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Advice for young photographers

Advice for young photographers:

10 June, 07
I am writing this from the Baghdad bureau of The New York Times where I am on assignment.

I have received dozens of queries from photojournalists starting out in the business. I am writing this in response, partly so I can refer others to it in the future and not spend time on lengthy replies.

Some beginners ask for advice on gear, others on how to get started finding assignments and selling their work. I will describe my own path into photojournalism here and give some general advice that may be useful.

This is not definitive in any way. It is simply my experience and opinion formulated from twenty years experience as a photojournalist. No doubt others can weigh in and improve this with their comments and ideas.

I started as a photojournalist by going to art school. I thought I would be a fine art or landscape photographer, but I took a photojournalism course and was quickly hooked. When my money ran out after a year, I dropped out of school, but continued to work as a teaching assistant for photojournalism classes. I may have learned more in this way than I did as a student. I received no credit, but photography is a meritocracy. In over 20 years, I have never been asked for my degree; in the world of photojournalism, your portfolio is your degree.

I also learned a great deal from spending days in the library, reading about photojournalism and looking up, and discovering, each new name that I chanced upon. In this way I found Robert Capa, Robert Frank, Larry Clark, Alex Webb and dozens of others.

If you are going to be a photojournalist, you should have a good working knowledge of the history of photojournalism, and of the medium’s iconic images. You can show me nearly any often published photograph from the 20th century and I can tell you who took it and where. I’ve studied the pictures carefully and memorized details about them. This is extremely useful and will help you later as you shoot.

As you study images, you should think about where the photographer is in relation to the subjects, study how he or she has managed the light and the angle of the camera. Is the photo effective because it is compressed with a telephoto, or opened up with a wide-angle lens? And how did they get access, how will you gain access to a similar situation?

I believe that the written word, still photos and film are connected. Artists in the above disciplines are telling stories, whatever the medium. It is important for those in one area to study the work of documentarians and artists in the others. At the bottom of this page is a list of recommended writers, photographers and filmmakers—all personal favorites.

To be a photojournalist, you should be informed. I’m was appalled at a group of photographers who showed up in Haiti a few years ago, but did not know who the Duvalier’s were, or know even the most rudimentary history of the country. These countries are not there for you to practice photo-tourism and have an extended holiday. These are people’s lives you are documenting. Be knowledgeable and show respect.

At the very least, you should read the front page or lead web stories each day from either the Washington Post, LA Times or NY Times. The New Yorker has the best long-form journalism in the English language. I read it every week.

A second language is probably the most important skill you can acquire—far more important that the latest camera gear or a diploma from a photo school. It takes time, but you should speak at least basic French or Spanish in addition to English. Arabic, or a language spoken in China, would be an excellent choice also, especially as I write this in 2007.

I began my “career” by photographing street demonstrations in New York and taking the pictures around to newspapers and wire services. There was easy access to what was happening, which is important when you’re starting out. And even the pictures I was not able to sell helped me to build a portfolio. I also began, almost immediately, to work on long-term projects.

I cannot overstate the importance of long-term projects. Rather than run around taking hundreds of pictures of dozens of subjects, it is much better to spend a few weeks or a month with a family, or a group of people and get to know them. Your pictures will reveal your commitment as subjects become comfortable with you. Choose your projects carefully. There are hundreds of important projects out there waiting to be discovered and photographed. Photo editors know the commitment behind this kind of in-depth work, and they respect it. A good photo-essay on one project will be remembered and will help to get you assignments.

You are going to have to promote yourself and your work. If you’re afraid of rejection, find another line of work. You have to take your work around, or send it out to editors constantly. Most will turn you away. That’s the nature of the business. Get used to it and don’t take it personally. I was crushed in 1985 when Fred McDarrah, an editor at The Village Voice, spent 30 seconds flipping through a portfolio I had spent months creating, then dismissed me with a flip of his hand. It took me a long time to get my courage up again, but I eventually did “break in” to The Village Voice, then a major photo publication.

So you must be persistent. And remember that editors are extremely busy. Expect them to take a few minutes to see your work, not more. They don’t need to see hundreds of photos on many subjects. Show them 20 or 25 photos they will remember and you’ll be much better off.

Notes on technique:
When I am photographing, I often approach my subjects and explain what I am doing, then ask permission to take their picture. In the ideal situation, I will spend hours or days with a subject; they become comfortable with my presence and I can capture what I want. Sometimes I will carry a small album with my pictures, which I will show to people. This helps them to understand who I am and what I’m working on—there is some give and take. People always want to feel that you are not there to exploit them. Be sensitive to this.

In a news situation I never ask permission, nor do I do anything to alter the situation as it is happening. Likewise, if I am on the street and see a moment in time that would be destroyed by my asking permission, I shoot without asking. I feel that this is my art and I have the right to practice it. I do not pay my subjects—it is unethical and makes it impossible for those who come after you to work without paying also.

Notes on equipment:

There is no magic camera that will make you take great pictures. Use what works for you. Develop a system that is reliable and that you are comfortable with. Never, under any circumstances, go on a major assignment with brand new equipment that you have not used. I don’t care if it is the latest and greatest. Often there will be glitches and growing pains, you don’t want these when you’re under the gun.

For two decades I used primarily Leica rangefinders. I’m now doing a lot of work with Canon digital EOS models, mostly a 5D and a 24-70 zoom lens. In Africa, where I’m based, I always have a Hasselblad for portraits and usually a Leica as well. I still believe in film but have to acknowledge that for a newspaper photographer, it is impractical at best.

I’m a bit of a “techie,” I carry a lot of gear when doing long assignments and am always experimenting with some new piece that will give me an edge. I know photographers far better than me that walk around with one battered body and a single lens and do great work. I hate flash and avoid it at all cost. Other photographers who I admire shoot with flash all the time. There is no right way to do it. I would say that a low light lens, preferably a wide-angle f1.4, or at least an f2, is a good investment. I shoot at night frequently, and here in Baghdad I am out with soldiers on night raids inside homes—flash is out of the question.

There are exceptions to what I wrote above: in a combat situation, I do not carry a lot of gear. Usually one camera and one lens. Under fire is not a time to be fumbling with gear. Shoot what you can with what you have.

I will update this as I get new ideas and suggestions and post it on my website, Kamberphoto.com

Some of my recommended materials:

Photo books:
Eugene Richards, Cocaine True,
Luc Delahaye, WinterRiesse
Robert Frank, The Americans
Gilles Peress, Telex Iran
Mary Ellen Mark, anything by her.
William Klein, anything you can find.

Harlan County, USA, a documentary movie by Barbara Koppel
My American Girls, a documentary video about a Dominican family
Anything by the Maysle brothers.
Anything by D.A. Pennebaker.

