How to get into documentary photography?

<p>Hello all. After shooting for just about a year now, I've come to understand that my best genre of photography is probably documentary. I like street photography, but even more than that, I like documenting the goings-on at a particular place. So far, I've only been able to do this within the confines of my job, which happens to be at a school (which also means that I can't post those photos anywhere, as they're mostly of minors, and it would be unethical to post them both because they're under 18 and because I don't have permission to do so). But, that tangent aside, I've gained a lot from my job. My first experience came in April, when I documented murals and paintings that were done on school grounds by a volunteer group. I had a lot of fun and got a lot out of it (and got lucky beforehand, landing a 20-35mm on short notice). Just last week, I did a bit at our cafeteria manager's request as the school year wound down, shooting the before-school breakfast routine and getting a lot out of it. For the first time, I was glad to have my new 17-55, rather than a 24-70, as I got some shots that wouldn't have happened with the latter. I got the 17-55 in no small part because I envisioned myself doing more documentary photography. I hope I can make that a reality.<br>

Which brings me to my question: How does one go about making it happen? One thing I've been wanting to do is to document life at a major animal shelter in the area here. Unfortunately, my call to the shelter's director was not returned, and I left it at that (at least for now). Perhaps fearing another empty response, I haven't tried anywhere else. But, I do still feel that documenting a place and the people in it is what I want to do. I don't think I'm one for posed stuff that blows people away, but I think I might have it in me to do a good job showing an outsider what life is like at a particular place.<br>

For the documentary photographers here, how did you get your start and what have you done to make it a part of your life?</p>

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<p>Unfortunately, my call to the shelter's director was not returned, and I left it at that (at least for now). Perhaps fearing another empty response, I haven't tried anywhere else.</p>

 

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<p>If a single un-returned call is such an obstacle, you're going to have a tough time of things. An important element to "winning people over" so they'll accept and support your project is to demonstrate some kind of passion about your idea. Perseverance is essential.</p>

<p>Josh, I second Mike's comment. The time schedules of directors and managers are so tight, that you will only win attention if you are persistent, and can fast assure them that you have something they need to make their situation better.</p>

<p>Try again, and good luck!</p>

<p>Start shooting stories and submit them to publications. There are an insane number of excellent documentary shooters out there fighting for work.<br>

You have to be good and persistent to get published.</p>

<p>If you're not already, you should be learning video camera.</p>

<p>Thank you for the suggestions so far. They're much appreciated. What publications should I be looking to?<br>

I have absolutely no desire to ever work with video. Someone else in my family is the video person, and I'm the still person. We have little interest in the other's preferred medium. </p>

<p>DO the things YOU want to do. Get involved and carry your camera with you wherever you go. I'm not talking about photojournalism, obviously. They have much better information for going down that route, if that's what you're really looking for. If you want to speak to "outsiders", then best way to do it is to not be an outsider. Not sure this is the advice you're looking for, but as Ian posted above: "There are an insane number of excellent shooters out there fighting for work."<br>

While they're busy fighting it out, you can accumulate a mass of interesting experiences of your own, and possibly be a part of the story as well. Keep honing your skills, and find, if nothing else, a better perspective from a photographic standpoint if not a personal one. It's worked for me.</p>

<p>forgive the repetition here but you really need to come to terms with rejection and getting no response. it is the name of the game<br>

second bit of advice - NGO's.<br>

you need to be insanely creative and dedicated to finding avenues to market. i mean INSANELY creative.</p>

 

<p>Might be best not to even bother then. I'm not particularly creative, or at least not in ways I currently know about. I'm better at just capturing what's around me, which isn't particularly noteworthy. </p>

<p>Don't worry about getting published. Get to work getting the access that will allow you to do the work you want to do. Cold calling usually doesn't work. What you want to do is take what you've already done so far and edit it down to a portfolio of around 10-20 images, make a little book out of it (doesn't have to be anything fancy - just a simple 4x6 album from the local art supply shop), tuck in a business card along with a letter that has some sort of statement of intent, drop it off or mail it to the shelter director, THEN follow it up with a phone call 3-4 days later.</p>

<p>There are at least two questions you will need to answer in your proposal. First, what's in it for the shelter and/or shelter director? Second, how does the shelter director know that you're not some whacko from PETA who's trying to get on the "inside" to get some embarrassing or incriminating "evidence" to use against the shelter? Bottom line - why should the shelter director grant you access? "Because I'm interested" isn't a good enough answer to have to put up with you being there poking around with a camera for however many days you need to be there. Maybe offer the shelter the opportunity to use your pictures on their website or marketing materials at the end of the project? Hopefully you have the ability to take interesting, storytelling pictures, and that your portfolio will play up your strengths.</p>

<p>Since it's a personal project there is no need to shoot video if you don't want to. After spending time getting to know your subjects and letting them get used to having you around, then you really get to work. But you should always be shooting and editing with your own project goals in mind, not whether or not it will be published - that's the last thing to worry about. You have the luxury of doing this the way YOU want to do it, because you're not relying on it to put food on the table. Use that to your advantage. Good luck.</p>

