In my experience, commercial buyers would not hire personal portrait photographers for commercial assignments because the skill sets of many in the field were not up to the standards required to complete commercial projects.Īlso, the business model for most personal portrait photographers was to charge a relatively small “sitting fee” and make up the balance in the final, delivered portrait which was priced according to the size of the portrait order.
For portraiture there is a session or creative fee that is quite small and then one learns to present the photographs to the client in such a way that they will hopefully make a substantial purchase of prints.Ĭharles Gupton: A number of years ago there was a sharp divide between commercial and personal commission photographers. The business model is so different from commercial-in that with commercial work the pricing is negotiated going into the job based on usage and expenses.
The portraiture model has taken me some time and some work with consultants to establish a way to talk to people about money. This is expected in commercial work but I usually have my rep do the negotiating for me. The other thing about portraiture that is interesting and challenging is that for the first time in my career I have to be willing to talk about money. It is quite a separate world and I must say that doing personal portraiture gives me deep satisfaction because I am creating lifelong memories for people and helping people, especially women. I have a rep, Debby Brown, who shows and markets my work. It is like holding up a mirror to someone so they can see their beauty for the first time. My specialty, working to help women feel beautiful, allows me the pleasure of providing a session that can be transformative. I strive for photographs that are both beautiful and true to the person I am working with. For personal portraits (and these can include business portraits of individuals) I spend a lot of time getting to know the person before picking up the camera. Rosanne Olson: If it is commercial, it is likely to be more about what the client (via the ad agency) wants to convey rather than the deep truth of the individual I am photographing. SB: What do you see as the most important differences between consumer and commercial portrait photography assignments? I do accept personal commissions, although not often. My clients include magazines such as Time, Business Week, Forbes, Esquire, Rolling Stone, and People. Robbie McClaran: I do almost exclusively editorial and commercial work documenting the American people and landscape. For my personal work I do work with individuals who I find interesting or unique and this is usually done for trade. Occasionally I will be contacted to do a private portrait by word of mouth but I do not actively market to that demographic. Kevin Lock: I specialize in environmental portraiture, annual report, architectural, and editorial assignment work so I work mostly with commercial clients. My goal is to create portraits that are deep and true. One of the things I love best about photography is portraiture.
In 2008 I authored a book called This is Who I Am, a book of photographs and essays that celebrates women and their stories. Over the past 25 years I have collaborated with designers and art directors around the country, photographing for advertising campaigns such as the New York City Ballet, Seattle Opera, Seattle Symphony, and Seattle Children’s Hospital. Five years later, when my husband and I moved to Seattle, I started Rosanne Olson Photography. I began my career as a photojournalist at The Register-Guard in Eugene, Oregon, after receiving my master’s degree in journalism. Rosanne Olson: I do both consumer portraits and commercial work. My primary desire is to create a great experience for all the people I come in contact with. I have a variety of clients throughout the US and abroad, including Texaco, Nike, Business Week, and Newsweek. Charles Gupton: Primarily I do commercial projects, but I also, on occasion, accept personal commissions.
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