Joseph Mitchell, Up in the Old Hotel,
Joan Didion, anything she’s ever done.
Michael Herr, Dispatches,
Guy Trebay, In The Place to Be,
William Finnegan, Cold New World,
Anything by Charlie Leduff or Barry Bearak in the New York Times.
George Orwell, anything he’s ever written; Down and Out in Paris and London, and Homage to Catalonia, are particularly good.

by [a former member] at 2007-06-10 08:59:35 UTC (ed. Sep 22 2008 ) Baghdad , Iraq | Bookmark | | Report spam→

Thank you for that. I don’t think I count as a young photographer anymore but there is a great deal of use there for me… You never stop learning…

by DPC | 10 Jun 2007 10:06 | Paris, France | | Report spam→
Excellent, Michael.

by Dave Yoder | 10 Jun 2007 10:06 | Milan, Italy | | Report spam→
Very interesting! Thanks for this Michael. The books you’re mentioning are great.

by Bernard Onderdonck | 10 Jun 2007 10:06 | Brussels, Belgium | | Report spam→
Thank you Michael for this useful and very generous post. It makes me feel I’m on the right way to become a photographer. Ciao and good luck for your stay in Iraq. Nicoletta

by Nicoletta Valdisteno | 10 Jun 2007 10:06 | Trieste, Italy | | Report spam→
Brilliant! Great! Awesome! Thanks very much, Michael. All great advice and much appreciated at this end… Always great to have someone dish out their knowledge for you on a silver platter!

by Ed Giles | 10 Jun 2007 11:06 | Sydney, Australia | | Report spam→
Thanks for sharing your experience, this is great, especially for some guy like me, having started and keeping working in a country (Italy) where your pictures are meant only to fill some blank space where the written words end (I deeply believe this is truly the role of photojournalism in the media here, since I don’t find respect or attention payed to pj, lacking a “culture for the image”).

I’d like just to add 3 (otherwise I’d go on for ages) titles that in some ways enriched me and influenced me:

Ken Light – Witness in our time, Documentary photographers |
Nick Yapp & Amanda Hopkinson – 150 Years of Photo Journalism |
Philip Jones Griffiths – Vietnam INC.

Anything by Letizia Battaglia, Francesco Cito or Francesco Zizola (let me be a bit patriotic!) :)

Edit: Anything by Ryszard Kapuściński, regarding journalism

by [former member] | 10 Jun 2007 12:06 (ed. Jun 10 2007) | Milan, Italy | | Report spam→
Oh yeah, another resource I’ve found very helpful for straight-up info on all the ‘other’ things a photojournalist has to do: Kenneth Kobre, ‘Photojournalism: The Professional’s Approach’, Focal Press.

by Ed Giles | 10 Jun 2007 12:06 | Sydney, Australia | | Report spam→
Thanks for the great advice. I am in my third year at Art School, and although I dont regret going there, I hated the first of my documentary courses.
The teacher was a photo editor for a prominent news-paper and now that I took the class I realize why I have always thought that
that particular paper lacked in imagingation. I have never seen such bland front covers in all my days. Although the teacher was professional and kind, there was absoutely no magic.
I came to realize that there are probably alot of people like her out there,people that give out the photot jobs, and people that might not see any worth in your portfolio, but you can’t let them get to you. Don’t let them
steal your confidence, just pick yourself up and keep shooting.

by Bethany Louw | 10 Jun 2007 13:06 | Johannesburg, South Africa | | Report spam→
MIchael, I will wait until some more info is added, and then I think I will bookmark this and add it to the Tutorials section under Resources. Good stuff, thanks for contributing.

by Jon Anderson | 10 Jun 2007 14:06 | Santo Domingo, Dominican Republic | | Report spam→
Thank you very much for that Michael.

“To be a photojournalist, you should be informed.” That is something I don’t do enough. I always try to read up on and study what I’m about to shoot, but not nearly enough.

“A second language is probably the most important skill you can acquire”, this is also very true, I can speak basic spanish and read a little bit of Hebrew, but not enough to get by. I’ve personally found it easier to learn a language when placed in the environment rather than from a class room. I’ve studied two years of German, three of Spanish, and one of Hebrew, and sadly I can’t remember a damn thing from any of them.

“You are going to have to promote yourself and your work.”, that’s the hardest part for me.

“I still believe in film but have to acknowledge that for a newspaper photographer, it is impractical at best.”, I’m sadly beginning to come to terms with this.

Thanks again, this post was very informative.

by Nigel Gray | 10 Jun 2007 15:06 | Sarasota, FL, United States | | Report spam→
You cannot ever really learn another language without total immersion; but even while immersed, you need to back your conversation up with grammatical study and you need to read, read, read. Start with newspapers, graduate to essays and novels. It is hard work. After all these years down here, I still regularly consult my grammar books and force myself to read novels that test the limits of my comprehension. I once had a French teacher who spoke five languages — how can anyone master five?

by Jon Anderson | 10 Jun 2007 16:06 | Santo Domingo, Dominican Republic | | Report spam→
Thanks Jon, I never thought about it like that: reading newspapers, essays, novels, etc. I will most certainly start picking up material to read.

by Nigel Gray | 10 Jun 2007 16:06 | Sarasota, FL, United States | | Report spam→
at least you have the added advantage of combining both points in one activity: you keep informed and you learn another language! BEar in mind that some papers — like most Dominican papers, for example — are really badly written. That is why you need to supplement the papers with other literature that will use a broader range of phraseology and vocabulary. But it is a real pain in the ass when you have to keep consulting a dictionary. My french teacher stressed that one should not refer all the time to the dictionary but try to figure out meanings from the context. This works to a point,but a good dictionary is indispensable.

Regions differ too: I once had an Ecuadorian friend here who couldnt understand what the Dominicans were saying to him! Their heavily inflected and clipped style of speech totally flustered him.

What Michael says just makes sense: we are communicators, essentially: we depend on communication in order to get access and win people over so we can work; and then we turn around and communicate our results to the world at large. So it makes sense to learn languages — even a smattering helps to break down barriers. You dont have to be fluent.

by Jon Anderson | 10 Jun 2007 17:06 | Santo Domingo, Dominican Republic | | Report spam→
Terrific encapsulation of a life lived and learned and i second all of Michael’s advice.

I also can’t emphasize enough the necessity (for practical, existential and spiritual reasons) of learning a second (or third) language. Jon is absolutely right.

Though I don’t think mastery is necessary (language is for communication), understanding and living inside a second or third language is a life-altering act, humbling and difficult but rewarding in the finest possible way.

The only other advice i would add is the one most important for my life and its work: listen!

