Taking on pro bono, or charity projects is an important part of being a strong part of your community. It’s also good for your business and your creativity. Working on pro bono projects can offer the opportunity to work with people you might not have access to otherwise. You might work with an ad agency that you wouldn’t ordinarily get in with. You might meet some very influential members of your community. You’ll almost certainly meet other people who are passionate about the same causes you are. And, if you’ve planned it properly, you’ll have great fun.

Pro bono projects can also offer an opportunity to flex your creative muscle. Many charities and organizations are willing to let you have a more active roll in shaping how things play out. Sure, you’ll probably shoot your share of grip and grins and headshots–but once you’ve got a good relationship with a group you’ve got the cred to pitch ideas.

Be sure to check with your CPA about tax issues involved with donating services and materials. Last time I checked you could deduct actual expenses associated with pro bono work, but not time or services. For example, if you spent $50 on ink and paper for those prints you can deduct it, but you can’t deduct the fee you would have charged a corporate client.

Also be sure to understand the difference between a non-profit and a charity. Many organizations and associations are officially non-profit entities (501-c) but exist solely to further the aims of their corporate members. I live and work near Washington DC, home of the trade association. I’m certainly not going to give my talents to a trade group who’s mission is to make the world safe for (insert insulting corporate practice here). Use your best judgment about whether a non-profit is worthy of your donated services. Many are, many more probably are not.

Finally, realize that even great charities still sometimes pay for work. My rule of thumb is that if a charity initiates contact I’m not going to work for free. I might give them a discount if it’s a charity I like but I’m not going to be the only one on a multi-million dollar project not getting paid.   If the models, the make up artist, the caterer, the magazine running the ad and the art director are getting paid, it’s insulting to think the photographer wouldn’t.

Pro bono projects offer the opportunity to provide support to organizations that need it. Maybe you don’t have the ability to write a big check to the cause, but you can lend your talents. Find a cause you can get behind and call their communications department. I had an instructor in college say to us “Face it, you’re a whore. You’re taking a God given talent and selling it to the highest bidder, if that’s not the definition of a whore, I don’t know what is.”

He was right. I love my job, I take it seriously and I think I’m good at it, but no one is going to live or die based on my work. I’d like to make a contribution to the well-being of my community and not just its tax base.

1. Education. I believe a formal education is crucial. Anyone with a pretty good camera can take a pretty good photo. Let’s assume that you want to do better than pretty good. It will take education and hard work to make that happen. On top of the standard photographic fare you’ll need to understand digital processes and more abstract artistic and marketing concepts, none of which are easily learned in a self-taught environment. I personally lean towards the traditional college method. There are some great certificate and trade school type programs out there, but I think the wider range of information you pick up at college is very helpful. Will it help you be a better photographer if you’ve read the Federalist and the Anti-Federalist Papers? Probably not, but if you’re at Monticello for 2 hours waiting for the staff to clear out before you can start shooting it’s nice to be able to talk about things like that with the client as you both stand around. (OK, I admit it, I’m a geek.)




2. Internships and Assisting. Even with a degree from a great school, there’s going to be lots of things you don’t know or fully understand. That’s fine. It’s a given you’re going to screw things up left and right when you’re just starting out. Wouldn’t it be better to screw up on someone else’s job? OK, that may be a bit harsh, but there’s a kernel of truth there. Also, you’ll learn how to talk to clients, suppliers, contractors, models, stylists, couriers, etc. Most importantly, if you’re lucky, you’ll see first hand that photography is only about 20% shooting. The rest is planning and administration.




3. Staff Positions. Staff photographer positions seem to ebb and flow with the economy. When things are going great guns staff positions are relatively plentiful. When things turn, not so much. 2009 is probably not going to be a banner year for staff photography positions. Keep in mind that there are positions other than photographer that you might look into. Studio managers, photo editors, sales reps, and art buyers all touch the photography world regularly, interact and in many cases, hire, photographers. If you’re lucky enough to land a position like this it can be a great learning experience. It bridges the gap between being an assistant and being your own boss. Of course, you’ll be working for someone else and making someone else money as opposed to making yourself money, but then again, you’re letting someone else take many (but not all) of the risks associated with making money.




4. Striking out on your own. Chances are at some point you’re going to consider hanging your own shingle and launching your own business. You got into photography because you’re creative, driven and have a passion for the work. All crucial characteristics of entrepreneurs. The most important advice here is to remember that you’re launching a business. All of the annoying little things that go with starting a hardware store, pizza shop or construction company may pop up when starting a photography business. Licensing, accounting, taxes, legal and insurance issues, office space, telephone service, sales and marketing, the list goes on. The fact that you’ve been in the industry a few years and have been watching what goes on around you very carefully will prepare you. You’ve learned from the mistakes that those around you have made. You’ve learned from the wisdom of your contemporaries and mentors. You’ve hopefully taken classes and seminars on business administration. You read industry blogs and at least are a lurker on industry forums. Oh yeah, and you’ve got the money to do it. A good rule of thumb is to expect to make about 1/3 of a staffers salary your first year out. (i.e. if you’re earning 45k as a staff shooter for a corporation, expect to profit 15k your first year out) If you do better great – but prepare for the worst. I know many will advise you to slowly transition into your freelance life and that can work in some industries and for some people. Just be open and honest with yourself and your current boss about your intentions and plans. It’s not easy but nothing worth doing is.

You’ll notice nowhere in this article have I mentioned photographic skills or styles. I don’t mean to belittle those parts of running a business, as they’re crucial. They’re so crucial that I assume they’re a given. But there will always be another photographer who’s better than you in your chosen field. The point is to continually make yourself better. I’ve known plenty of photographers who are reasonably good at photography but excellent at business. They’re successful, those who are the other way around, not so much.