How To: Earn Extra Cash With Your Camera

There are plenty of opportunities for bringing in a few extra bucks while doing what you love—and you won’t have to quit your day job. Here’s how.

Chris Garrison, who started out shooting part-time and later turned pro, makes money photographing the extreme events he loves.

You’ve invested in camera gear and you love taking pictures, but you’re not interested in a full-time photography career, especially when pros these days don’t exactly have it easy. Still, you can earn a little extra with your camera—if you’re willing to put in the time and effort—and keep your weekly paycheck, too. Whether you want to shoot weddings or portraits, sell prints or stock, or capture local sporting events, here’s the skinny on getting started.

Try Weddings

Wedding photography is almost recession-proof and, since weddings are seasonal and often on weekends, it’s relatively easy to shoot part-time. Freelance wedding photographer and writer Nathan Chandlersplits his time between shooting and writing, and explains that his start in wedding photography began when family and friends saw his landscapes and casual portraits and assumed he could photograph nuptials, too. After about five years, Chandler was enjoying wedding photography enough that he begain actively trying to get wedding jobs. The Nebraska-based photographer now shoots about 20 each season.

Seattle-based Chloe Ramirez started out as a second shooter for other wedding photographers. “That gave me the background and confidence to start photographing weddings on my own,” says Ramirez, adding that she didn’t go out on her own until after a solid year of second shooting.

She also suggests styling your own wedding shoot for portfolio images by working with local vendors—make-up artists, venues, etc.—and exchanging pictures for their services. From there, send the final images to a wedding blog, says Ramirez. “If it gets picked up, that gives you and the vendors exposure for your businesses.” And, she adds, “Ask vendors if you can refer your brides and grooms; they will most likely return the favor and that will get you more inquiries.”

During the three-to-four month wedding season, Ramirez shoots full-time, accepting up to four weddings per month, and puts her three-year-old daughter in daycare two days a week so she can concentrate on editing. “That way, when I am home with my family, I am present and not trying to juggle both [family and work].”

Take Portraits

Child and family photography is a growing market and a realistic—and often fun—option for photographers who want to earn a little money on the side.

Amy Grace, a parent of two and an active member of the family photo website Little Bellows, got her first DSLR two years ago. She began by shooting personal images, spending a lot of time photographing her children as well as friends and family. About a year ago, she got her first paid job and found that the “wisdom, patience, and attentiveness” learned from photographing her own children was “invaluable” for working with other families. Grace currently takes limited sessions—preferring no more than one client a month—so she can care for her children, but expects this to change in the future.

She posts weekly on Little Bellows and writes a column called “Motherhood With a Camera.” She says, “The weekly posts have increased my audience; the feedback and connections from readers are inspiring and encouraging, and it confirms that there is so much depth, talent, and purpose behind the often-dreaded moniker MWAC [Mother With a Camera].”

In addition to the inquiries from Little Bellows readers, Grace finds that her clients come to her via word of mouth—whether locally or via social media like Facebook.

Photographing since high school, Lora Swinson only started shooting portraits when her oldest son was born. Soon after, she asked everyone she knew if she could photograph them to get experience. “My biggest tip for anyone starting out is to ask your family members and friends for their help. Word-of-mouth is your biggest tool in this industry.” But, she cautions, “be honest and open about your skill level and what they should expect.”

Sell Prints 

Selling your images—whether via galleries, online, or at art fairs—can be a challenge, but it isn’t impossible. Landscape and fine-art photographer Derek Jecxz combined research, persistence, and a portfolio of extraordinary images to sell his work. He entered competitions from “reputable” museums and galleries, which helped him get into other galleries. After a couple of years, licensing company Bruce McGaw Graphics approached him with a contract to reproduce and distribute his work.

New York City-based Deborah Gilbert makes hand-colored silver gelatin prints, and she has traveled far and wide to sell her work at art fairs. While she’d once do as many as 43 shows in a single year, she now concentrates on those in the Northeast. She suggests that newcomers start small with local shows where tables rent for for $20-$25. Larger shows may cost up to $2,000.

Gilbert points out that you won’t necessarily make more money at a higher-level show, especially after deducting fees. “You can make more at the smaller local shows at the Kiwanis club,” she says. She mixes both local and higher-end shows and recommends that if you’re traveling, pick locations where you have family or friends that you can stay with to cut down on hotel expenses.

Gilbert offers framed, original hand-colored photos for around $500, but also sells smaller, matted reproductions that cost less. Her matted works are standard sizes, so buyers won’t need a custom frame.