Listen to the people and world around you. It is often more important NOT to take the photograph than it is to click, more important to listen to the stories being told by the people you’re interacting with. Stories, like the best photographs, are born from the witch-craft of time.


by [former member] | 10 Jun 2007 17:06 | toronto, Canada | | Report spam→
Yeah, Listen and Look. That is almost better than “like people and let them know it.” You cant always like people, but you can listen and by listening show respect, which is sometimes more important than love.

by Jon Anderson | 10 Jun 2007 17:06 | Santo Domingo, Dominican Republic | | Report spam→
It is so easy to become diluted and defocused for whatever reasons. Time slips away quickly. It took me until my fifties to realize this. The advice in this thread is graciously taken, even by a person of my age.

Spanish…I learn more in a few weeks of travel in Mexico then any class or tape can teach. I hang around a local Mexican market once and a while to improve my pronunciation as when I speak Spanish people wonder what language I am speaking. I’ll probably move down there.

One Mexican I know told me that even he cannot understand some of the newscasters on Univision or whichever station comes out of Miami. He says its Cuban Spanish and they speak too fast.

Thanks all.

by Paul Rigas | 10 Jun 2007 17:06 | Grass Pants, Oregon, United States | | Report spam→
Thank you for writing this Michael, I think it will help a lot of young photographers out like myself.

by Josh Bachman | 10 Jun 2007 17:06 | El Paso, TX, United States | | Report spam→
Thank you!Great post!

by kirill bordon | 13 Jun 2007 20:06 | Toronto, Canada | | Report spam→
May I recommend reading “Letters to a young artist” by Anna Deavere Smith..

by [former member] | 13 Jun 2007 21:06 (ed. Jun 13 2007) | New York, United States | | Report spam→
Erica, you mean Nancy, the National Security Adviser, on “The West Wing”? ;>)

by [former member] | 13 Jun 2007 21:06 | New York, NY, United States | | Report spam→
yep, that’s the one!

by [former member] | 13 Jun 2007 21:06 | New York, United States | | Report spam→
Thank you very Michael.

by Mike Hills | 13 Jun 2007 22:06 | London, United Kingdom | | Report spam→
To those of you whose mother tongue is English. Having taught Japanese to several people, and most recently to someone as young as 10, I discovered that learning another language for native English speakers is harder. English has a much simplified grammatical structure compared to other languages. Going from the simple to more complex grammatical structures is always harder than the other way around.

I advice people to start early as possible, as Jon Anderson says immersing yourself in another language would help. I now have more sympathies for native speakers of English who have to overcome this difficulty. No wonder Americans, British, etc. acquire another language less than people in the rest of the world.

by Tomoko Yamamoto | 13 Jun 2007 22:06 (ed. Jun 14 2007) | Baltimore, MD, United States | | Report spam→
As a former English teacher and someone who has also studied European Romantic languages, Norse languages, German, Kreyol, Arabic, and even some Hindi, I would have to disagree Tomoko — English grammar is very complex and its vocabulary so extensive that diction is a major problem for its native speakers as well as for those who would learn it as a second language. True, the use of the subjunctive is fading away — but it is still there very often where people never suspect they are using it, and its correct usage, though not as complicated as French or Spanish, is still a slippery thing. Anyway, if you doubt me, just read some late James, Joyce, or Proust in translation. English syntax is as sinewy and tortuous as they come and in comparison all the languages I listed above offer much simpler structures. Part of the problem is that they dont teach grammar in the schools, so an American who encounters “cases” for the first time in his German class is bound to be flustered, even though in fact any English sentence can be parsed in this manner — and was when I was a schoolboy.

Nope, the reason that North Americans traditionally have not been too strong on languages is that they are isolated from the world – the continent is like a big island. Sure, there are many many hispanic people — but their existence in the north has traditionally been ghettoized. On the other hand, if you live, say, in France,well you can immerse yourself in no less than seven languages with a short train trip to Portugal, Spain, Belgium (flemish), Holland, Germany, UK, and Italy — and much more if you go beyond these countries. Imagine!

Now back to the main topic of this thread. Given the huge numbers of hispanics living in the States and the even huger number living in Southern and Central America and the Caribbean, it is a shame and a marvel that more north Americans dont speak Spanish when it would certainly behoove them to do so. And it also strikes me as odd that more young photographers dont think to explore these vast and fascinating lands. As Michael says, you need a long term project — there are hundreds of stories here that go uncovered. If I had nine lives I still couldnt cover them all. There is magic here — why do you think that magical realism came out of Latin America? Sure Baghdad is news, i mportant news — but it’s not the only news. Anyone ever study Abbas’ magisterial Return to Mexico? Bastienne Schmidt’s Vivir la Muerte? Larry Towell’s El Salvador? Salgado’s Other Americas? Stephen Ferry’s I am Rich Potosi? The list goes on and on.

and you know what the dirty secret is? It is easy to shoot down here. You can shoot anything – you almost never encounter resistance. Learn some spanish – what could be easier, you can practice with native speakers on almost any state of the union – and then pack up and explore. YOu wont be sorry.

by Jon Anderson | 13 Jun 2007 23:06 | Santo Domingo, Dominican Republic | | Report spam→
i think i am just about ready for a michael kamber book…

by [former member] | 14 Jun 2007 00:06 | San Francisco, CA, United States | | Report spam→
Ah, Jon. You’re so old school! Yes, languages are no longer taught on the Latin grammar model. We native speakers certainly know nothing of cases and moods and don’t insist on such arch but correct phrasing as, “It is I!” or “I ask that she do her best.” Yes, English is weird and inconsistent, but that’s the beauty of it.

I agree that it’s scandalous that more Americans don’t speak Spanish (full disclosure: I used to teach Spanish), surely one of the easiest languages for a native English speaker to acquire, even without worrying about gender and the subjuntivo. But there is the perception that Americans just can’t or won’t deal with another language. I cringe when I walk by a construction site in New York and the phrase “numeros de emergencia” has been dutifully rendered in English so that a passerby, seeing the site on fire, will be able to find the emergency numbers.

by [former member] | 14 Jun 2007 00:06 | New York, NY, United States | | Report spam→
There is last skill that i would encourage young photographers to gain, and this may cause some controversy…but i would say it is quite useful to learn to write a short, concise article. If you can write a simple, decent article to go with your pictures, you can sometimes greatly increase the saleability of your photos. I’m not talking about a 10,000 word essay, just something modest and accurate that a newspaper can use.

The first photoessay i ever sold was published because i lied and told an editor I knew how to write an article to go with it. The editor did not have the money to send a writer to New York (the magazine was in Boston) but needed the words. No words, no purchase of my photos. I simply picked up a copy of a large newspaper and studied the articles on the front page.

