Digital Photographer - UK (2020-01)

go pro

o

f all the subjects that a

photographer might consider

from a career or money-making

perspective, street photography

is probably not high on the list. This is no

surprise when you consider that street

photography is usually associated with

the artier end of photography. It’s typically

landscapes that people hang on their walls at

home or in offices and hotels, while portrait

and wedding photographers are able to find

work simply because people need and want

photos of themselves and their loved ones, or

to capture an important moment in their lives.

Street photography, on the other hand,

inherently involves images of people entirely

unknown to us – and photos taken in a busy

urban area generally don’t have the restful

quality of a landscape scene.

But the chief potential issue is the ethics

involved in street photography. You are

capturing images of strangers without

their permission much of the time, and this

can become problematic when it comes

to making revenue from these images, as

Joshua Jackson (joshkjack.com) explains:

“Street photography involves candid photos of

people in public places and spaces. The direct

commercial applications of this approach are

not always clear, especially when compared

to well-established markets, such as product

photography and portraiture. However, the

resurgence of street photography has

generated a broader interest in the genre, and

advertisers now see the potential of a street

photography aesthetic as a means to connect

and communicate with target audiences.”

Jackson argues that some of the challenges

you’ll face as a street photographer are

actually not so different from portraiture,

landscapes and wedding photography: “The

main challenges are consistent with other

genres of photography – it’s difficult to

build a network of clients and customers to

purchase your products and services. What

makes it especially challenging to earn a

living from street photography is the time

required to build a cohesive body of work and

reputation, which can then be leveraged to

secure commercial work and customers for

prints, books, etc.”

There are several ways to earn money

from street photography. one of these

is from commercial-based work – what

Jackson describes as “advertising or design

commissions with a street photography

aesthetic”. Typical projects could involve

product, fashion or lifestyle shoots where

you have full ownership of the creative vision

and delivery. or it could be to work alongside

an ad agency to bring ideas to life. photos of

identifiable people used commercially often

require signed model releases, but there can

be exceptions – always seek clarification

from a lawyer if in doubt.

Another possibility is editorial work,

which involves shooting “photo stories for

newspapers or magazines covering a specific

topic, issue or event”. It may even be possible

for your work to be printed in a book or

magazine, either in the form of a gallery of

your work or as a tutorial.

The classic revenue resource of

photographers – the print – is also possible

with street photography: “Selling prints of

your work, either directly or through a gallery.

Selling direct to customers is the most

profitable route but requires you to handle all

the administration and logistics. Working with

a gallery can free up time and introduce your

work to new audiences, but they will charge a

commission on any sales”, explains Jackson.

But arguably one of the biggest

possibilities for street photographers is

leading workshops – something that has

become increasingly widespread among

photographers of all genres. Money can

be made through showing people suitable

locations and compositional ideas. When it

comes to street photography, “workshops

can help people overcome their fears and

observe the things others would normally

overlook”, Jackson says.

Right

Under cover

Street photography is

a genre that lends itself

to artistically obscuring

individuals’ identities

Left

Clever composition

This genre thrives on

transforming everyday

sights– a skill that can be

monetised in workshops

Above

Climbing up

Building up skills can help

you to diversify your work

and projects, and open up

new revenues streams

go pro

o

f all the subjects that a
photographer might consider
from a career or money-making
perspective, street photography
is probably not high on the list. This is no
surprise when you consider that street
photography is usually associated with
the artier end of photography. It’s typically
landscapes that people hang on their walls at
home or in offices and hotels, while portrait
and wedding photographers are able to find
work simply because people need and want
photos of themselves and their loved ones, or
to capture an important moment in their lives.
Street photography, on the other hand,
inherently involves images of people entirely
unknown to us – and photos taken in a busy
urban area generally don’t have the restful
quality of a landscape scene.
But the chief potential issue is the ethics
involved in street photography. You are
capturing images of strangers without
their permission much of the time, and this
can become problematic when it comes
to making revenue from these images, as
Joshua Jackson (joshkjack.com) explains:
“Street photography involves candid photos of
people in public places and spaces. The direct
commercial applications of this approach are
not always clear, especially when compared
to well-established markets, such as product

photographyandportraiture.However,the

resurgenceofstreetphotographyhas

generatedabroaderinterestinthegenre,and

advertisersnowseethepotentialofastreet

photographyaestheticasameanstoconnect

andcommunicatewithtargetaudiences.”

Jacksonarguesthatsomeofthechallenges

you’llfaceasastreetphotographerare

actuallynotsodifferentfromportraiture,

landscapesandweddingphotography:“The

mainchallengesareconsistentwithother

genresofphotography–it’sdifficultto

buildanetworkofclientsandcustomersto

purchaseyourproductsandservices.What

makesitespeciallychallengingtoearna

livingfromstreetphotographyisthetime

requiredtobuildacohesivebodyofworkand

reputation,whichcanthenbeleveragedto

securecommercialworkandcustomersfor

prints,books,etc.”

Thereareseveralwaystoearnmoney

fromstreetphotography.oneofthese

isfromcommercial-basedwork–what

Jacksondescribesas“advertisingordesign

commissionswithastreetphotography

aesthetic”.Typicalprojectscouldinvolve

product,fashionorlifestyleshootswhere

youhavefullownershipofthecreativevision

anddelivery.oritcouldbetoworkalongside

anadagencytobringideastolife.photos of

identifiable people used commercially often

require signed model releases, but there can

be exceptions – always seek clarification

from a lawyer if in doubt.

Another possibility is editorial work,

which involves shooting “photo stories for

newspapers or magazines covering a specific

topic, issue or event”. It may even be possible

for your work to be printed in a book or

magazine, either in the form of a gallery of

your work or as a tutorial.

The classic revenue resource of

photographers – the print – is also possible

with street photography: “Selling prints of

your work, either directly or through a gallery.

Selling direct to customers is the most

profitable route but requires you to handle all

the administration and logistics. Working with

a gallery can free up time and introduce your

work to new audiences, but they will charge a

commission on any sales”, explains Jackson.

But arguably one of the biggest

possibilities for street photographers is

leading workshops – something that has

become increasingly widespread among

photographers of all genres. Money can

be made through showing people suitable

locations and compositional ideas. When it

comes to street photography, “workshops

can help people overcome their fears and

observe the things others would normally

overlook”, Jackson says.

Right

Under cover

Street photography is

a genre that lends itself

to artistically obscuring

individuals’ identities

Left

Clever composition

This genre thrives on

transforming everyday

sights– a skill that can be

monetised in workshops

Above

Climbing up

Building up skills can help

you to diversify your work

and projects, and open up

new revenues streams