<p>I take issue with "insanely creative." There are so many formulaic stories out there; you can bank on a jail-to-Yale story any day of the week. Text or photos.</p>

<p>All of it looks like it's not noteworthy. That's because, as it is happening, most of it just looks like ordinary life, because it is. It comes to life as a documentary story because of the way the story is told. Sometimes there might be an amazing event, or some obvious form of separation; but, most good documentaries will be grounded enough in real life to be plain and boring, if seen as the entire day unfolded; and, that entire day would probably be boring. The text would be drudgery to write; the photos would put you to sleep as you compose yet another pointless subject. So, the documentary would take some work; and, a little bit of faith in your idea. </p>

<p>You don't need to be insanely creative. You may need a little bit of funding. You will definitely need to do some work. But, it doesn't take superhuman strength. Tell the story. That's it.</p>

<p>Josh:</p>

<p>I'd suggest calling a few more shelters, local organizations working in the field you want to document and so on. As already stated, you really shouldn't let one rejection get you down. When I first started out shooting stock in the US in 1998 I had a rejection rate of about 50% of all my calls for access. Didn't matter one bit that I had been working as a pro pj for 9 to 10 years before that and constantly being published in national newspapers, magazines etc while covering the Middle East, Organized Crime throughout Europe, neo-Nazi groups in Europe etc.</p>

<p>I treated the rejections as a motivator making me call even more people. It all worked out in the end and while I still do the occasional (old school meaning text plus images) pj work, roughly 90% of my work these days are stock sales. </p>

<p>A couple of yrs ago I hung out a bit with a very successful National Geographic photographer who, like most photographers, strugggled for yrs to get his career going. He told me that if "you aren't getting 3 rejection notices a week, you aren't working."</p>

 

<p>Great stuff. I really appreciate the last several replies, as they're most helpful. I'm going to put together some of my best shots and have them ready to show places I want to get into it.</p>

<p>If you usually carry a camera bag around anyway there's no reason not to have a small portfolio with you. And not just for getting access - when you're out and about photographing, and someone gives you trouble (police officer or otherwise), whipping out the portfolio to show that person what you do is a lot better and more situation-defusing than, say, getting into a shouting match over the First Amendment. I know at least one guy who keeps a mini-portfolio on his iPhone.</p>

<p>I pretty much do that last bit right now. I keep some of my best shots on my iPhone, though I need to tidy up a bit and put on some new shots.</p>

<p>This kind of question always reminds me of Mark Twain's experience in San Francisco when he was young and unknown. He wanted to write articles for the San Francisco Chronical, but they weren't interested in hiring anyone. So, he wrote an interesting essay and sent it to them to use for "free" if they wanted to. Of course they published it. Pretty soon the paper was getting lots of letters from the readers asking for more of his articles. So, they eventually had to start paying him. This is somewhat similar to the free internship for beginners. Work your way into an indispensable position and you'll get hired. Think of it from the hirer's point of view: why would they take a risk on you with money up front without knowing what you can do? So, do it for free and show them something. Finally, as suggested above, show someone something they've never seen before or never even thought of . . . that just has to be used and shared with others. Out of pocket costs . . . that's a different question, especially travel. Digital equipment helps a little bit with that if you already have a computer, printer, and software. </p>

<p>This does not need to be very complicated. In my experience, volunteer organizations love photographers.</p>

<p>Go in, in person, and ask about their volunteer program.</p>

<p>Shelters have volunteer programs and usually need someone to photograph the animals for web sites, etc. so the animals will get adopted. Go volunteer for this job and you are in with your camera. Make friends, take pictures, ask for permission if you want to publish. If it is like shelters I know, you will need to attend a short orientation session (a few hours on a weekend day) and you might have to have a background check (if you work in a school, you probably know how this works).</p>

<p>Alternatively, ask if they would like to have their program documented for their own advertising purposes. Most shelters have at least a web site and often a newsletter, presence on bullitin boards, walls that could use pictures, etc. If you are volunteering your work, they will almost certainly be enthusiastic to get some nice pictures.</p>

<p>Or simply go in in person and tell the first person you encounter at the front desk what you want to do. Bring some prints with you that show your work and are bigger than 4"x6" (say 5"x7" or 8"x10") so they can see that you know what you are doing. Note: they are not photo editors and the standard is not very high, so don't worry too much about this. You don't even need an album, just something to hold your prints safely. You are just establishing that you can take sharp, properly exposed images that show something interesting.</p>

<p>This will often lead to a conversation with the right person. If it doesn't, it will establish who the right person is and you can find out when you should come back or how to make an appointment with them.</p>

<p>Just be sure to ask for photo credit if it gets published.</p>

Re: "insanely creative"

 

You need to re-read the post. You most certainly need to be "insanely creative" in the pursuit of funding. Of this I assure you. There are stories out there indeed, as there is funding. Finding and securing the funding takes some very, possibly "insanely", creative thinking.

You need to be "insanely creative" in the pursuit of funding is what my post was intending to say.

 

Insanely creative in the pursuit of funding.