There are several “types” of articles, but most follow a fairly simple formula: a good lead paragraph, quotes from a couple of different subjects, a simple analysis from an “expert,” etc. I took an article and used it as a template, copying the structure and inserting my information. The editor complimented me and ran a ten-page photoessay with the words I had written.

You can learn to put together a short 6-800 word article in a workshop, or a two-week journalism course. If you are in any remote place in the world and you have an interesting feature with a good photos and text, i would almost defy you NOT to sell that feature to a newspaper. We’re not talking National Geographic here, but more like a good regional newspaper. They have pages to fill every day and, in my experience, will snap up a package like this more readily than a simple photoessay.

re: above postings, yes, spanish is easy to learn, hugely helpful and Latinos are amongst the most welcoming people in the world.

Due to leave baghdad today but trapped by fighting and a total curfew. Mike

by [former member] | 14 Jun 2007 11:06 | Baghdad, Iraq | | Report spam→
I think you take advantage of your skills Mike, and if you can write than that is a tool that
you can utilize. Likewise its important to know your strengths and to work from them. At Look3 Eugene
Richards talked about going to Beirut early in his career and learning what he could and couldn’t
do. Alex Chadnick, the moderator, didn’t follow up on this question, but I would
have liked to hear Richards amplify on that a bit. I assume that he meant that he wasn’t the
kind of photographer who was comfortable witnessing violence…..not everyone is, and certainly
in looking at his work, the nuturing instinct is what make Richards work special. I think
anyone at Charlottesville who heard him speak would concur with that. So I would add that to you
suggestions for beginners……that is to assess who you are as a person, what you know better than
anyone else, and to try to utilize this in the personal work that you so rightly suggest is a key
to breaking into the business. To go a step further, Richards also said about a number of his
images that they really couldn’t be understood without the words, and I found that to be really
interesting…..especially in light of your comments about writing skills.

by [former member] | 14 Jun 2007 16:06 | Bull Gaps, TN enroute to C'vi, United States | | Report spam→
the full story on that episode in Beirut is given in the infamous Magnum biography book. It basically comes down to the fact that Richards was not the type to cover conflict in this manner – it wasnt witnessing the violence per se, because through his whole career he has been a witness to lots of violence and was even the victim of it when he was a VISTA volunteer; no, it was more the nature of that particular job and the fact that he is more of a documentary photographer than a photojournalist.

by Jon Anderson | 14 Jun 2007 18:06 | Santo Domingo, Dominican Republic | | Report spam→
Jon, I am not sure of the difference between a documentary photographer and a photojournalist. Did you mean
that he was/is not a “news photographer?” Many of his most famous pictures were taken for the NYTimes Magazine, and on
these assignments he was accompanied by a writer. Isn’t that photojournalism? I tend to think of my own work
on Coney Island as “documentary” photography because it is completely personal and unassigned, and really
of no journalistic value at all :) :) :)

Sorry for the hijack Mike. :)

by [former member] | 14 Jun 2007 19:06 | Bull Gaps, TN enroute to C'vi, United States | | Report spam→
Great advices Michael and excelent work on your site ( to bookmark on favorites)!

by Manuel Ribeiro | 16 Jun 2007 00:06 | Porto, Portugal | | Report spam→
Nice post. I’m going to add some stuff if you don’t mind.

I absolutely agree that going to school specifically for photojournalism is a waste of time at worst, and a
pigeonhole at best. A well-rounded education is preferred, maybe even something practical to fall back on in case
the photojournalism thing doesn’t work out – and very often, it doesn’t, this is the reality of the situation today.

Studying the iconic images is good but it’s also easy to take it too far and become emulative rather than original.
At some point you need to develop your own personal style and vision. Use the photographers you admire as a
springboard, but don’t be a mere copycat.

Being well-informed these days means gathering your news from several different sources rather than relying on
just one. Relying on just one source, especially if it’s corporate-sponsored media, has the danger of bias or
incompleteness due to conflict-of-interest and other issues. At this point some may accuse me of being a left-
leaning conspiracy theorist, but the Los Angeles Times, for example, has been publically criticized in recent
years, and suffered many subscription cancellations, because of this problem.

Learning how to write a basic news or feature story to go along with photos is excellent advice. It’s easy to
learn and your photo captions will improve as well. In addition, important concepts such as accuracy, fact-checking,
libel and defamation are covered in more detail than your average photo course.

The days are now past when the printed paper was the front line of news coverage, with web content being done if
there was enough time left over. Today it’s the polar opposite, with web being #1, and that means streaming
video/audio. Therefore, in addition to diversifying by learning how to write, you should also learn the digital
camcorder and basic video editing.

By far the most important trait you can have in this field, way beyond the second language, knowing how to write,
etc., is RELIABILITY. Editors want to know that if they send you on an assignment, you’ll come back ON TIME with
something USABLE. They don’t have time for artsy-fartsy primadonnas who hold up the entire production line because
you’re “waiting for great light” and it’s 5min past deadline. Get the boring but usable podium shot first and work
on the artsy stuff if you have time. Reliability also means gear redundance. For example, if you’re serious about
this field, yet considering the purchase of an exotic 85/1.2 when you only have one camera body, you need to
re-evaluate your priorities.

Hope for the best, prepare for the worst. The competition in this field is getting fiercer and fiercer while the
pay is remaining the same or going down. Have a backup plan, whether it’s something else in photography, or a
different field altogether.

by G | 16 Jun 2007 09:06 (ed. Jun 16 2007) | Los Angeles, United States | | Report spam→
“and people that might not see any worth in your portfolio, but you can’t let them get to you.”

The other possibility is, if enough people don’t see any worth in your portfolio, maybe you need to accept that

you need to push yourself harder, whether in shooting or editing, or both. This is why you need to constantly work
on and show your portfolio – and don’t show it to people who you know won’t give you a fair opinion (friends, family).
Showing it to many people will reveal patterns of how they react to certain pictures, etc. which will give you vital
clues on what you need to work on. Isolated incidents of one or two people waving off certain pictures can probably
be safely disregarded, but when patterns emerge it’s time to pay close attention.

Also keep in mind that you need to make sure your portfolio and the person/publication you’re showing it to are
compatible. If you’re an art photographer, you can’t reasonably expect a news photo editor to properly evaluate your
work, at least from the standpoint of possibly offering you a job or assignment. A news photo editor will want to see
hard news, features, portraits and sports, and probably won’t be too interested in hand-tinted giclees of studio
still lifes. You need to do your homework on whatever publication you’re taking your portfolio to, and tailor your
portfolio appropriately.

by G | 16 Jun 2007 09:06 (ed. Jun 16 2007) | Los Angeles, United States | | Report spam→
OMG – this is great – thank you!

