Freelance travel photography??

[BKLZ]

Any advice on the best outlets to show your work for sale? Other than through face to face connections, of course. I was just told that a number of publications nearly exclusively buy large format photos. True? I studied photography in Italy many moons ago and have done some professional work however through cameras being repeatedly stolen from me and my interest in too many other things I never kept up. I am now preparing for an extended bit of travel and am considering working on the road(I tend to stick around a place for a while) working for the hotels, maybe real estate agencies, and possibly putting some work out there for general sale as stock photos. Any pointers to sites or links to forum posts discussing the basics would be greatly appreciated.

[QT Luong]

The prominence of large format was in the film days. Although there is little doubt that large format's resolution remains better than most digital cameras, image quality from top DSLRs is nowadays considered sufficient for almost all purposes. Witness the number of well-known large format photographers who have switched to digital.

[BKLZ]

The prominence of large format was in the film days. Although there is little doubt that large format's resolution remains better than most digital cameras, image quality from top DSLRs is nowadays considered sufficient for almost all purposes. Witness the number of well-known large format photographers who have switched to digital.

Whatever.... Im buying 600 bucks of film and a pocket pistol when I get there.
Too bad that non adjusted pictures win. . . . We'll see how long this lasts.

[tgtaylor]

Witness the number of well-known large format photographers who have switched to digital.

That's music to my ears baby.

Thomas

[Kodachrome25]

What you are talking about has nothing to do with format, they are basic state of the industry questions. You do realize that there are more people than ever trying to make a buck, right?.....and some of them are pretty decent. No matter what you shoot, your deliverables are digital and have been for nearly a decade, unless it is hand printed black and white fine art of course..

I can pretty much choose the medium / format I want to use in most cases, because I have built up that relationship with my clients, they trust my judgement and know that if I am happy using LF on a shoot, then it will likely show in the final product.

It's about talent and building relationships, not format....

[Kirk Gittings]

Whatever.... Im buying 600 bucks of film and a pocket pistol when I get there.
Too bad that non adjusted pictures win. . . . We'll see how long this lasts.

Hmmm you ask for advice and get it from a master. You then dismiss it offhand. Good luck.

[QT Luong]

I was just replying to " I was just told that a number of publications nearly exclusively buy large format photos. True?", since I've don't have personal experience about the rest of your question - I've my own outlet, my website, but at that point, that approach wouldn't work for others.

[Brian Ellis]

[QUOTE=BKLZ;994701]. . . I was just told that a number of publications nearly exclusively buy large format photos. True? . . . QUOTE]

There are many people here who know much more about this subject than I do. However, FWIW I vaguely recall reading somewhere that the last magazine of more or less general circulation that used LF images exclusively was Arizona Highways and they stopped some years ago. There certainly could be some special-interest publications that require LF but if so I don't know about them. Maybe someone else does or someone can correct my statement about Arizona Highways.

[Kirk Gittings]

I do a fair amount of this both on assignment and via stock and no one has mentioned anything vaguely like this in maybe 10 years. And as per real estate photography in LF? Jezz RE photography is very low paying in my experience (compared to architectural photography-at all price points) and would be impossible to make any money shooting LF. You get two hours maybe of run and shoot image making and they want the files tomorrow.

[BKLZ]

Hmmm you ask for advice and get it from a master. You then dismiss it offhand. Good luck. I didnt mean to insult- I was just stating, in my late night way that I was gonna shoot anyway.... and I dont expect to make much if any money. This is a hobby, and I thought that there might be a market for LF photos, especially in the architecture, landscape real of things, which I am interested in anyway. Sorry if I was crude. I was hoping someone would direct me to stock photo sights, etc... and I am sure that digital has all but taken over, however a LF camera can do what basically no DSLR can with its movements and such. The guy who told me publications were buying large format is an old movie guy- a lot of what he has to say is pretty dated.

[BKLZ]

I do a fair amount of this both on assignment and via stock and no one has mentioned anything vaguely like this in maybe 10 years. And as per real estate photography in LF? Jezz RE photography is very low paying in my experience (compared to architectural photography-at all price points) and would be impossible to make any money shooting LF. You get two hours maybe of run and shoot image making and they want the files tomorrow.

