Because they have a two-tiered approachto business, meaning they must secure photographers to rep-resent as well as locate clients to hire these same photogra-phers, they will do well to join associations to whichprospective clients belong, as well as those to which pho-tographers belong. It may behoove them to join their local

Chamber of Commerce, Advertising Photographers ofAmerica, the American Society of Media Photographers,and Professional Photographers of America.

Tips for Entry1. Find a Photographer’s Agent, either through searching

the Internet, contacting a local photo gallery, or bylooking through photography books such as AmericanShowcase, The Black Book, and Workbook. Make alist of the agents whose work interests you and con-tact them to see if you can set up a date to discuss therepresentation field.

2. Get a job in an agent’s office as an assistant. Treat thejob as you would an important class. Take notes, askquestions, and make sure you understand the answers.Education by immersion is the best way to get a jumpstart in the business.

3. Network as much as you possibly can. Attend indus-try events and conferences. Go to gallery openingsand photo shows. Much of this business is not onlybased on a Photographer’s Agents’ intelligence andsavvy but also on who knows whom.


Position DescriptionPhotographic Administrators work in the photographydepartments of universities, museums, associations, andcorporations and handle all administrative tasks related tophotographic work and photography archives. They liaisewith boards of directors, committees, members, volunteers,professors, students, staff, photographers, teachers, and thegeneral public. They also work in the photography and com-munications departments of federal and city agencies and

handle requests for photographic services. PhotographicAdministrators may also work in photography agencies andmatch clients to photographers for specific projects. Theywill listen carefully to the client’s description of the workneeded and the style of photography desired. They willresearch the agency’s photography database, study the pho-tographers’ backgrounds, and match the appropriate photog-rapher or photographers to the job.

Photographic Administrators may work in public rela-tions and communications firms, where they will oversee a


PHOTOGRAPHIC ADMINISTRATOR


Duties: Handles administration of photographic librariesand collections for corporations, associations, and educa-tional institutions; liaises between clients and photogra-phers for photography assignments; handles a variety ofadministrative tasks in relation to office and staff man-agement and business transactions; creates budgets, cashand expense reports; attends board and staff meetings

Alternate Title(s): Photography Manager

Salary Range: $25,000 to $50,000+



Best Geographical Location(s): Boston, Chicago, LosAngeles, New York, Philadelphia, Rochester, San Fran-cisco, Seattle, and Washington, D.C.

Prerequisites:Education or Training—Bachelor’s degree in art his-tory, photography, or other liberal arts specialization;master’s may be required; coursework in small businessmanagement; trained in Microsoft Word, Excel, anddatabase-management programsExperience—Several years of prior management experi-ence in corporate or association photography environmentSpecial Skills and Personality Traits—Knowledgeableabout photography and photographers; excellent verbaland written communication skills; team player as well asindependent worker; strong interpersonal skills; organ-ized; reliable and responsible; able to work in structuredenvironment; computer savvy; strong management andleadership abilities

Director of Photography Department

Photographic Administrator

Photography Manager

small staff dedicated to meeting clients’ requests for photo-graphic images for advertisements, press releases, newspa-per and magazine articles, corporate brochures, and Websites. They are responsible for maintaining control of in-house labor costs and outside supplier fees. If press agentsrequest certain pictures, they oversee these transactions aswell, making sure terms of usage are clear and appropriatepermissions and releases have been secured.

Photographic Administrators work closely with a varietyof people, from board members and staff, to volunteers andconsultants. They may coordinate production and workschedules and oversee photography department Web sites,business transactions, invoices, agreements, and accountsreceivable and payable, as well the maintenance and manage-ment of office equipment and supplies. They attend regularstaff meetings with boards of directors and meet with teachersto discuss possible workshops for future educational pro-grams. They are also responsible for creating departmentbudgets and expense reports. Photographic Administratorsnormally have their fingers in many pies. Their work canrange from mundane, daily tasks to the more interesting workattached to organizing and hosting events and exhibitions.

Photographic Administrators provide backup for appro-priate personnel. They may help research and locate newtemporary offices for new departments of the company. Theymay help plan for office and equipment renovations, as wellas overall company growth. They are the in-office supportfor the board of directors, always accessible by phone, e-mail, and in person to field inquiries about financial records,board history, membership records, business transactions,and agreements with sales vendors. Photographic Adminis-trators provide board members with regular weekly,monthly, or quarterly reports on the status of business opera-tions. They work closely with board members in creativebudgets and project proposals. Photographic Administratorsmay also work on staff at major newspaper and magazinepublishing companies. They will help editors and researcherslocate photographs and coordinate transactions.

Photographic Administrators are also expected to reviewall materials and pitches from prospective service andequipment providers. They will meet with vendors, manu-facturers, computer and printer consultants, and others tolearn and discuss all aspects of the products and servicesthat they are offering. They compare findings in order tomake intelligent, budget-conscious recommendations toboard members and department executives about purchasesand services. Once the purchase is approved, PhotographicAdministrators will negotiate prices and manage transac-tions from purchase to fulfillment.

SalariesPhotographic Administrators are normally full-time employ-ees who can earn annual salaries ranging from $30,000 to$50,000 or more, depending upon their years of experience

and the size and budget of the organization. Small associa-tions, educational institutions, and museums will typicallypay lower salaries, while large, well-funded organizationsand government agencies usually pay higher wages.

Employment ProspectsArts administrator positions are expected to grow at aboutthe same speed as other jobs, or by about 10 to 20 percent,through 2010, according to the U.S. Department of Labor’sOccupational Outlook Handbook. Photographic Adminis-trators with strong management experience, excellent con-nections in the field, and innovative ideas will find moreopportunities for work.

Advancement ProspectsWith several years of experience, Photographic Administra-tors can advance to become senior administrators, taking onmore responsibilities and overseeing more staff. They cantransfer their skills to other jobs, such as photographer’sagent or an administrative role within a photography agencyor stock house. They can also write articles for associationand trade newsletters, as well as lecture and teach.

Education and TrainingA four-year degree is usually required to be a PhotographicAdministrator. Some organizations may require advanceddegrees. Specializations can vary, but administrators shouldhave coursework in photography and small-business man-agement. Knowledge of photography, photographers, andphotographic techniques may be useful in some administra-tive positions. On-the-job management training can also bebeneficial.

Experience, Skills, and Personality TraitsPhotographic Administrators usually have several years ofexperience as managers in commercial photography studios,stock image agencies, or photography stores. They are typi-cally well connected in the field and understand, eitherthrough prior experience as photographers or through theirwork backgrounds, standard industry practices. They haveexcellent written and verbal communication skills. Theyknow how to organize and prioritize their work. They areindependent workers and team players, able to work with awide variety of people, including department staff, boardsof directors, volunteers, teachers, photographers, clients,and the general public. Photographic Administrators have asolid knowledge of word-processing programs, such asMicrosoft Word and Excel, as well as database-managementsoftware. They are also comfortable with numbers and man-aging money. They are able to juggle many projects anddemands at once and still meet deadlines. PhotographicAdministrators are also adept at working under pressurewhile keeping cool heads and professional demeanors.


Unions and AssociationsPhotographic Administrators may join such associations asthe National Society of Association Executives, Photo Mar-keting Association International, Professional Photographersof America, and others for workshops and conferences, net-working events, and other career-enhancing benefits.

Tips for Entry1. Get an internship in the photography department of a

museum, university, or corporation. Learn the basicsof photographic administration from the ground up.

2. Search for employment opportunities with museumsand associations through the Web sites of such groupsas the American Association of Museums (http://www.aam-us.org) and The Foundation Center (http://fdncenter.org).

3. Create a list of city agencies that have photographydepartments. Check their Web sites for employmentlistings and contact the human resources departmentsto find out how to apply.


Position DescriptionPhotographic Retouchers improve and enhance photo-graphic images by hand or with design software such asAdobe Photoshop, Illustrator, and QuarkXPress. Publishers,advertising agencies, photography studios, and others com-mission retouchers to correct color and lighting, crop outshadows and objects, and resize shapes to improve the over-

all composition of the image. Some independent clients mayeven hire Photographic Retouchers to scan damaged photo-graphs, fix the problem areas, and create new and improvedshots for their personal archives.

Before starting work, Photographic retouchers meet withclients to discuss how the images will be used, the reasonsfor retouching, and the specific changes that must be made.


PHOTOGRAPHIC RETOUCHER


Duties: Retouches photographic images by computer andby hand to improve color and lighting and moves,resizes, or crops images, for magazine, newspaper, andbook publishers, photography studios and photographers,advertising agencies, production houses, Web sites, andothers; may manage film development and oversee print-ing processes; maintains image databases

Alternate Title(s): Imaging Specialist

Salary Range: $30 to $100 per hour



Best Geographical Location(s): Atlanta, Boston, Chicago,Denver, Las Vegas, Los Angeles, Minneapolis, NewYork, Philadelphia, Portland, Seattle, and Washington,D.C.

Prerequisites:Education or Training—Two- or four-year degree in art,with coursework in photography, graphic design, paint-ing, drawing, and printing processes; training in designsoftware such as Adobe Photoshop and QuarkXPressrequired

Experience—Several years of experience as an intern inphotography studio, production house, or advertisingagency beneficial

Special Skills and Personality Traits—Excellent eye-hand coordination; knowledgeable about color, lighting,and composition; fluent in photographic design softwareprograms; strong verbal and written communicationskills; able to follow directions and make suggestions forchanges; professional; diplomatic; deadline-oriented;organized

Senior Retoucher

Photographic Retoucher

Assistant or Junior Retoucher

They review the images and discuss all aspects, from colorand composition to objects that may need to be deleted, andwhat the end results should look like. Photographic Retouch-ers scan the images and save the original, untouched versionsas digital files in their computers. If the clients have only avague idea of the changes they want, Photographic Retouch-ers offer suggestions and recommendations based on theirexperience in the field.

Many people now have digital cameras and are able toretouch images themselves using photographic design soft-ware on their home computers. There are still many others,however, who prefer to have professional retouchers handletheir personal photographs, particularly those that are extraor-dinarily old and require extensive restoration. Dependingupon the age and condition of the photograph, and the client’sspecifications, Photographic Retouchers may work directlyon the original photograph, using special brushes and paintsto restore tones and colors faded due to years in direct sun-light or repair cracks, chips, and other damage caused bydecades spent crumpled in an attic. They may also scan theimage to retouch colors, contrasts, and light digitally and cre-ate new and improved photographs.

SalariesFreelance Photographic Retouchers usually charge $30 to$100 per hour, depending upon their years of experience inthe field and the budgets of their clientele. For complicatedwork or rush jobs requiring evening and weekend hours,retouchers charge higher hourly rates, as is industry stan-dard. Freelance wages will also depend upon the intendedusage of the image. For example, if a top advertising agencyplans to use the image in multiple ways (i.e., in print publi-cations, on billboards, on the Internet, in mass direct-mailcampaigns), Photographic Retouchers usually charge more.The 11th edition of the Graphic Artists Guild’s Handbook ofPricing & Ethical Guidelines, which provides examples ofPhotographic Retoucher rates, cites that the national/generalconsumer market and Web companies pay more—at $65 to$200 per hour—than the regional/trade, which is $60 to$150 per hour. The guild’s rates are based on 2001 surveysof industry professionals around the country.

Employment ProspectsRetouchers work as freelance contractors or on staff inretouch and design departments of publishing companies,advertising agencies, and postproduction facilities. The bestopportunities will be for freelance digital retouching work,which Photographic Retouchers can find by exploring avariety of paths, from networking through professionalassociations to searching and securing work via onlineemployment sites. Retouchers who work with advertisingcompanies may have a slight advantage. According to theU.S. Department of Labor, the advertising industry will con-

tinue to grow due to intense international and domestic com-petition in consumer products and services. More advertise-ments will be needed to meet this increasing demand andthus more images will need to be improved and enhanced byskilled technicians.

Advancement ProspectsRetouchers who are employed full time can advance tobecome senior or lead retouchers within the retouchingdepartment. They may hire and manage other image spe-cialists and oversee their work. After years of honing theirskills and establishing a reputation in the business for qual-ity, professional work, Photographic Retouchers can alsoadvance by starting their own postproduction agencies.They can write educational articles for trade association andeducational publications, and they can teach at vocationalinstitutions and art schools.

Education and TrainingA two-year degree from a technical or vocational schoolmay be sufficient in this field. Some companies may prefera bachelor’s degree in art, with training in graphic design,painting and drawing, and photographic design softwaresuch as Adobe Photoshop. Retouchers must be fluent incolor-correction techniques and be able to look at imagesand see what can be improved, so courses in color are alsocritical.

Experience, Skills, and Personality TraitsMost Photographic Retouchers have prior experienceeither as assistants or apprentices in photography studiosor postproduction houses. Photographic Retouchers musthave an excellent eye for details and be extremely knowl-edgeable about color and all of the techniques involved incorrecting color. While they may not be directly involvedin the printing process, they need to have a good idea ofhow the images and colors will look in print in order to goabout their work. They must be fluent in photographicdesign software on both PC and Mac platforms. Strongverbal and written communication skills are important, asis an ability to listen closely to the clients’ specifications.Photographic Retouchers often work under intense dead-line pressure, so they must be able to stay focused, man-age their time well, and deliver quality work to meetclients’ needs.

Unions and AssociationsThere are no known associations or unions dedicated solelyto Photographic Retouchers. Retouchers may join suchassociations as the American Society of Media Photogra-phers, Professional Photographers of America, and Adver-tising Photographers of America for various benefits. They


can also join organizations that cater to graphic and digitalartists, such as the Association of Graphic Artists and theAmerican Institute of Graphic Artists.

Tips for Entry1. Visit the Web site RetouchPRO (http://www.

retouchpro.com) to participate in online forums forretouchers, read about new techniques and technolo-gies, and learn about upcoming classes.

2. Get an internship or apprenticeship in the retouchdepartment of an advertising agency or with a produc-tion studio that has in-house retouch capabilities.

3. Find job listings through the Internet, on such Web sitesas the New York Times on the Web (http://www.nytimes.com), Monster (http://www.monster.com),Yahoo! HotJobs (http://hotjobs.yahoo.com), Craigslist(http://www.craigslist.org/about/cities.html), and others.You can also find job openings by visiting the Web sitesof advertising agencies, magazine publishers, photogra-phy studios, postproduction houses and labs, and others.

4. It is important to keep up with what is going on in thedigital retouching industry. Technology and softwarechanges and improves constantly. To stay sharp, regu-larly read industry and trade magazines, take work-shops, and network with others in the field.


Position DescriptionPhotographic Sales Representatives work for manufacturersand sell photographic products to small photography stores,retail chains, photography labs, and directly to photogra-phers. They may work for companies that produce cameraand film, photographic lighting systems, or tripods and pho-tographic gear. They may even sell custom presentationproducts and picture frames to photographers. Photographic

Sales Representatives are normally assigned geographicallocations, or “territories,” which they travel throughout todevelop and maintain relationships with customers. Depend-ing upon their territory, they may travel 25 to 50 percent ofthe time.

Photographic Sales Representatives are responsible forexpanding business by developing new customers and main-taining relationships with current clientele. They are given


PHOTOGRAPHIC SALES REPRESENTATIVE


Duties: Promotes and sells photographic products andequipment to retail stores and professional and commer-cial photography labs; covers certain geographical terri-tories; researches and creates lists of prospective clients;meets with and visits small-business owners and largeretail outlets to discuss sales prospects; conducts productdemos and dealer training sessions; attends and works attrade shows; prepares budgets and sales reports

Alternate Title(s): Manufacturer’s Representative, Photo-graphic Equipment Salesperson

Salary Range: $30,000 to $80,000+



Best Geographical Location(s): Cities and regions withhigh populations and busy photographic industries

Prerequisites:Education or Training—Two- to four-year degree, withcoursework or training in photography beneficial; B.A.in marketing may be required by some manufacturers

Experience—Three of more years of experience insales; depending upon product, several years of experi-ence as a photographer

Special Skills and Personality Traits—Knowledgeableabout photographic products and manufacturers; confi-dent and outgoing; self-motivated; responsible and reli-able; deadline-oriented, goal-driven, and comfortableworking under stress; able to travel; flexible and adapt-able; enthusiastic, upbeat personality; honest; ethical;excellent written and verbal communication skills; abil-ity to work independently and with a team

Vice President of Sales

Regional or National Sales Manager

Photographic Sales Representative

target sales goals and commission incentives. They gatherinformation about prospective customers by attending tradeshows, reviewing past lists of leads, searching equipmentrental records, business directories, Web sites, advertise-ments, direct mail inquiries, and a variety of other sources.They create lists of these prospective clients and initiate con-tact by cold calls, e-mail, and, eventually, personal visits.

In addition to actually conducting sales, PhotographicSales Representatives may be responsible for reviewing andimproving the sales team’s process of prospecting, selling,and closing deals. This may entail testing and revampingsales scripts, if used, as well as conducting training sessionsto orient teams to new processes and work through any kinks.Photographic Sales Representatives provide technical, mar-keting, and product training support internally as well asexternally. When they visit photography stores, they alsospeak with the sales associates about the products anddemonstrate to them how they work and the advantages overother products. They get salespeople excited so that the sales-people can, in turn, share their knowledge and enthusiasmwith customers. Photographic Sales Representatives mayoffer salespeople special deals on products or giveaways.They conduct in-store demonstrations for storeowners, salesassociates, and customers. They make in-person visits to pho-tographers’ studios to demonstrate products and to allow pho-tographers to test equipment and provide feedback.

SalariesPhotographic Sales Representatives are usually full-timeemployees who earn annual salaries plus commissions.Earnings can range from $30,000 to $80,000 or more,depending upon years of experience, the manufacturer, andquantity of products sold. Staff sales representatives alsoreceive such benefits as a 401(k); medical, dental, and lifeinsurance; vacation and sick leave; use of company cars;and frequent flier mileage. They also receive reimbursementfor transportation, hotels, meals, and wining and dining cus-tomers. Some companies provide Photographic Sales Rep-resentatives with cash bonuses, all-expense paid vacations,or other incentives for outstanding sales achievements.

Employment ProspectsDemand for Photographic Sales Representatives shouldgrow about as fast as the average for all occupations, or byabout 10 to 20 percent, through 2012, according to the U.S.Department of Labor. With the constant development andimprovement of photographic equipment and supplies, cus-tomers will continue to need Photographic Sales Represen-tatives to show them how to use the products. Salesrepresentatives will find the most employment opportunitiesin small wholesale and manufacturing firms. More of thesecompanies are depending upon sales representatives to helpthem control costs and expand client bases by marketing

their products directly. Photographic Sales Representativeswho have excellent knowledge of the products, the industry,technical expertise, and a proven track record in sales willbe in high demand.

Advancement ProspectsPhotographic Sales Representatives who meet their salesgoals, develop effective sales processes that achieve results,and who successfully manage accounts and meet cus-tomers’ needs have good opportunities to advance. Withseveral years of experience, they can move up to becomeregional directors or national directors. With five or moreyears of experience, they can advance to become vice presi-dents of sales departments.

Education and TrainingMost manufacturers hire Photographic Sales Representa-tives who have four-year degrees. Educational backgroundscan vary in this field; a bachelor’s degree in marketing, withphotography experience, often suffices. Many PhotographicSales Representatives hone their sales skills by taking con-tinuing education workshops in sales and marketing throughbusiness schools or professional associations. They keep upwith industry trends and issues by reading trade publica-tions and joining professional associations for membershipnewsletters and magazines.

Experience, Skills, and Personality TraitsMany companies require their Photographic Sales Represen-tatives to have several years of prior experience in sales.Sales representatives must have strong customer serviceskills and be adept at developing rapport with peoplequickly. For more senior-level positions, manufacturers wantto see demonstrated records of past sales successes. Salesrepresentatives must be able to maintain relationships eitherin person, by telephone, or through e-mail and therefore needto have strong written and verbal communication skills.There may be a great deal of travel involved in this type ofwork, so having a flexible attitude, enthusiasm, and energycan ease the challenges. Photographic Sales Representativesmust be highly organized and able to prioritize workloads toachieve sales goals. They must be able to meet and exceedthese goals and work well under a great deal of pressure.Those who thrive under the stress of deadlines do extremelywell in this field. In addition to being versed in the productsand the company they represent, they must also be computersavvy and very familiar with Microsoft Word, Excel, e-mail,the Internet, and order-and-billing software.

Unions and AssociationsThere are no associations specifically dedicated to Photo-graphic Sales Representatives. Sales representatives can


belong to the Manufacturers’ Agents National Associationfor general sales-representative benefits, such as the monthlySales Agency magazine; an online directory of members andmanufacturers; lobbying efforts in Washington, D.C., indefense of professional standards and ethics; contract guide-lines; career counseling; educational seminars; and more.Photographic Sales Representatives may also join Profes-sional Photographers of America, Advertising Photographersof America, American Society of Media Photographers, andothers, for networking and educational opportunities.

Tips for Entry1. Learn standard business practices, negotiating tactics,

contract language, and more by subscribing to suchnewsletters as Guide to Agreements, Sales Rep’s Advi-sor, and Sales Rep’s Strategies, published by theAlexander Communications Group.

2. Find job listings through such employment placementWeb sites as RepLocate (http://www.replocate.com),

Sales Vault (http://www.salesvault.com), JustClosers(http://www.justclosers.com), Work (http://www.work.com), Monster (http://www.monster.com), Yahoo!Hotjobs (http://hotjobs.yahoo.com), CareerBuilder(http://www.careerbuilder.com), and many others.

3. Create a list of photographic equipment and productmanufacturers that interest you. Visit their Web sitesand check their employment listings section. Contactthe human resources departments to see if there aresales opportunities in territories you are familiar withor that are feasible for you to cover.

4. Ask the sales associates in photography stores andretail chains near you who the store’s sales represen-tatives are and the manufacturers with whom theywork. Explain that you are interested in this type ofwork and ask if you can have the sales representa-tives’ contact information. E-mail or call them to learnmore about how they got into the field and if there areany current openings.


Position DescriptionPhotographic Technical Writers share their knowledge of theindustry by writing instructional manuals and guidelines toaccompany photographic equipment, as well as articles aboutphotography for industry and consumer publications. Theytranslate technical language into content that is easy to read.Technical writers cover all of the bases in their instructions.They understand every single bit about cameras as well ascomputers and know how to clearly explain this knowledge insimple terms so that everyone can grasp it. Technical writersprovide an overview of the camera’s features and accessories

and give step-by-step lessons in how best to use them. Theyclearly educate consumers about how to frame shots andwhen to use macro, auto, and manual settings. They spell outthe distinctions in lighting and exposure. Once the picturesare completed, they tell users how to save or delete them, aswell as how to connect digital cameras to computers andsynch up with design software programs. Photographic Tech-nical Writers also share the problems that may arise withequipment and offer troubleshooting solutions.

Photographic Technical Writers also write productdescriptions for catalogs, create parts lists, sales promotion


PHOTOGRAPHIC TECHNICAL WRITER


Duties: Provides consumer-oriented, technical writing aboutphotography equipment and accessories for national pub-lications directed to novice photographers; writes productreviews, how-to features, profiles of personalities in thefield, and travel articles; may teach at universities

Alternate Title(s): Photography Writer, Writer




Best Geographical Location(s): Anywhere throughout theUnited States

Prerequisites:Education or Training—Four-year degree in liberal arts(i.e., photography, communications, journalism, or En-glish); coursework in photography

Experience—Four to five years of experience as a profes-sional photographer, and some experience as a computerand digital consultant or retoucher; several years of experi-ence writing and editing technical articles; one to threeyears of experience in a photography equipment store

Special Skills and Personality Traits—Well versed indigital photography and design software programs (i.e.,Adobe Photoshop and Illustrator); extremely knowledge-able about photography, cameras, camera accessories,and computers; excellent written and verbal communica-tion skills; able to translate technical content into layper-son’s terms

Editor

Photographic Technical Writer

Photographer / Associate Photographic Technical Writer

literature, and proposals for projects. Trade and consumermagazines often commission Photographic Technical Writ-ers to review products. Technical writers may attend tradeshows and experience firsthand the premarket releases ofinnovative equipment. They can then provide insights aboutthese new-and-improved or revolutionary products inroundup articles. Photographic Technical Writers also writefor the FAQ, service, and instructional areas of product Websites. Some are even able to contribute graphic design andlayout skills.

Writers also cover the photography industry for maga-zines such as American Photo, Outdoor Photographer, andPCPhoto Magazine. Articles may cover news and currenttrends in photography, special techniques for different typesof shooting, interviews with prominent photographers,reviews of popular locations, and much more. Depending ona magazine’s editorial slant, these articles may be aimed atprofessionals or amateurs, and Photographic TechnicalWriters must adjust the tone of their writing accordingly.

Photographic Technical Writers can work either on staffwith magazines or on a freelance basis. Those on staff usu-ally participate in regularly scheduled editorial meetings,brainstorming story ideas, potential contributors, artwork,photographs, or layout for upcoming issues. They also fill infor other writers when needed. Freelance PhotographicTechnical Writers can work from home, on site at variouspublications and product headquarters, and anywhere on theroad with their laptops. They take assignments from editorsas well as pitch unsolicited story ideas and articles. Bothfreelance and staff technical writers are responsible forresearching products, conducting interviews, ensuring thattheir information is accurate and original and that quotes areaccurately conveyed.

SalariesPhotographic Technical Writers can earn salaries rangingfrom $30,270 to $80,900. The Occupational Outlook Hand-book cites that in 2002, the median annual earnings for writ-ers in computer systems design and related services were$51,730. Entry-level technical writers earned median annualsalaries of $41,000 that same year, according to the Societyfor Technical Communication. Mid-level, nonsupervisorytechnical writers earned higher median salaries of $49,900,and senior-level, nonsupervisory writers garnered $66,000.

Employment ProspectsAccording to the Occupational Outlook Handbook (OOH),employment of writers overall is expected to grow by about10 to 20 percent, or about as fast as the average for all occu-pations. Technical writers overall will find the best opportu-nities for employment. Technical writers and writers withexpertise in specialized areas will be in greater demand dueto continued expansion of scientific and technical informa-

tion and the need to communicate it to others. The OOHstates that, “Developments and discoveries in the law, sci-ence, and technology generate demand for people to inter-pret technical information for a more general audience.Rapid growth and change in the high technology and elec-tronics industries result in a greater need for people to writeusers’ guides, instruction manuals, and training materials.This work requires people who are not only technicallyskilled as writers, but also familiar with the subject area.”

Advancement ProspectsStaff Photographic Technical Writers can advance tobecome editors or managing editors, depending on theirexpertise and years with the publication. Freelance Photo-graphic Technical Writers can advance by teaching or byparticipating in panel discussions at trade shows and eventshosted by professional associations. Photographic TechnicalWriters can also expand their businesses by providing con-sultant services.

Education and TrainingA four-year degree in liberal arts is required in the technicalwriting field. Photographic Technical Writers can haveundergraduate degrees in communications, journalism, En-glish, or photography. Whatever the degree, they must haveexperience in the area of photography they are writingabout.

Experience, Skills, and Personality TraitsPhotographic Technology Writers must have a consummateknowledge of photography, photographic equipment, styles,techniques, brands, features, and computers and design soft-ware. Writers who are highly sought after have prior experi-ence as photographers, design and computer consultants, oras retouchers. They are curious individuals, always research-ing products and ideas, learning what is out there and what isto come. They stay inquisitive and know how to convey whatthey learn in ways that are logical and readable. Writers ingeneral need to have strong ethics and know when and whennot to publish something. Freelance Photographic TechnicalWriters in particular need to be self-disciplined and self-moti-vated, as their days will not be structured like those of staffwriters. Technology writers, overall, need to be extremelyfamiliar with electronic publishing, graphics, and design soft-ware programs.

Unions and AssociationsPhotographic Technical Writers can join the Association forTechnical Communication and the National Writers Unionfor access to employment listings, salary information, spe-cial interest groups, educational opportunities and confer-ences, publications, discounts on group health insurance,and other services.


Tips for Entry1. Technical writers first and foremost need to know

how to write. Take writing classes if you are still incollege. If you have graduated already, you can stilltake continuing education writing classes at local uni-versities and colleges.

2. The first step in being a professional technical writeris getting published. Start submitting articles that aregeared to general consumer audiences to local news-papers. Make sure you are familiar with the style ofthe newspaper and that your content matches the audi-ence’s needs. Also be sure the topics you cover havenot already been recently covered and, if so, that youhave a completely different slant.

3. Join a writer’s association. Often the best way to findwork in this field is through networking. Writer’sassociations often have employment listings thatmembers can subscribe to as either part of their mem-bership or for discounted rates.

4. Join your local Chamber of Commerce and other pro-fessional organizations. Enlist yourself as a speakerabout digital photography and any specifics in relationto the field at an upcoming meeting or luncheon. Turnyour speech into a handout and include your name andcontact information. Prepare a press release about yourtalk as well as a follow-up article about it and submit itto local media for coverage and publicity.


Position DescriptionMore people than ever before are using cameras and photo-graphic equipment, thanks to lowered prices and wideraccess to products and services. The hobbyist as well as theprofessional photographer turns to the Photographic Equip-ment Technician for help in maintaining and caring for com-plicated, expensive, and unique equipment. PhotographicEquipment Technicians are responsible for maintaining andfixing cameras and film and video equipment. They keepthem functioning well by testing them and making minoradjustments as needed. Technicians will first speak withcustomers to learn what the specific issues are. They willtroubleshoot first, asking if the customer has tried alterna-tives, finding out what the conditions were when the camera

was used, and if this has ever happened before. They willalso discuss rates and solidify the expected turnaround time.

To discern problems, Photographic Equipment Techni-cians will take cameras and other film and video equipmentapart to examine all of the parts to see if anything is worn,out of place, or defective. Even for the most complex innermechanics, the tools of their trade can be as rudimentary aswire cutters, pliers, and screwdrivers, as well as a jeweler’sloupe for close examination. Technicians use electronic testequipment, such as optical measuring instruments, to checkthe camera’s shutter speed and make sure the focus is work-ing accurately. They also check the operating speed ofmotion picture cameras and light-meter readings. Manufac-turers’ blueprints and repair manuals serve as guidesthroughout the tests. Most modern cameras have automatic


PHOTOGRAPHIC EQUIPMENT TECHNICIAN


Duties: Maintains and repairs cameras and film and videoequipment; meets with clients to discuss problems andexpected turnaround times; keeps track of orders andinvoices; sells other products; manages staff

Alternate Title(s): Camera Technician




Best Geographical Location(s): Major metropolitan areas,such as Atlanta, Boston, Chicago, Dallas, Houston, LosAngeles, Miami, New York, San Francisco, Seattle, andWashington, D.C.

Prerequisites:Education or Training—B.A. in photography helpfulbut not required; specialized training in photographicequipment maintenance and repair required

Experience—One to two years of apprenticeship inphoto-equipment repair division of a camera store orwith camera manufacturer or dealer recommended

Special Skills and Personality Traits—Technologicallyand mechanically agile; patient; excellent eye for details;excellent hand-eye coordination; problem solver; reli-able; deadline-oriented

Supervisor of Technician Department

Photographic Equipment Technician

Apprentice or Trainee

focus and aperture settings as well as built-in light meters.When things go wrong, only the trained technician has theskills to patiently and carefully address the problems.

Camera maintenance is another important part of the Pho-tographic Equipment Technician’s job. To work properly,cameras need to be kept extremely clean and well lubricated.Photographic Equipment Technicians use air pressure andvacuum devices to remove dust and fine particles. For hard-ened dirt, they use ultrasonic cleaning equipment. They alsouse chemical solvents and tissue paper to clean lenses andapply fine lubricants to equipment with syringes or cottonswabs. Some technicians may create parts to replace thosethat are worn or not working correctly. They will use millingmachines, grinders, small instrument-maker’s lathes, andother equipment.

SalariesThe median salary for Photographic Equipment Technicianswas $31,390 in 2002, according to the U.S. Department ofLabor. The lowest paid 10 percent earned $16,480, whilethe highest paid 10 percent earned $50,340 or more a year.Self-employed technicians have earnings that vary widely.In the right location, independent technicians can build upbusinesses that give them earnings higher than those oftechnicians who work for manufacturers or shops. SomePhotographic Equipment Technicians enhance their salariesby continuing to work as freelance photographers.

Employment ProspectsThe outlook is not particularly bright for PhotographicEquipment Technicians. According to the Occupational Out-look Handbook, a decline in employment growth in the pho-tographic equipment repair field is expected over the nextseveral years, due to several factors. Prices for cameras havedropped, yet the cost for labor remains high. For many peo-ple, it is more affordable to purchase a new camera than it isto have certain repairs done. Digital photography, however,has introduced a wide range of sophisticated and expensiveequipment into the marketplace, making it more worthwhileto maintain the equipment than to replace it. Successful tech-nicians are often those whose knowledge and expertise cov-ers a range of photographic equipment brands and models.The more versatile the technician is, the more clients he orshe can help. Competition will be fierce because there arefew jobs and still more candidates applying for the positions.Technicians may find more opportunities in large cameraand photographic equipment shops, as well as with majorcamera manufacturers and dealers. Those specializing infilm and video equipment may find some opportunities withfilm- or television-production companies.

Advancement ProspectsWith time, freelance Photographic Equipment Techniciansadvance by growing their client base. They become adept at

working with a wider variety of old and current camerabrands and models, by continually taking classes and finess-ing their skills. Photo Equipment Technicians may alsogrow their shops by expanding their products and sellingadd-ons, such as film, photo accessories, and photographicequipment, to their customers. Experienced technicians maytrain others, teach classes at technical schools and institu-tions, and contribute articles to trade publications.

Education and TrainingSpecialized training in photographic equipment maintenanceand repair is required in this field. A bachelor’s degree in pho-tography is beneficial, and technical training is essential. Pho-tographic Equipment Technicians may take courses online orin person at technical schools and institutions. Technicianswill learn to repair various cameras and equipment as well asgain a more thorough understanding of electronics. Coursesthat pertain to specific camera brands and models, as well ason-the-job training, round out the education and make for bet-ter-qualified technicians. Those who work on staff with cam-era manufacturers and importers often receive in-housetraining on that company’s specific products.

Experience, Skills, and Personality TraitsSeveral years of experience as an apprentice or trainee witha Photographic Equipment Technician is the best way togain firsthand exposure to the job. Photographic EquipmentTechnicians must be comfortable working alone and havepatience and focus to accomplish their goals. This is by nomeans a glamorous position, and only those who truly enjoysolving problems thrive in the field. The job is stationaryand sedentary, often requiring long hours examining smallparts. Successful technicians know how to address some ofthe consequences of the work: eye strain, physical aches,and general tedium. Handling the small camera partsrequires steady hands and calm, patient demeanors. Excel-lent vision and mechanical aptitude are also heavily reliedupon. Independent Photographic Equipment Techniciansmust also be able to work with customers, listening closelyto their needs, asking questions, and communicating thesteps they plan to take and the time frame required. Theymust also have good business-management skills, particu-larly if they are running their own companies.

Unions and AssociationsPhotographic Equipment Technicians can join such groupsas the National Association of Photo Equipment Techni-cians and the Society of Photo-Technologists Internationalfor professional conferences, employment referrals, and net-working and educational opportunities.

Tips for Entry1. Find the larger camera and photographic equipment

stores in your area and speak with the on-site camera


repairperson. He or she may have useful informationto share and can shed further light on the field for you.

2. Take photographic equipment courses to hone yourskills and keep fresh on the latest technology. Tech-nology schools and institutions provide educationalopportunities as well as valuable connections foremployment referrals.

3. Join a professional association, such as the NationalAssociation of Photo Equipment Technicians. Keepup with what is going on in the industry by reading allof the literature and networking whenever possible.

4. Stay immersed in the field by reading trade publica-tions such as Photo District News, Popular Photogra-phy, and others.


Position DescriptionPhotography Store Managers oversee all aspects of a pho-tography store’s operation. They work long hours to ensurethat everything is running smoothly and all employees areperforming well. They are responsible for reviewingemployment applications, interviewing and hiring, as wellas training and monitoring the staff’s performance. When anemployee is making frequent mistakes or his or her conductis inappropriate, it is the store manager’s job to meet withthis employee, discuss the situation, and choose an appro-priate course of action that is in keeping with the store’s pol-icy. On the flip side, the Photography Store Managerrewards employees who perform well with bonuses, payraises, and promotions. Store managers delegate assign-ments to workers, such as unpacking, shelving, and listingnew inventory or organizing and cleaning the stock room.

When sales associates are unable to resolve a client’sproblem or if a difficult customer comes along, they oftenrefer the individual to the store manager. It is the store man-ager’s job to represent the store well by maintaining a pro-fessional, diplomatic demeanor and putting on his or herbest customer service face. Additionally, store managersmust be able to keep the peace among employees who maynot always get along with each other. Managers must knowhow to resolve conflicts to mutual satisfaction and keep theteam spirit alive.

Tracking store inventory is another key part of a Photog-raphy Store Manager’s job. They must keep records of allphotographic equipment and accessories in order to reviewsales and plan how much stock to order next and when toorder. They review inventory deliveries to make sure theorder is accurate and the merchandise is undamaged, then


PHOTOGRAPHY STORE MANAGER


Duties: Manages photography stores and oversees sales andstock of photographic equipment and accessories; super-vises repair work; interviews, hires, trains, and super-vises sales associates and other store employees; makessure the store is clean and organized; oversees expensesand receipts; responds to customer inquiries

Alternate Title(s): Sales Manager

Salary Range: $18,380 to $100,000+



Best Geographical Location(s): Major metropolitan areas

Prerequisites:Education or Training—Bachelor’s degree in liberalarts, photography, or retail preferred

Experience—Several years of experience as a camera-store sales associate beneficial

Special Skills and Personality Traits—Strong knowl-edge of photographic equipment, cameras, and brands;excellent management and interpersonal skills; reliable;responsible; clear communicator; organized; well versedin store policies; energetic; diplomatic; customer-serviceoriented

Regional Director

Photography Store Manager

Photography Store Sales Associate

usually have staff record, price, and display or shelve theproducts. Depending upon the store’s size and employeestructure, Photography Store Managers may also oversee thebookkeeping and accounting, data processing, advertising,sales, and shipping. Store managers usually have more sin-gularly focused jobs if they work in larger stores. Those whowork for smaller stores will have more diverse duties, rang-ing from hands-on camera sales to actually developing film.

SalariesPhotography Store Managers’ earnings vary, depending uponthe size of the store, the job responsibilities, and the type ofclientele the store serves. In 2002, the median annual earningsof all sales managers were $29,700, according to the U.S.Department of Labor. Annual salaries ranged from less than$18,380 to $55,810 or more. Sales managers who oversee anentire region for a retail chain can earn upward of $100,000.The more skilled and experienced the store manager, themore wages he or she is able to garner. Large national photoretailers may pay higher salaries to attract and secure top-notch employees. Photography Store Managers may alsoreceive store merchandise discounts, with some storesextending the benefits to the managers’ families. Salariedmanagers may also receive such benefits as medical insur-ance, paid vacation and sick leave, and retirement benefits.

Employment ProspectsEmployment of retail managers overall will grow more slowlythan the average for all occupations through 2012, accordingto the U.S. Department of Labor. Competition is expected toremain fierce, particularly because many retailers have beencurbing costs by streamlining operations and reducing man-agement staff. Photography Store Managers with advanceddegrees and relevant experience in respected and establishedstores will have greater odds of securing employment. Somemanagers will be able to find work due to staff turnover andemployees retiring from their positions. Managers can also geta foot in the door by taking a temporary step back. Employ-ment of retail sales personnel is expected to grow about as fastas the average over the next few years. Stores may opt toextend business hours to attract more customers or may needto replace staff. If a managerial position is currently not avail-able in the store that most interests the store manager, a man-agement background will enable the individual to quicklymove up from a sales position. Individuals who are especiallyknowledgeable about photographic products and camerabrands and accessories and who are able to clearly describeand demonstrate features to customers will also be able tosecure work and advance in a short time.

Advancement ProspectsPhotography Store Managers who work for large retailchains may advance to become directors of certain areas or

regions, overseeing a number of stores. They may relocateto larger stores in other cities and take on more responsibili-ties and manage larger staffs. Advancement depends uponthe managers’ skills, years of experience, and the types ofstores with which they have been employed. Managers withadvanced degrees and more training may also have greateradvancement opportunities. With years of experience, storemanagers can open their own photography stores.

Education and TrainingA bachelor’s degree, while not required, provides Photogra-phy Store Managers with a well-rounded and solid educa-tional background for this type of work. More stores, in fact,prefer managers to have college degrees. Studies can be inphotography, liberal arts, or business, with coursework inbusiness and marketing, accounting, English, advertising,and computer science. Some managers attend school whilethey work part time or full time in photo stores.

Experience, Skills, and Personality TraitsPhotography Store Managers should have at least severalyears of experience as sales associates in camera and photo-graphic equipment stores. Excellent management and leader-ship skills are essential in order to create cohesive,well-functioning and productive staff teams. Store managersalso need solid communication skills to work well with fel-low employees and to interact and provide good service tocustomers. Diplomacy, professionalism, a good appearance,patience, and energy all come in handy in this field. Theretail industry often requires long hours and PhotographyStore Managers are usually expected to be flexible to workany and all hours. The work can be stressful, particularlywhen dealing with difficult staff members or clients. Storemanagers need to be able to juggle tasks and resolve con-flicts. Stamina and a certain degree of physical fitness willalso serve store managers well because the job requires themto be on their feet throughout most of the day. In addition toenjoying working with people, store managers need to beinterested in and savvy about camera brands and features,photographic equipment, and photo accessories. Managerswith outgoing personalities who are knowledgeable aboutphotography equipment and cameras, organized and profes-sional, and able to inspire respect and motivation from theiremployees usually do extremely well in this career.

Unions and AssociationsPhotography Store Managers can find useful educationalinformation on the photography sales industry through suchorganizations as National Retail Federation and Photo Mar-keting Association International. Professional Photogra-phers of America also provides access to educationalresources and networking opportunities. Joining the local


Chamber of Commerce is also an excellent way to increasethe store’s sales and forge beneficial relationships with busi-ness owners and managers within the community.

Tips for Entry1. Work in retail first before you decide to pursue this

career. Take a job as a sales associate in a camerastore or electronics retailer, such as Best Buy or Cir-cuit City. Even a part-time job in a small store willgive you firsthand exposure to the business. You willgain solid experience working directly with cus-tomers, fielding inquiries and handling sales, process-ing payments, and more. If you decide the photo retailtrack is for you, you will have a solid foundation tomove up the career ladder.

2. Check job listings through all avenues: national andlocal newspapers, the back pages of trade publications,store Web sites, online employment Web sites—suchas Yahoo! Hotjobs (http://hotjobs.yahoo.com), Mon-ster (http://www.monster.com), and the New YorkTimes on the Web (http://www.nytimes.com)—andplacement agencies that specialize in retail.

3. Learn as much as you can about photographic prod-ucts and accessories, as well as the latest technolo-gies, by reading trade publications, attending phototrade shows, and networking at professional associa-tion conferences.

4. Hone your management skills by taking workshopsand reading books offering management tips andadvice.


Position DescriptionPhotographic Laboratory Workers use various chemical orwater baths to develop exposed film. A series of steps areinvolved in created photographic images. Lab workers startthe process by mixing developing and fixing solutions, thenplacing the film in the developer, stop bath, and fixer, creat-ing a negative image. They time the film’s immersion in thechemical bath based on the type of developer that is beingused, as well as the effects that are specified for each print.After they remove the film from the developer, they removeall of the chemicals by immersing the film into water andthen finally place it inside a drying cabinet.

Projection printers may assist lab workers by projectingfilm to transfer images from negatives onto photographicpaper. (The light passes through the negative while a magni-fying lens projects the image onto the paper.) The projectionprinters and lab workers can adjust the image by enhancingthe contrast or removing certain details once they reach theprinting process. Lab workers and technicians may alsowork closely with master developers, particularly if theywork for large commercial laboratories with a more organ-ized and traditional staff structure.

In larger operations, automatic print developers overseemachines that develop film and fix, wash, and dry prints.


PHOTOGRAPHIC LABORATORY WORKER


Duties: Develops exposed film, both color and black andwhite, by using printing machines or creating chemicalbaths; trims film, mounts slides, and sorts and packagescompleted photographs for clients; other responsibilitiesvary, depending upon the type of laboratory and its staffstructure

Alternate Title(s): Photographic Process Worker, Dark-room Technician

Salary Range: $14,110 to $40,000+

Employment Prospects: Poor


Best Geographical Location(s): Major cities and metro-politan areas, such as Atlanta, Boston, Chicago, Dallas,Denver, Houston, Los Angeles, Miami, New York, SanFrancisco, and Seattle

Prerequisites:Education or Training—Two-year degree from techni-cal school or institution required; four-year degree, withspecialization in photography, helpful; training in digitalphotographic technologies recommended

Experience—One to two years of experience as a filmdeveloper in a photo lab beneficial

Special Skills and Personality Traits—Strong knowl-edge of photographic processes; manual dexterity; goodcolor perception; clear communication skills with goodinterpersonal skills; patient

Senior Darkroom Technician

Photographic Laboratory Worker

Film Developer

They monitor and adjust temperature controls and reviewand refer quality challenged prints to quality control work-ers. Color-print operators manage color-print machines,loading negative film and placing photographic paper intothe developer. Finished prints and processed negatives areplaced in envelopes for customers. Other workers includeautomatic mounters for the color transparency slicing andslide-mounting machines, paper-process technicians, take-down sorters, photo checkers and assemblers, and digitalimaging technicians. Precision photographic process work-ers, who work directly on negatives, include airbrush artists,colorists, and photographic spotters. For many of these, thetitles are self-explanatory.

Specialized laboratories that handle custom work mayemploy retouchers to enhance and alter prints, as well ashand mounters, photograph finishers, print controllers andwashers and inspectors, cutters and splicers, automaticdevelopers, and film-processing utility workers.

SalariesThe median annual salary for Photographic LaboratoryWorkers in 2002 was $20,220, according to the U.S. Depart-ment of Labor. For workers overall, annual earnings rangedfrom $14,110 to $36,250. More experienced lab workerswho move on to supervisory or management positions canearn upward of $40,000 per year. Most lab workers are full-time employees who may receive such benefits as healthinsurance, disability, and paid vacations and overtime.

Employment ProspectsPhotographic Laboratory Workers can expect slower thanaverage growth in their field through 2012, according to theU.S. Department of Labor. Experienced lab workers willhave better odds of securing work, and those jobs will mostlikely open up because of workers who are retiring or relo-cating. There are few positions to be found, and those thatexist are difficult to secure. While digital photography hasreduced the need for traditional photographic processing,there are still a number of professional photographers andhobbyists who will continue to use conventional cameras orsophisticated disposable cameras and, consequently, stillneed photo lab work. Consumers who use digital camerasmay also not be interested in purchasing and learning howto use digital photographic software and thus will rely onPhotographic Laboratory Workers to process and retouchtheir photographic images. Individuals who are experiencedusing computers and digital technology will also find moreopportunities for work.

In 2002, Photographic Laboratory Workers held about28,000 jobs, with one out of four working in one-hour mini-labs and photo-finishing labs. Portrait studios and commer-cial laboratories that specialize in processing professionalphotographers’ work employed one in six of all lab workers.

About 16 percent of all Photographic Laboratory Workersworked for general merchandise stores, and 10 percent wereemployed in the motion picture, printing, and publishingindustries. Favorable times of year to find work are during thelate spring and throughout summer, particularly for schoolgraduations and vacations, and during winter holidays.

Advancement ProspectsWith years of experience, Photographic Laboratory Workerscan advance to become senior or head darkroom techniciansor move up to management or supervisory jobs. Knowl-edgeable and entrepreneurial technicians can open up andmanage their own photographic laboratories. They can alsoexpand their skills and add to their résumés by teachingclasses in technical schools and participating in conferenceshosted by professional associations. Many lab workers free-lance as photographers while holding down their day jobs inthe laboratories. Those who are more focused on becomingcommercial photographers can eventually move up and outby starting their own commercial photography studios.

Education and TrainingMost Photographic Laboratory Workers have at least two-year degrees from technical institutes or from arts schoolswith photographic technology programs. Coursework inchemistry and math is also beneficial. Many lab workerstrain as assistants or apprentices to more experienced tech-nicians. Training can last anywhere from several weeks toseveral months, and, once completed, fledgling lab workerswill be permitted to start printing and developing film ontheir own.

Experience, Skills, and Personality TraitsPhotographic Laboratory Workers usually get their feet in thedoor by first working as film developers. A strong interest inphotography and knowledge of photographic techniques andprocesses are essential to this type of work. PhotographicLaboratory Workers need to have mechanical aptitude, excel-lent vision, knowledge of color, and the ability to see truecolor. Experience in developing procedures is a good back-ground for development work. Photographic LaboratoryWorkers must have excellent communication skills and beable to work well with both customers and fellow staff mem-bers. They must have a strong eye for detail, be reliable andresponsible, and be always interested in learning about newtechnologies and development processes. The work can betedious, so patient and calm individuals who enjoy seeing theresults of their hard efforts will thrive in this field.

Unions and AssociationsThe Association of Professional Color Imagers, AmericanSociety of Media Photographers, Professional Photogra-


phers of America, and Advertising Photographers of Amer-ica provide members with educational resources and net-working opportunities. Photographic Laboratory Workerscan also find useful information through membership to theAmerican Institute of Graphic Artists.

Tips for Entry1. If you are still in school, join a photography club. You

will get invaluable experience shooting and develop-ing your own photographs and learning how to adjustlighting and composition.

2. Pursue all avenues in your job hunt. Look for job list-ings in print newspapers and on Web employment

sites, such as Yahoo! Hotjobs (http://hotjobs.yahoo.com), Monster (http://www.monster.com), and theNew York Times on the Web (http://www.nytimes.com). You can also find listings on store Web sites.

3. Speak with Photographic Laboratory Workers to learnmore about their job responsibilities and what theylike most and least about their work. See if you canschedule informational meetings with them. Tell themthat a mere 10 minutes of their time can make a worldof difference in your career path. Be sure to create alist of questions before you meet. To show yourappreciation, treat them to a cup of coffee or a soda oreven lunch if they are spending their break with you.


Position DescriptionRetail Sales Associates may work in small, individuallyowned photography stores or large electronics chains, suchas Best Buy and Circuit City. They guide customers in thepurchase of cameras, lights, light stands, tripods, and allother photographic equipment. They field customer ques-tions, find out the types of pictures the customer plans totake with the camera as well as how much the customer iswilling to spend, and directs the customer to the camerasthat fit his or her needs.

Retail Sales Associates know how cameras work andoften demonstrate the various features. They may show cus-tomers how to synch up digital cameras to computers anddownload images or show them the types of photographicdesign software they can use to enhance color, crop shots,and change image size. They may also demonstrate scan-ning and printing options that work best with the cameras,by printing images and pointing out image and color quali-ties. When a customer is ready to purchase the camera,Retail Sales Associates look in the store’s database to con-


RETAIL SALES ASSOCIATE,PHOTOGRAPHY


Duties: Assists photography store customers in understand-ing performance features of cameras and photographyequipment and guides them toward purchases; works insmall stores, large camera and electronic centers, con-venience stores with camera counters; may work withcompanies that offer online services

Alternate Title(s): Electronics Sales Associate, ProductSpecialist, Wireless Retail Salesperson





Prerequisites:Education or Training—High school diploma required;two-year degree, with specialization in photography,helpful; trained in digital photography

Experience—Some experience as a freelance photogra-pher helpful; one or more years of experience in retail sales

Special Skills and Personality Traits—Extremelyknowledgeable about digital photography systems andaccessories; knowledgeable about computers, cell phones,PDAs, and other electronic equipment; approachable andfriendly; excellent communication and interpersonalskills; responsible and reliable; able to multitask; energeticand capable of working at a fast pace

Department Manager

Assistant Department Manager

Retail Sales Associate

firm it is in stock. They create the purchase order in thecomputer by getting the customer’s name, address, paymentinformation, terms of warranty, and other information.Many stores provide sales associates with commissions, sothey always include their initials or employee ID numberson the order forms.

Retail Sales Associates specialize in cameras and photo-graphic equipment, but they are also representatives of thestore. They are sometimes the first impression a customermay have of the store, and therefore their main job is cus-tomer service. Customers will often ask questions aboutsubjects beyond the photography department, and salesassociates will need to know how to answer them. Theymust be familiar with the store’s chain of command in casethey need to refer a customer with a problem or complaintto the appropriate manager or director. They must also beknowledgeable about store policies, current store sales andspecial offers, the locations of other departments, and whereother products can be found.

SalariesRetail Sales Associates who work full time can earn salariesranging from $20,000 to $60,000. Many work at a basesalary and earn commissions for their sales. They often aug-ment their incomes by advising customers about the benefitsof enhanced photographic systems and guiding them towardpurchasing computers, printers, and photographic designsoftware and literature. Retail stores often provide their full-time electronics sales associates with attractive benefitspackages, which may include medical, dental, and lifeinsurance; retirement plans; disability; paid vacations andholidays; sick leave; and tuition reimbursement; as well asdiscounts on store merchandise, cell phone and Internetplans, and other services.

Employment ProspectsThanks to the advent of digital photography and continualinnovations in technology, there is no shortage of opportuni-ties for the technically proficient Retail Sales Associate.Technology chains stores such as Circuit City, Best Buy,CompUSA, and Staples are constantly seeking knowledge-able, qualified sales associates and product specialists.Prospective employees can find job listings directly on thesestores’ Web sites as well as through Internet employmentplacement sites.

Advancement ProspectsAdvancement comes at a faster pace in camera-computersales than in most other retail sales areas in the countrytoday. The growth of computers in the home and the rela-tionship of digital cameras to those computers have madeelectronics stores high-profit centers around the world.Sales associates with two or three years of retail experience

can advance to become assistant department managers or,depending upon the store and staff structure, move directlyinto department manager positions. Associates with out-standing sales performance often advance the fastest intostore leadership positions.

Education and TrainingA high school diploma and extensive knowledge of technol-ogy may be sufficient for some electronics and photographyretail centers. Sales associates who have at least a two-yeardegree in photography, however, will have better educa-tional backgrounds, which can help them advance faster inthis field. Sales associates who take workshops and train insales techniques and business management often canimprove their opportunities of securing employment.

Experience, Skills, and Personality TraitsMost Retail Sales Associates have at least one or more yearsof prior retail sales experience. While some may focusspecifically on photographic equipment, many are alsoknowledgeable about cell phones, computers, and consumerelectronics. Successful sales associates have winning per-sonalities; they are confident, outgoing, and know how totune into people’s needs and purchasing styles. They knowhow to “read” people and sense the appropriate time toapproach and assist. Sales associates also know how tophrase their questions and, based on the answers, whichproducts to point customers toward. Dealing with the gen-eral public is no easy task. It requires stamina and full atten-tion. Not all customers will be pleasant and easy to help.Every so often the difficult customer will appear, demand-ing immediate attention. Sales associates need to be skilledin diplomatically handling this type of customer. To keeptheir jobs and move up in the field, they must know how tostay poised and professional while still attempting to meetthis customer’s needs. This skill requires a great deal of self-discipline and restraint.

Unions and AssociationsThere are no associations specifically dedicated to RetailSales Associates. Sales associates can learn about the busi-ness and keep abreast of technological developments by reg-ularly reading industry publications, such as ProfessionalPhotographer, Petersen’s Photographic, American Photo,Digital Photo Pro, and others. They can also join profes-sional photography associations (i.e., Professional Photogra-phers of America), either as full or associate members, foraccess to educational and networking opportunities.

Tips for Entry1. Create a list of the large photography and electronics

centers near you. Visit their Web sites to see if they


have job openings or visit the stores directly andinquire in person. Be sure to have your résumé andreferences with you so that you can immediately andaccurately complete the store’s application foremployment.

2. Keep up with technology by reading trade publica-tions and taking workshops. Some retail stores offer

free or very affordable classes to customers to intro-duce them to digital cameras, computer equipment,and other electronics.

3. Check job listings on placement sites such as Yahoo!Hotjobs (http://hotjobs.yahoo.com) and Monster(http://www.monster.com) and scan your local news-paper’s help-wanted section.


Position DescriptionStock Photo Agency Owner/Managers offer rentals ofphotographic images as well as other photographic serv-ices to clients for publication in books, magazine articles,CD and DVD covers, zines, calendars, posters, T-shirts,and more. They negotiate stock photo usage and salesagreements with photographers and with buyers. A criti-cal part of their job is maintaining a current client base,

attracting new customers, keeping current stock photogra-phers happy, and enlisting fresh photographers andimages. Stock Photo Agency Owner/Managers work withgraphic and Web designers to create the agency’s promo-tional and marketing campaigns, through stock imagedirectories and catalogs, Web site databases and e-mailnewsletters and advertisements, CDs, and postcards.Owner/managers also hire and retain photographers for


STOCK PHOTO AGENCYOWNER/MANAGER


Duties: Provides photographic images of a wide variety ofsubjects (i.e., television personalities, movie stars, musi-cians, politicians) for rental to magazine, newspaper, andbook publishers, advertisers, television-program cre-ators, and others; negotiates usage agreements and rateswith photographers as well as stock buyers; oversees cre-ation and maintenance of stock library; secures photogra-phers from all over the world for assignments; conductsphoto research; oversees and manages staff


Salary Range: $50,000 to $250,000+



Best Geographical Location(s): Major entertainment andpublishing hubs, such as Boston, Chicago, Hollywood,Las Vegas, Los Angeles, Miami, New York, Seattle, SanFrancisco, and Washington, D.C.

Prerequisites:Education and Training—Two- or four-year degree inphotography; coursework in small-business manage-ment, marketing, and advertising

Experience—Several years of experience as a freelancecommercial photographer; three or more years of experi-ence working in photography agencies

Special Skills and Personality Traits—Passionate andknowledgeable about photography and photographers;marketing and sales savvy; entrepreneurial; strong man-agement abilities; ethical

Franchise Owner

Stock Photo Agency Owner/Manager

Photographer

clients who need new photographs and photographic serv-ices as opposed to stock images.

Stock photo agencies are either exclusive, meaning thephotographer’s image can only appear in one publication andwith one client, or nonexclusive, meaning photographers cansell the same images to other agencies, usually with somecaveats to the agreements. Stock photo agencies typicallyoffer photographers several options for selling their images:through online databases, by request from clients, andthrough online portfolios, in which the agency offers a spaceon the Web site and clients buy directly from photographerswithout the agency receiving commission. Some agencies,such as Getty Images, offer clients the option to purchaseeither rights-managed or royalty-free images.

Photography, artwork, music, and more may be used andreproduced in any number of ways but only in accordancewith the terms of agreement between the original creator,the stock agency, and the buyer. Transactions involving pho-tographic prints, slides, or digital reproduction can takeplace by Internet or fax. Buyers can also have images deliv-ered to FTP (file transfer protocol) servers or saved on CD-R (CD-Recordable, which is a nonreusable disc.) Originalartwork is usually picked up in person or express-mailedwith proper insurance. Rental and licensing fees will dependupon how the image will be used. The wider the distributionand variety of media in which the image will appear, thehigher the fee. A one-time publication of the image in anational magazine with a circulation in the millions willcost more than a small reproduction in a town newspaper.Once a picture has had national exposure, its value dimin-ishes for a few years until it is out of public memory.

Owners of small stock-photo agencies now compete withthe likes of the Library of Congress, which offers prints forunder $50, and the National Archives, with its own historicfiles and relevant photographs. The New York Public Libraryhas a collection of more than 2 million photographs coveringtopics primarily in New York. Additionally, media corpora-tions now offer their own stock libraries through their Websites. The New York Times, United Press, Associated Press,Reuters, and others feature enormous collections of newsphotographs. Stock photo houses may have images of mostpresidents but few photos of other political subjects andissues. These photos are readily available on media Web sites.

Stock Photo Agency Owner/Managers are not onlyresponsible for keeping abreast of industry standards andethics, overseeing contracts, setting price structures, andcreating direct marketing and promotional campaigns toattract new customers but also handling the everydayadministrative and management tasks involved in running abusiness. They hire and manage staff. They make sure officeequipment is maintained and office supplies are stocked.They regularly meet and work with freelance consultantssuch as graphic designers, Web designers, writers, and com-puter technicians. They set employment policies, review and

decide upon benefit packages and incentives, and overseebookkeeping, tax payments, and accounts receivable andpayable.

SalariesA Stock Photo Agency Owner/Manager’s annual salary canrange from $50,000 to $250,000 or more. Earnings willdepend upon the size of the photo library, the quality of theimages, the caliber of the photographers, and the focus ofthe subject matter. Images of television and film stars,movie directors, politicians and political events, singers,bands, concerts, sports stars and games, and royalty arealways in demand. High-quality shots and images featuringhard-to-find perspectives and content can generate higherincomes.

Employment ProspectsStock Photography Agency Owner/Managers have majorcompetition because of the more diversified ways peoplecan now access stock images via the Internet. Challengingthem more is the fact that stock houses have consolidatedover the years, to the point where corporations have takenover. For instance, Microsoft leader Bill Gates purchasedstock image house Corbis, the world’s largest collection ofphotographs in nine countries on three continents. StockPhoto Agency Owner/Managers who can come up with new,innovative ideas and partnerships that embrace photogra-pher’s rights, and who are passionate about the subject ofthe photographs and the photographers, may have betterlasting power than those who are simply in it for the money.

Advancement ProspectsStock Photo Agency Owner/Managers advance by addingmore photographs and photographers to their agencies.They expand their businesses by opening new agencies inother cities and franchising their business. They advancetheir careers by speaking at association meetings and con-ferences, lecturing at universities and technical schools, andwriting articles for trade publications.

Education and TrainingA two- or four-year degree in photography, with courseworkin small business management, industry practices andethics, and marketing and negotiating tactics, is recom-mended for this position. Five or more years of experienceas a commercial photographer, with training in digital pho-tography and design software, is beneficial.

Experience, Skills, and Personality TraitsSeveral years of experience as a professional photographerand five or more years of on-the-job training at a photo


agency is recommended for this position. If the stock photohouse focuses its library on a particular subject (i.e., musicand entertainment), having a passion for and strong knowl-edge of that subject matter will be an excellent asset. StockPhoto Agency Owner/Managers need to be tuned into thephotography industry and fluent in industry standards andcontract language. Negotiating and selling skills are aninherent part of the job. Because they juggle many projectsand people throughout the day, solid organizational andcommunication skills, as well as the ability to prioritize andmeet deadlines, are essential. Stock Photo Agency Owner/Managers are self-motivated, enthusiastic, and ethical indi-viduals with a deep appreciation for photographers and pho-tography.

Unions and AssociationsStock Photo Agency Owner/Managers may belong to thePhoto Marketing Association International, AdvertisingPhotographers of America, American Society of Media Pho-tographers, and Professional Photographers of America fornetworking opportunities, educational workshops and con-ferences, opportunities to promote their businesses, and dis-counts on professional services.

Tips for Entry1. Do an Internet search of stock photo agencies. Read

the FAQs or “about us” sections of their Web sites.

Sometimes the owners include their biographies andexplain what interested them most in this type ofwork. This is an excellent way to learn more about theindividuals who comprise this field. You can find outwhat makes them successful and see if you have anyof the same traits.

2. Read everything you can about the stock photographybusiness and take workshops. It is critical that youunderstand the rules and regulations regarding copy-right and trademark laws and that you have a firmgrasp on business standards and ethics in this field.Read magazines such as Photo District News andpublications by photography associations such as theAmerican Society of Media Photographers. You canalso find valuable information about stock imageusage in the Graphic Artists Guild’s Handbook ofPricing and Ethical Guidelines.

3. Visit Stockphoto Network (http://www.stockphoto.net) for educational resources and online networkingopportunities and Corbis (http://pro.corbis.com) toreview a major stock archive.

4. Get an internship or entry-level position in arespectable stock-photo agency. This way you will seewhat the business is like firsthand and know if this is afield you want to pursue.


PORTRAIT PHOTOGRAPHY

Position DescriptionBaby and Child Photographers create photographic images ofbabies and children for their parents and families, as well asfor a variety of commercial clients such as publishers andadvertisers. Most Baby and Child Photographers work inde-pendently and own their own portrait studios, or they mayshare studio space with other photographers to reduce costsand enhance their brand image. Some will work exclusivelywith babies and children, taking photographs on site in the stu-dio as well as in homes, schools, parks, and at special events,such as birthday parties, Little League games, and gradua-tions. To stay competitive and keep work flowing, however,many photographers have realized that offering multiple serv-ices and working in cross disciplines can be more advanta-geous than specializing in a particular niche. While they workwith babies and children, they may also offer adult portraits,special event and wedding photography, etc.

Baby and Child Photographers usually have low start-upcosts and have modest but practical furnishings in their stu-dios. A rocking chair, some eye-catching and appropriatetoys, clean blankets and quilts, and other simple props canoften suffice. If working exclusively with digital cameraequipment, a darkroom is unnecessary. Their studio recep-tion area can double as a sales center for low-cost pictureframes and countertop printouts of digital images, photorepairs, and duplications.

Freelance Baby and Child Photographers are responsi-ble for all aspects of their business, including hiring andoverseeing staff, scheduling appointments, purchasingphotography equipment and film, making sure the studio isclean, maintaining office supplies and equipment, manag-ing accounts receivable and payable, as well as networkingand marketing their services. They may hire specialists,such as bookkeepers, accountants, and representatives, to


BABY AND CHILD PHOTOGRAPHER


Duties: Photographs infants and children for family por-traits; creates headshots for modeling and casting agen-cies, representatives, publishers, etc.; creates estimates;books appointments; oversees staff; handles accountsreceivable and payable

Alternate Title(s): Children’s Photographer, Portrait Pho-tographer

Salary Range: $25,000 to $75,000+



Best Geographical Location(s): Major cities with largesuburbs, such as Chicago, Los Angeles, New York,Philadelphia, and Washington, D.C.

Prerequisites:Education or Training—Four-year degree in photogra-phy, with coursework in computer design software(Adobe Photoshop, Illustrator)Experience—Two to three years of experience as anassistant photographer in a portrait studio or with a com-mercial studioSpecial Skills and Personality Traits—Strong knowl-edge of composition and lighting; excellent communica-tion skills; agile at working with babies, children, andadults; flexible; creative; patient; warm, inviting person-ality that puts people at ease

Full-Service Studio Owner

Baby and Child Photographer


address some of these tasks, or they may choose to domuch of the work themselves until they are well estab-lished in the industry.

SalariesMost Baby and Child Photographers are freelance and can,therefore, earn annual salaries that range anywhere from$25,000 to $75,000 or more, depending on experience, typeof clientele, and the region in which they work. Less experi-enced photographers who are new to the business may earnlower salaries in their first few years. Seasoned photogra-phers with steady clientele and strong reputations in thefield will command higher rates. Photographers who workin major cities or suburbs with large populations will havegreater opportunities to earn higher wages. Portrait photog-raphers usually enhance their incomes by taking adult por-traits and passport photos, doing wedding photography, andselling frames and photographic goods. They may alsoenhance their salaries by licensing their work.

Employment ProspectsBaby and Child Photographers will find greater employmentopportunities in major cities and in larger studios, whichoffer a host of services. These city studios employ portraitphotographers for children and adults. They will send pho-tographers to executive offices in the city to take photo-graphs of employees for annual reports, brochures, Websites, and other publications. Portrait photographers will alsotravel to homes and estates in the suburbs to take individualshots of babies, children, and parents, as well as group pho-tos of entire families. Some portrait photographers may workfor department stores as well. While there are no statisticsabout employment in this specific discipline, the Occupa-tional Outlook Handbook predicts that as the populationgrows, so, too, will the need for portrait photographers.

Advancement ProspectsFreelance Baby and Child Photographers may expand theirbusinesses by offering even more services, such as adult por-traits, full-length wedding gown photography, commercialproduct photography, and weekend work at weddings. Staffphotographers typically advance by having increased manage-ment responsibilities. Some move up to become studio ownerswhen owners retire or sell their business. Portrait photogra-phers can also teach photography to community groups and tohigh school, college, and continuing education students. Theycan also write articles for industry publications and Web sites.

Education and TrainingA two- or four-year degree in photography is recommended,with training in design software such as Adobe Photoshopand Illustrator. Like all professional photographers, Babyand Child Photographers need to stay tuned into technologi-cal developments in the industry and can do so by reading

trade publications, visiting Web sites, and attending confer-ences and product demos.

Experience, Skills, and Personality TraitsA portrait photographer’s job is to capture an individual athis or her natural best. This is no easy task and is harder stillfor the Baby and Child Photographer. Babies and childrenare still developing individuals and rely heavily on their par-ents for reassurance, safety, and comfort. Baby and ChildPhotographers must first and foremost be interested in work-ing with these age groups. They must be sensitive to youngpeople and know how to ease anxieties when they arise, andthey can rest assured they will arise. They know when tosoothe and speak quietly and when to bring in high energyand animation. They are adept at working with adults, also,and at communicating clearly about the portraits they plan tocreate. Kids and parents will have good days and bad. If theyare having a bad day, it is up to photographers not to add tothe stress by finding ways to keep things calm and focused.They may also have to deal with anxious and doting parents.Individuals with endless supplies of patience in addition tosolid technical skills will do well here.

Baby and Child Photographers must be playful too. Theyneed to know which toys and props are appropriate and howto play with kids of all ages. At times they may work withlarge groups for such things as school or sports team por-traits. Their ability to handle these groups in a professional,calm, yet warm manner will come in handy. Baby and ChildPhotographers often have at least one to three years of expe-rience as assistant photographers or studio assistants in por-trait or commercial studios.

Unions and AssociationsBaby and Child Photographers may join such associationsas the American Society of Media Photographers, Profes-sional Photographers of America, and Wedding and PortraitPhotographers International for educational and networkingopportunities, job listings, conventions, magazines andnewsletters, and discounts on various products.

Tips for Entry1. Visit small portrait studios in your area. Introduce

yourself to the owners and ask if there are any jobopportunities. Remember to keep track of businesscards, contact names, and dates of meetings. Follow-ing up with a written thank-you note always leaves agood impression.

2. Jobs can be found through various avenues. Be sure tofrequently check advertisements in trade publications,local newspapers, and Web sites.

3. Intern or volunteer with a studio. It is a great way toget a foot in the door, meet photographers and otherprofessionals, learn how studios are set up, and seethe methods by which portraits are created.


Position DescriptionWomen and men hire Boudoir Photographers when theywant to have intimate, provocative portraits created to giveas gifts to their husbands, wives, boyfriends, and girlfriends.Actors, artists, musicians, and other professionals in theentertainment business may also hire Boudoir Photogra-phers to create portraits for marketing and promotional pur-poses. These clients entrust Boudoir Photographers toprovide safe, clean environments in which they can feelcomfortable enough to be themselves when posing. Clientsfirst meet with Boudoir Photographers to review portfoliosand determine if the style of the portraits is what they arelooking for. Boudoir Photographers typically present sam-ples depicting various clothing arrangements and acces-sories, diverse body types, varying degrees of undress, andother more, or less, suggestive poses.

Boudoir Photographers are usually freelancers and havethe flexibility to create and adjust their studio environmentto suit each client’s need. They use various colors, textures,and lighting to create moods and visuals that will best suiteach portrait. Props can include couches, chairs, pillows,and drapery.

Boudoir Photographers discuss all aspects of the portraitswith clients prior to the appointment and allow them todecide what they are most interested in and with what theyare most comfortable. Clients choose either their own attireor select clothing and accessories from a wardrobe providedby the Boudoir Photographer. When the actual sittingoccurs, Boudoir Photographers are sensitive to their clients’comfort levels and frequently ask them how they are doingand if they are comfortable with the style and with theposes. Although clients may have chosen and agreed to cer-


BOUDOIR PHOTOGRAPHER


Duties: Creates private portraits of women or men for theirsignificant others; meets with clients to discuss attire andaccessories, styles, and moods of photographs; may pro-vide framing as part of portrait package; creates esti-mates; handles accounts receivable and payable

Alternate Title(s): Glamour Photographer, Portrait Photog-rapher, Theatrical Photographer

Salary Range: $25,000 to $40,000+



Best Geographical Location(s): New York, Washington,D.C., Atlanta, Chicago, Las Vegas, Los Angeles, Miami,and San Francisco

PrerequisitesEducation or Training—Associate’s or bachelor’sdegree from a technical photography school or from aliberal arts school, with specialization in photography;digital camera and design software trainingExperience—Several years of freelance or staff experi-ence as a professional photographer at a portrait studio orin theatrical photography; freelance experience photo-graphing children, adults, and weddingsSpecial Skills and Personality Traits—Personal warmth;flexible nature; creative; professional and mature manner,with poise and dignity in a boudoir setting; excellent com-munication skills; able to work with a variety of people;sensitive; diplomatic

Photography Studio Owner

Boudoir Photographer


tain things beforehand, checking in with them during theshoot is a critical aspect of this practice.

Digital photography has helped the boudoir photographybusiness grow. Whereas on-film boudoir photograph nega-tives need to be processed in labs, digital images stay safelyin one place at the boudoir photography studio. With digitalphotography, clients do not have to worry about their privateportraits being viewed by film lab technicians and possiblyothers; the digital system bypasses any public exposure ofproofs or finished prints. Boudoir Photographers can retouchdigital images using software programs such as Adobe Pho-toshop and Illustrator. Another boon to the business is thatwith digital, Boudoir Photographers never run out of film.Digital also lightens the load on the Boudoir Photographer’sback if traveling to location shoots. All equipment can becarried in a shoulder bag and in one carrying case.

SalariesBoudoir Photographers are usually freelancers and can typi-cally earn annual salaries ranging from $25,000 to $40,000or more. Factors influencing earnings may include thebudgets of the clientele with which the Boudoir Photogra-pher works, the number of sittings he or she is able to secureeach week, the geographical location of the studio or shoots,and overhead costs. Boudoir Photographers can enhancetheir incomes by having studios that can be quicklyrearranged to suit other types of portrait photography, suchas babies, children, or corporate executives.

Employment ProspectsBoudoir Photography is largely an offshoot of wedding pho-tography and studio portraiture and can offer good employ-ment prospects. According to the Occupational OutlookHandbook, the demand for portrait photographers will growas the population increases. Photographers who are wellnetworked with artists, actors, performers, and others in theentertainment field will have the word-of-mouth advantagethat is needed to secure work. Photographers who have solidbackgrounds in portrait photography and who have estab-lished reputations for their quality work, as well as theirprofessional and ethical conduct, will also have betterchances of finding consistent and steady work.

Advancement ProspectsThere is no specific career ladder for the boudoir photogra-phy field. The Boudoir Photographer who establishes aname for himself or herself can expand by hiring staff andcatering to different clientele. He or she can also expand thebusiness geographically, by opening specialized or full-service studios in other cities.

Education and TrainingThe foundation for a Boudoir Photographer is usually atwo- or four-year degree, with a specialization in photogra-phy. Because more studios have been moving into digital

photography, coursework and/or on-the-job training in digi-tal cameras and design software (i.e. Adobe Photoshop,Illustrator) is highly recommended.

Experience, Skills, and Personality TraitsBoudoir Photographers usually have several years of priorexperience in portrait photography. Fashion and beachwearportraits with live models is also a suitable training groundfor boudoir photography. Like all portrait photographers,Boudoir Photographers must have exceptional people skills.They must have approachable, friendly manners and beexcellent communicators. It is of utmost importance that theindividuals who work in this field are adept at making peo-ple feel comfortable. Professionalism and honesty are alsokeys to being successful in this particular niche. BoudoirPhotographers need to be extremely focused on the job athand and simultaneously imaginative. They must know howto combine all of the elements, from props and types ofclothing, colors and textures, to appropriate poses and light-ing, to create special portraits that appeal to clients.

Unions and AssociationsThere are many associations with benefits for the BoudoirPhotographer. The Professional Photographers of America isnot only the publisher of the leading publication, ProfessionalPhotographer but also offers classes and workshops through aprofessional school, as well as an annual trade fair with semi-nars and demonstrations. The more business-oriented PhotoMarketing Association International is the largest association,with an annual convention and trade fair, as well as businessguidance seminars, lectures, equipment demonstrations, andmore. Boudoir Photographers can also join Wedding and Por-trait Photographers International for access to educational andnetworking opportunities and other resources.

Tips for Entry1. Create a portfolio of sample images that best repre-

sent this style of photography. Add boudoir photogra-phy to your Web site, brochure, and other promotionalliterature.

2. Do an Internet search for “Boudoir Photographer,” viaGoogle or other search engines. Contact the studioowners located in your area to set up informationalinterviews and to see if they have any freelance orstaff work they can offer.

3. Advertise in as many venues as are appropriate. Testthe market by first placing small advertisements inlocal newspapers. If you plan to work with actors andother performers, advertise in trade publications suchas Backstage and on industry-specific Web sites.

4. If you are currently working as a portrait photographer,tell your clients that you also do boudoir photography.Ask them to tell their friends and anyone they knowwho might be interested in this type of portrait. Givethem your brochures to share. As previously mentioned,word of mouth is often the best form of advertising.


Position DescriptionPet Photographers create photographs of animals for theirowners. While dogs are most commonly captured, Pet Photog-raphers may also photograph cats, birds, rabbits, ferrets, ham-sters, and other pets. Animal breeders often hire PetPhotographers to take pictures of their animals for advertisingpurposes. Horses that are prize breeds or race hopefuls will bephotographed for investors and owners. Experienced horsephotographers are well versed in the horse racing world. Theyknow which poses to take that best capture the special featuresof each horse. Pet Photographers may also specialize in theshow world, photographing dogs or cats that have been metic-ulously groomed to show specifications. They, too, understandwhich aspects of the animals to focus on that are particular totheir breed, such as ears, tail, coat, nose, stance, and so on.

Before the shoot, owners or handlers will spend time eitherplaying with the animals or calming them, depending on thetype of shots planned. They will remain on hand throughoutthe photography session. Pet Photographers are also adept atworking with animals. To get animals to pose and look in cer-tain directions, Pet Photographers may employ various tricksand devices, such as the EyeLiner Focusing Device, whichmay also be used when photographing children. EyeLiner, atwo-way mirror mounted in front of the camera lens, gets ani-mals to focus on the lens. One of the mirrors features an imagethat animals will be interested in, such as a treat or a toy. Ani-mals will look directly at the image, not realizing they arelooking directly into the camera lens. A Pet Photographer mayalso do something as simple as creating a trail of food leadingto the spot where they want to photograph the animal.


PET PHOTOGRAPHER


Duties: Creates indoor and outdoor photographic portraitsof family pets, primarily dogs and cats; photographshorses for owners and breeders; may photograph animalsfor advertisers and publishers; may specialize in captur-ing photographs of show animals for breeders and others;researches breeds; creates sets and scouts locations,when needed; creates estimates; schedules shoots; man-ages accounts receivable and payable

Alternate Title(s): Animal Photographer (i.e., Dog Photog-rapher, Cat Photographer, Equine Photographer)

Salary Range: $35,000 to $50,000+



Best Geographical Location(s): Major urban and suburbanareas

Prerequisites:Education or Training—Four-year degree, with special-ization in photography recommended but not requiredExperience—Several years of freelance assistant andprofessional photography experience helpful; animalhandling or show experience helpfulSpecial Skills and Personality Traits—Creative; flexi-ble; calm and patient; passionate about animals andskilled in working with them; in-depth knowledge of ani-mal breeds; strong knowledge of digital photography andphotography design software (i.e. Photoshop); solidgrasp of lighting, color, and composition

Full-Service Studio Owner or Book Author

Pet Photographer

Assistant Photographer / Pet Handler

Pet Photographers may use design software, such asAdobe Photoshop or Illustrator, to create an array of back-grounds, graphics, and illustrations. They may have a cus-tom-built studio or an outdoor space. Pet Photographers alsoscout and choose locations and may travel to homes. Theyusually have a table, bench, and other support and back-grounds. For instance, puppies may need pillows for sup-port, while larger dogs may be kept relatively inactive onplatforms. Active animals may be photographed in parks orother public sites, and birds may be photographed on standsin front of uncluttered backgrounds. A kitchen table coveredwith a poster of a bright color is a good base for a close-upportrait of a cat and smaller animals.

SalariesPet Photographers’ salaries can range from $35,000 to$50,000 or more, depending on specialization, years ofexperience, and reputation in the business. Photographerswho work with show animals may earn higher incomes, asmay those who work exclusively with celebrities’ pets andanimals owned by the wealthy. Pet Photographers are usu-ally freelance, although some work either part- or full-timewith pet stores, such as PETCO. Burgeoning Pet Photogra-phers can show their photographs in shops and develop asmall following. In the first year or two of their career, PetPhotographers can arrange one to three sittings per week tosecure minor start-up income. Pet Photographers can alsoincrease their income by renting booths at shows and pro-viding on-site digital photography services. According toseveral veterans in the field, once they establish themselvesin the business and hone their skills, Pet Photographers cancharge day rates ranging anywhere from $500 to $1,500.

Employment ProspectsPet Photographers who are just starting out have greatopportunities to offer services to independent portrait stu-dios. They can suggest to studio owners a trial phase of petphotography as a profitable, add-on service. To save furtherexpense and time, they can use a digital camera and create4′′ × 6′′ color proofs right at the sitting. Starting a pet pho-tography department within a portrait studio is simple; allthat is needed is a small bench and small props for the ani-mals (i.e. hats, ties, anything holiday-related).

Pet Photographers who prefer steadier income may seekemployment with PETCO, one of America’s largest petindustry chains. PETCO has divided the country intoregions covered by traveling professional Pet Photogra-phers. Customers register four to six weeks in advance ofthe photographer’s scheduled visit to their local PETCO.

Advancement ProspectsWhile there is no specific career path for Pet Photographers,after five to 10 years, many choose to grow their businessesby adding more staff and services and expanding and enhanc-

ing their Web sites. Some may take on business partners andbranch out by photographing breeds other than those theymay have originally worked with. Pet Photographers canauthor books, either photographic or how-to, as well as writeand publish their photographs in various publications. Somemay choose to license their work to greeting card companiesor other manufacturers (i.e., for mugs, calendars).

Education and TrainingA four-year degree in photography is recommended. Studiophotography experience is helpful, and classes in trainingand working with animals can also be helpful.

Experience, Skills, and Personality TraitsPet Photographers first and foremost need to be passionateand deeply interested in animals. They must have a naturalway with animals and be able to combine this interest withtheir technological skills to best capture the animals for theintended audience. Flexible, patient, calm yet energeticindividuals fit best in this role. Strong knowledge of thebreeds being photographed and the ability to research thosebreeds, when needed, is critical. A solid grasp of lighting,composition, framing, and color is also required.

Unions and AssociationsPet Photographers can join such associations as the Profes-sional Photographers of America for networking opportuni-ties, educational resources, trade fairs, conventions, thepublication Professional Photographer, and more. They canalso join associations and clubs that pertain to the types ofanimals and breeds they are photographing, such as theAmerican Dog Owners Association, the American Associa-tion of Cat Enthusiasts, the Thoroughbred Owners andBreeders Association, and many others.

Tips for Entry1. Create a portfolio. If you are not yet working profes-

sionally, you can still find ways to photograph ani-mals. Volunteer to photograph the pets of people youknow, such as family members, friends, or neighbors.

2. Post your photography services in as many venues aspossible, such as the bulletin boards of pet stores, vet-erinary offices, local community centers, and in localnewspapers and trade magazines.

3. Attend national dog or cat shows and watch profes-sional photographers at work. Take notes and, if pos-sible, see if you can set up informal meetings withthem at later dates.

4. If you are not strong in digital photography, take aclass. You can also learn a great deal by reading suchmagazines as Digital Photographer and Digital ProPhotographer.


Position DescriptionPortrait Photographers take photographs of individuals andgroups in various settings and for diverse purposes. SomePortrait Photographers specialize in particular areas such asbaby and child photography, boudoir photography, weddingphotography, or yearbook photography. Individuals mayhire general Portrait Photographers to create pictures fortheir personal bios or résumés. Families may hire Portrait

Photographers to create portraits for photo albums and wallhangings. Portrait Photographers may work inside their stu-dios, creating backdrops, choosing certain lights and filmspeeds, and setting up specific cameras at different angles tobest capture each individual’s features. They may also travelto locations and work off site, such as at corporate offices totake photographs of employees for annual reports and pro-motional literature or to homes to photograph families in


PORTRAIT PHOTOGRAPHER


Duties: Photographs individuals and groups at various eventsand for various purposes, including at proms, conferences,corporate gatherings, and sports events; photographsauthors for book jackets, entertainers for headshots, andindividuals for professional bios; sets appointments withclients; chooses and sets up lights, backgrounds, cameras,film, and shot angles and distances; works with assistants,makeup artists, stylists, and other creative staff.

Alternate Title(s): Commercial Photographer, LifestylePhotographer, Wedding Photographer

Salary Range: $45,047 to $63,121+



Best Geographical Location(s): Major cultural and corporatecenters, such as Atlanta, Boston, Chicago, Dallas, Houston,Los Angeles, Miami, New York, Philadelphia, San Fran-cisco, Seattle, and Washington, D.C.

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy beneficial; training in photographic design software(i.e., Adobe Photoshop and Illustrator) recommended;training in digital photography recommended

Experience—Three to five years of experience as anassistant photographer in portrait or commercial studio

Special Skills and Personality Traits—Strong knowl-edge of lighting, composition, and framing; knowledge-able about color; good visual eye; excellent hand-eyecoordination; enjoys working with people; energetic andfriendly; reliable and responsible; deadline-oriented; cre-ative; organized; technically and technologically savvy

Portrait Studio Owner

Portrait Photographer


front of fireplaces. Actors, musicians, and other performersalso hire Portrait Photographers when they need headshots,pictures of themselves that they send to agencies and submitto casting directors when they are trying out for roles. Ath-letic teams may employ Portrait Photographers for teampictures or individual shots of athletes for programs andyearbooks.

Portrait Photographers meet first with clients to discuss thetypes of photographs needed, the style of photograph (i.e.,glamorous, direct), and how the photographs will be used.They may suggest styles of clothing and colors people shouldwear, based on their hair color, skin tones, and the types ofphotograph that will be created. Certain colors will contrastbetter in black-and-white film as opposed to color, so this canplay a big part in how the pictures will appear. Portrait Pho-tographers will also frame pictures and arrange people to cre-ate balanced shots, directing them to look in certain directionsor position their hands or bodies in certain ways.

Portrait Photographers shoot in film as well as in digital.Most photographers take test shots first, using Polaroidcameras, to check the shots and adjust cameras and lights ifneeded, before going to actual film. They may share theseshots with clients to secure approvals. Portrait Photogra-phers may also develop and print photos. They may scanfilm or work digitally and use photographic design soft-ware, such as Adobe Photoshop, to manipulate images andcrop shadows or enhance lighting and color.

Portrait Photographers who run their own studios hireand manage staff for shoots. They also may hire employeesto handle the day-to-day business tasks involved in runninga business. They select and purchase cameras and photo-graphic equipment and accessories and maintain office sup-plies and stock as well as office equipment. IndependentPortrait Photographers also allot time for advertising andpromotional campaigns and networking to draw in newclients. They negotiate fees, create contracts, secure permis-sions as needed, and invoice clients. Depending upon thesize of their business, they may also handle the overallbookkeeping for their company.

SalariesPortrait Photographers’ salaries vary depending upon thesize of the portrait studio and the types of clientele and proj-ects. According to Salary.com, photographers can expect toearn annual median incomes of $53,526. Portrait Photogra-phers with years of experience and excellent reputations inthe business will secure consistent work through referralsand earn higher wages. Photographers who specialize inwedding photography and those who create portraits ofcelebrities may also earn higher wages. Self-employed pho-tographers must allot money from their incomes for medicalinsurance, equipment purchase and maintenance, and gen-eral business overhead costs, such as rent and utilities.

Employment ProspectsIn 2002, about 130,000 photographers held jobs, with morethan half self-employed. According to the U.S. Departmentof Labor’s Occupational Outlook Handbook, most full-timephotographers work in commercial or portrait photographystudios, and employment of photographers overall isexpected to increase about as fast as the average for alloccupations through the year 2012. While demand for Por-trait Photographers is expected to increase as the populationgrows, the field remains extremely competitive. Highly cre-ative photographers with unique styles, who are well versedin technology as well as technically skilled, will have theadvantage in the job hunt.

Advancement ProspectsPortrait Photographers who work full time for large studioscan advance to become senior Portrait Photographers, tak-ing on more complex projects and managing larger staffs.Independent photographers can branch out by hiring morestaff or growing their businesses by opening more studios inother cities. They can write articles for trade and commer-cial publications and teach portrait photography in art andtechnical schools.

Education and TrainingWhile not required, a bachelor’s degree in photography,with coursework in advertising, marketing, and publishing,is an excellent background for this type of work. Certifica-tion or a degree in photography from a technical school isequally valid and beneficial. To stay competitive, PortraitPhotographers need to keep up with advances in technology.At the very least, training in digital photography and photo-graphic design software is essential, as an ever-growingnumber of portrait and commercial studios have moved inthe digital direction.

Experience, Skills, and Personality TraitsMany Portrait Photographers get their start in the businessby working for several years as apprentices or assistants inportrait photography studios. On-the-job training is invalu-able in this field and an excellent way to hone skills as wellas forge career-lasting relationships. Some start out as part-time employees in studios or even in photography and cam-era stores.

Portrait Photographers must have a balance of technicaland technological knowledge and an ability to interact wellwith people and put them at ease. Only the best have thiscombination. They have an excellent eye for compositionand framing, know exactly which cameras and equipment tochoose, and know the types of backdrops to use to get thebest shots. They are able to relax people so they can capturetheir true spirit on film. They also know how to manage


staff, working well with clients, assistants, creative staff,and others. Successful Portrait Photographers know how torun their businesses effectively, keep appointments, and cre-ate photographs that meet their clients’ needs. They areorganized, able to prioritize, and able to juggle many taskswhile still meeting deadlines.

Unions and AssociationsPortrait Photographers join Advertising Photographers ofAmerica, American Society of Media Photographers, Pro-fessional Photographers of America, and Wedding and Por-trait Photographers International for educational andnetworking opportunities, employment referrals, industryconferences, magazines and newsletters, and discounts oncareer-related services and products.

Tips for Entry1. Get a paying job or internship with a portrait studio.

Find job listings in the back pages of trade publica-tions, the employment sections of local newspapers,and on employment placement Web sites, such asYahoo! Hotjobs (http://hotjobs.yahoo.com) and Mon-ster (http://www.monster.com).

2. If you cannot find a paying gig at the studio of yourchoice and can afford to, volunteer. Get your foot inthe door by offering your services for free for a lim-ited basis, and do your best to impress the studioowner. This is your chance to show what you aremade of and how indispensable you are to the com-pany. Work hard and efficiently and be smart andfriendly.

3. Create a list of portrait studios near you. Use an Inter-net search engine, such as Google (http://www.google.com) to see if they have Web sites and, if theydo, look through their sites to see the type of workthey do and review their client list. Check off the stu-dios that interest you and contact them to see if theyneed any help. See if you can set up an informationalinterview, at the very least, to learn more about thebusiness and find out if they have any advice or sug-gestions for your next steps.

4. Create a portfolio of work that best represents youand is also tailored to the style of work of the studiosyou approach. Make sure you have your work avail-able in various formats (i.e., digital, transparency, CD,print) and always ask first which format the studioprefers before submitting.


Position DescriptionThe role of the professional, salaried Yearbook Photogra-pher is not to be confused with that of the high school stu-dent volunteering to take photographs for the yearbook. TheYearbook Photographer is actually a paid representative of aprinting company, readying the next yearbook for numeroushigh schools and colleges around the country. He or shemay also be a freelance portrait photographer, experiencedin photographing individuals and groups.

Yearbook Photographers work on location at schools,outside on campuses, inside auditoriums and classrooms, aswell as at their own portrait studios. Photographers mayspend several days at schools, creating portraits as well ascapturing student life. They will photograph sports activi-ties, committee meetings, bands and orchestras, dramaclubs, debate teams, teachers in action, study halls, cafete-rias, buses arriving and leaving school, bookshops, proms,dances, and more. Photographers will also photograph

building facades, statues, arches, courtyards, and other areasthat may hold sentimental memories for students.

Yearbook Photographers meet initially with school officialsto discuss photographic needs, key personnel the photogra-pher will interact with, and to tour the school to get a grasp ofthe layout and possible location shots. They also coordinatewith the school’s student photographers for those areas andevents the students are best suited to cover. Yearbook Photog-raphers typically create and work from a checklist of depart-ments to interact with and possibly photograph: athletics,science, math, art, language, history, computer, and more.They also cover theater, newspaper, publicity, the kitchen andcafeteria, security, and campus historian (if one exists).

They learn in advance about special activities that maymake for excellent photographic opportunities. YearbookPhotographers usually visit the yearbook office to check filesof past photographs to see if anything from the past mightenlighten current students. They peruse previous yearbooks


YEARBOOK PHOTOGRAPHER


Duties: Provides a range of photographs of students, fac-ulty, and facilities for schools, students, and parents;takes traditional poses of individuals, entire classes,school sports teams, committees, and other after-schoolgroups; photographs students in candid shots; photo-graphs faculty, campus, classrooms, equipment, andbuildings and other school-related subjects

Alternate Title(s): Commercial Photographer, Portrait Pho-tographer, School Photographer




Best Geographical Location(s): Major urban and suburbanareas with many schools

Prerequisites:Education or Training—Bachelor’s degree in photogra-phy, with coursework in art and journalism; trained indigital photography and photographic design softwareExperience—Two or more years of experience in a com-mercial or portrait photography studioSpecial Skills and Personality Traits—Knowledgeableabout lighting and composition; adept at working withstudents and faculty; strong communication skills; flexi-ble and patient; organized; reliable

Magazine Photographer

Yearbook Photographer

Freelance Commercial/Portrait Photographer

and photographic files to acclimate to each school’s style. Ifa school has a publicity director, they meet to discuss theareas of the school they should cover. A quick look at ascrapbook and past press releases with attached photos mayyield photos with humor, Halloween fun, graduation-daypranks, or the renovation of an old school building.

The athletic department is the best hiding place for actionphotos on the football field, in the gymnasium, of awardsceremonies, and the hallway of trophies. Many interestingphotographs may sometimes be found at or near theschool’s theater. Images of stage scenes, set construction,costuming, rehearsal moments, and portraits of actors whofollowed professional careers in theater, music, opera maybe in the files, on the walls, or at the ticket box.

Portrait days are set aside and advertised well in advance tostudents. Students are given the studio location, details aboutwhat they should wear and how they should groom, as well asthe various types of photography packages and price rangesavailable to them. Photographers send students preview shots.They select the poses they like and send their order forms andpayments to the photographers. Yearbook Photographersretouch images and enhance color by using photographicdesign software such as Adobe Photoshop. Depending on thesize of their studio and staff, they may either develop film intheir own labs or send film to labs for development. YearbookPhotographers also cover graduation ceremonies. They createcap-and-gown portraits, take action shots of students receivingtheir diplomas and of caps being tossed into the air, and photo-graph guest speakers and postgraduation celebrations.

SalariesYearbook Photographers can earn salaries ranging from$45,000 to $60,000 or more, depending upon the number ofschools they photograph for each year and their years of expe-rience in the field. Yearbook Photographers who dedicate theirservices solely to school photography usually enhance theirincomes by increasing their staff and opening studios in otherlocations. Some offer their photographs to schools for free, anagreement that can assure years of repeat business. They earntheir wages in sales of photographs and package deals to stu-dents and their families. Many photographers run full com-mercial and portrait photography studios and also providephotography for weddings, special events, and various typesof portraits. Yearbook Photographers on staff with a yearbookprinter or publisher may earn a set salary with benefits.

Employment ProspectsEmployment of photographers overall is expected to grow byabout 10 to 20 percent, or as fast as the average for all occupa-tions, according to the Department of Labor’s OccupationalOutlook Handbook. As the population grows, demand for por-trait photographers in general should also grow. A growingnumber of high schools, colleges, universities, and printingestablishments are hiring Yearbook Photographers. Yearbookprinters and publishers may have more than one Yearbook Pho-tographer, and if they are national suppliers, they will retainregional staff photographers. Yearbook Photographers who

focus solely on this type of work do not often stay long in thefield. They become weary of traveling to and from schools andfrequently move on to freelance or staff magazine photographyand other commercial work. Departing and retiring YearbookPhotographers pave the way for new photographers every year.

Advancement ProspectsIf working on staff with a printer or publisher, YearbookPhotographers can advance to become photo editors for allof the yearbook projects and to serve as liaisons with clientsin campus yearbook offices. More office-based workreduces burnout and assures photographers and theiremployers more years of quality service and employment.Yearbook Photographers may also advance by growing theirown commercial and portrait studios and moving on to pho-tojournalism, sports photography, magazine photography,and other mediums. They can also become digital photogra-phy and photographic design software consultants withinyearbook printing and publishing companies.

Education and TrainingThere are no specific educational requirements for YearbookPhotographers. A two- or four-year degree in photography,however, with coursework in journalism and art, is a benefi-cial foundation for this type of work.

Experience, Skills, and Personality TraitsMost Yearbook Photographers have prior work experience aswedding photographers or portrait photographers for commer-cial studios. They are highly skilled in digital photography,lighting, and composition. Most important, they enjoy work-ing with people and are adept at making people feel comfort-able and at ease. They know how to direct people and manageindividuals and crowds, without being perceived as arrogant oraggressive. They must be organized and reliable and capableof meeting deadlines. A sense of humor helps. Yearbook Pho-tographers should enjoy working around students.

Unions and AssociationsYearbook Photographers join Professional Photographers ofAmerica and Wedding and Portrait Photographers Interna-tional for educational resources, employment referrals, andnetworking opportunities.

Tips for Entry1. Do an Internet search of publishers and printing com-

panies that feature yearbooks among their services.Track down the names of the photographers and see ifyou can speak with them about their work.

2. Look at your own yearbook and the yearbooks offriends and family members. Identify the publicationsource and use a search engine to track down their con-tact information if it is not included. Get in touch withthe art department to learn more about who they workwith and to learn about employment opportunities.

3. Secure an internship or apprenticeship in a commer-cial or portrait studio that does school photography.


APPENDIXES

I. Two-year Associate Degree and Certificate Photography Programs

II. Four-year Undergraduate Fine Arts Photography Programs

III. Four-year Undergraduate Commercial Photography Programs

IV. Cinematography and Videography Programs

V. Graduate Programs in Photography

VI. Associations and Organizations

VII. Web Sites

VIII. Periodicals


APPENDIX ITWO-YEAR ASSOCIATE DEGREE AND

CERTIFICATE PHOTOGRAPHY PROGRAMS

ALABAMA

Calhoun Community CollegeP.O. Box 2216Decatur, AL 35609Phone: (256) 306-2718http://www.calhoun.edu

ARIZONA

Chandler-Gilbert Community College2626 East Pecos RoadChandler, AZ 85225Phone: (480) 732-7089Fax: (480) 732-7090http://www.cgc.maricopa.edu

Collins College1140 South Priest DriveTempe, AZ 85281http://www.collinscollege.edu

CALIFORNIA

Academy of Art University79 New Montgomery StreetSan Francisco, CA 94105Phone: (415) 274-2200 or

(800) 544-ARTSE-mail: [email protected]://www.academyart.edu

American InterContinentalUniversity–Los Angeles

12655 West Jefferson BoulevardLos Angeles, CA 90066Phone: (800) 846-1994http://www.aiuniv.edu

Brooks Institute of Photography–SantaBarbara

801 Alston RoadSanta Barbara, CA 93108Phone: (805) 966-3888 or (888) 304-

3456 (toll-free)http://www.brooks.edu

California Institute of the Arts24700 McBean Parkway

Valencia, CA 91355Phone: (661) 255-1050E-mail: [email protected]://www.calarts.edu

Miami Ad School San Francisco415 Jackson StreetSuite BSan Francisco, CA 94111Phone: (415) 837-0966Fax: (415) 837-0967http://www.miamiadschool.com

Otis College of Art and Design9045 Lincoln BoulevardLos Angeles, CA 90045Phone: (310) 665-6800 or (800) 527-OTISFax: (310) 665-6821E-mail: [email protected]://www.otis.edu

Pacific Union CollegeOne Angwin AvenueAngwin, CA 94508-9707Phone: (800) 862-7080Fax: (707) 965-6311E-mail: [email protected]://www.puc.edu

Santa Monica College1900 Pico BoulevardSanta Monica, CA 90405-1628Phone: (310) 434-4217Fax: (310) 434-3651http://www.smc.edu

COLORADO

The Art Institute of Colorado1200 Lincoln StreetDenver, CO 80203Phone: (303) 837-0825 or (800) 275-

2420E-mail: [email protected]://www.aic.artinstitutes.edu

Colorado Mountain CollegeP.O. Box 10001Glenwood Springs, CO 81602

Phone: (970) 945-8691 or (800) 621-8559

Fax: (970) 947-8324E-mail: [email protected]://www.coloradomtn.edu

CONNECTICUT

Gibbs College Norwalk10 Norden PlaceNorwalk, CT 06855-1436Phone: (203) 838-4173http://www.gibbsnorwalk.edu

Paier College of Art20 Gorham AvenueHamden, CT 06517Phone: (203) 287-3032Fax: (203) 287-3021http://www.paierart.com

DELAWARE

Delaware College of Art and Design600 North Market StreetWilmington, DE 19801Phone: (302) 622-8000Fax: (302) 622-8870E-mail: [email protected]://www.dcad.edu

DISTRICT OF COLUMBIA

Corcoran College of Art and Design500 17th Street NWWashington, DC 20006Phone: (202) 639-1801, ext. 1800http://www.corcoran.edu

FLORIDA

American InterContinentalUniversity–Fort Lauderdale

2250 North Commerce Parkway, #100Weston, FL 33326Phone: (800) 846-1994http://www.aiuniv.edu

International Academy of Design &Technology–Tampa

5225 Memorial HighwayTampa, FL 33634Phone: (813) 884-0007http://www.academy.edu

Miami Ad School955 Alton RoadMiami Beach, FL 33139Phone: (305) 538-3193Fax: (305) 538-3724http://www.miamiadschool.com

GEORGIA

American InterContinentalUniversity–Atlanta (Buckhead)

3330 Peachtree Road NEBuckhead, GA 30326Phone: (800) 846-1994http://www.aiuniv.edu

American InterContinentalUniversity–Atlanta (Dunwoody)

6600 Peachtree-Dunwoody RoadDunwoody, GA 30328Phone: (800) 846-1994http://www.aiuniv.edu

The Art Institute of Atlanta6600 Peachtree-Dunwoody RoadAtlanta, GA 30328Phone: (800) 275-4242E-mail: [email protected]://www.aia.aii.edu

The Creative Circus812 Lambert DriveAtlanta, GA 30324Phone: (404) 607-8880 or

(800) 728-1590Fax: (404) 875-1590http://www.creativecircus.com

North Georgia CollegeDahlonega, GA 30597Phone: (706) 864-1423Fax: (706) 864-1429http://www.ngcsu.edu

ILLINOIS

Harrington College of Design200 West Madison Street2nd FloorChicago, IL 60606Phone: (312) 939-4976http://www.interiordesign.edu

MARYLAND

Anne Arundel Community College101 College ParkwayArnold, MD 21012Phone: (410) 647-7100http://www.aacc.cc.md.us

MASSACHUSETTSCenter for Digital Imaging Arts at

Boston University282 Moody StreetWaltham, MA 02453Phone: (781) 209-1700 or

(800) 808-CDIAFax: (781) 209-1701E-mail: [email protected]://www.digitalimagingarts.com

Gibbs College–Boston126 Newbury StreetBoston, MA 02116Phone: (617) 369-9905http://www.gibbsboston.edu

Hallmark Institute of Photography241 Millers Falls RoadTurners Falls, MA 01376Phone: (413) 863-2478Fax: (413) 863-4118E-mail: [email protected]://www.hallmark-institute.com

Holyoke Community College303 Homestead AvenueHolyoke, MA 01040Phone: (413) 552-2491Fax: (413) 534-8975http://www.hcc.mass.edu

Montserrat College of Art23 Essex StreetP.O. Box 26Beverly, MA 01915Phone: (978) 921-4242Fax: (978) 921-4241E-mail: [email protected]://www.montserrat.edu

New England School of Photography537 Commonwealth AvenueBoston, MA 02215-2005Phone: (617) 437-1868Fax: (617) 437-0261http://www.nesop.com

MICHIGAN

Grand Rapids Community College143 Bostwick NEGrand Rapids, MI 49503-3295

Phone: (616) 234-3544http://www.grcc.cc.mi.us

Oakland University307 Wilson HallRochester, MI 48309-4401Phone: (248) 370-3375Fax: (248) 370-4208E-mail: [email protected]://www.oakland.edu

MISSISSIPPIAntonelli College–Hattiesburg Campus1500 North 31st AvenueHattiesburg, MS 39401Phone: (601) 583-4100http://www.antonellic.com

Antonelli College–Jackson Campus2323 Lakeland DriveJackson, MS 39232Phone: (601) 362-9991http://www.antonellic.com

MISSOURISaint Louis Community

College–Florissant Valley3400 Pershall RoadSaint Louis, MO 63135Phone: (314) 595-4200http://www.stlcc.edu/fv

Saint Louis CommunityCollege–Meramec

11333 Big Bend BoulevardSaint Louis, MO 63122Phone: (314) 984-7500http://www.stlcc.edu/mc

NEW HAMPSHIREMcIntosh College23 Cataract AvenueDover, NH 03820Phone: (603) 742-1234 or (800) 624-6867http://www.mcintoshcollege.edu

New Hampshire Institute of Art148 Concord StreetManchester, NH 03104Phone: (603) 623-0313E-mail: [email protected]://www.nhia.edu

NEW JERSEY

Gibbs College–Montclair630 West Mount Pleasant AvenueRoute 10

APPENDIX I 193

Livingston, NJ 07039Phone: (973) 369-1360 or (866) 442-2765Fax: (973) 369-1446http://gibbsnj.edu

Union County College Coop1033 Springfield AvenueCranford, NJ 07016Phone: (908) 709-7000http://www.ucc.edu

NEW MEXICO

Taos Art SchoolP.O. Box 2588Taos, NM 87571Phone: (505) 758-0350Fax: (505) 758-4880E-mail: [email protected]://www.taosartschool.org

NEW YORK

Alfred School of Art and Design atAlfred University

2 Pine StreetAlfred, NY 14802Phone: (607) 871-2441Fax: (607) 871-2490http://art.alfred.edu

Briarcliffe College–Bethpage1055 Stewart AvenueBethpage, NY 11714Phone: (516) 918-3600 or (888) 333-