Marcus Yam

by [former member] | 16 Jun 2007 15:06 | Kuala Lumpur, Malaysia | | Report spam→
Just to continue this thread, which I think is very useful, I wanted to add some things that I have learned that might be
useful to others, and in case this might be archived as a resource on Lightstalkers.

1) Communication skills are essential. When you get an assignment, never assume anything. Always ask
questions of the editor you are working with. I can not tell you how important this is. The
same is true when dealing with the subjects of your assignment. Discuss everything, assume nothing.
Listen and ask questions.

2) Make their pictures, then make yours. Unless you are being hired for your personal vision, a
magazine, newspaper, any client, will have something in mind that they are going to want to use. This
can be a style, format, whatever……make their pictures first, then do your own. Send both. Your
client will be impressed that you had the foresight to provide them with something that they can use,
and also that you used your imagination and provided them with an alternative.

3) Picture editors like choices. Never submit just one situation— offer alternatives. Horizontals,
verticals, if you are shooting portraits vary the emotion, eye contact with the camera, etc. Even
the top photographers for major magazines provide alternatives…..tight, middle, wide, etc.

by [former member] | 17 Jun 2007 01:06 | Bull Gaps, TN enroute to C'vi, United States | | Report spam→
Those are all good points Andy. I would add something too: in regard to the importance of long term projects, I would remind people that the subjects they choose — that is, the themes are often the most important aspect of such projects. People tend to worry too much about matters like visual style, while ignoring the simpler but more far reaching matter of the ideas they are exploring. Take a look, for example, at the various projects that earned Magnum nominees an invitation to join the agency — most of them are personal projects that fall outside the conventional horizons of the media. Eugene Richards? Dorchester Days. Larry Towell? Mennonites. Jacob Sobol? Sabine. Nikos Economopoulos? the Balkans. Jonas Bendikson? Satellites. etc etc.

And if you do decide to work on a traditional theme — prostitution, drugs, crime, war, gangs — then be sure to reinvigorate the theme and breathe life into the clichés, because they have all been done to death.

by Jon Anderson | 28 Jun 2007 14:06 | Santo Domingo, Dominican Republic | | Report spam→
I certainly agree with that Jon. I would add that the more personal the reason for the project often
the more rewarding the project is.

by [former member] | 28 Jun 2007 15:06 | The Dirty South, United States | | Report spam→
well put. This thread is about ready for editing and posting in the Resources section. I will do it if that is OK with everyone, perhaps later today or tonight. Some people might still like to add some points now that it is back at the head of the list.

by Jon Anderson | 28 Jun 2007 15:06 | Santo Domingo, Dominican Republic | | Report spam→
Hi, I am a young photographer and selling my stuff almost exclusively with agencies. Hopefully this will change as soon as my portfolio will be ready.

Am finding all this very interesting to hear, as we all have our ideas, that somehow get confirmed or not by others. So very useful, thank you all for sharing!

One thing i would like to ask…i know you could send a portfolio, but ideally we all want to see the editor face to face. I have noticed
they are increasingly relying on ‘your website’ to see the portfolio and less on meetings, or at least that happened to me.
How would you approach an editor for a meeting solely to show your portfolio, when they could do the same online in less time?

This is especially for the beginners as when publications start to know you things would get easier in that sense, i think.

thank you,



by [former member] | 28 Jun 2007 19:06 (ed. Jun 28 2007) | London, United Kingdom | | Report spam→
Certainly an interesting article. Thanks for sharing.

by Singapore Photographers - Eugene Choy | 30 Jun 2007 12:06 | singapore, Singapore | | Report spam→
I didn’t see Henri Cartier-Bresson’s name mentioned here yet, so figured I better fix that, like quick! Also, Josef Koudelka and Josef Sudek didn’t come up, and must. Color wise, Ernst Haas and Martin Parr come to my mind first.

Study of Humanities, Psychology, History, Art History and Literature will be of great help. More important than a photography or journalism degree.

Internship, with anyone you respect, will be a huge long lasting benefit as well as an early jump start.

Most importantly, as my dad said, “Find out what you love, then figure out a way to get paid for doing it.”

by md | 30 Jun 2007 17:06 (ed. Jun 30 2007) | Minneapolis, United States | | Report spam→
Thank you for writing this Michael, I think it will help a lot of young photographers out like myself.

by [former member] | 05 Aug 2007 17:08 | Mumbai, India | | Report spam→
I would like to add something that I feel is very important to this thread of advice for young photographers.

It may seem like a good idea when you are starting out to sign WFH contracts to work for newspapers,
but in the long run you will most likely find yourself in a not so pleasant place down the road when you don’t have money coming in from licensing stock photos and reprints.

I realize that everyone has their own reasons for doing what they do with regards to their careers,
but if you can keep your copyright you will find yourself in a happier place when you get older.
For freelance photographers, our photographs are our 401K retirement plans.

And most importantly, TAKE PICTURES.
There are too many old jaded photographers who sit around bitching about contracts and don’t actually shoot photographs anymore.
Don’t let that happen to you, just go out and take photographs, at least one a day is a great way to start.

by Aaron Lee Fineman | 05 Aug 2007 20:08 | New York City, United States | | Report spam→
Read Robert Fisk!

by Paul Treacy | 06 Aug 2007 13:08 | New York, NY, United States | | Report spam→
You might also want to read Truthout.org

by Paul Treacy | 06 Aug 2007 13:08 | New York, NY, United States | | Report spam→
Also, in terms of learning how to write, or at least to gather in an appreciation of concise journalism, listen to “From Our Own Correspondent” on the BBC website.
It’s available as a podcast and makes for excellent,
enjoyable and informative listening.

by Paul Treacy | 06 Aug 2007 13:08 (ed. Aug 6 2007) | New York, NY, United States | | Report spam→
while the content is excellent – i hate the excessive scrolling (horizontal) – is it just me or is there a setting to auto wrap?

by Umesh Bhatt | 06 Aug 2007 13:08 | New Jersey, United States | | Report spam→
Thanks for the advice. Terrific info you share…
As of the formatting, I copied and pasted it on my word processor and it was much easier to read :-)

by Patricio Murphy | 06 Aug 2007 14:08 | Buenos Aires, Argentina | | Report spam→
this is a great thread, thought it should be bumped up once more…

by [former member] | 18 Sep 2008 09:09 | boston, ma, United States | | Report spam→
another thanks, i cant wait to find another hour and finish reading all the posts. Im not sure if people who post such personal and selfless threads feel valued, but take these thanks as a testament :-)

by Conor Ashleigh | 22 Sep 2008 03:09 | newcastle, Australia | | Report spam→
It’s great to read, even though I’m no more a young photographer. Thank you!


by Ruediger Carl Bergmann | 22 Sep 2008 08:09 | Augsburg, Germany | | Report spam→
Thank you everyone for sharing these priceless advices!

btw, what exactely is WFH (work for hire) contract?

by Heimana | 23 Sep 2008 19:09 | Brussels, Belgium | | Report spam→
Work for hire is where a company hires a photographer to take pictures, and owns the copyright. The traditional deal is, if they own the copyright, they pay your pension, insurance, give you holidays, nice bonus etc. Stay away from giving away copyright unless they employ you full time. Your copyright is valuable in the future, so hold on to it.

by John Perkins | 23 Sep 2008 21:09 | Cairo, Egypt | | Report spam→
Thanks very much Michael. Like Nicoletta, your advice has also helped me feel like I’m on the right track.


by Sitthixay | 24 Sep 2008 18:09 | Kabul, Afghanistan | | Report spam→
Much appreciated, Michael.

by Tosh Kondo | 02 Dec 2008 16:12 | Macau, China | | Report spam→
Fantastic advice, Thankyou

by Matt Boyd | 02 Dec 2008 18:12 | Leamington Spa, United Kingdom | | Report spam→
I’ve just gotta bump this again, it’s so damn good.

by [former member] | 12 Jan 2009 23:01 | | Report spam→
Hey Michael great stuff, i did and trying to do almost the same way:) and learning learning, and loved the idea to keep small album of urs and show when u need to ppl who can see what u do!!
great idea. thanks

by Ilker Gurer | 13 Jan 2009 00:01 | Istanbul, Turkey | | Report spam→
great article, thanks

by Pearl Gabel | 20 Jan 2009 20:01 | Kampala, Uganda, Uganda | | Report spam→
Lots of useful info… thanks!

by LazS | 20 Jan 2009 20:01 | Fribourg, Switzerland | | Report spam→
I have just recently stumbled upon lightstalkers and this has been the first thread i’ve read- it is exactly what i was looking for, the comments and added suggestions from others are also so helpful!

thanks to all.

by jessica ziegler | 21 Jan 2009 04:01 | st petersburg, United States | | Report spam→
great info indeed! thanks!

by Green Lensman Inc. | 21 Jan 2009 05:01 | Shangri La, French Polynesia | | Report spam→
“Rather than run around taking hundreds of pictures of dozens of subjects, it is much better to spend a few weeks or a month with a family, or a group of people and get to know them. Your pictures will reveal your commitment as subjects become comfortable with you”. I totally agree with this statement. Being consistence will show your own character and commitment. Thank you.

by Johannes P Christo | 21 Jan 2009 21:01 | Denpasar, Indonesia | | Report spam→
long term personal work seems to be the best way to success as a photographer. But how to manage long term personal works and “commercial” works when you need to earn money.

by Oneshot | 02 Feb 2009 15:02 | Paris, France | | Report spam→
I have the same question as Oneshot.
How to manage long term personal work, when I work 23days in a month shooting 3 f.. press conferences a day?

by to-mas Tomas Halasz | 02 Feb 2009 20:02 | Bratislava, Slovakia | | Report spam→

by Aaron J. Heiner | 03 Feb 2009 00:02 | Washington, DC, United States | | Report spam→
Hi Michael, Thank’s a ton for sharing such a nice article, it is really informative one…

Best Wishes

by Priyam Dhar | 03 Feb 2009 03:02 | Mumbai, India | | Report spam→
This article was great! of course i have questions but i need to garner some rest first.thank you!!

by Patrick J Stefano | 03 Feb 2009 04:02 | Rochester,NY, United States | | Report spam→
That’s true , thank you great post Micheal.

by Salvatore Esposito | 03 Feb 2009 18:02 | Naples, Italy | | Report spam→
This is really great, thank you so much for sharing. .. But im still a little stuck on what to do next… what schools, courses… something.. can i do??? Im from New Zealand.. and 18 years old.

by Shannon Rolfe | 11 Mar 2009 11:03 | Middelfart, Denmark | | Report spam→
Thanks for sharing.

by Linus Escandor | 11 Mar 2009 23:03 | Manila, Philippines | | Report spam→
Great ‘Article’ Micheal – I’ll wait for the book too :-)
Words and pictures (The BBC’s “From our own Correspondent” is a good reference – you can hear the words and see the pictures in your mind). Full points for your take about equipment – use what you got. And of course, read about the country you are going to before you get there. History is important enough for POV images.

by paul lindenberg | 12 Mar 2009 05:03 | Johannesburg, South Africa | | Report spam→
Fantastic post,
thank you Michael
Writing documentary inspirations
I would add anything by Svetlana Alekseyevich
especially for those interested in Russia and former USSR area

by Rafal Milach | 12 Mar 2009 08:03 | Krasnoyarsk, Russia | | Report spam→
I’m quite young but I would just like to add the following advice that has not only helped me get used to shooting in unusual conditions and on the spot but has also yielded me a few photos that have found their way into various portfolios.

Carry a camera everywhere. You never know when something might happen that could lead to the next great lead photo for your portfolio or could stretch into a photo story.

I used to take my 20D around with a 16-35 but over the last year have become fond of my old Leica M4 and a 35mm with a few rolls of Ilford HP-5 (it’s a lot smaller). Just make sure it’s easy to pull, focus and shoot. In addition to the journalism point of view if you do it right most of your friends will have new Facebook photos by the end of the evening.

Also, get yourself a copy of the AP Stylebook and study it heavily.


by Christopher Guess | 12 Mar 2009 08:03 | Madison, Wisconsin, United States | | Report spam→
Advice for aspiring photographers is probably a lot like advice to young cooks who want to be chefs, I think.

I can’t tell you how many people I’ve known in the kitchen, in front of a keyboard, or behind a lens who fail at their commercial goals simply because they cannot balance art and business. Marketing is ugly… it’s often sinful and brutal… and it’s the reason why there are all those management-types who wear the suits and make the decisions. Unless you can do it all, just be great at what you do… and let the others figure out how to sell it. A good relationship with the editor/manager/owner is priceless.

By the way, I just discovered Lightstalkers recently, and this is the original post that inspired me to join. Awesome stuff on the Michael Kamber website.

by Rueben Marley | 14 Mar 2009 04:03 | Hangzhou, China | | Report spam→
A fantastic post, thanks for all the great information posted here. I am in the second year of a photography degree and i can see that maybe i should have taken a course in English or Politics, as it will be my portfolio that decides whether i get work and not the level of my degree. At university i feel i have been shooting to pass this course and not to fill a portfolio.