I was thinking more high end real estate. I shot a 14 million dollar mansion in Thailand with my Canon- the whole shoot would have looked a million times better on 4x5- in my eyes anyway. I always struggle with straight lines and such with the DSLR. In any event, I am looking forward to playing around and now have another great excuse to visit some of the most beautiful and interesting places...

[jonreid]

Hmmm you ask for advice and get it from a master. You then dismiss it offhand. Good luck.

+1 what an odd response

[Kevin J. Kolosky]

Seems like the real dilemma here is between being able to control perspective or not.

The best of both worlds might be to use a camera with perspective control and use medium format type digital backs on it.

The Linhoff M679CS might be the ideal solution.

[BKLZ]

I used an old 6x9 with a few degrees of movement to it when I was in school and fell in love. . . Cant for the life of me remember the name of the camera- super 24? Something or another.
If I get serious I will upgrade- I imagine that the sky is the limit as far as digital backs and such. For now, I am stuck sifting the dredges on Ebay looking for a couple of unwanted and worthy lenses to complete my kit- however am excited to take the beast out and make some magic :) Seems as though my next lens will cost as much as my complete kit. Might be smart just to buy whole camera kits and sell off what I dont need.
In any event, I look forward to sharing my first tests with the camera. I am now seeking out a tripod and ordering film. Starting from scratch. Kind of funny- Ill be traveling with just about the biggest camera kit going. Looks like if I really want to make some money instead of spend it I'll need to replace my stolen Canon. Money isnt everything I guess. Hopefully this camera doesnt get taken away in Burmese Gov't or anything. That place is as worthy a subject for photography as any. Cheers!

[Kirk Gittings]

Seems like the real dilemma here is between being able to control perspective or not.

The best of both worlds might be to use a camera with perspective control and use medium format type digital backs on it.

The Linhoff M679CS might be the ideal solution.

When film was king 35mm ruled in travel photography and "real estate" photography. I know tons of people in both fields-including section of my own income. Yes some was done with larger formats but overwhelmingly 35mm dominated. Travel magazines (the main outlet for travel photographs) and realtors have always been cheap (even when marketing high end houses) and are much worse now. Digital hasn't raised the bar in these areas, it has lowered it. There is nothing you need to do in either of these fields commercially that a good FF DSLR with T/S lenses can't handle. These are not fields that demand top quality. That Linhoff and a set of lenses and back will run what 60K? I shudder to think how I would pay that off in travel or RE photography.

[BKLZ]

When film was king 35mm ruled in travel photography and "real estate" photography. I know tons of people in both fields-including section of my own income. Yes some was done with larger formats but overwhelmingly 35mm dominated. Travel magazines (the main outlet for travel photographs) and realtors have always been cheap (even when marketing high end houses) and are much worse now. Digital hasn't raised the bar in these areas, it has lowered it. There is nothing you need to do in either of these fields commercially that a good FF DSLR with T/S lenses can't handle. These are not fields that demand top quality. That Linhoff and a set of lenses and back will run what 60K? I shudder to think how I would pay that off in travel or RE photography. You write what I suspected here. I am more into the arts than commercial photography, however making a few bucks here and there never hurts. I have heard many complaints from photographers regarding amateurs and hacks with decent digital equipment under bidding the real pros. I wont worry about money- just gonna take some pictures. Maybe at some point ill come up with a theme for a body of work and sell a print or two, maybe not. Polaroids will make for good postcards anyway :)

[Sevo]

I used an old 6x9 with a few degrees of movement to it when I was in school and fell in love. . . Cant for the life of me remember the name of the camera- super 24?


Mamiya Super 23? But your issues are not format or technology related. If freelance travel photography sells at all (it has become harder, with few magazines left that have any independent editorial content at all) it is through a good story on a novel and interesting aspect of the destination. That is, you'd better be a first class writer as well as a first class photographer, or you'll have to team up with one...

[Kirk Gittings]

That's a good attitude. FWIW Amateurs and hacks with good equipment have ALWAYS underbid real pros while I have been a pro (since 1978) and I doubt it started then :) .

