Ratcheting it up a Level
Q) I just started back into photography just over a year ago and picked up a freelance contract with a local weekly paper where I live. I want to venture out more, but am not sure what to do since I have a full-time job and a family. I've really enjoyed shooting for the paper, but have mainly shot high school sports (even though I've shot some other events). Can you give me any suggestions or tips on how I can reach out to others to pick up some other jobs?
A) I don't know what's tougher: being in your situation, or trying to answer your question...
First, I believe anything is possible. When you have a dream, make a commitment, put in the effort, you CAN make it happen! But, you have to be realistic. You have to have a plan. You have to know where you are, where you want to go, and then you have to know what it's going to take to get there.
What type of work do you want to do? Do you want to do more photojournalism? Or do you want to cover events? Or do you want to do portraits? Or do you want to do commercial work? Or do you want to be a generalist, shooting any and everything you can? You need to first decide what types of work you really want to do, then you can start exploring the opportunities.
The big question is: how much time can you put into the effort? Get out some blank sheets of paper. On one, draw out a weekly grid with Sunday-Saturday across the top and hours from midnight to midnight down the side. Black out your job, family, and sleep times. Now divide your available time between "optimal" and "possible". What's the difference? It all depends on your family and how much of your free time they can sacrifice. If your situation is such that all your free time is "optimal," consider yourself lucky.
Take some more paper and quickly sketch out a series of 3-month calendars, blacking out the days you don't have much availability. Next, code your available days as to whether you are completely available or partially available (and indicate whether your availability is morning, noon, afternoon, or evening).
Now, take another sheet of paper and list out the types of things that are typically shot during the hours you have available. This is the "being realistic" part. If there's something that you want to do that doesn't make the list, you either have to change your hours of availability, or you have to accept that you can't do that particular thing. Hopefully, though, you'll wind up with a full list.
Next, you need to get an idea of how much potential work is out there. On one hand, there could be a lot stuff going on: lots of sports, lots of events, lots of opportunities. On the other hand, realistically, how much of it is going to pay? For example, just because there might be 25 sporting events a week where you live, how many of them are going to be covered by any newspaper? This is the unfortunate side of freelancing: newspapers have budgets (and they are typically tight--very tight). Aside from newspaper work, are there enough events going on that you might be able to pick up some event work? Before moving on, you need to develop a clear picture what the money is going to look like. It's not enough to simply want to pick up a few more jobs. You must have a plan. You have to know where it makes sense to go. Why?
Competition! You are not the only one with a camera that loves photography and wants do more of it and needs to make some money at it in order to justify doing it. There are basically three types of people with cameras: those that only do it for fun, those that want to make money with a camera, and those that are making money. Even if you only want to make enough money to cover your gas and pay for gear, you are going to have to compete in order to get paid. With consumer cameras being as sophisticated and as cheap as they are, the barriers to entry for getting into photography are pretty much gone. Art directors, editors, event planners--all the buyers--have more choices as to who to call than ever before.
So, what do you do? You have to be ready to compete. Once you've identified your target market, you'll need a portfolio that shows you can get the shots that will stand out. The easiest way to gauge where you are is to compare your work to what typically runs in your local daily paper. I'm not talking about every now and then having one of your best shots looking better than one of their worst shots. I'm talking about consistently producing a higher calibre of imagery. You may not be available full-time, but you have to look like you put more than a part-time effort into your work.
Next, you have to establish a reputation of showing up and getting the job done. Commit only to what you can do, then make the most of it. If you don't have the time or equipment or experience to get a particular job done, don't take the job. For example, if someone needs a stage production covered and you can't use a flash, you have to be realistic. Do you have the equipment necessary to produce quality images in ultra-low light? If you haven't done it before, learn how to do it first (How? Go shoot a 1000 frames at a high school play.). The last thing you want is for someone to say they tried you, but you didn't work out.
What it Comes Down To...
It's not enough to simply call around to editors and let them know you're available. You have to be able to give them a reason to call you and to then keep calling you. Build a portfolio that shows you are capable of doing the types of work you are available to do, then make the absolute most of the opportunities you get to add to your portfolio. Treat every outing as if you were on assignment for National Geographic or Time or Sports Illustrated. If your work can speak for itself, the calls will come. The key is being realistic. Success is not automatic. It takes time, effort, and commitment. However, if you have a clear idea as to where you want to go and what it takes to get there, you can do it!
Good luck, and may each step you take lead you closer to where you want to be!