A great book i have found more help than doing my degree is, ‘On Being a Photographer-A Practical Guide’ by David Hurn and Bill Jay.

Thank you.

by Luke Johnson | 06 Apr 2009 17:04 | Stoke-on-Trent, United Kingdom | | Report spam→
LUKE: That is very sad. One book worth more than a degree.

by to-mas Tomas Halasz | 12 Apr 2009 10:04 | Bratislava, Slovakia | | Report spam→
well … I do not and will not have a degree in anything buy the time I die . I don’t find this to matter . The things I have are passion, drive, and a world full of “TRUE” education . ..

I’m getting to know and am photographing the market venders of El Valle, Panama. Art is embraced by these people like no where else I have been . . I’m settling in and have already received many Spanish lessons and gifts .

I finally recognize how important it is to concentrate on one subject . ..

Thank you for this post Michael.

by Joshua Adels | 12 Apr 2009 20:04 | El Valle de Anton , Panama | | Report spam→
Those were some great tips, thank you!

by Roger | 13 Apr 2009 06:04 | Jersey, United Kingdom | | Report spam→
Useful advice…a primer for NG wannabes…

by Photography Studio Singapore, Photographers | 25 Jul 2009 06:07 | Singapore, Singapore | | Report spam→
Thank you for the advice. Very much appreciated ;-)

by Carla Mendoza | 29 Jul 2009 04:07 | Cavite, Philippines | | Report spam→
Thank you very much Michael for the post.

I’m not a young photographer, but yes a beginer profesional photographer and this post is a good guide for me also.
I think I am the unic spanish replaying this post and I would like to show you, how are the thing right here in Spain.

We are in depression so it’s more dificcult for young and beginners. Here is very difficult work as a freelance and all editors have theirs photographers. I’m professional since 2007 and I’m resisting how I can.

anyway, thank you very much, it’s very useful for me

By the way, I speak Spanish, English and Catalan

by David Monfil | 30 Jul 2009 11:07 | Barbados, Barbados | | Report spam→
Thanks alot for this !! This was very very helpful indeed.

by [former member] | 30 Jul 2009 15:07 | Munich, Germany | | Report spam→
Thanks MIchael, I learn lot of things.Thank you very much

by Sheikh Rajibul Islam | 31 Jul 2009 05:07 | Dhaka, Bangladesh | | Report spam→
Wow, great tips for me, a budding photo-journalist.

by Rory Gatfield | 26 Jun 2010 08:06 | Auckland, New Zealand | | Report spam→
Thank your very much for the advice.

I totally agreed about the portfolio.
University degree only looks good only paper. The most important thing is your portfolio.

by Natthawat Wongrat | 26 Jun 2010 16:06 | Bangkok, Thailand | | Report spam→
Wonderful -

The best advice I can come up with to share with young(er) photographers is: when you’re shooting a disaster or any situation where the subjects are less fortunate than you, don’t complain. Don’t complain about the heat, cold, the weight of your equipment, lack of sleep, nothing. At the end of the day, you get to go home.

by Brian C Frank | 27 Jun 2010 14:06 | Des Moines, Iowa, United States | | Report spam→
thanks michael…thanks a lot.

by Riad Arfin | 27 Jun 2010 17:06 | dhaka, Bangladesh | | Report spam→
Young photographers should not pay too much attention to the unsolicited advice of old photographers.

by Barry Milyovsky | 27 Jun 2010 23:06 | Manhattan, United States | | Report spam→
Learn to do at least one type of commercial photography really well: architecture, product, weddings (gasp!), or anything technical that the hordes of amateurs can’t do well. It may sound dreary, but it may also pay your bills and keep you in the game.

by Joel Sackett | 28 Jun 2010 01:06 (ed. Jun 28 2010) | Puget Sound, Washington, United States | | Report spam→
thanks micahel, your photos my inspirations

by Yuli Seperi (available assigment) | 04 Jul 2010 16:07 | Batam,, Indonesia | | Report spam→
thanks Michael, this has been indeed helpful to everyone

by Chirag Wakaskar | 08 Jul 2010 13:07 | Mumbai, India | | Report spam→
thanks Michael, this has been indeed helpful to everyone

by Chirag Wakaskar | 08 Jul 2010 13:07 | Mumbai, India | | Report spam→
great article michael!

by Albie Higgins | 05 Jul 2011 17:07 | | Report spam→
Thank you for sharing. This posted will always be useful for young generation photographer.

by EKKARAT PUNYATARA | 07 Jul 2011 18:07 | NY, , United States | | Report spam→
Tons of wisdom. Thanks for taking time to post this for noobs like myself. :o

by Daniel Mora | 07 Jul 2011 18:07 | Austin, TX, United States | | Report spam→
Thank you Michael for this masterpiece………The best tips i have seen to get any young photographer like me going.

I’m a social documentary photographer and emerging documentary filmmaker from Nigeria. I
focus on reportage, urban portraits and social, cultural issues.
I have been working as a freelance photographer for the past 3 years.

In December 2010 I was invited by the British Council to participate in a photography project
called My Home is Here. The project involved travelling around Nigeria to produce images of
Climate Change in Nigeria. and, as part of this project, I won a Canon 5D MkII camera and was
selected to travel to Ethiopia to exhibit at the 2010 Addis Foto Festival in Ethiopia.
My works have been published in the Abuja and Lagos TimeOut city guide, including two front
covers. They have also appeared in The Africa Report, Foto8, Demotix, Mediadesk UK, BBC and
other local and international publications.

by Tom Saater | 11 Jul 2011 20:07 | Abuja, Nigeria | | Report spam→
Great post Michael, thank you everyone else that contributed. A lot of great advice for someone like myself.

by Elias Lanfranconi | 03 Aug 2011 16:08 | Oxford, England, United Kingdom | | Report spam→
Is this the thread you had in mind, David?


by Tomoko Yamamoto | 09 Aug 2011 18:08 | Vienna, Austria | | Report spam→
Hi Michael, thank you so much for this amazing post; and to eveyone else who has contributed. I have literally just joined lightstalkers and to find this post has been hugely inspiring. I am not that young and am chronic at marketing myself, and I have held off from going professional (always worry I am not good enough).

On the 12th Sept I have an interview for an online MA in photojournalism. For me it isn’t about the qualification but my own development and confidence. I have read and re-read lots of books – these keep my ambitions burning but also keep me grounded and realistic.