[Kevin J. Kolosky]

{quote}"That Linhoff and a set of lenses and back will run what 60K? I shudder to think how I would pay that off in travel or RE photography."{quote}

I suppose it would be difficult if you purchased it all new from a dealer. But careful and judicious shopping on the worldwide used market yields a lot of bargains. There is always somebody who overbought and now needs money!!

Nevertheless, although I have no experience making and selling "travel photography", I don't doubt that most of the making part of it could be done with a good quality DSLR, and that the Linhof or equivalent would only be required for large buildings and landscapes with "near far" problems.

[Kirk Gittings]

that the Linhof or equivalent would only be required for large buildings and landscapes with "near far" problems.

How so exactly? You know I make my principle living shooting large buildings for top architects and magazines with a DSLR (after 27 years with a 4x5) and t/s lenses.

[Kirk Gittings]

Mamiya Super 23? But your issues are not format or technology related. If freelance travel photography sells at all (it has become harder, with few magazines left that have any independent editorial content at all) it is through a good story on a novel and interesting aspect of the destination. That is, you'd better be a first class writer as well as a first class photographer, or you'll have to team up with one...


Very true. I work with a few great writers and we invent stories and sell the idea to magazines. I have a couple coming up in New mexico Magazine and Dwell.

[Kevin J. Kolosky]

How so exactly? You know I make my principle living shooting large buildings for top architects and magazines with a DSLR (after 27 years with a 4x5) and t/s lenses.

Please READ my quote. I said, "or equivalent".

[Kirk Gittings]

Sorry I did read it before and again now and am even more confused by your latest post unless your point now is that a DSLR with T/S lenses is the equivalent of the Linhoff????

[BKLZ]

Mamiya Super 23? But your issues are not format or technology related. If freelance travel photography sells at all (it has become harder, with few magazines left that have any independent editorial content at all) it is through a good story on a novel and interesting aspect of the destination. That is, you'd better be a first class writer as well as a first class photographer, or you'll have to team up with one...
I have a writer friend who is very good at this... He could write a tome from stick figure cartoons and invented all sorts of stories in the 70s and 80s, some of which were syndicated- and are probably still haunt him today. There are innumerable interesting and obscure subjects to explore in SE Asia- even without being too inventive. I am most certainly not a great writer, and especially at 3am, but this comment was very inspiring. I live in such a dark hole at the moment- you wouldnt think someone would need to re-realize things, such as the power of multi-media, however I just did. I cant wait to find some sunshine :)

[Merg Ross]

That's a good attitude. FWIW Amateurs and hacks with good equipment have ALWAYS underbid real pros while I have been a pro (since 1978) and I doubt it started then :) .

I was a photographer, professional by definition, in the 1960's when I hung my shingle out as an "architectural photographer". However, to get started, I did have to underbid "real pros", as you suggest, to get started. My initial day rate was $150, while my established friend and mentor was at $500 a day. It all worked out; Morley (Baer) was about to retire, and Architectural Record started sending assignments my way instead of to Morley. Building up that little business was one of the toughest and yet rewarding periods of my life in photography. There were days when the phone did not ring, and then, from an architect, the Redwood Association, Sunset Magazine, the Masonry Institute, or elsewhere, a job would come my way. It was a precarious existence. I admire you, Kirk, for following the dream, and being successful in the profession of architectural photography. It ain't easy!

[Kirk Gittings]

Thanks Merg. It is true. I came in low too while I was building a portfolio that would show what I could do. What else would you do? Charge the same as the big boys while you have weak work to show? You'd starve.

[Harrison Braughman]

Initially I, too, sourced my work at a rate which was less than but respectful of the industry standard. During those long periods of self-inflicted "starvation" I worked on my craft, sharpened my marketing skills, fined-tuned my vision, and drank heavily from the cast-iron cup of "never-give-up-never-give-in." I believe strongly in Goethe quote (paraphrasing) that if you dream you can then begin it for boldness has genius, power, and magic.

[algarzai]

I am glad i have a day job that pays for all of this film, development, printing and framing. but sometimes i feel sad looking at a sunset on my way back home. I also have film shot a few months ago that need development. heck i need to quit and turn pro. :rolleyes: