How to Become a Professional Photographer
With the essential steps towards becoming a first assistant covered, there’s only one box left unchecked — how to know when it’s the end of the road. In the final article of this series, Andrew Tomasino discusses making the leap to a full-fledged professional
Let’s say you’ve followed the advice Andrew offered throughout this series. You’re a few years into a job you love, working regularly as an assistant to a seasoned photographer, but need to build the framework to further your career. Even if only considering a life in the world of image making, a glimpse into the future couldn’t be a bad thing.
There are no guarantees in this line of work, no certain answers, and no single map to success — but knowing you hold the strongest possible hand before you play it is invaluable. Here to offer assurance is a photographer just starting to reap the rewards of years of work.
Making Moves
“I could confidently call myself a photographer around three years ago. By then, I had a decade in the industry, building to and being an assistant,” says Andrew. “I’m now the closest I’ve ever been to becoming a completely independent professional; doing my own jobs full-time is the next step. I would estimate I’m a few years out from that.”
So, what are the markers of a photographer who’s ready? For Andrew, an early one was taking a more serious look at his work. For this, some outside perspective goes a long way.
“I started going in for paid reviews at expos,” he explains. “It’s tough for an assistant, because they’re not cheap — but it gets you feedback from the right people.
“I reach out to photographers personally all the time, too. On top of reviews, you’d be amazed at the professionals who will speak with you about work. They were you once!
“Through this feedback process, you get invaluable nuggets of wisdom.”
The first jobs you’re hired for alone likely won’t compare to assistant work with experienced photographers. It’s all part of the growing process, though. In these early days, being thoughtful about the clients you approach is certainly advisable.
“Editorial was an early area of development for me,” Andrew recounts. “In New York and Philadelphia, two markets I work in all the time now, there’s a ton of creatives vying for the glamorous gigs. I went for smaller editorial clients — just putting myself in front of businesses, explaining what I do and how I could help them. That was huge.
“It’s important to remember to stay above board. Don’t poach clients you’ve been introduced to by photographers you’ve assisted, for example. Collect the jobs available and double down on personal work to continue developing a voice.”
Time to Invest
It seems backwards to buy your way into a money-making position. Taking small steps towards professional practices is important, though. It’s a fine line, but one that must be tread, according to Andrew.
“It’s tough to invest because of the position you’re in. There’s an old joke that goes, ‘If you want to become a millionaire through photography, start with two million,’” he laughs. “But it is vital.
“I started booking more personal studio time. Friends will show up to tests for free, but if you want to photograph real talent, you have to pay for it. I even used to style wardrobe and give makeup notes, but you need to piece a professional team together in order to truly accomplish your vision.
“Through your time as an assistant, those people will reveal themselves to you. It may be months before you can get everyone together at once — but when you do, those experiences are so valuable.”
All this extra personal work has a direct impact on paid opportunities. Bigger, better jobs will go to more established, refined photographers — it’s simple.
“You have to test in your own time, to make progress. If you don’t, you’re never going to get there. You can’t sit around with a camera and hope cool pictures come out.”
Closing Thoughts
If anything is clear as this series comes to a close, it’s that becoming a successful first assistant — and future photographer — requires balance. When it comes to feeling like you’re in the right place, though, there’s one sure sign.
“The confidence to feel at home in constant change is universally critical. When a subject has a master in front of them — so at ease, calm and collected — they will show their true self. That’s huge in photography. It’s hard not to take good work from that.”
While Andrew’s experience is just one of many you could emulate, it’s one he’s eternally thankful for.
“I can’t express this enough; I would not be anywhere without a good mentor. Someone to help guide me and give me these chances was absolutely essential.”
Quick to joke, Andrew’s final golden rules are still worth keeping note of.
“Never forget your Leatherman… Always wear black,” he laughs. “No, I’d say the best piece of advice I can give is, there’s no job too small.
“If someone offers a few bucks to make some photographs and you’re free, then it’s on. To accept what’s in front of you and say, ‘I’m cool with setting up the breakfast table because it’s going to make the day run smoothly,’ then you’ll go far. That mentality will get you over the line, because not everybody has it.
“Take all the opportunities, work hard at them, and let the process make you smile,” Andrew concludes.
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