Both Jecxz and Gilbert caution photographers to do their research before handing over money to any online site since there are some organizations that really don’t deliver useful— if any—services. And to find lists of national art shows, Gilbert suggests subscribing to Sunshine Artistmagazine.

Shoot Sports 

Photographing your team from the bleachers isn’t much fun, so why not combine your passions for sports and photography? Pennyslvania-based Den Sweeney and partner Ho Chuen Kan (a.k.a. J-Kan) get hired by universities, high-school programs, and parent groups to shoot games as well as athletic portraits. In addition to showcasing your work using social media, Sweeney suggests that photographers shoot for fun to improve. But, adds the former hockey player, coach, and recruiter, “know the sport that you’re photographing.”

And don’t forget about the video setting on your DSLR. Lion Creative Group, headed up by Matthew Leone, recently added high school sports recruitment videos to its services. As Leone explains, there are many top-notch athletes vying for the attention of scouts and college coaches, but “college program budgets are getting slashed, so the best way to get noticed is a top-quality video.”

For those new to the field, Leone suggests approaching the “athletic directors and high school coaches of top programs; those are the ones that sniff out talent. The athletes trust their coaches and ADs. Get a coach and an AD to trust your service and they will help you multiple times.”

If extreme sports are your thing, check out Chris Garrison’s work. Garrison, who shoots wakeboarding and snowboarding, knows both sports well and, equally important, knows the athletes. He started by shooting for magazines part-time, submitting images to various publications, and last year he was able to make the switch to shooting full-time. “I think of editorial as paid advertising for my work, because that’s how the manufacturers [of extreme sports gear] find you.”

Sell Stock 

While pros now depend less on stock, there are still plenty of opportunities for amateurs with companies such as Shutterstock, iStock Photo, and Getty’s Flickr collection.

Scott Braut, VP of Content at Shutterstock, notes that the “images that sell best often express both concepts and literal subject matter. An image of a rock climber can be used to illustrate an article about extreme sports but also signifies business concepts.”

He suggests that contributing photographers pay attention to “advertisements, the news, lifestyle trends, fashion trends, political and social issues.” And, he says, upload images often. “The secret to a top-selling portfolio is to keep putting new work in front of customers.”

Jennifer Huls joined Shutterstock in 2012, less than two years after she first started learning to use her camera. A mother of three, Huls says that being a parent “takes up most of my time, but it is nice to have a part-time job that I can do from home.”

She submits 20 to 25 images a week to Shutterstock, about 90 percent of which are shot in her basement studio. So far, Huls reports, “I have met all of my earnings goals and hope that this year is as good as the last.” Her advice? “Shoot what you are passionate about and don’t worry about what will sell. Some will sell and some won’t, but at least you won’t get bored with it.”

source : http://www.popphoto.com

Top 10 Tips For Camera Buyers

Consider these factors when choosing your next camera

Digital technology hasn't only transformed the way we take photographs, but also created an explosion of camera options. Where a camera maker in the days of film would have a few models in their line, it's not uncommon today to find a dozen or more options from each manufacturer. 

This is partly because there are more variations of camera design today. The film shooter had basically two choices: SLR or compact "point-and-shoot." In the digital world, the compact, fixed-lens cameras have split into two varieties: the very simple, very small point-and-shoot models, and the more robust, high-performance models with pro features and expansive zooms. 

Interchangeable-lens models have also diverged, into three types: traditional SLRs, Sony's fixed-translucent-mirror cameras, and mirrorless models that completely omit the mirror box and optical viewfinder and dramatically cut size and weight in the process. 

We have more choices than ever, and that's a good thing—if you know what you want. Consider these 10 factors to help define your needs as a photographer, and your camera selection will be much easier. 

1. SIZE & WEIGHT. You've probably heard the aphorism, "The best camera is the one you have with you." It makes sense. If the size and weight of your gear is going to strongly influence whether or not you carry it often, then you ought to rule out larger cameras. Your best options will be mirrorless systems, smaller DSLRs or a premium compact camera with a generous zoom.

2. PRICE. Don't assume you have to buy the most expensive camera to get something that's perfect for you. Many of the more costly cameras are priced that way because they have features that only a handful of photographers will actually need or use. And don't forget to reserve part of your budget for lenses, lighting gear and accessories that play a major role in the quality of your images.

3. DURABILITY. This is one of those features that drive up a camera's price. Metal alloys are more rugged than plastics and composites, but also more expensive. Think about your favorite subjects and typical shooting environment. If you shoot mostly indoors, you probably don't need to worry about heavy-duty construction and weather-proofing. Also consider how you handle your gear. If you do a lot of travel photography, shoot in inclement weather or generally expect your camera to withstand being knocked around, then you might want to invest in a DSLR body that's built to take it.