1150http://www.bcbeth.com

Briarcliffe College–Patchogue225 West Main StreetPatchogue, NY 11772Phone: (631) 654-5300 or (866) 235-5207http://www.bcpat.com

Cazenovia College22 Sullivan StreetCazenovia, NY 13035Phone: (800) 654-3210E-mail: [email protected]://www.cazenovia.edu

The Cooper Union for theAdvancement of Science & Art

30 Cooper SquareNew York, NY 10003Phone: (212) 353-4120E-mail: [email protected]://www.cooper.edu

Fashion Institute of TechnologySeventh Avenue at 27th StreetNew York, NY 10001Phone: (212) 217-7665http://www.fitnyc.suny.edu

Katharine Gibbs School–New York50 West 40th StreetNew York, NY 10138http://www.gibbsny.edu

Sage College of Albany140 New Scotland AvenueAlbany, NY 12208Phone: (518) 445-1778 or

(888) VERY-SAGEhttp://www.sage.edu/sca

OHIO

Antonelli College124 East Seventh StreetCincinnati, OH 45202Phone: (513) 241-4338Fax: (513) 241-9396http://www.antonellic.com

Clark State Community College570 East Leffel LaneSpringfield, OH 45505Phone: (937) 325-0691http://www.clark.cc.oh.us

Ohio Institute of Photography andTechnology

2029 Edgefield RoadDayton, OH 45439Phone: (937) 294-6155 or (800) 846-3040http://www.oipt.com

Ohio Wesleyan University61 South Sandusky StreetDelaware, OH 43015Phone: (740) 368-2000http://www.owu.edu

Sinclair Community College444 West Third StreetDayton, OH 45402-1460Phone: (800) 315-3000E-mail: [email protected]://www.sinclair.edu

OREGON

Oregon College of Art & Craft8245 Southwest Barnes RoadPortland, OR 97225

Phone: (503) 297-5544 or (800) 390-0632E-mail: [email protected]://www.ocac.edu

Southern Oregon Art School112 East 6th StreetMedford, OR 97501Phone: (541) 779-7959Fax: (541) 846-9344http://www.southernoregonartschool.com

PENNSYLVANIA

Antonelli Institute300 Montgomery AvenueErdenheim, PA 19038Phone: (215) 836-2222 or (800) 722-

7871Fax: (215) 836-2794http://www.antonelli.org

The Art Institute of Philadelphia1622 Chestnut StreetPhiladelphia, PA 19103Phone: (800) 275-2474http://aiph.aii.edu

International Academy of Design &Technology

555 Grant St.Pittsburgh, PA 15219Phone: (412) 391-4197 or (800) 447-8324http://www.iadtpitt.edu

Keystone CollegeOne College GreenLa Plume, PA 18440Phone: (877) 4COLLEGE (toll-free)Fax: (570) 945-7916http://www.keystone.edu

Penn State–Lehigh Valley8380 Mohr LaneFogelsville, PA 18051Phone: (610) 285-5000http://www.lv.psu.edu

Oakbridge Academy of Art1250 Greensburg RoadLower Burrell, PA 15068Phone: (724) 335-5336 or (800) 734-5601Fax: (724) 335-3367http://www.oaa.edu

Pennsylvania State University201 Shields BuildingP.O. Box 3000University Park, PA 16804-3000


Phone: (814) 865-5471Fax: (814) 863-7590http://www.psu.edu

Pittsburgh Filmmakers, Inc.477 Melwood AvenuePittsburgh, PA 15213Phone: (412) 681-5449http://www.pghfilmmakers.org

SOUTH DAKOTA

Dakota State University820 North WashingtonMadison, SD 57042Phone: (888) DSU-9988 (toll-free)E-mail: [email protected]://www.dsu.edu

TENNESSEE

Nossi College of Art907 Two Mile ParkwaySuite E6Goodlettsville, TN 37072Phone: (615) 851-1088Fax: (615) 851-1087http://www.nossi.com

Watkins College of Art and Design2298 MetroCenter BoulevardNashville, TN 37228Phone: (615) 383-4848Fax: (615) 383-4849http://www.watkins.edu

TEXAS

Collin County CommunityCollege–Central Park Campus

2200 West University DriveP.O. Box 8001McKinney, TX 75071Phone: (972) 548-6790

Fax: (972) 758-3860http://www.ccccd.edu

Our Lady of the Lake University411 Southwest 24th StreetSan Antonio, TX 78207Phone: (210) 434-6711http://www.ollusa.edu

VIRGINIA

Gibbs College1980 Gallows RoadVienna, VA 22182Phone: (703) 556-8888http://www.trade-schools.net/kgsdc

J. Sargeant Reynolds CommunityCollege

P.O. Box 85622Richmond, VA 23285-5622Phone: (804) 371-3000Fax: (804) 371-3588http://www.jsr.vccs.edu

WASHINGTON

The Art Institute of Seattle2323 Elliott AvenueSeattle, WA 98121Phone: (206) 448-0900 or (800) 275-

2471http://www.ais.edu

Clark College1800 East McLoughlin BoulevardVancouver, WA 98663Phone: (360) 992-2000http://www.clark.edu

Photographic Center Northwest900 Twelfth AvenueSeattle, WA 98122-4412Phone: (206) 720-7222

Fax: (206) 720-0306E-mail: [email protected]://www.pcnw.org

WEST VIRGINIA

Shepherd UniversityP.O. Box 3210Shepherdstown, WV 25443-3210Phone: (304) 876-5000 or (800) 344-5231Fax: (304) 876-3101http://www.shepherd.edu

WISCONSIN

Madison Area Technical College3550 Anderson StreetMadison, WI 53704Phone: (608) 246-6100 or (800) 322-6282Fax: (608) 246-6880E-mail: [email protected]://matcmadison.edu/matc

Milwaukee Institute of Art & Design273 East Erie StreetMilwaukee, WI 53202Phone: (414) 291-8070 or

(888) 749-MIAD (toll-free)Fax: (414) 291-8077http://www.miad.edu

WYOMING

Casper College125 College DriveCasper, WY 82601Phone: (307) 268-2110 or (800) 442-2963http://www.caspercollege.edu

Northwest College231 West 6th StreetPowell, WY 82435Phone: (307) 754-6000http://www.northwestcollege.edu

APPENDIX I 195

ALABAMA

Jacksonville State University700 Pelham Road NorthJacksonville, AL 36265-9982Phone: (800) 231-5291http://www.jsu.edu

University of AlabamaTuscaloosa, AL 35487-0270Phone: (205) 348-6010E-mail: [email protected]://www.ua.edu

University of MontevalloMontevallo, AL 35115-6400Phone: (205) 665-6000http://www.montevallo.edu

University of North AlabamaUNA Box 5011Florence, Alabama 35632-0001Phone: (256) 765-4608 or

(800) TALK UNAhttp://www.una.edu

ALASKA

University of Alaska Anchorage3211 Providence DriveAnchorage, AK 99508Phone: (907) 786-1800http://www.uaa.alaska.edu

ARIZONA

Arizona State UniversityP.O. Box 870112Tempe, AZ 85287-0112Phone: (480) 965-3468Fax: (480) 965-8338http://www.asu.edu

Prescott College220 Grove AvenuePrescott, AZ 86301Phone: (928) 778-2090 or

(877) 350-2100 (toll-free)

E-mail: [email protected]://www.prescott.edu

University of ArizonaOffice of AdmissionsP.O. Box 210040Tucson, AZ 85721-0002Phone: (520) 621-2211http://www.arizona.edu

ARKANSAS

University of Central Arkansas201 Donaghey StreetConway, AR 72035Phone: (501) 450-5000 or (800) 243-8245E-mail: [email protected]://www.uca.edu

CALIFORNIA

Academy of Art University79 New Montgomery StreetSan Francisco, CA 94105Phone: (415) 274-2200 or (800) 544-

ARTSE-mail: [email protected]://www.academyart.edu

Biola University13800 Biola AvenueLa Mirada, CA 90639Phone: (562) 903-6000http://www.biola.edu


801 Alston RoadSanta Barbara, CA 93108Phone: (805) 966-3888 or (888) 304-

3456 (toll-free)http://www.brooks.edu

California College of the Arts–Oakland5212 BroadwayOakland, CA 94618-1426Phone: (510) 594-3600 or

(800) 447-1ART

E-mail: [email protected]://www.cca.edu

California College of the Arts–SanFrancisco

1111 Eighth StreetSan Francisco, CA 94107-2247Phone: (415) 703-9500 or

(800) 447-1ARTE-mail: [email protected]://www.cca.edu

California Institute of the Arts24700 McBean ParkwayValencia, CA 91355Phone: (661) 255-1050E-mail: [email protected]://www.calarts.edu

California Polytechnic State UniversitySan Luis Obispo, CA 93407Phone: (805) 756-111Fax: (805) 756-6321http://www.calpoly.edu

California State University–East Bay25800 Carlos Bee BoulevardHayward, CA 94542Phone: (510) 885-3000E-mail: [email protected]://www.csuhayward.edu

California State University–FullertonP.O. Box 34080Fullerton, CA 92834Phone: (714) 278-2011http://www.fullerton.edu

California State University–LongBeach

1250 Bellflower BoulevardLong Beach, CA 90840-3501Phone: (562) 985-4111http://www.csulb.edu

Chapman UniversityOne University DriveOrange, CA 92866


APPENDIX IIFOUR-YEAR UNDERGRADUATE FINE ARTS

PHOTOGRAPHY PROGRAMS

Phone: (714) 997-6815http://www.chapman.edu

Otis College of Art and Design9045 Lincoln BoulevardLos Angeles, CA 90045Phone: (310) 665-6800 or

(800) 527-OTISFax: (310) 665-6821E-mail: [email protected]://www.otis.edu

Pacific Union CollegeOne Angwin AvenueAngwin, CA 94508-9707Phone: (800) 862-7080Fax: (707) 965-6311E-mail: [email protected]://www.puc.edu

San Francisco Art Institute800 Chestnut StreetSan Francisco, CA 94133Phone: (415) 771-7020Fax: (415) 749-4590http://www.sfai.edu

San Jose State UniversityOne Washington SquareSan Jose, CA 95192-0089Phone: (408) 924-1000Fax: (408) 924-4326http://www.sjsu.edu

University of California–Los Angeles1147 Murphy Hall, Box 951436Los Angeles, CA 90095-1436Phone: (310) 825-3101Fax: (310) 206-1206E-mail: [email protected]://www.ucla.edu

COLORADO

The Art Institute of Colorado1200 Lincoln StreetDenver, CO 80203Phone: (303) 837-0825 or (800) 275-2420http://www.aic.artinstitutes.edu

Metropolitan State College of DenverP.O. Box 173362Denver, CO 80217-3362Phone: (303) 556-2400http://www.mscd.edu

Rocky Mountain College of Art &Design

1600 Pierce StreetLakewood, CO 80214

Phone: (800) 888-ARTSE-mail: [email protected]://www.rmcad.edu

University of Colorado–DenverCampus Box 167P.O. Box 173364Denver, CO 80217-3364Phone: (303) 556-5600E-mail: [email protected]://www.cudenver.edu

University of Denver2199 South University BoulevardDenver, CO 80208Phone: (303) 871-2000http://www.du.edu

CONNECTICUT

Paier College of Art20 Gorham AvenueHamden, CT 06517Phone: (203) 287-3032Fax: (203) 287-3021http://www.paierart.com

University of Connecticut875 Coventry RoadStorrs, CT 06269-1099Phone: (860) 486-2000http://www.uconn.edu

University of Hartford200 Bloomfield AvenueWest Hartford, CT 06117Phone: (860) 768-4100http://www.hartford.edu

University of New Haven300 Boston Post RoadWest Haven, CT 06516Phone: (203) 932-7000 or

(800) DIAL-UNHFax: (203) 931-6097http://www.newhaven.edu


Howard University2400 Sixth Street NWWashington, DC 20059Phone: (202) 806-6100Fax: (202) 806-9258http://www.howard.edu

FLORIDA

Barry University11300 Northeast Second Avenue

Miami Shores, FL 33161-6695Phone: (305) 899-3100 or (800) 695-2279E-mail: [email protected]://www.barry.edu

Florida State UniversityTallahassee, FL 32306-1170Phone: (850) 644-6200Fax: (850) 644-0197E-mail: [email protected]://www.fsu.edu

New World School of the Arts300 Northeast Second AvenueMiami, FL 33132Phone: (305) 237-3135Fax: (305) 237-3794http://www.mdc.edu/nwsa

Ringling School of Art and Design2700 North Tamiami TrailSarasota, FL 34234-5895Phone: (941) 351-5100 or (800) 255-7695Fax: (941) 359-7517E-mail: [email protected]://www.rsad.edu

University of FloridaGainesville, FL 32611Phone: (352) 392-3261http://www.ufl.edu

GEORGIA

The Art Institute of Atlanta6600 Peachtree Dunwoody RoadAtlanta, GA 30328Phone: (800) 275-4242E-mail: [email protected]://www.aia.aii.edu

Kennesaw State University1000 Chastain RoadKennesaw, GA 30144Phone: (770) 423-6300E-mail: [email protected]://www.kennesaw.edu

Savannah College of Art and DesignP.O. Box 2072Savannah, GA 31402-2072Phone: (912) 525-5100 or (800) 869-7223Fax: (912) 525-5986E-mail: [email protected]://www.scad.edu

University of GeorgiaAthens, GA 30602-7287Phone: (706) 542-3000

APPENDIX II 197

E-mail: [email protected]://www.uga.edu

University of West Georgia1601 Maple StreetCarrollton, GA 30118Phone: (678) 839-5000E-mail: [email protected]://www.westga.edu

ILLINOIS

Bradley University1501 West Bradley AvenuePeoria, IL 61625Phone: (309) 677-2967E-mail: [email protected]://www.bradley.edu

Columbia College Chicago600 South Michigan AvenueChicago, IL 60605Phone: (312) 663-1600Fax: (312) 344-8024E-mail: [email protected]://www.colum.edu

Governors State University1 University ParkwayUniversity Park, IL 60466-0975Phone: (708) 534-5000E-mail: [email protected]://www.govst.edu

Illinois State UniversityNormal, IL 61790-5620Phone: (309) 438-2181 or (800) 366-2478E-mail: [email protected]://www.ilstu.edu

Northern Illinois UniversityDeKalb, IL 60115Phone: (815) 753-1000http://www.niu.edu

University of Illinois at ChicagoChicago, IL 60612Phone: (312) 996-7000http://www.uic.edu

INDIANA

Ball State University2000 UniversityMuncie, IN 47306Phone: (765) 285-8300 or

(800) 482-4BSUE-mail: [email protected]://www.bsu.edu

Herron School of ArtIndiana University Purdue

University–Indianapolis1701 North Pennsylvania StreetIndianapolis, IN 46202-1414Phone: (317) 920-2416Fax: (317) 920-2401E-mail: [email protected]://www.herron.iupui.edu

Indiana State University200 North Seventh StreetTerre Haute, IN 47809-9989Phone: 800-GO-TO-ISUhttp://www.indstate.edu

Indiana Wesleyan University4201 South Washington StreetMarion, IN 46953Phone: (765) 674-6901http://www.indwes.edu

Saint Mary’s CollegeNotre Dame, IN 46556-5001Phone: (574) 284-4000E-mail: [email protected]://www.saintmarys.edu

IOWA

Maharishi University of Management1000 North Fourth StreetFairfield, IA 52557Phone: (800) 369-6480Fax: (641) 472-1179E-mail: [email protected]://mum.edu

University of Northern Iowa1227 West 27th StreetCedar Falls, IA 50614Phone: (319) 273-2311E-mail: [email protected]://www.uni.edu

KANSAS

Kansas State UniversityManhattan, KS 66506Phone: (785) 532-6250Fax: (785) 532-6393E-mail: [email protected]://www.ksu.edu

KENTUCKY

Eastern Kentucky University521 Lancaster AvenueRichmond, KY 40475

Phone: (859) 622-1000Fax: (859) 622-6509http://www.eku.edu

Kentucky State University400 East Main StreetFrankfort, KY 40601Phone: (502) 597-6000Fax: (502) 597-6409http://www.kysu.edu

Murray State UniversityP.O. Box 9Murray, KY 42071Phone: (270) 762-3784 or

(800) 272-4MSUE-mail: [email protected]://www.murraystate.edu

Northern Kentucky UniversityNunn DriveHighland Heights, KY 41099Phone: (859) 572-5220 or (800) 637-9948Fax: (859) 572-6501http://www.nku.edu

University of LouisvilleLouisville, KY 40292Phone: (502) 852-5555 or (800) 334-UofLFax: (502) 852-6791http://www.louisville.edu

LOUISIANA

Louisiana State University110 Thomas Boyd HallBaton Rouge, LA 70803Phone: (225) 578-1175E-mail: [email protected]://www.lsu.edu

Louisiana Tech UniversityP.O. Box 3178Ruston, LA 71272Phone: (318) 257-3036 or

(800) LATECH-1http://www.latech.edu

University of Louisiana–Lafayette104 University CircleLafayette, LA 70504Phone: (337) 482-1000http://www.louisiana.edu

MAINE

Heartwood College of Art123 York StreetKennebunk, ME 04043


Phone: (207) 985-0985Fax: (207) 985-6333E-mail: [email protected]://www.heartwoodcollegeofart.org

Maine College of Art97 Spring StreetPortland, ME 04101Phone: (207) 775-3052 or (800) 639-4808Fax: (207) 772-5069E-mail: [email protected]://www.meca.edu

University of Southern Maine–Gorham37 College AvenueGorham, ME 04038Phone: (207) 780-4141 or

(800) 800-4USMFax: (207) 780-5640E-mail: [email protected]://www.usm.maine.edu

MARYLAND

Maryland Institute College of Art1300 Mount Royal AvenueBaltimore, MD 21217Phone: (410) 669-9200http://www.mica.edu

MASSACHUSETTS

Art Institute of Boston at LesleyUniversity

700 Beacon StreetBoston, MA 02215Phone: (617) 585-6600http://www.aiboston.edu

Hampshire College, Department of Art893 West StreetAmherst, MA 01002Phone: (413) 549-4600Fax: (413) 559-5631E-mail: [email protected]://www.hampshire.edu

Massachusetts College of ArtsAvenue of the Arts621 Huntington AvenueBoston, MA 02115Phone: (617) 879-7000Fax: (617) 879-7250http://www.massart.edu

Montserrat College of Art23 Essex StreetP.O. Box 26Beverly, MA 01915

Phone: (978) 921-4242Fax: (978) 921-4241http://www.montserrat.edu

Pine Manor College400 Heath StreetChestnut Hill, MA 02467Phone: (617) 731-7000 or (800) 762-1357Fax: (617) 731-7199http://www.pmc.edu

School of the Museum of FineArts–Boston

230 The FenwayBoston, MA 02115Phone: (617) 267-6100 or (800) 643-6078Fax: (617) 424-6271E-mail: [email protected]://www.smfa.edu

University of Massachusetts–Dartmouth285 Old Westport RoadNorth Dartmouth, MA 02747-2300Phone: (508) 999-8000Fax: (508) 999-8901http://www.umassd.edu

MICHIGAN

College for Creative Studies201 East KirbyDetroit, MI 48202-4034Phone: (313) 664-7400 or

(800) 952-ARTSFax: (313) 872-2739E-mail: [email protected]://www.ccscad.edu

Ferris State University1201 South State StreetBig Rapids, MI 49307Phone: (231) 591-2000 or (800) 4FERRISFax: (231) 591-3944http://www.ferris.edu

Kendall College of Art and Design17 Fountain StreetGrand Rapids, MI 49503-3102Phone: (616) 451-2787 or (800) 676-2787Fax: (616) 831-9689http://www.kcad.edu

Northern Michigan University1401 Presque Isle AvenueMarquette, MI 49855Phone: (800) 682-9797Fax: (906) 227-2276E-mail: [email protected]://www.nmu.edu

Siena Heights University1247 East Siena Heights DriveAdrian, MI 49221Phone: (517) 263-0731http://www.sienahts.edu

University of Michigan–Ann ArborAnn Arbor, MI 48109Phone: (734) 764-1817http://www.umich.edu

Western Michigan University1903 West Michigan AvenueKalamazoo, MI 49008-5201Phone: (269) 387-1000http://www.wmich.edu

MINNESOTA

The Art Institutes InternationalMinnesota

15 South 9th StreetMinneapolis, MN 55402-3137Phone: (612) 332-3361 or (800) 777-

3643E-mail: [email protected]://www.aim.artinstitutes.edu

Brown College1440 Northland DriveMendota Heights, MN 55120Phone: (800) 766-2040http://www.browncollege.edu

College of Visual Arts344 Summit AvenueSt. Paul, MN 55102Phone: (651) 224-3416 or (800) 224-1536Fax: (651) 224-8854E-mail: [email protected]://www.cva.edu

Minneapolis College of Art & Design2501 Stevens Avenue SouthMinneapolis, MN 55404Phone: (612) 874-3760 or (800) 874-6223E-mail: [email protected]://www.mcad.edu

Minnesota State University–Moorhead1104 Seventh Avenue SouthMoorhead, MN 56563Phone: (800) 593-7246http://www.mnstate.edu

Saint Cloud State University720 Fourth Avenue SouthSaint Cloud, MN 56301-4498Phone: (320) 308-0121

APPENDIX II 199

E-mail: [email protected]://www.stcloudstate.edu

MISSISSIPPI

Delta State University1003 West SunflowerCleveland, MS 38732Phone: (662) 846-3000 or

(800) GOTODSUhttp://www.deltastate.edu

Mississippi State UniversityMississippi State, MS 39762Phone: (662) 325-2323http://www.msstate.edu

MISSOURI

Fontbonne University6800 Wydown BoulevardSt. Louis, MO 63108Phone: (314) 862-3456http://www.fontbonne.edu

Kansas City Art Institute4415 Warwick BoulevardKansas City, MO 64111Phone: (816) 474-5224 or (800) 522-5224Fax: (816) 802-3309E-mail: [email protected]://www.kcai.edu

Washington University in Saint LouisOne Brookings DriveSaint Louis, MO 63130-4899Phone: (314) 935-5000E-mail: [email protected]://www.wustl.edu

MONTANA

University of Montana32 Campus DriveMissoula, MT 59812Phone: (406) 243-0211http://www.umt.edu

NEBRASKA

Nebraska Wesleyan University5000 St. Paul AvenueLincoln, NE 68504-2794Phone: (402) 466-2371 or (800) 541-3818E-mail: [email protected]://www.nebrwesleyan.edu

University of Nebraska–LincolnLincoln, NE 68588Phone: (402) 472-7211http://www.unl.edu

NEVADA

Sierra Nevada College999 Tahoe BoulevardIncline Village, NV 89451Phone: (775) 831-1314Fax: (775) 832-1727http://www.sierranevada.edu

University of Nevada–Las Vegas4505 Maryland ParkwayLas Vegas, NV 89154Phone: (702) 895-3011E-mail: undergraduate.recruitment@

ccmail.nevada.eduhttp://www.unlv.edu

NEW HAMPSHIRE

Chester College of New England40 Chester StreetChester, NH 03036Phone: (603) 887-4401 or (800) 974-6372Fax: (603) 887-1777E-mail: [email protected]://www.chestercollege.edu

New Hampshire Institute of Art148 Concord StreetManchester, NH 03104Phone: (603) 623-0313E-mail: [email protected]://www.nhia.edu

Rivier College420 South Main StreetNashua, NH 03060Phone: (603) 888-1311 or

(800) 44-RIVIERE-mail: [email protected]://www.rivier.edu

NEW JERSEY

Kean UniversityMorris AvenueUnion, NJ 07083Phone: (908) 737-KEANE-mail: [email protected]://www.kean.edu

Montclair State University1 Normal AvenueUpper Montclair, NJ 07043Phone: (973) 655-4000E-mail: undergraduate.admissions@

montclair.eduhttp://www.montclair.edu

New Jersey City University2039 Kennedy Memorial BoulevardJersey City, NJ 07305-1597Phone: (201) 200-3241 or

(888) 441-NJCU (toll-free)http://www.njcu.edu

NEW MEXICO

Institute of American Indian Arts83 A Van Nu Po RoadSanta Fe, NM 87508Phone: (505) 424-2300http://www.iaiancad.org

NEW YORK



Briarcliffe College–Patchogue225 West Main StreetPatchogue, NY 11772Phone: (631) 654-5300 or

(866) 235-5207 (toll-free)http://www.bcpat.com

Buffalo State College1300 Elmwood AvenueBuffalo, NY 14222Phone: (716) 878-4000Fax: (716) 878-6697http://www.buffalostate.edu

Cazenovia College22 Sullivan StreetCazenovia, NY 13035Phone: (800) 654-3210http://www.cazenovia.edu

College of Saint Rose432 Western AvenueAlbany, NY 12203Phone: (518) 485-3900 or (800) 637-8556http://www.strose.edu

College of Staten Island2800 Victory BoulevardStaten Island, NY 10314Phone: (718) 982-2000http://www.csi.cuny.edu

The Cooper Union for theAdvancement of Science & Art

30 Cooper SquareNew York, NY 10003


Phone: (212) 353-4120E-mail: [email protected]://www.cooper.edu

Hartwick CollegeOne Hartwick DriveOneonta, NY 13820-4020Phone: (607) 431-4150 or (888)

HARTWICK (toll-free)Fax: (607) 431-4102E-mail: [email protected]://www.hartwick.edu

Hobart and William Smith Colleges629 South Main StreetGeneva, NY 14456Phone: (800) 852-2256E-mail: [email protected]://www.hws.edu

Hofstra UniversityHempstead, NY 11549Phone: (800) HOFSTRAhttp://www.hofstra.edu

Ithaca College953 Danby RoadIthaca, NY 14850Phone: (607) 274-3011Fax: (607) 274-1900E-mail: [email protected]://www.ithaca.edu

Long Island University–C.W. PostCampus

720 Northern BoulevardBrookville, NY 11548Phone: (516) 299-2000Fax: (516) 299-3829E-mail: [email protected]://www.liu.edu

Marist College3399 North RoadPoughkeepsie, NY 12601Phone: (845) 575-3000E-mail: [email protected]://www.marist.edu

Parsons School of Design66 Fifth AvenueNew York, NY 10011Phone: (212) 229-5150 or

(877) 528-332 (toll-free)Fax: (212) 229-8975E-mail: [email protected]://www.parsons.edu

Rochester Institute of TechnologyOne Lomb Memorial DriveRochester, NY 14623-5603

Phone: (585) 475-2411Fax: (585) 475-7279http://www.rit.edu

Sage College of Albany140 New Scotland AvenueAlbany, NY 12208Phone: (518) 445-1778 or

(888) VERY-SAGE (toll-free)http://www.sage.edu/sca

School of Visual Arts209 East 23rd StreetNew York, NY 10010Phone: (212) 592-2000 or (888) 220-

5782 (toll-free)Fax: (212) 725-3587E-mail: [email protected]://www.schoolofvisualarts.edu