Thank you!!

by Kerry-Anne | 21 Aug 2011 17:08 | | Report spam→
this is just what lightstalkers is all about, thankyou all so much for sharing your knowledge & experiences. hat’s of to the lot of you.

big thanks danny.

by Danny Liber | 23 Aug 2011 11:08 | North West, United Kingdom | | Report spam→

by Joe Harrison | 14 Apr 2012 04:04 | Christchurch , New Zealand | | Report spam→

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DPC, Photographer DPC
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Freelance photographer
Diyarbakir , Turkey
Nicoletta Valdisteno, Photojournalist Nicoletta Valdisteno
Rome , Italy
Ed Giles, Photojournalist Ed Giles
Sydney , Australia
Bethany Louw, Freelance Photog Bethany Louw
Freelance Photog
Mosul , Iraq
Jon Anderson, Photographer & Writer Jon Anderson
Photographer & Writer
Ocala Florida , United States
Nigel Gray, Taker of Photos Nigel Gray
Taker of Photos
Sarasota, Fl , United States
Paul Rigas, Photographer Paul Rigas
Cebu City , Philippines
Josh Bachman, Photojournalist Josh Bachman
Quetzaltenago , Guatemala
kirill bordon, kirill bordon
Vancouver , Canada
Mike Hills, Journalist Mike Hills
Beirut , Lebanon ( BEY )
Tomoko Yamamoto, Multimedia Artist Tomoko Yamamoto
Multimedia Artist
Vienna , Austria
Manuel Ribeiro, Photojournalist Manuel Ribeiro
Wollongong , Australia ( SYD )
G, G
[undisclosed location].
Singapore Photographers - Eugene Choy, Singapore Photographers Singapore Photographers - Eugene Choy
Singapore Photographers
(Singapore Photographers)
Singapore , Singapore
md, md
[undisclosed location].
Aaron Lee Fineman, Photographer Aaron Lee Fineman
New York City , United States
Paul  Treacy, Photographer Paul Treacy
London , United Kingdom ( LGW )
Umesh Bhatt, Photography Umesh Bhatt
Bengaluru , India ( BLR )
Patricio Murphy, Musician, photographer Patricio Murphy
Musician, photographer
Buenos Aires , Argentina
Conor Ashleigh, photographer|storyteller Conor Ashleigh
Sydney , Australia ( SYD )
Ruediger Carl Bergmann, Photographer / Artist Ruediger Carl Bergmann
Photographer / Artist
Augsburg , Germany ( MUC )
Heimana, Moment catcher Heimana
Moment catcher
(Freelance Photographer)
Leh Ladakh , India ( IXL )
John Perkins, Photographer John Perkins
Cairo , Egypt ( CAI )
Sitthixay, Photographer Sitthixay
Chicago , United States ( ORD )
Tosh Kondo, photojournalist Tosh Kondo
California , United States
Matt Boyd, Journalist Matt Boyd
Wilmslow , United Kingdom
Ilker Gurer, Photographer Ilker Gurer
(Freelance Photographer)
Istanbul , Turkey
Pearl Gabel, Pearl Gabel
Marseille , France
LazS, LazS
[undisclosed location].
jessica ziegler, aspiring pro photographer jessica ziegler
aspiring pro photographer
St Petersburg , United States
Green Lensman Inc., Green Lensman Inc.
Shangri La , French Polynesia
Johannes P Christo, Freelance Photojournalist Johannes P Christo
Freelance Photojournalist
(Available for assignments)
Yogyakarta , Indonesian Earthquake Zone
Oneshot, Oneshot
Paris , France
to-mas Tomas Halasz, Photojournalist to-mas Tomas Halasz
Bratislava , Slovakia
Aaron J. Heiner, Photojournalist Aaron J. Heiner
(Sleeping his life away)
Baltimore, Md , United States ( IAD )
Priyam Dhar, Photojournalist Priyam Dhar
Mumbai , India
Patrick J Stefano, Freelance Photographer/St Patrick J Stefano
Freelance Photographer/St
(Be the change you wish to see.)
Boston,Ma , United States
Salvatore Esposito, Photographer Salvatore Esposito
Naples , Italy
Shannon Rolfe, Photograher/Writer Shannon Rolfe
Hamilton , New Zealand
Linus Escandor , Photojournalist Linus Escandor
New Delhi , India
paul lindenberg, photographer, editor, jou paul lindenberg
photographer, editor, jou
(get in close)
Johannesburg , South Africa
Rafal Milach, Photographer Rafal Milach
Warsaw , Poland
Christopher Guess, Documentary Photojournali Christopher Guess
Documentary Photojournali
Brooklyn , United States ( LGA )
Rueben Marley, freelancer Rueben Marley
Hangzhou , China
Luke Johnson, Student Photographer Luke Johnson
Student Photographer
Stoke On Trent , United Kingdom
Joshua Adels, dial spinin button presse Joshua Adels
dial spinin button presse
[undisclosed location].
Roger, Pharmacist Roger
(I don't like to feel at home w)
Jersey , United Kingdom
Photography Studio Singapore, Photographers, Corporate & Industrial Photography Studio Singapore, Photographers
Corporate & Industrial
(Singapore Photo Studios)
Singapore , Singapore
Carla Mendoza, Carla Mendoza
Fort Bonifacio , Philippines
David Monfil, photographer David Monfil
(Photojournalist, travel, natur)
Barcelona , Spain
Sheikh Rajibul Islam, Photographer/Videographer Sheikh Rajibul Islam
London , United Kingdom
Rory Gatfield, Rory Gatfield
Casey Station , Antarctica
Natthawat Wongrat, Photographer Natthawat Wongrat
(Freelance Photographer)
Bangkok , Thailand ( BKK )
Brian C Frank, Photographer Brian C Frank
Des Moines, Iowa , United States
Riad Arfin, Fixer Riad Arfin
Dhaka , Bangladesh ( SIA )
Barry Milyovsky, totally unprofessional Barry Milyovsky
totally unprofessional
(emperor of ice cream )
New York , United States
Joel Sackett, photographer Joel Sackett
Puget Sound, Washington , United States ( AAA )
Yuli Seperi (available assigment), Photographer Yuli Seperi (available assigment)
Bintan , Indonesia ( SGP )
Chirag Wakaskar, Photojournalism Chirag Wakaskar
Mumbai , India
Albie Higgins, Photographer Albie Higgins
London , United Kingdom
[location unknown]
Daniel Mora, Daniel Mora
Austin , United States ( AUS )
Tom Saater, Documentary Photographer Tom Saater
Documentary Photographer
[undisclosed location].
Elias Lanfranconi, Student Elias Lanfranconi
Oxford , United Kingdom
Kerry-Anne , Kerry-Anne
[location unknown]
Danny Liber, Photojournalist Danny Liber
Nsw , Australia
Joe Harrison, Joe Harrison
Christchurch , New Zealand


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