4. SPEED. It's pretty incredible that most of the cameras in this buyer's guide can shoot four frames per second or faster—some much faster. Canon's top-of-the-line EOS-1D X can capture JPEGs at 14 frames per second or RAW at 12 fps. Sure, the Canon retails for almost $7,000, but the $650 Sony NEX-5R can do 10 fps with continuous autofocusing. So, speed is available to you, regardless of your budget. Most photographers don't really need that speed, though. Unless you shoot a lot of fast action sports, capturing in high-speed bursts means you'll have a lot more images to organize and store. It's nice to know you have the horsepower when you need it, but only a handful of subjects actually require it. The lesson here is don't dismiss a camera you otherwise prefer because of capture rates if you don't actually need the speed.

5. INTERCHANGEABLE LENSES. The ability to switch lenses is about more than just covering a focal range. (Many of the premium compact cameras featured in this buyer's guide have extensive zooms that cover wide to supertele ranges.) Interchangeable-lens cameras not only let you tailor your system to meet your focal-length needs, but also give you the option to choose lenses with other advantages, like a fast maximum aperture or high-end glass. Fixed-lens cameras are just that: fixed. If you're looking for a compact camera and minimal size is your ultimate concern, then a fixed-lens model may be your first choice; but for the ultimate in creative options, an interchangeable-lens model, whether DSLR or mirrorless, is the better choice.

6. SYSTEM & ACCESSORIES. Whichever camera you choose, accessories like flash, lens adapters, microphones, GPS and more can make a big difference in not only the quality of your images and video, but also the pleasure of taking photos. It's worth looking at the system accessories offered by the manufacturer for the cameras you're considering (and at third-party options compatible with your system, too). 

7. VIDEO. What started as a high-end feature on top DSLRs is now practically ubiquitous. Even entry-level cameras today can capture HD video, and many with sophisticated options like the ability to control frame rates for a cinematic look. One big difference to keep in mind, however, is sound. Great video imagery becomes nearly impossible to watch if the sound is distractingly bad. If video is an important feature to you, choose a camera that has a stereo input for auxiliary mics so you can choose the right microphone for your recording environment. (To learn more about microphone types and when to choose them, see our DSLR Microphone Guide: www.dpmag.com/mics.)

8. IMAGE QUALITY. You'd be hard-pressed to find a digital camera from any of the major makers today that doesn't deliver sharp, beautiful shots. Still, it's worth mentioning that size does matter. All else being equal, the larger the sensor and larger the pixels, the better the image quality, especially in low light. Larger pixels are able to collect more light for a better signal-to-noise ratio. A corollary to this is that more megapixels doesn't necessarily translate into better images. Take two APS-C-sized sensors, one 12 MP and the other 18 MP. To fit the extra 6 MP on the same-sized sensor, the pixels have to get smaller—something to consider.

9. VIEWFINDER. While the large monitors on the back of your camera are great for reviewing images, they're not always ideal when shooting. Many are actually quite difficult to use in bright outdoor conditions, making an eye-level viewfinder essential. If you shoot mostly indoors under controlled lighting, this may not be an issue, but most photographers are going to want the option of a viewfinder. All DSLRs have them, as do some mirrorless and fixed-lens compacts (though viewfinders are much rarer in the latter two categories). However, many mirrorless models offer an optional viewfinder that docks in the camera's hot-shoe. You're probably going to want one.

10. ERGONOMICS. I saved this for last, because while important, this is the most subjective of all of the camera characteristics we've considered. My hands are bigger or smaller than your hands, and that affects how comfortable a camera is to hold. The arrangement of buttons and control dials may fit me like a glove but seem misplaced to you. The only way you're going to know for sure whether you'll find using a camera to be a pleasure or a pain is to go handle it in person. And please be considerate of your local camera shop—if you use their staff time to help guide you to finding the right gear, at least give them a shot at making the sale rather than going straight to Google to find the cheapest price. You may save a few bucks online, but probably not enough to outweigh the benefit of having the knowledge and support of your local camera retailer.

BONUS TIP. Power! The Li-ion batteries used in most digital cameras are really good, providing at least a few hundred shots between charges. However, if you do a lot of traveling where access to recharging isn't always easy, consider one of the cameras that can accept common AA batteries, either as the primary power source or via an optional grip. We also recommend owning at least one spare battery for your camera system. 

Source : http://www.dpmag.com