State University of New York–NewPaltz

75 South Manheim BoulevardNew Paltz, NY 12561-2443Phone: (845) 257-2121E-mail: [email protected]://www.newpaltz.edu

SUNY Purchase College735 Anderson Hill RoadPurchase, NY 10577Phone: (914) 251-6300E-mail: [email protected]://www.purchase.edu

Syracuse UniversitySyracuse, NY 13244Phone: (315) 443-1870E-mail: [email protected]://www.syr.edu

Tisch School of the Arts, New YorkUniversity

721 BroadwayNew York, NY 10003Phone: (212) 998-1930E-mail: [email protected]://www.tisch.nyu.edu

NORTH CAROLINA

East Carolina UniversityEast Fifth StreetGreenville, NC 27858-4353Phone: (252) 328-6131http://www.ecu.edu

University of NorthCarolina–Charlotte

9201 University City BoulevardCharlotte, NC 28223-0001

Phone: (704) 687-2000http://www.uncc.edu

Western Carolina University242 H.F. Robinson Administration

BuildingCullowhee, NC 28723Phone: (877) WCU4YOUFax: (828) 227-7505E-mail: [email protected]://www.wcu.edu

NORTH DAKOTA

University of North DakotaGrand Forks, ND 58202Phone: (701) 777-2011 or

(800) CALL-UNDE-mail: [email protected]://www.und.edu

OHIO

The Cleveland Institute of Art11141 East BoulevardCleveland, OH 44106-1710Phone: (216) 421-7000 or (800) 223-4700Fax: (216) 421-7438E-mail: [email protected]://www.cia.edu

Columbus College of Art & Design107 North Ninth StreetColumbus, OH 43215Phone: (614) 224-9101 or

(877) 997-CCAD (toll-free)Fax: (614) 222-4040http://www.ccad.edu

Miami University501 East High StreetOxford, OH 45056Phone: (513) 529-1809E-mail: [email protected]://www.miami.muohio.edu

Ohio State University–Columbus154 West 12th AvenueColumbus, OH 43210Phone: (614) 292-3980http://www.osu.edu

Ohio UniversityAthens, OH 45701Phone: (740) 593-1000http://www.ohio.edu

Otterbein CollegeOne Otterbein CollegeWesterville, OH 43081

APPENDIX II 201

Phone: (614) 890-3000 or (800) 488-8144http://www.otterbein.edu

University of Akron277 East Buchtel AvenueAkron, OH 44325-2001Phone: (330) 972-7077 or (800) 655-4884E-mail: [email protected]://www.uakron.edu

University of Cincinnati2600 Clifton AvenueCincinnati, OH 45221-0016Phone: (513) 556-1100http://www.uc.edu

University of Dayton300 College ParkDayton, OH 45469Phone: (937) 229-1000 or (800) 837-7433E-mail: [email protected]://www.udayton.edu

Youngstown State UniversityOne University PlazaYoungstown, OH 44555Phone: (330) 941-2000 or

(877) GO-TO-YSU (toll-free)E-mail: [email protected]://www.ysu.edu

OKLAHOMA

University of Central Oklahoma100 North University DriveEdmond, OK 73034Phone: (405) 974-2000http://www.ucok.edu

OREGON

Marylhurst University17600 Pacific HighwayP.O. Box 261Marylhurst, OR 97036-0261Phone: (503) 636-8141 or (800) 634-9982Fax: (503) 636-9526E-mail: [email protected]://www.marylhurst.edu

Oregon College of Art & Craft8245 Southwest Barnes RoadPortland, OR 97225Phone: (503) 297-5544 or (800) 390-0632E-mail: [email protected]://www.ocac.edu

Pacific Northwest College of Art1241 Northwest Johnson StreetPortland, OR 97209

Phone: (503) 226-4391Fax: (503) 226-3587E-mail: [email protected]://www.pnca.edu

University of Oregon1217 University of OregonEugene, OR 97403-1217Phone: (541) 346-3201 or

(800) BE-A-DUCKhttp://www.uoregon.edu

PENNSYLVANIA

Arcadia University450 South Easton RoadGlenside, PA 19038Phone: (215) 572-2995 or

(877) ARCADIA (toll-free)E-mail: [email protected]://www.arcadia.edu

Cabrini College610 King of Prussia RoadRadnor, PA 19087-3698Phone: (610) 902-8100 or (800) 848-1003http://www.cabrini.edu

Drexel University3141 Chestnut StreetPhiladelphia, PA 19104Phone: 215-895-2400 or

(800) 2-DREXELhttp://www.drexel.edu

Kutztown UniversityP.O. Box 730Kutztown, PA 19530Phone: (610) 683-4000 or (877) 628-

1915 (toll-free)E-mail: [email protected]://www.kutztown.edu

Marywood University2300 Adams AvenueScranton, PA 18509Phone: (570) 348-6211 or TO-

MARYWOOD (toll-free)Fax: (570) 340-6023http://www.marywood.edu

Penn State Altoona3000 Ivyside ParkAltoona, PA 16601Phone: (814) 949-5000 or (800) 848-9843Fax: (814) 949-5564E-mail: [email protected]://www.aa.psu.edu

Pennsylvania College of Art and Design204 North Prince StreetP.O. Box 59Lancaster, PA 17608-0059Phone: (717) 396-7833Fax: (717) 396-1339E-mail: [email protected]://www.pcad.edu

Pennsylvania State University201 Shields BuildingP.O. Box 3000University Park, PA 16804-3000Phone: (814) 865-5471Fax: (814) 863-7590http://www.psu.edu

Temple University1801 North Broad StreetPhiladelphia, PA 19122Phone: (215) 204-7000E-mail: [email protected]://www.temple.edu

The University of the Arts320 South Broad StreetPhiladelphia, PA 19102Phone: (800) 616-ARTShttp://www.uarts.edu

RHODE ISLAND

Rhode Island College600 Mount Pleasant AvenueProvidence, RI 02908-1991Phone: (401) 456-8000E-mail: [email protected]://www.ric.edu

Rhode Island School of DesignTwo College StreetProvidence, RI 02903Phone: (401) 454-6300 or

(800) 364-RISDE-mail: [email protected]://www.risd.edu

SOUTH CAROLINA

Coker College, Department of Art300 East College AvenueHartsville, SC 29550Phone: (843) 383-8000Fax: (843) 383-8056E-mail: [email protected]://www.coker.edu

Winthrop UniversityRock Hill, SC 29733Phone: (803) 323-2211


Fax: (803) 323-2137E-mail: [email protected]://www.winthrop.edu

SOUTH DAKOTA

University of South Dakota414 East Clark StreetVermillion, SD 57069Phone: (605) 677-5637E-mail: [email protected]://www.usd.edu

TENNESSEEAustin Peay State UniversityEllington Building Room 117P.O. Box 4548Clarksville, TN 37044Phone: (931) 221-7661E-mail: [email protected]://www.apsu.edu

Carson-Newman College2130 Branner AvenueJefferson City, TN 37760Phone: (865) 471-2000http://www.cn.edu

East Tennessee State UniversityP.O. Box 70267Johnson City, TN 37614-1700Phone: (423) 439-1000http://www.etsu.edu

Memphis College of Art1930 Poplar AvenueOverton ParkMemphis, TN 38104-2764Phone: (901) 272-5100 or (800) 727-1088http://www.mca.edu

University of MemphisMemphis, TN 38152-3380Phone: (901) 678-2169 or (800) 669-2678E-mail: [email protected]://www.memphis.edu


TEXAS

Baylor UniversityWaco, TX 76798Phone: (800) BAYLOR-Uhttp://www.baylor.edu

Midwestern State University3410 Taft BoulevardWichita Falls, TX 76308Phone: (940) 397-4000Fax: (940) 397-4369E-mail: [email protected]://www.mwsu.edu

Rice University6100 Main StreetHouston, TX 77005Phone: (713) 348-0000Fax: (713) 348-5910http://www.rice.edu

Texas Tech University2500 BroadwayLubbock, TX 79409-2081Phone: (806) 742-2011http://www.ttu.edu

University of Texas at San Antonio6900 North Loop 1604 WestSan Antonio, TX 78249Phone: (210) 458-4011http://www.utsa.edu

UTAH

Brigham Young UniversityProvo, UT 84602Phone: (801) 422-4429Fax: (801) 422-0005E-mail: [email protected]://www.byu.edu

University of Utah201 South Presidents CircleRoom 201Salt Lake City, UT 84112Phone: (801) 581-7200Fax: (801) 585-6171E-mail: [email protected]://www.utah.edu

VERMONT

Bennington CollegeOne College DriveBennington, VT 05201Phone: (802) 442-5401http://www.bennington.edu

VIRGINIA

Longwood University201 High StreetFarmville, VA 23909Phone: (434) 395-2000Fax: (434) 395-2775

E-mail: [email protected]://www.longwood.edu

Lynchburg College1501 Lakeside DriveLynchburg, VA 24501Phone: (434) 544-8100http://www.lynchburg.edu

Old Dominion University108 Alfred B. Rollins Jr. HallNorfolk, VA 23529-0050Phone: (757) 683-3685Fax: (757) 683-5923http://www.odu.edu

Virginia Commonwealth UniversityRichmond, VA 23284Phone: (804) 828-0100E-mail: [email protected]://www.vcu.edu

Virginia Intermont College1013 Moore StreetBristol, VA 24201Phone: (800) 451-1-VIChttp://www.vic.edu

WASHINGTON

Cornish College of the Arts1000 Lenora StreetSeattle, WA 98121Phone: (206) 726-5016 or

(800) 726-ARTSE-mail: [email protected]://www.cornish.edu

Henry Cogswell College3002 Colby AvenueEverett, WA 98201Phone: (425) 258-3351E-mail: [email protected]://www.henrycogswell.edu

Washington State UniversityLighty 370Pullman, WA 99164-1067Phone: (509) 335-5586 or

(888) GO-TO-WSU (toll-free)Fax: (509) 335-7742E-mail: [email protected]://www.wsu.edu

WEST VIRGINIA

Marshall UniversityOne John Marshall DriveHuntington, WV 25755

APPENDIX II 203

Phone: (304) 696-3170 or (800) 642-3463E-mail: [email protected]://www.marshall.edu

WISCONSIN

Cardinal Stritch University6801 North Yates RoadMilwaukee, WI 53217Phone: (414) 410-4040 or (800) 347-8822

E-mail: [email protected]://www.stritch.edu

Carroll College Academy100 North East AvenueWaukesha, WI 53186Phone: (262) 547-1211 or

(800) CARROLLFax: (262) 524-7139http://www.cc.edu

Milwaukee Institute of Art & Design273 East Erie StreetMilwaukee, WI 53202Phone: (414) 291-8070 or

(888) 749-MIAD (toll-free)Fax: (414) 291-8077http://www.miad.edu


ALABAMA

Jacksonville State University700 Pelham Road NorthJacksonville, AL 36265-9982Phone: (800) 231-5291http://www.jsu.edu

CALIFORNIA

Art Center College of Design1700 Lida StreetPasadena, CA 91103-1999Phone: (626) 396-2373Fax: (626) 405-9104http://www.artcenter.edu


801 Alston RoadSanta Barbara, CA 93108Phone: (805) 966-3888 or

(888) 304-3456 (toll-free)http://www.brooks.edu

California Polytechnic State UniversitySan Luis Obispo, CA 93407Phone: (805) 756-111Fax: (805) 756-6321http://www.calpoly.edu

California State University–East Bay25800 Carlos Bee BoulevardHayward, CA 94542Phone: (510) 885-3000E-mail: [email protected]://www.csuhayward.edu


California State University–SanBernardino

5500 University ParkwaySan Bernardino, CA 92407Phone: (909) 880-5000http://www.csusb.edu

Chapman UniversityOne University DriveOrange, CA 92866Phone: (714) 997-6815http://www.chapman.edu

Sonoma State University1801 East Cotati AvenueRohnert Park, CA 94928Phone: (707) 664-2880http://www.sonoma.edu

COLORADOThe Art Institute of Colorado1200 Lincoln StreetDenver, CO 80203Phone: (303) 837-0825 or (800) 275-2420http://www.aic.artinstitutes.edu

University of Colorado–DenverCampus Box 167P.O. Box 173364Denver, CO 80217-3364Phone: 303-556-5600E-mail: [email protected]://www.cudenver.edu

DISTRICT OF COLUMBIACorcoran College of Art and Design500 17th Street NWWashington, DC 20006Phone: (202) 639-1801, ext. 1800http://www.corcoran.edu


FLORIDABarry University11300 Northeast Second AvenueMiami Shores, FL 33161-6695Phone: (305) 899-3100 or (800) 695-2279E-mail: [email protected]://www.barry.edu


GEORGIAAmerican InterContinental University–

Atlanta (Buckhead)3330 Peachtree Road NEBuckhead, GA 30326Phone: (800) 846-1994http://www.aiuniv.edu

American InterContinental University–Atlanta (Dunwoody)

6600 Peachtree-Dunwoody RoadDunwoody, GA 30328Phone: (800) 846-1994http://www.aiuniv.edu

Atlanta College of ArtWoodruff Arts Center1280 Peachtree Street NEAtlanta, GA 30309Phone: (404) 733-5100 or (800) 832-2104E-mail: [email protected]://www.aca.edu

Georgia Southern UniversityP.O. Box 8024Statesboro, GA 30460Phone: (912) 681-5391Fax: (912) 871-1156E-mail: [email protected]://www.georgiasouthern.edu

ILLINOIS


Southern Illinois UniversityCarbondale

Carbondale, IL 62901-4301

APPENDIX III 205

APPENDIX IIIFOUR-YEAR UNDERGRADUATE

COMMERCIAL PHOTOGRAPHY PROGRAMS


Phone: (618) 453-4315http://www.siuc.edu

INDIANABall State University2000 UniversityMuncie, IN 47306Phone: (765) 285-8300 or

(800) 482-4BSUE-mail: [email protected]://www.bsu.edu

Indiana State University200 North Seventh StreetTerre Haute, IN 47809-9989Phone: (800) GO-TO-ISUhttp://www.indstate.edu

Saint Mary’s CollegeNotre Dame, IN 46556-5001Phone: (574) 284-4000E-mail: [email protected]://www.saintmarys.edu

IOWAUniversity of Northern Iowa1227 West 27th StreetCedar Falls, IA 50614Phone: (319) 273-2311E-mail: [email protected]://www.uni.edu

MASSACHUSETTSPine Manor College400 Heath StreetChestnut Hill, MA 02467Phone: (617) 731-7000 or (800) 762-1357Fax: (617) 731-7199http://www.pmc.edu

MICHIGANGrand Valley State University1 Campus DriveAllendale, MI 49401Phone: (616) 331-5000http://www.gvsu.edu

Hope CollegeHolland, MI 49422Phone: (616) 395-7000E-mail: [email protected]://www.hope.edu

MINNESOTA

Brown College1440 Northland DriveMendota Heights, MN 55120

Phone: (800) 766-2040http://www.browncollege.edu

Minnesota State University Moorhead1104 Seventh Avenue SouthMoorhead, MN 56563Phone: (800) 593.7246http://www.mnstate.edu

MONTANAMontana State UniversityBozeman, MT 59717-0368Phone: (406) 994-4501http://www.montana.edu

NEW MEXICOInstitute of American Indian Arts83 A Van Nu Po RoadSanta Fe, NM 87508Phone: (505) 424-2300http://www.iaiancad.org

NEW YORKParsons School of Design66 Fifth AvenueNew York, NY 10011Phone: (212) 229-5150 or

(877) 528-332 (toll-free)Fax: (212) 229-8975E-mail:[email protected]://www.parsons.edu

Rochester Institute of TechnologyOne Lomb Memorial DriveRochester, NY 14623-5603Phone: (585) 475-2411Fax: (585) 475-7279http://www.rit.edu

SUNY Fredonia280 Central AvenueFredonia, NY 14063Phone: (716) 673-3111 or (800) 252-1212Fax: (716) 673-3249http://www.fredonia.edu

University at Buffalo17 Capen HallBuffalo, NY 14260-1660Phone: (716) 645-6878 or

(888) UB-ADMIT (toll-free)E-mail: [email protected]://www.buffalo.edu

NORTH CAROLINA

East Carolina UniversityEast Fifth StreetGreenville, NC 27858-4353

Phone: (252) 328-6131http://www.ecu.edu

North Carolina State UniversityRaleigh, NC 27695Phone: (919) 515-2011http://www.ncsu.edu

OHIO

University of Akron277 East Buchtel AvenueAkron, OH 44325-2001Phone: (330) 972-7077 or (800) 655-4884E-mail: [email protected]://www.uakron.edu

OREGON

Eastern Oregon UniversityOne University BoulevardLa Grand, OR 97850-2899Phone: (541) 962-3672, ext. 23635E-mail: [email protected]://www.eou.edu

PennsylvaniaDrexel University3141 Chestnut StreetPhiladelphia, PA 19104Phone: (215) 895-2400 or


Messiah CollegeOne College AvenueGrantham, PA 17027Phone: (717) 766-2511 or 800-233-4220http://www.messiah.edu


RHODE ISLAND

Rhode Island College600 Mount Pleasant AvenueProvidence, RI 02908-1991Phone: (401) 456-8000E-mail: [email protected]://www.ric.edu

Salve Regina University100 Ochre Point AvenueNewport, RI 02840-4192

Phone: (401) 847-6650http://www.salve.edu

SOUTH CAROLINA

Francis Marion UniversityP.O. Box 100547Florence, SC 29501Phone: (843) 661-1362http://www.fmarion.edu

Furman University3300 Poinsett HighwayGreenville, SC 29613Phone: (864) 294-2000http://www.furman.edu

TENNESSEE

Carson-Newman College2130 Branner Avenue

Jefferson City, TN 37760Phone: (865) 471-2000http://www.cn.edu

Union University1050 Union University DriveJackson, TN 38305Phone: (731) 668-1818E-mail: [email protected]://www.uu.edu

APPENDIX III 207


CALIFORNIA

Art Center College of Design1700 Lida StreetPasadena, CA 91103-1999Phone: (626) 396-2373Fax: (626) 405-9104http://www.artcenter.edu




California College of the Arts1111 Eighth StreetSan Francisco, CA 94107-2247Phone: (415) 703-9500 or

(800) 447-1ARTE-mail: [email protected]://www.cca.edu

California Institute of the Arts24700 McBean ParkwayValencia, CA 91355Phone: (661) 255-1050E-mail: [email protected]://www.calarts.edu

Cogswell College1175 Bordeaux DriveSunnyvale, CA 94089-9772Phone: (408) 541-0100 or (800)

COGSWLLFax: (408) 747-0764E-mail: [email protected]://www.cogswell.edu

Columbia College Hollywood18618 Oxnard StreetTarzana, CA 91356-1411Phone: (818) 345-8414 or (800) 785-0585Fax: (818) 345-9053E-mail: [email protected]://www.columbiacollege.edu

De Anza College21250 Stevens Creek BoulevardCupertino, CA 95014Phone: (408) 864-5678http://www.deanza.fhda.edu

Miami Ad School San Francisco415 Jackson StreetSuite BSan Francisco, CA 94111Phone: (415) 837-0966Fax: (415) 837-0967http://www.miamiadschool.com

New York Film Academy–UniversalStudios Location

Hollywood, CAPhone: (818) 733-2600Fax: (818) 733-4074E-mail: [email protected]://www.nyfa.com

COLORADO

Rocky Mountain College of Art &Design

1600 Pierce StreetLakewood, CO 80214Phone: (800) 888-ARTSE-mail: [email protected]://www.rmcad.edu

FLORIDA

Florida Metropolitan University–Melbourne Campus

2401 North Harbor City BoulevardMelbourne, FL 32935Phone: (321) 253-2929http://www.fmu.edu

Florida Metropolitan University–NorthOrlando Campus

5421 Diplomat CircleOrlando, FL 32810Phone: (407) 628-5870http://www.fmu.edu


Miami International University of Art& Design

1501 Biscayne BoulevardSuite 100Miami, FL 33132-1418Phone: (800) 225-9023Fax: (305) 374-5933http://www.ifac.edu

GEORGIA

Savannah College of Art and DesignP.O. Box 2072Savannah, GA 31402-2072Phone: (912) 525-5100 or

(800) 869-7223Fax: (912) 525-5986E-mail: [email protected]://www.scad.edu

IOWA

Maharishi University of Management

1000 North Fourth StreetFairfield, IA 52557Phone: (800) 369-6480Fax: (641) 472-1179E-mail: [email protected]://mum.edu

KENTUCKY

Kentucky State University400 East Main StreetFrankfort, KY 40601Phone: (502) 597-6000Fax: (502) 597-6409http://www.kysu.edu

APPENDIX IVCINEMATOGRAPHY AND

VIDEOGRAPHY PROGRAMS

MASSACHUSETTS

Emerson College120 Boylston StreetBoston, MA 02116-4624Phone: (617) 824-8500http://www.emerson.edu

Hampshire College893 West StreetAmherst, MA 01002Phone: (413) 559-5471E-mail: [email protected]://www.hampshire.edu

The New England Institute of Art10 Brookline Place WestBrookline, MA 02445Phone: (800) 903-4425Fax: (617) 582-4500http://www.neia.aii.edu

School of the Museum of Fine Arts,Boston

230 The FenwayBoston, MA 02115Phone: (617) 267-6100 or (800) 643-6078Fax: (617) 424-6271E-mail: [email protected]://www.smfa.edu

MICHIGAN

Northern Michigan University1401 Presque Isle AvenueMarquette, MI 49855Phone: (800) 682-9797Fax: (906) 227-2276E-mail: [email protected]://www.nmu.edu

MINNESOTA


MISSOURI

Kansas City Art Institute4415 Warwick BoulevardKansas City, MO 64111Phone: (816) 474-5224 or (800) 522-5224Fax: (816) 802-3309E-mail: [email protected]://www.kcai.edu

NEW JERSEY

Kean UniversityMorris AvenueUnion, NJ 07083Phone: (908) 737-KEANE-mail: [email protected]://www.kean.edu

NEW MEXICO

College of Santa Fe1600 St. Michael’s DriveSanta Fe, NM 87505Phone: (505) 473-6133 or (800) 456-2673Fax: (505) 473-6127E-mail: [email protected]://www.csf.edu

NEW YORK



Columbia University2960 BroadwayNew York, NY 10027-6902Phone: (212) 854-1754http://www.columbia.edu

New York Film Academy–New YorkCity Location

100 East 17th StreetNew York, NY 10003Phone: (212) 674-4300Fax: (212) 477-1414E-mail: [email protected]://www.nyfa.com


School of Visual Arts209 East 23rd StreetNew York, NY 10010Phone: (212) 592-2000 or

(888) 220-5782 (toll-free)Fax: (212) 725-3587E-mail: [email protected]://www.schoolofvisualarts.edu


Tisch School of the Arts, New YorkUniversity

721 BroadwayNew York, NY 10003Phone: (212) 998-1930E-mail: [email protected]://www.tisch.nyu.edu

NORTH CAROLINANorth Carolina School of the Arts1533 South Main StreetWinston-Salem, NC 27127-2188Phone: (336) 770-3399Fax: (336) 770-3370E-mail: [email protected]://www.ncarts.edu

PENNSYLVANIADrexel University3141 Chestnut StreetPhiladelphia, PA 19104Phone: (215) 895-2400 or


Pittsburgh Filmmakers, Inc.477 Melwood AvenuePittsburgh, PA 15213Phone: (412) 681-5449http://www.pghfilmmakers.org

TENNESSEESouthern Adventist UniversitySchool of Visual Art & DesignP.O. Box 370Collegedale, TN 37315Phone: (423) 236-2732 or

(800) SOUTHERNE-mail: [email protected]://art.southern.edu


TEXASRice University6100 Main StreetHouston, TX 77005

APPENDIX IV 209


Phone: (713) 348-0000Fax: (713) 348-5910http://www.rice.edu

University of Texas at Austin1 University StationAustin, TX 78712Phone: (512) 475-7348Fax: (512) 471-7801http://www.utexas.edu

VIRGINIA

Virginia Commonwealth UniversityRichmond, VA 23284Phone: (804) 828-0100

E-mail: [email protected]://www.vcu.edu

WASHINGTON

Cornish College of the Arts1000 Lenora StreetSeattle, WA 98121Phone: (206) 726-5016 or

(800) 726-ARTSE-mail: [email protected]://www.cornish.edu

Henry Cogswell College3002 Colby AvenueEverett, WA 98201

Phone: (425) 258-3351E-mail: [email protected]://www.henrycogswell.edu

ALABAMA

University of AlabamaTuscaloosa, AL 35487-0270Phone: (205) 348-6010E-mail: [email protected]://www.ua.edu

ARIZONA

Arizona State UniversityP.O. Box 870112Tempe, AZ 85287-0112Phone: (480) 965-3468Fax: (480) 965-8338http://www.asu.edu

University of ArizonaTucson, AZ 85721-0002Phone: (520) 621-2211http://www.arizona.edu

CALIFORNIA

Academy of Art University79 New Montgomery StreetSan Francisco, CA 94105Phone: (415) 274-2200 or

(800) 544-ARTSE-mail: [email protected]://www.academyart.edu





California State University–Long Beach1250 Bellflower BoulevardLong Beach, CA 90840-3501Phone: (562) 985-4111http://www.csulb.edu

Otis College of Art and Design9045 Lincoln BoulevardLos Angeles, CA 90045Phone: (310) 665-6800 or (800) 527-OTISFax: (310) 665-6821E-mail: [email protected]://www.otis.edu

San Jose State UniversityOne Washington SquareSan Jose, CA 95192-0089Phone: (408) 924-1000Fax: (408) 924-4326http://www.sjsu.edu

University of California–Los Angeles1147 Murphy Hall, Box 951436Los Angeles, CA 90095-1436Phone: (310) 825-3101Fax: (310) 206-1206E-mail: [email protected]://www.ucla.edu

CONNECTICUT

University of Connecticut875 Coventry RoadStorrs, CT 06269-1099Phone: (860) 486-2000http://www.uconn.edu

University of Hartford200 Bloomfield AvenueWest Hartford, CT 06117Phone: (860) 768-4100http://www.hartford.edu



FLORIDA

Barry University11300 Northeast Second AvenueMiami Shores, FL 33161-6695

Phone: (305) 899-3100 or (800) 695-2279E-mail: [email protected]://www.barry.edu

University of FloridaGainesville, FL 32611Phone: (352) 392-3261http://www.ufl.edu

GEORGIA

Georgia State UniversityP.O. Box 3965Atlanta, GA 30302-3965Phone: (404) 651-2000http://www.gsu.edu

Savannah College of Art and DesignP.O. Box 2072Savannah, GA 31402-2072Phone: (912) 525-5100 or (800) 869-7223Fax: (912) 525-5986E-mail: [email protected]://www.scad.edu

University of GeorgiaAthens, GA 30602-7287Phone: (706) 542-3000E-mail: [email protected]://www.uga.edu

