If you are all over the place, it might be fun, but art directors tend to hire photographers for their “look” or “style”. Lastly, it is good to develop a style that has a consistency. There are so many photographers out there, it’s like being a Who in Whoville in Horton Hears a Who. Learn from your successes, and learn from your mistakes.Īlso, whether you have an agent or not, advertise. You learn most by shooting, you prepare most by shooting. Not only when one is doing jobs, but even when one is not. I think it’s really important to keep on shooting. What do you consider the two most important aspects of your business? That was very helpful to learn how to light, dealing with clients and billing. I assisted Philip Newton, Dewey Nicks, Pamela Hanson, Francois Deconinck and Stephanie Sednaoi. Prior to that I assisted for 5 ½ years, both freelance and full time. Luckily my laser scans got me work right away with Glamour magazine. ![]() This was back in the day when editors would answer your phone calls, and see you again after six months or a year. Someone told me that ones portfolio is never ready, so bring it out and if it doesn’t stick, show it again when you’ve added to it, and if necessary, again. How long have you been working as a professional photographer? What did you do before then? It was watching this image just appear before you. Back when I was in college we had dark room classes and I used to love watching images come up in the developer. What first interested you about photography? ![]() However, it wasn’t until he photographed for the New York Times that his family and friends knew he was a photographer and not just a guy preoccupied with trains entering and leaving Paddington Station. Shannon boasts a client list including Harper’s Bazaar, Parents, Glamour, Redbook and more. Our commercial photographer spotlight features Shannon Greer this time.
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