ILLINOISBradley University1501 West Bradley AvenuePeoria, IL 61625Phone: (309) 677-2967E-mail: [email protected]://www.bradley.edu

Governors State University1 University ParkwayUniversity Park, IL 60466-0975Phone: (708) 534-5000E-mail: [email protected]://www.govst.edu


APPENDIX V 211

APPENDIX VGRADUATE PROGRAMS IN PHOTOGRAPHY


Northern Illinois UniversityDeKalb, IL 60115Phone: (815) 753-1000http://www.niu.edu

Southern Illinois University CarbondaleCarbondale, IL 62901-4301Phone: (618) 453-4315http://www.siuc.edu

University of Illinois–ChicagoChicago, IL 60612Phone: (312) 996-7000http://www.uic.edu

University of Illinois at Urbana–Champaign

901 West Illinois StreetUrbana, IL 61801Phone: (217) 333-0302Fax: (217) 333-0035E-mail: [email protected]://www.uiuc.edu

INDIANAIndiana State University200 North Seventh StreetTerre Haute, IN 47809-9989Phone: (800) GO-TO-ISUhttp://www.indstate.edu

Indiana University107 South Indiana AvenueBloomington, IN 47405Phone: (812) 855-4848E-mail: [email protected]://www.indiana.edu

KANSASKansas State UniversityManhattan, KS 66506Phone: (785) 532-6250Fax: (785) 532-6393E-mail: [email protected]://www.ksu.edu

KENTUCKYUniversity of LouisvilleLouisville, KY 40292Phone: (502) 852-5555 or (800) 334-UofLFax: (502) 852-6791http://www.louisville.edu

LOUISIANA

Louisiana State University110 Thomas Boyd HallBaton Rouge, LA 70803

Phone: (225) 578-1175E-mail: [email protected]://www.lsu.edu

Louisiana Tech UniversityP.O. Box 3178Ruston, LA 71272Phone: (318) 257-3036 or (800)

LATECH-1http://www.latech.edu

MARYLAND

Maryland Institute College of Art1300 Mount Royal AvenueBaltimore, MD 21217Phone: (410) 669-9200http://www.mica.edu

MASSACHUSETTS

Massachusetts College of ArtsAvenue of the Arts621 Huntington AvenueBoston, MA 02115Phone: (617) 879-7000Fax: (617) 879-7250http://www.massart.edu

School of the Museum of Fine Arts,Boston

230 The FenwayBoston, MA 02115Phone: (617) 267-6100 or (800) 643-

6078Fax: (617) 424-6271E-mail: [email protected]://www.smfa.edu

University of Massachusetts–Dartmouth

285 Old Westport RoadNorth Dartmouth, MA 02747-2300Phone: (508) 999-8000Fax: (508) 999-8901http://www.umassd.edu

MICHIGAN

Cranbrook Academy of Art39221 Woodward AvenueP.O. Box 801Bloomfield Hills, MI 48303-0801Phone: (248) 645-3301 or (877) GO-

CRANBrook (toll-free)http://www.cranbrook.edu

Kendall College of Art and Design17 Fountain Street

Grand Rapids, Kent, MI 49503-3102Phone: (616) 451-2787 or (800) 676-2787Fax: (616) 831-9689http://www.kcad.edu

University of Michigan–Ann ArborAnn Arbor, MI 48109Phone: (734) 764-1817http://www.umich.edu

Western Michigan University1903 West Michigan AvenueKalamazoo, MI 49008-5201Phone: (269) 387-1000http://www.wmich.edu

MINNESOTA


MISSOURI

Washington University in Saint LouisOne Brookings DriveSaint Louis, MO 63130-4899Phone: (314) 935-5000E-mail: [email protected]://www.wustl.edu

MONTANA

University of Montana32 Campus DriveMissoula, MT 59812Phone: (406) 243-0211http://www.umt.edu

NEBRASKA

University of Nebraska–LincolnLincoln, NE 68588Phone: (402) 472-7211http://www.unl.edu

NEVADA

University of Nevada–Las Vegas4505 Maryland ParkwayLas Vegas, NV 89154Phone: (702) 895-3011E-mail: undergraduate.recruitment@

ccmail.nevada.eduhttp://www.unlv.edu

NEW JERSEY

Montclair State University1 Normal AvenueUpper Montclair, NJ 07043Phone: (973) 655-4000E-mail: undergraduate.admissions@

montclair.eduhttp://www.montclair.edu

New Jersey City University2039 Kennedy Memorial BoulevardJersey City, NJ 07305-1597Phone: (201) 200-3241 or

(888) 441-NJCU (toll-free)http://www.njcu.edu

NEW YORK



Bard CollegeMilton Avery Graduate School of the

ArtsP.O. Box 5000Annandale-on-Hudson, NY 12504-5000Phone: (845) 758-6822Fax: (845) 758-7507E-mail: [email protected]://www.bard.edu

Parsons School of Design66 Fifth AvenueNew York, NY 10011Phone: (212) 229-5150 or

(877) 528-332 (toll-free)Fax: (212) 229-8975E-mail: [email protected]://www.parsons.edu


School of Visual Arts209 East 23rd StreetNew York, NY 10010Phone: (212) 592-2000 or

(888) 220-5782 (toll-free)Fax: (212) 725-3587

E-mail: [email protected]://www.schoolofvisualarts.edu


NORTH CAROLINA

East Carolina UniversityEast Fifth StreetGreenville, NC 27858-4353Phone: (252) 328-6131http://www.ecu.edu

OHIO

Bowling Green State UniversityBowling Green, OH 43403Phone: (419) 372-2531http://www.bgsu.edu

Ohio State University at Columbus154 West 12th AvenueColumbus, OH 43210Phone: (614) 292-3980http://www.osu.edu

Ohio UniversityAthens, OH 45701Phone: (740) 593-1000http://www.ohio.edu

University of Cincinnati2600 Clifton AvenueCincinnati, OH 45221-0016Phone: (513) 556-1100http://www.uc.edu

PENNSYLVANIA

Marywood University2300 Adams AvenueScranton, PA 18509Phone: (570) 348-6211 or TO-

MARYWOOD (toll-free)Fax: (570) 340-6023http://www.marywood.edu


Temple University1801 North Broad StreetPhiladelphia, PA 19122Phone: (215) 204-7000E-mail: [email protected]://www.temple.edu

RHODE ISLAND

Rhode Island School of DesignTwo College StreetProvidence, RI 02903Phone: (401) 454-6300 or

(800) 364-RISDE-mail: [email protected]://www.risd.edu

SOUTH CAROLINA

Clemson UniversityClemson, SC 29634-0001Phone: (864) 656-3311http://www.clemson.edu

TENNESSEE

East Tennessee State UniversityP.O. Box 70267Johnson City, TN 37614-1700Phone: (423) 439-1000http://www.etsu.edu

Memphis College of Art1930 Poplar AvenueOverton ParkMemphis, TN 38104-2764Phone: (901) 272-5100 or (800) 727-1088http://www.mca.edu

University of MemphisMemphis, TN 38152-3380Phone: (901) 678-2169 or (800) 669-2678E-mail: [email protected]://www.memphis.edu

TEXAS

Texas Tech University2500 BroadwayLubbock, TX 79409-2081Phone: (806) 742-2011http://www.ttu.edu

University of Texas–Austin1 University StationAustin, TX 78712Phone: (512) 475-7348Fax: (512) 471-7801http://www.utexas.edu

APPENDIX V 213


University of Texas–San Antonio6900 North Loop 1604 WestSan Antonio, TX 78249Phone: (210) 458-4011http://www.utsa.edu

UTAH

University of Utah201 South Presidents CircleRoom 201Salt Lake City, UT 84112Phone: (801) 581-7200Fax: (801) 585-6171E-mail: [email protected]://www.utah.edu

VERMONT

Bennington CollegeOne College DriveBennington, VT 05201

Phone: (802) 442-5401http://www.bennington.edu

VIRGINIA

James Madison University800 South Main StreetHarrisonburg, VA 22807Phone: (540) 568-6211http://www.jmu.edu

Virginia Commonwealth UniversityRichmond, VA 23284Phone: (804) 828-0100E-mail: [email protected]://www.vcu.edu

WASHINGTON

Central Washington University,Department of Art

400 East University Way

Ellensburg, WA 98926-7564Phone: (509) 963-1111Fax: (509) 963-1918http://www.cwu.edu

Washington State UniversityLighty 370Pullman, WA 99164-1067Phone: (509) 335-5586 or

(888) GO-TO-WSU (toll-free)Fax: (509) 335-7742E-mail: [email protected]://www.wsu.edu

APPENDIX VI 215

Advertising Photographers of America28 East Jackson Building, #10-A855Chicago, IL 60604-2263Phone: (800) 272-6264Fax: (888) 889-7190http://www.apanational.com

American Film Institute2021 North Western AvenueLos Angeles, CA 90027-1657Phone: (323) 856-7600Fax: (323) 467-4578http://afionline.org

American Society of MediaPhotographers, Inc.

150 North Second StreetPhiladelphia, PA 19106Phone: (215) 451-ASMPFax: (215) 451-0880http://www.asmp.org

The American Society of PictureProfessionals

409 South Washington StreetAlexandria, VA 22314Phone: (703) 299-0219Fax: (703) 299-0219http://www.aspp.com

Aperture Foundation547 West 27th Street4th floorNew York, NY 10001E-mail: [email protected]: (212) 505-5555Fax: (212) 598-4015http://www.aperture.org

Blue Earth AllianceP.O. Box 94388Seattle, WA 98124-6688http://www.blueearth.org

The Center for Photography atWoodstock

59 Tinker StreetWoodstock, NY 12498Phone: (845) 679-9957Fax: (845) 679-6337http://www.cpw.org

FiftyCrows5214-F Diamond Heights Boulevard,

#615San Francisco, CA 94131-2118Phone: (415) 647-1100http://www.fiftycrows.org

Graphic Artists Guild90 John StreetSuite 403New York, NY 10038-3202(212) 791-3400http://www.gag.org

Houston Center for Photography1441 West AlabamaHouston, TX 77006-4103Phone: (713) 529-4755Fax: (713) 529-9248http://www.hcponline.org

International Center of Photography1114 Avenue of the AmericasNew York, NY 10036Phone: (212) 857-0001Fax: (212) 857-0090http://www.icp.org

International Freelance PhotographersOrganization

P.O. Box 777Lewisville, NC 27023-0777Phone: (336) 945-9867Fax: (336) 945-3711http://www.aipress.com

International Institute of PhotographicArts

1690 Frontage RoadChula Vista, CA 91911Phone: (866) IAM-FOTOFax: (619) 423-1818http://www.iipa.org

The Light Factory345 North College StreetCharlotte, NC 28202Phone: (704) 333-9755http://www.lightfactory.org

National Press PhotographersAssociation

3200 Croasdaile DriveSuite 306Durham, NC 27705Phone: (919) 383-7246Fax: (919) 383-7261http://www.nppa.org

New York Institute of Photography211 East 43rd StreetSuite 2402New York, NY 10017Phone: (212) 867-8260http://www.nyip.com

North American Nature PhotographyAssociation

10200 West 44th AvenueSuite 304Wheat Ridge, CO 80033-2840Phone: (303) 422-8527Fax: (303) 422-8894http://www.nanpa.org

Photographic Resource Center atBoston University

832 Commonwealth AvenueBoston, MA 02215Phone: (617) 975-0600Fax: (617) 975-0606http://www.prcboston.org;

http://www.bu.edu/prc

Photographic Society of America,Inc.

3000 United Founders BoulevardSuite 103Oklahoma City, OK 73112-3940Phone: (405) 843-1437Fax: (405) 843-1438http://www.psa-photo.org

Professional Photographers ofAmerica, Inc.

229 Peachtree Street NESuite 2200Atlanta, GA 30303Phone: (800) 786-6277http://www.ppa.com

APPENDIX VIASSOCIATIONS AND ORGANIZATIONS


Society for Photographic EducationSPE National Office110 Art BuildingDepartment of ArtMiami UniversityOxford, OH 45056-2486Phone: (513) 529-8328Fax: (513) 529-9301

Student Photographic Society229 Peachtree Street NESuite 2200Atlanta, GA 30303Phone: (866) 886-5325http://www.studentphoto.com

Texas Photographic Society6338 North New BraunfelsSuite 174San Antonio, TX 78209Phone: (210) 824-4123Fax: (210) 822-8910http://www.texasphoto.org

HISTORICAL

The Daguerreian Society3043 West Liberty Avenue

Pittsburgh, PA 15216-2460Phone: (412) 343-5525Fax: (412) 207-9119http://www.daguerre.org

WORKSHOPS

Great American PhotographyWorkshops

902 Broyles AvenueMaryville, TN 37801Phone: (866) 747-GAPWFax: (865) 981-3234http://www.gapweb.com

Pictures of the Year International109 Lee Hills HallColumbia, Missouri 65211Phone: (573) 882-4882Fax: (573) 884-4999http://www.poy.org

Santa Fe WorkshopsP.O. Box 9916Santa Fe, NM 87504-5916Phone: (505) 983-1400Fax: (505) 989-8604http://www.sfworkshop.com

The WorkshopsP.O. Box 2002 Central StreetRockport, ME 04856Phone: (207) 236-8581 or

(877) 577-7700 (toll-free)Fax: (207) 236-2558http://www.theworkshops.com

Youth Outlook Photography WorkshopYO! (Youth Outlook)660 Market StreetRoom 210San Francisco, CA 94104Phone: (415) 438-4755http://www.pacificnews.org/yo

EQUIPMENTMANUFACTURERS,RETAILERS, ANDTECHNICAL SITESCanon U.S.A., Inc.http://www.canonusa.com

Nikon Inc.http://www.nikonusa.com

Olympushttp://www.olympusamerica.com

Kodakhttp://www.kodak.com

B&H Photo-Video-Pro Audiohttp://www.bhphotovideo.com

The Analog Photography Users Grouphttp://www.apug.org

CLUBS AND SOCIETIESRoyal Photographic Societyhttp://www.rps.org

Wellington Photographic Societyhttp://photosoc.wellington.net.nz

New Hampshire Society ofPhotographic Artists

http://www.nhspa.org

Northern California Council ofCamera Clubs

http://www.n4c.org

Twin Cities Area Council of CameraClubs

http://www.cameracouncil.org

The Photographic Federation of LongIsland

http://www.pflionline.org

Nevada Camera Clubhttp://nevadacc.org

New Jersey Federation of Camera Clubshttp://www.njfcc.org

South Bay Camera Clubhttp://www.sbccphoto.org

Palo Alto Camera Clubhttp://www.pacamera.com

Vienna Photographic Societyhttp://www.safeport.com/vps

Greater New Orleans PhotographicSociety

http://www.gnocc.org

Women in Photography Internationalhttp://www.womeninphotography.com

Stock Artists Alliancehttp://www.stockartistsalliance.org

Leica Historical Society of Americahttp://www.lhsa.org

Toscana Photographic Workshophttp://www.tpw.it

The Camera Club of New Yorkhttp://www.cameraclubofnewyork.org

ONLINE PUBLICATIONSPhoto Travelerhttp://phototravel.com

Apogee Photohttp://www.apogeephoto.com

Double Exposurehttp://www.photoworkshop.com/double_

exposure/publish

COLLECTIONS ANDGALLERIESAmerican Museum of Photographyhttp://www.photography-museum.com

New York Public Library PhotographyCollection

http://www.nypl.org/research/chss/spe/art/photo/photo.html

Western History Photoshttp://www.photoswest.org

University of California, Riverside /California Museum of Photography

http://www.cmp.ucr.edu

Smithsonian American Art Museumhttp://americanart.si.edu/art_info/

photoarchives.cfm

National Museum of Photography,Film & Television

http://www.nmsi.ac.uk/nmpft

HISTORICAL FIGURES ANDPHOTOGRAPHIC HISTORY

Henri Cartier-Bresson Foundationhttp://www.henricartierbresson.org

The Robert Mapplethorpe Foundation,Inc.

http://www.mapplethorpe.org

The Ansel Adams Galleryhttp://www.anseladams.com

BoxCameras.comhttp://www.boxcameras.com

Midley History of Photographyhttp://www.midleykent.fsnet.co.uk

The Magic Mirror of Life: AnAppreciation of the Camera Obscura

http://brightbytes.com/cosite/cohome.html

Get the Picture: Thinking aboutPhotographs

http://www.artsmia.org/get-the-picture

Digital Video Professionals Associationhttp://www.dvpa.com

BetterPhotohttp://www.betterphoto.com

PhotographyTipshttp://photographytips.com

WORKSHOPSAlexia Foundation for World Peace, Inc.http://www.alexiafoundation.org

College Photographer of the Yearhttp://www.cpoy.org

Midwest Photographic Workshopshttp://www.mpw.com

APPENDIX VII 217

APPENDIX VIIWEB SITES


American Photo1633 Broadway43rd FloorNew York, NY 10019Phone: (212) 767-6203Fax: (212) 489-4217http://www.americanphotomag.com

Black & White Magazine1789 Lyn RoadArroyo Grande, CA 93420Phone: (805) 967-8161http://www.bandwmag.com

Blind Spot Magazine210 11 AvenueNew York, NY 10001Phone: (212) 633-1317Fax: (212) 627-9364http://www.blindspot.com

Digital Imaging Techniques445 Broad Hollow RoadSuite 21Melville, NY 11747Phone: (631) 845-2700Fax: (631) 845-7109http://www.imaginginfo.com/di

Digital Photographer290 Maple CourtSuite 232Ventura, CA 93003Phone: (805) 644-3824http://www.digiphotomag.com

Imaging Business3 Huntington QuadrangleSuite 301NMelville, NY 11747Phone: (631) 845-2700Fax: (631) 845-7109http://www.imaginginfo.com/pgp

Nature Photographer MagazineP.O. Box 220Lubec, ME 04652Phone: (617) 847-0091http://www.naturephotographermag.com

News Photographer Magazine6677 Whitemarsh Valley WalkAustin, TX 78746-6367Phone: (419) 352-8175http://www.nppa.org/news_and_events/

magazine

Outdoor PhotographerWerner Publishing Corporation12121 Wilshire Boulevard12th floorLos Angeles, CA 90025-1176Phone: (310) 820-1500Fax: (310) 826-5008http://www.outdoorphotographer.com

PCPhoto MagazineWerner Publishing Corporation12121 Wilshire Boulevard12th floorLos Angeles, CA 90025Phone: (310) 820-1500Fax: (310) 826-5008http://www.pcphotomag.com

Photo District News770 Broadway7th floorNew York, NY 10003Phone: (646) 654-5780Fax: (646) 654-5813http://www.pdnonline.com

The Photo Review140 East Richardson AvenueSuite 301Langhorne, PA 19047-2824Phone: (215) 891-0214http://www.photoreview.org

Photo TechniquesPreston Publications6600 West Touhy AvenueNiles, IL 60714Phone: (847) 647-2900Fax: (847) 647-1155http://www.phototechmag.com

Photo Trade News445 Broad Hollow RoadSuite 21Melville, NY 11747Phone: (631) 845-2700Fax: (631) 845-7109http://www.imaginginfo.com/ptn

Photograph AmericaP.O. Box 86Novato, CAPhone: (415) 898-3736http://photographamerica.com

PhotographicP.O. Box 420235Palm Coast, FL 32142-0235Phone: (800) 800-3686E-mail: [email protected]://www.photographic.com

Photoshop User333 Douglas Road EastOldsmar, FL 34677Phone: (813) 433-5006Fax: (813) 433-5015http://www.photoshopuser.com

Picture41 Union Square West, #504New York, NY 10003Phone: (212) 352-2700Fax: (212) 352-2155http://www.picturemagazine.com

Popular Photography & Imaging1633 BroadwayNew York, NY 10019Phone: (212) 767-6000Fax: (212) 767-5602http://www.popphoto.com

Professional Photographer Magazine229 Peachtree Street NESuite 2200International TowerAtlanta, GA 30303Phone: (404) 522-8600http://www.ppmag.com

Shutterbug1419 Chaffee DriveSuite #1Titusville, FL 32780Phone: (321) 269-3212http://www.shutterbug.net

Studio Photography & Design445 Broad Hollow RoadSuite 21Melville, NY 11747Phone: (631) 845-2700Fax: (631) 845-7109http://www.imaginginfo.com/spd

Today’s Photographer MagazineP.O. Box 777Lewisville, NC 27023-0777Phone: (336) 945-9867Fax: (336) 945-3711http://www.aipress.com/tpmag.html

APPENDIX VIIIPERIODICALS

BIBLIOGRAPHY 219

BIBLIOGRAPHY

GENERAL PHOTOGRAPHYAdams, Ansel, and Robert Baker. The Camera. Reprint ed.

New York: Bulfinch Press, 1995.———. The Negative. Reprint ed. New York: Bulfinch

Press, 1995.———. The Print. Reprint ed. New York: Bulfinch Press,

1995.Bervin, Johnson, Robert E. Mayer, and Fred Schmidt.

Opportunities in Photography Careers. Chicago: VGMCareer Horizons, 1999.

Frost, Lee. The A–Z of Creative Photography: Over 70Techniques Explained in Full. New York: Watson-GuptillPublications, 1998.

Graphic Artists Guild. Graphic Artists Guild Handbook ofPricing and Ethical Guidelines. 11th ed. New York:Graphic Artists Guild, 2003.

Grimm, Tom, and Michele. The Basic Book of Photography.5th ed. New York: Plume, 2003.

Horenstein, Henry. Black and White Photography: A BasicManual. 3d. edition, rev. New York: Little, Brown andCompany, 2004.

Horenstein, Henry, and Russell Hart. Photography. Rev. ed.Upper Saddle River, N.J.: Prentice Hall, 2003.

Horenstein, Henry. Beyond Basic Photography: A TechnicalManual. New York: Little, Brown and Company, 1977.

Langford, Michael. Basic Photography. 7th ed. Burlington,Mass.: Focal Press, 2000.

London, Barbara, and John Upton. Photography. 7th ed.Upper Saddle River, N.J.: Prentice Hall, 2001.

McLean, Cheryl. Careers for Shutter Bugs & Other CandidTypes. New York: McGraw-Hill, 2003.

Oberrecht, Ken. How to Start a Home-Based PhotographyBusiness. 5th ed. Guilford, Conn.: Globe Pequot, 2005.

Peterson, Bryan. Learning to See Creatively: Design, Color& Composition in Photography. Revised Edition. NewYork: Amphoto Books, 2003.

Peterson, Bryan. Understanding Exposure: How to ShootGreat Photographs with a Film or Digital Camera.Revised Edition. New York: Amphoto Books, 2004.

Piscopo, Maria. The Photographer’s Guide to Marketing &Self-Promotion. New York: Allworth Press, 2001.

Poehler, Donna. 2006 Photographer’s Market. Cincinnati,Ohio: Writer’s Digest Books, 2005.

Heron, Michael, and David MacTavish. Pricing Photogra-phy: The Complete Guide to Assignment & Stock Prices.3rd ed. New York: Watson-Guptill Publications, 2002.

Zimberoff, Tom. Photography: Focus on Profit. New York:Watson-Guptill Publications, 2002.

BUSINESS AND INDUSTRIALPHOTOGRAPHYHawkes, Jason, and Adele McConnel. Aerial: The Art of

Photography from the Sky. East Sussex, U.K.: RotoVi-sion, 2003.

Roth, Eric. Interior Photography: Lighting and Other Pro-fessional Techniques with Style. New York: AmphotoBooks, 2004.

Shulman, Julius. Photographing Architecture and Interiors.New York: Princeton Architectural Press, 2000.

CINEMATOGRAPHY AND VIDEOGRAPHYAlton, John. Painting with Light. Berkeley, Calif.: Univer-

sity of California Press, 1995.Brown, Blain. Cinematography: Image Making for Cine-

matographers, Directors, and Videographers. Burlington,Mass.: Focal Press, 2002.

Mascelli, Joseph V. The Five C’s of Cinematography:Motion Picture Filming Techniques. Los Angeles: Sil-man-James Press, 1998.

Rogers, Pauline B. Contemporary Cinematographers onTheir Art. Burlington, Mass.: Focal Press, 1998.

Samuelson, David. Hands-on Manual for Cinematogra-phers. 2d. ed. Burlington, Mass.: Focal Press, 1998.

COMMERCIAL PHOTOGRAPHY,ADVERTISING, AND PUBLICITYEngh, Rohn. Sell & Resell Your Photos: Learn How to Sell

Your Pictures Worldwide. 5th ed. Cincinnati, Ohio:Writer’s Digest Books, 2003.

———. SellPhotos.Com: Your Guide to Establishing a Suc-cessful Stock Photography Business on the Internet.Cincinnati, Ohio: Writer’s Digest Books, 2000.

Heron, Michael. How to Shoot Stock Photos That Sell. 3ded. New York: Allworth Press, 2001.

Jacobs, Lou. The Big Picture: The Professional Photogra-pher’s Guide to Rights, Rates & Negotiation. Cincinnati,Ohio: Writer’s Digest Books, 2000.

Weisgrau, Richard. Real Business of Photography. NewYork: Allworth Press, 2004.

Zuckerman, Jim. Shooting & Selling Your Photos: The Com-plete Guide to Making Money With Your Photography.Cincinnati, Ohio: Writer’s Digest Books, 2003.

EVENT AND TRAVEL PHOTOGRAPHYArndt, David Neil. How to Shoot and Sell Sports Photogra-

phy. Buffalo, N.Y.: Amherst Media, 1999.


Cantrell, Bambi, and Skip Cohen. The Art of Wedding Pho-tography: Professional Techniques with Style. New York:Watson-Guptill Publications, 2000.

Gero, Paul. Digital Wedding Photography. Muska & Lipp-man, 2004.

McCartney, Susan. Travel Photography: A Complete Guideto How to Shoot and Sell. 2d ed. New York: AllworthPress, 1999.

FINE ARTS AND EDUCATIONEditors of Phaidon Press. The Photo Book. Boston: Phaidon

Press, 1997.Hope, Terry. Fine Art Photography: Creating Beautiful

Images for Sale and Display. East Sussex, U.K.: RotoVi-sion, 2003.

Long, Ben. Complete Digital Photography. 3rd ed. Hing-ham, Mass.: Charles River Media, 2004.

Peterson, Bryan. Understanding Digital Photography:Techniques For Getting Great Pictures. New York:Amphoto Books, 2005.

MEDICAL AND SCIENTIFIC PHOTOGRAPHYHowell, Carol, and Warren Blanc. A Practical Guide to

Archaeological Photography. Los Angeles: UCLA Insti-tute of Archaeology, 1995.

Ray, Sidney F. Scientific Photography and Applied Imaging.Burlington, Mass.: Focal Press, 1999.

Stack, Lawrence B. Handbook of Medical Photography.Philadelphia: Hanley & Belfus, 2001.

NEWS MEDIA AND ENTERTAINMENTPHOTOGRAPHYAmerican Society of Media Photographers. ASMP Profes-

sional Business Practices in Photography. 6th ed. NewYork: Watson-Guptill Publications, 2001.

Evans, Duncan. A Comprehensive Guide to Digital Glam-our Photography. Lausanne, Switzerland: AVA Publish-ing, 2005.

Gray, Jon. Complete Guide to Beauty & Glamour Photogra-phy. Devon, U.K.: David & Charles Publishers, 2003.

Horton, Brian. Associated Press Guide to Photojournalism.2d. ed. New York: McGraw-Hill, 2000.

Kobre, Kenneth. Photojournalism: The Professional’sApproach. 5th ed. Burlington, Mass.: Focal Press, 2004.

Sedge, Michael. The Photojournalist’s Guide to MakingMoney. New York: Allworth Press, 2000.

PHOTOGRAPHY BUSINESS AND RELATEDJOBSCrawford, Tad. Business and Legal Forms for Photogra-

phers. 3d. edition. New York: Watson-Guptill Publica-tions, 2002.

Orenstein, Vik. Photographer’s Market Guide to BuildingYour Photography Business. Cincinnati, Ohio: Writer’sDigest Books, 2004.

PORTRAIT PHOTOGRAPHYBuselle, Michael. Better Picture Guide to Photographing

People. East Sussex, U.K.: RotoVision, 1999.Cleghorn, Mark. Portrait Photography: Secrets of Posing &

Lighting. Asheville, N.C.: Lark Books, 2004.Lilley, Edward R. The Business of Studio Photography:

How to Start and Run a Successful Photography Studio.New York: Allworth Press, 2002.

Muska, Debra H. Professional Techniques for Pet andAnimal Photography. Buffalo, N.Y.: Amherst Media,2003.

Sholin, Marilyn. Studio Portrait Photography of Childrenand Babies. Buffalo, N.Y.: Amherst Media, 2002.

INDEX

Boldface page numbers denote mainentries

Aaccountant 55, 59, 119, 146, 180Adams, Ansel 80Adbase (online mailing list) 10add-on (term) 164Adobe Illustrator (computer software

program) 11, 14, 18, 40, 42–43, 46, 59,61, 67, 76–77, 80, 96, 100, 118–119,139–140, 154, 160, 180–181, 183,185–186

Adobe iPhoto (computer softwareprogram) 140

Adobe Photoshop (computer softwareprogram) 3, 9, 11, 14, 17–18, 40,42–43, 46, 52, 54–55, 59, 61, 64,67–68, 76–77, 80, 96–97, 99–100, 116,118–119, 125, 129, 139–140, 154–155,160, 180–181, 183–187, 190

advertising and public relations industryemployment statistics ix–xindustry overview ixphotographic employment outlook x

advertising photographer 36–38, 40–42Advertising Photographers of America 7,

15, 18, 37, 40, 44, 52, 56, 64, 70, 77,116, 119, 150, 155, 159, 171, 177, 188

aerial photographer 2–4airbrush artist 170airplane pilot 3Alexander Communications Group

(publisher) 159American Association for the

Advancement of Science 109–110American Association of Cat Enthusiasts

185American Association of Museums 83,

86–87, 153American Association of University

Professors 92American Cinematographer (publication)

28American Dog Owners Association 185American Institute of Architects 15American Institute of Graphic Artists

156, 171American Littoral Society 104American Museum of National History

(New York City) 83

American Photo (publication) 44, 161,173

American Photojournalist (Web sitegroup) 113, 128

American Press Institute 113, 128American Red Cross 52, 106American Showcase (publication) 80,

149–150American Society of Cinematographers

28American Society of Interior Designers

15American Society of Media

Photographers, Inc. (ASMP) 7, 15, 37,40, 44, 47, 52, 56, 68, 81, 104, 113,116, 119, 122, 125, 128, 130, 140, 144,150, 155, 159, 170, 177, 181, 188

American Society of PictureProfessionals 144

angiogram 105–106angiography 106animal photographer 184–185Anthropologie (store chain) 14Aperture (publication) 128Apocalypse Now (film) 28Archaeological Institute of America 97,

104archaeological photographer 96–98Architectural Digest (publication) 16architectural photographer 5–7, 14–16Architecture Week (publication) 16Army Corps of Engineers 3Art Dealers Association of America 146art director 36–37, 42, 48, 118–120, 139,

142, 148–149ASMP. See American Society of Media

PhotographersThe Assignment with Iann Robinson:

Paparazzi (TV show) 125assistant advertising photographer 36–37assistant banquet photographer 58assistant camera operator 27assistant commercial photographer 44assistant documentary photographer 113assistant entertainment photographer 115assistant fashion photographer 118assistant food photographer 45, 46assistant industrial photographer 9assistant magazine photographer

121–122assistant photo editor 140

assistant photographer 15–16, 36, 39–41,69

assistant photo researcher 142assistant photo stylist 49assistant portrait photographer 186–187assistant safari photographer 67–68assistant travel photographer 70assistant wedding photographer 72–74Associated Press (news wire service)

132, 134, 176Association for Technical

Communication 161Association of Archaeological Illustrators

and Surveyors 97Association of Graphic Artists 156Association of International Photography

Art Dealers 56, 80Association of Medical Illustrators 101Association of Professional Color

Imagers 170Association of Stylists and Coordinators

50Association of Women Industrial

Designers 137–138athletics photographer 132–134automatic mounter 170automatic print developers 169–170

Bbaby and child photographer 180–181,

186Backstage Magazine (publication) 117,

183Ball State University. See Radio-TV

News Directors Association andFoundation (RTNDA)/Ball StateUniversity

banquet photographer 58–60Barnes, George 28Best Buy (store chain) 168, 172–173BioCommunications Association 101biomedical photographer 99–101,

105–107BioScience (publication) 103The Black Book (publication) 149–150Black Book (Web site) 38BLS. See Bureau of Labor Statistics.The Blue Book of Building and

Construction (publication) 10bookkeeper 55, 59, 119, 146, 180boudoir photographer 182–183, 186

Bourke-White, Margaret 128bridal photographer 72–74broadcasting industry

employment statistics xiindustry overview xiphotographic employment outlook xi

Brooks Institute of Photography 37building photographer 5–7Bureau of Labor Statistics. See U.S.

Department of Labor–Bureau of LaborStatistics

Bureau of Land Management 3burning (term) 89business photographer 11–13

CCAD. See computer-aided design

softwareCAID. See computer-aided industrial

design softwarecamcorder 28, 108camera designer 136–138camera engineer 136–138cameraman 29–31camera operator 26–27cameraperson 29–31cameras, types

digital ix, xi, 3, 6, 11–12, 18, 28, 40,61, 76–77, 91, 118, 130, 160, 164,172

EEG Photo 360° Pack First (digital)18

electronic news-gathering 52HDTV ximicrographic 108motion picture (movie) 52, 108Polaroid 43, 187single-lens reflex (SLR) 9116-millimeter 28, 108steadicam 30still 5235-millimeter video camcorder 108underwater 97, 102–104video xi, 32–33, 100

camera store owner 77camera technician 163–165Canon (organization) 136cardiopulmonary resuscitation (CPR)

certificate 105–106CareerBuilder (job Web site) 159Carnival (luxury vessel cruise line) 61Carpenter, Russell 28cartographer 3casting photo stylist 36, 49cat photographer 184–185CD-R (Compact Disc-Recordable) disc

176CD-ROM (Compact Disc-Read Only

Memory) disc x

Celebrity (luxury vessel cruise line) 61celebrity photographer 124–125Child Labor Act of 1916 127Children’s photographer 180–181Chrysler Building (New York City) 55Cinefex (publication) 28cinematographer 26–28Circuit City (store chain) 168, 172–173clapper loader 29clinical ophthalmic assistant (COA)

105–106clinical ophthalmic medical technologist

(COMT) 105–106clinical ophthalmic technician (COT)

105–106Close Encounters of the Third Kind (film)

28clustering newspapers (term) xCOA. See clinical ophthalmic assistantcollage (term) 54color-print operator 170commercial photographer ix, 8, 14–16,

36–38, 42–44, 45, 54–56, 77, 82–84,119, 145, 170, 175–176, 186–190

Communication Workers of America(union) 134

CompUSA (store chain) 173computer-aided design software (CAD)

136–137computer-aided industrial design software

(CAID) 137computer consultant 77, 160COMT. See clinical ophthalmic medical

technologistCondé Nast Traveler (publication) 68construction manager 6construction photographer 5–7convention photographer 58–60Corbis (stock photo and image agency)

55, 176–177COT. See clinical ophthalmic technicianCPR. See cardiopulmonary resuscitationCraigslist (job Web site) 156crane operator (television) 30creative director 118, 120, 142Creative Eye (photo and image stock

agency) 56crime scene photographer 22–24Cruise Job Line (job Web site) 62cruise photographer 61–62Cruise Placement (job Web site) 62Culinary Institute of America 47culinary photographer 45–47

DDaily Variety (newspaper) 28darkroom technician 169–171designboom (e-zine) 16Design Diffusion (publication) 138

Diana, princess of Wales 125The Diary of Anne Frank (film) 28digital camera, digital photography, and

photographic design software ix, xi,xiv, 3, 6, 11–12, 14–15, 17–18, 28, 37,40, 43, 46, 55, 58, 61, 67, 69, 72,76–78, 89, 91, 109, 118, 124–127,129–130, 132–133, 155, 160, 164,169–170, 172, 176, 182–184, 186–187,189

digital imaging technician 170The Digital Journalist (publication) 128Digital Photographer (publication) 185digital photographic design software

consultant 190digital photography consultant 76–78,

160, 190digital photography trainer 76–78Digital Photo Pro (publication) 44, 173Digital Pro Photographer (publication)

185digital television (DTV) xidirector of photography 26–29Discover (publication) 108Disneyland (theme amusement park) 62documentary photographer 112–114,

126–128dodging (term) 89dog photographer 184–185DOL. See U.S. Department of Labor

(DOL)–Bureau of Labor Statistics(BLS)

DTV. See digital television

Eeditorial photographer 121–123Editorial Photographers 140EEG Photo 360° Pack First (digital

camera) 18electronic news-gathering camera 52electronic news gathering operator 30electronics sales associate 172–174EntertainmentCareers (job Web site)

117entertainment photographer 115–117Entertainment Weekly (publication) 125environment photographer 79–81equine photographer 184–185Escape Artist (Web site) 65ESPN (publication) 132event photographer 118, 124, 129Evidence Photographers International

Council, Inc. 23–24Excel (computer software program) 86,

151–152, 158exhibition designer (museum) 82external eye photography 106EyeLiner Focusion Device 184eye videography 106


FFAA. See Federal Aviation

AdministrationFAQ (Frequently Asked Questions) (term)

141, 161, 177fashion photographer 118–120, 139, 183fashion stylist 43, 48FBI. See Federal Bureau of Investigation FCC. See Federal Communications

CommissionFederal Aviation Administration (FAA)

2–3Federal Bureau of Investigation (FBI) 22Federal Communications Commission

(FCC) xiFederal Emergency Management Agency

3Fellini, Federico 124file transfer protocol (FTP) 130file transfer protocol (FTP) server 176film developer 169–170film director 26film-processing utility worker 170fine arts photographer 54–56, 79–81,

145fire department photographer 22–24Fire Fighting Careers (Web site) 24fluorescein angiography 105–107focus puller 29food photographer 45–47food stand-in (term) 46food stylist 45forensic photographer 22–24Forest Service 3The Foundation Center 153Frame (publication) 16Frequently Asked Questions. See FAQFriendly’s (restaurant chain) 45FTP. See file transfer protocolfundus photography 105–107

GGalilei, Galileo 110Gannett (media organization) x, 131Gates, Bill 176Getty Images (stock photo and image

agency) 55, 143, 176glamour photographer 115–117,

182–183Glassman, Arnold 28Global Traveller (publication) 68Google (Internet search engine) 59, 64,

68, 107, 120, 183, 188Graphic Artists Guild 56, 81, 149, 155,

177graphic designer 42–43, 46, 55, 59, 146,

175Grey Global (advertising agency) ixgrip 29

Guide to Agreements, Sales Rep’s Advisor(newsletter) 159

gyro-stabilizing device 3

Hhair and makeup photo stylist 49hair stylist 36, 115, 118Hanashiro, Robert 134Handbook of Pricing and Ethical

Guidelines (book) 56, 81, 149, 155,177

hand mounter 170Harper’s Bazaar (publication) 118HDTV. See high-definition televisionheadshot (term) 187Health and Science Communications

Association 101HealthCareerWeb (job Web site) 107HealthJobsUSA (job Web site) 107Hearst Corporation (media organization)

xhero dish (term) 46high-definition television (HDTV) xiHilton hotels 14Hine, Lewis W. 127Holland America (luxury vessel cruise

line) 61Hollywood Reporter (newspaper) 28Home (publication) 14, 16HotJobs (job Web site). See Yahoo!

HotJobs (job Web site)House Beautiful (publication) 14Hyatt hotels 14

IIATSE. See International Alliance of

Theatrical Stage Employees, Moving-Picture Technicians, Artists & AlliedCrafts of the United States, ItsTerritories and Canada

IDFuel (Weblog) 138ID Magazine (publication) 138IDSA. See Industrial Designers Society of

AmericaIKEA (store chain) 14imaging specialist 154–156indocyanine-green angiography 106industrial designer 136–138Industrial Designers Society of America

(IDSA) 137–138Industrial Equipment News (publication)

138industrial photographer 8–10InfoTrends Library (Web site) 77infrared photography 108Institute of Museum and Library Science

83In Style (publication) 119insurance and legal photographer 11–13

interior design photographer 14–16, 55Interiors and Sources (publication) 16International Alliance of Theatrical Stage

Employees, Moving-PictureTechnicians, Artists & Allied Crafts ofthe United States, Its Territories andCanada (IATSE) 27–28, 30

International Association of DocumentaryPhotographers 113

International Cinematographers Guild 28International Council of Societies of

Industrial Design 137International Fire Photographers

Association 23International Industrial Photographers

Association 9

JJCAHPO. See Joint Commission on

Allied Health Personnel inOphthalmology

Jobs Abroad (job Web site) 65Joint Commission on Allied Health

Personnel in Ophthalmology(JCAHPO) 106

JournalismJobs (job Web site) 114, 128,131

Journal of Ophthalmic Photography(publication) 107

JustClosers (job Web site) 159J. Walter Thompson (advertising agency)

ix

KKalahari Desert (Africa) 68Kaminski, Janusz 28Klett, Mark 80Knight Ridder (media organization) 131

Llandscape photographer 79–81legal photographer. See insurance and

legal photographerLesnie, Andrew 28Levitz (store chain) 14Library of Congress 176Life (publication) 112, 128lifestyle photographer 14–16, 118–120,

186–188lighting cameraman 29Link, O. Winston 80The Lord of the Rings: The Fellowship of

the Ring (film) 28Lyra Research, Inc. (company) 77

MMacy’s (store chain) 14Mademoiselle (publication) 118magazine editor 120, 126, 128, 132

INDEX 223

magazine photographer 42–44, 121–123,126, 190

makeup artist 36–37, 43, 48, 69, 118makeup stylist 48, 115, 186Manufacturers’Agents National

Association 159manufacturer’s representative 157–159Mapplethorpe, Robert 80marine photographer 102–104master developer 169McCarthy, Todd 28McDonald’s (restaurant chain) 45Mediabistro (job Web site) 114, 128Media General (media organization) 131Media Image Resource Alliance (photo

and image stock agency) 56medical photographer 99–101, 108–110Mellor, William C. 28Metropolis (publication) 16Metropolitan Transportation Authority

(New York City) 51micrography 108–109Microsoft (company) 176Microsoft Office (computer software

program) 100Microsoft Word (computer software

program) 86, 151–152, 158military photographer 22Mississippi Hospital Association 106model 37, 55, 69, 118Monster (job Web site) 78, 107, 114,

117, 128, 156, 159, 168, 171, 174, 188montage (term) 54Moonrise, Hernandez (photograph) 80motion picture (movie) camera 52, 108MSN Encarta (online encyclopedia) 110museum curator 82museum education director 85MuseumEmployment (job Web site) 144MuseumJobs (job Web site) 144museum photographer 80, 82–84Muybridge, Eadweard 109

NNABET-CWA. See National Association

of Broadcast Employees &Technicians—CommunicationsWorkers of America

NASA. See National Aeronautics andSpace Administration

National Aeronautics and SpaceAdministration (NASA) 22

National Archives 86, 176National Association of Broadcast

Employees & Technicians—Communications Workers of America(NABET-CWA) 30

National Association of Photo EquipmentTechnicians 164–165

National Association of Schools of Artand Design 47, 89

National Conference of State MuseumAssociations 83

National Council for Accreditation ofTeacher Education 90

National Education Association 93National Endowment for the Arts 15National Geographic (publication) 68,

103National Imagery and Mapping Agency

3National Museum of Photography, Film

& Television (United Kingdom) 83National Oceanic and Atmospheric

Administration 3National Photography Instructors

Association 93National Press Photographers Association

24, 33, 52, 56, 113, 122, 125, 128,130–131, 134, 140, 144

National Railway Museum (UnitedKingdom) 83

National Retail Federation 167National Society of Association

Executives 153National Writers Union 161nature photographer 54–56news camera operator 30newspaper editor 126, 128, 132Newspaper Guild (union) 128newspaper photographer 126news photographer 112–114, 126–129Newsweek (publication) 112Newton, Isaac 110New York Film Academy 27The New York Public Library 176New York Times (media organization)

131, 176The New York Times (newspaper) 78,

112, 114, 132The New York Times on the Web 114,

128, 138, 144, 156, 168, 171New York University 27Nikon (organization) 137Nikon Professional Services 104

OOccident (horse) 109Occupational Outlook Handbook

(publication of the U.S. Department ofLabor–Bureau of Labor Statistics) ix,xiii, 3, 9, 15, 18, 23, 27, 30, 37, 40, 43,64, 86, 89, 92, 97, 100, 103, 113, 116,122, 127, 137, 140, 143, 146, 149, 152,161, 164, 181, 183, 187, 190

oceanographic photographer 102–104off-figure photo stylist 49Oglivy & Mather (advertising agency) ix

OMD (Optimum Media Direction)Worldwide (advertising agency) ix

on-figure photo stylist 49ophthalmic diagnostic photography 106ophthalmic medical technologist 106ophthalmic photographer 105–107ophthalmic photographer/angiographer

105–107Ophthalmic Photographers’ Society, Inc.

107ophthalmic photographer/technician

105–107The OPS Newsletter (publication) 107optical coherence tomography 105, 106Outdoor Life (publication) 68, 103Outdoor Photographer (publication)

161

PPAPA. See Professional Aerial

Photographers Associationpaparazzi. See paparazzopaparazzo 124–125paper-process technician 170PayScale (salaries Web site) 127PCPhoto Magazine (publication) 161PDA (personal digital assistant) 172People (publication) 51, 125personal digital assistant. See PDApersonal injury photographer 11–13PETCO (store chain) 185Petersen’s Photographic (publication)

173pet photographer 184–185photo and image stock agency. See stock

photo and image agencyphoto assembler 170photo checker 170Photo District News (publication) 44,

165, 177photo editor 139–141, 190photo gallery manager 145–147photogrammetrist 3photographer’s agent 148–150photographer’s assistant 39–41photographer’s representative 148–150photograph finisher 170photographic administrator 151–153photographic automatic developer 170photographic colorist 170photographic cutter 170photographic director 126, 129photographic equipment salesperson

157–159photographic equipment technician

163–165photographic hand mounter 170photographic inspector 170photographic laboratory worker 169–171


photographic lights and lightingequipment 37, 39

photographic print controller 170photographic processes

ambrotype 79calotype 79cyanotype 79daguerreotype 79ferrotype 79photo gravure 79

photographic process worker 169–171photographic retoucher 154–156, 160, 170photographic sales representative

157–159photographic splicer 170photographic spotter 170photographic technical writer 160–162photographic washer 170photography administrator (museum)

85–87photography curator, museum 85–87photography director (museum) 85–87photography director (television) 29photography industry

amateur competition for professionalphotographers ix

effect of the Internet ix–xijob outlook ix–xitechnological advances ix

photography instructor 88–90, 91–93photography lecturer 91–93photography manager 151–153photography professor 91–93photography project manager 6photography sales manager 166–168photography store manager 166–168photography teacher 76, 88–90photography teacher (higher education)

91–93photography writer 160–162photojournalist xi, 54–56, 69–71, 79–81,

112–114, 121–123, 126–128, 190Photo Marketing Association

International 56, 77, 146, 153, 167,177, 183

photo researcher 142–144photo stylist 48–50Polaroid camera 187Polaroid shots 43PoliceCareer.com (Web site) 24police photographer 22–24Popular Photography (publication) 165portrait photographer ix, 42–44, 79–81,

115–118, 124, 180–183, 186–188,189–190

PowerPoint (computer software program)77, 99–100

Poynter Online (Web site) 128press photographer 112–114, 129–131

print controller 170private investigator 20–21product and software tester 77product specialist 172–174Professional Aerial Photographers

Association (PAPA) 3Professional Association of Diving

Instructors 103–104The Professional Photographer(publication) 18, 73, 173, 183, 185Professional Photographers of America,

Inc. 7, 9, 12, 15, 18, 21, 24, 33, 37, 40,44, 47, 52, 56, 59, 62, 64, 68, 70, 73,77, 80, 83, 86, 90, 93, 101, 104, 107,109, 116, 119, 122, 125, 130, 134, 136,140, 144, 150, 153, 155, 159, 167,170–171, 173, 177, 181, 183, 185, 188,190

projection printer (equipment) 169public affairs photographer 51–53publication picture editor 118publicity photographer 51–53public relations photographer 51–53Public Relations Society of America 52publishing industry

employment statistics xindustry overview xphotographic employment outlook

x–xi

Qquality-control manager 6QuarkXPress (computer software

program) 154

RRadio-Television News Directors

Association and Foundation(RTNDA)/Ball State University 127

Radnitsky, Emmanuel. See Ray, ManRay, Man 80real estate photographer 17–19Real Videographers (Web site) 33Rebecca (film) 28RepLocate (job Web site) 159resort photographer 63–65retail sales associate, photography

172–174retinal angiographer 105–107RetouchPRO (Web site) 156Reuters (online news outlet) 132, 176Riis, Jacob 127Robinson, Iann 125Rochester Institute of Technology—

School of Photographic Arts andSciences 37

Roosevelt, Theodore 127Royal Caribbean (luxury vessel cruise

line) 61

RTNDA. See Radio-Television NewsDirectors Association and Foundation

SSafari Bill (Web site) 68safari photographer 66–68safety manager 6, 8–9Salary.com (salaries Web site) 140, 187Sales Agency (publication) 159Sales Rep’s Strategies (newsletter) 159Sales Vault (job Web site) 159Samuels, Stuart 28Schindler’s List (film) 28School of Visual Arts (New York City) 27school photographer 189–190Science (publication) 108Science and Society Picture Library

(United Kingdom) (SSPL) 83Science Museum (United Kingdom) 83Scientific American (publication) 108scientific photographer 108–110set builder 37set stylist 45, 118shot list 29–30single-lens reflex (SLR) camera 9116-millimeter camera 28slit-lamp photography 106SLR. See single-lens reflex cameraSmith, W. Eugene 127–128Smithsonian Institution (Washington,

D.C.) 83Society for Photographic Education 86,

90, 93Society for Technical Communication 161Society of Photographers and Artists

Representatives 149–150Society of Photo-Technologists

International 164Society of Teachers in Education of

Professional Photography 93soft-goods photo stylist 49Sports Illustrated (publication) 132sports photographer 129, 132–134, 139,

190Sports Shooter (online newsletter) 134SSPL. See Science and Society Picture

Library (United Kingdom)Stanford, Leland 109Staples (store chain) 173steadicam (mobile camera) 30still camera 52still life photographer 45stock image photographer 54–56stock photo agency owner/manager

175–177stock photo and image agencies 55–56,

139–140, 142, 175–177Stockphoto Network (stock photo and

image agency) 56, 177

INDEX 225

Storaro, Vittorio 28stringer 130studio photographer 42–44, 80style consultant (photography) 48–50surveillance photographer 20–21surveying technician 3surveyor 3

Ttabletop photo stylist 49tabloid photographer 124–125team photographer 132–134tear sheets (term) 119–120television camera operator 29–31television director 26, 31television editor 29television producer 29, 31test shots (term) 43theatrical photographer 182–183thermal imaging 108–109Thoroughbred Owners and Breeders

Association 185Time (publication) 112time-lapse photography 108Time Warner (media organization) xTitanic (film) 28Trans-Ocean Photos (cruise photography

company) 62Travel Africa Magazine (publication) 68Travel & Leisure (publication) 68travel photographer 63–68, 69–71, 80Travel Photographers Network (Web site)

68, 70Tribune (media organization) 131

Uultraviolet photography 108uniformed photographer 22–24United Federation of Teachers 93United Press International (news wire

service) 132, 176University of Southern California 27Us Weekly (publication) 51, 125USA Today (newspaper) 134U.S. Coast Guard 102U.S. Department of Health and Human

Services 107U.S. Department of Labor (DOL)–Bureau

of Labor Statistics (BLS) ix–x, xiii, 3,9, 15, 18, 21, 23, 27, 30, 37, 40, 43, 46,49, 52, 64, 86, 89, 92, 97, 100, 103,113, 116, 122, 127, 130, 133, 137, 140,143, 146, 149, 152, 155, 158, 161, 164,167, 170, 181, 183, 187, 190

U.S. Geological Survey 3

Vvibration-reduction camera lenses 3video camera 32–33videographer 32–34Visions of Light: The Art of

Cinematography (film) 28Vogue (publication) 118–119Volunteer Lawyers for the Arts 149

WWaldbaum’s (restaurant chain) 45wardrobe stylist 65, 115, 118Web consultant 77

Web designer 42–43, 46, 55, 77, 175Web site gallery 54–55Wedding and Portrait Photographers

International 59, 62, 73, 181, 183, 188,190

wedding photographer 58–60, 72–74,118, 124, 186–188

wedding videographer 32–34Weston, Edward 80White House News Photographers’

Association 128Wi-Fi technology 68, 130wildlife photographer 66–68Wild Safari (Web site) 68wireless retail salesperson 172–174Women’s Wear Daily (newspaper) 119Workbook (publication) 80, 149–150Work Book (Web site) 38Work (job Web site) 159World Press Photo (Web site) 128writer xi, 43, 116, 118, 120, 139, 146,

160–162

YYahoo! (online news outlet) 132Yahoo! HotJobs (job Web site) 78, 107,

114, 117, 128, 138, 156, 159, 168, 171,174, 188

yearbook photographer 186, 189–190Young & Rubicam (advertising agency)

ix

ZZsigmond, Vilmos 28


career opportunities in photography

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