On being a full- time freelancer and the use of the "Shotgun Approach"

This is an open letter to my fellow photographers who are thinking about becoming full-time freelancers. 

My first suggestion is for you to keep shooting every day. No matter where you are going or what you are doing always have a camera with you. Be it going to the grocery store, or taking relatives on a sightseeing trip, on a plane, or boat, or walking, while running errands like taking your watch to have the battery changed. While spending time away for the holidays. 

Remember great pictures are happening out there right now everywhere, every time and you will not be the one who makes these if you do not keep an open eye and do not carry the gear with you. 

Anyway, I digress from my main point. What I truly wanted to do is to give you a glimpse of how dedicated and focused one must be if you do decide to try to make it as a freelance photographer on your own. 

This is my schedule for the past couple of months ever since leaving the Boston Globe. And it is pretty accurate of what I do when I'm not traveling, or on an assignment, or teaching a photo workshop.

I wake up around 7:30AM and turn my computer on right away. I have breakfast while answering emails and then for the next 4-6 hours I keep answering emails, writing up new photo-project proposals as well as checking on other proposals I might already have out there.  

For non-stop blocks of time of one to two hours.  I'll keep bouncing back and forth between writing emails, contacting prospective clients, and even making some cold calls to area publications. 

I'll take a break and step away from my computer for 5-10 minutes to rest my eyes every hour or hour and a half or so. I'll come back and try finding out contact information for camera clubs of all sizes in order to propose presentations and workshops.  I will also call the big photo workshop juggernauts in the industry and approach them with ideas. I will call magazines with story ideas. 

I will contact my journalist friends and ask them: What are you working on?  I will call old bosses and say hi to them... just in case they need something shot in my area. I will look into the logistics of upcoming projects. I will call airlines, hotels, local experts, friends in the area, etc. 

I will call magazines to set up face-to-face meetings to show my portfolio. 

This last point is very important since a lot of what you'll end up doing is not only selling your work but yourself as an easy-to-work-with talented photographer. It’s a maxim of sales: People buy from people they like. If your prospective client likes you, you've won half the battle right there. 

I looked up the definition of what I consider to be my approach: 

The Shotgun Method: the hasty use of a wide range of techniques that are nonselective and haphazard." 

But I disagree with the word "haphazard" found in the definition. If all these things you are doing relate to a specific subject- photography and the business of photography- then it cannot be dismissed as haphazard. 

Anyway, I am true believer when you have that many things up in the air something has got to hit. 

But the most important lesson we get from this approach is it teaches us not to not get to caught up on the things that do not pan out, on our failed attempts. And you know why is that? Because you’d already have seven or eight other things that might work out instead. 

Now I've gotta go. While typing this blog I found out there's a new prospective client out there that must make my acquaintance. Good hunting photogs and keep on shooting!

While dropping off a watch for repairs. 

While walking by the White House

While traveling south for holidays. 

A Story behind every Photo:

Recently as I waited to get a haircut, I found myself perusing through a stack of magazines and I stumbled upon a Matthew Mccounaghey interview. Apparently he is supernova hot in Hollywood right now. And one of the many reasons, he attributes his current streak of success is that he is now in his 40's. And as he so eloquently put it, "In your 40's you get to tailor it."
This phrase resonated with me. It reminded me of a trip I took many years ago here to Washington, DC to meet with the then director of photography for the National Geographic, Kent Kobersteen.
Kobersteen is simply best described as a mensch. He is affable, warm and fair. And most important of all while at his post as NG photo director, he took the time to sit down with emerging talent to offer his appraisal of their photographic skills as well as imparting the occasional bit of wisdom of life in general.

I remember arriving at the NG headquarters and being in awe of the iconic 17th &M address. From the back of my cab looking through the window, I remember being filled with excitement, hesitation and trepidation. As I stepped out of the cab and walked to the building, I felt as if every pore in my body could detect the slightest variation of temperature, the slightest change of wind direction. In other words, I felt scared and alive!

After a short wait, I got to meet Kobersteen in person. My half Panamanian- half Cuban heredity had up until that day served me well by bestowing me with the gift of gab. However on that day, I remember stuttering a simple, "Hello."

He must’ve realized how nervous I was because he graciously came out from behind his desk shook my hand, put his other hand on my shoulder and guided to me sit down. He was also probably thinking, “This kid is about to pass out.”

We made the perfunctory polite exchanges, inquired about common acquaintances and alike. Soon enough I found myself out of common things to talk about. I said a silent prayer and with trembling and sweaty palms handed him my portfolio.

For the most part he remained quiet. Every once in a while he’d nod at this or that image. However, I do remember him becoming animated over this one image of commuters in a train.
He said something along these lines: “Now this is more like it. This image is sophisticated by its layering, it has a tridimensional quality and its a good attempt of capturing the normalcy of daily life by the use of an interesting visual perspective.”

“What?” I thought to myself.

Those words went right over my head. I barely grasped what he was talking about. To me it all was barely a cohesive sequence of nouns and adjectives strung together. At the time, I attributed my confusion to English simply not being first language.

And in the classical manner of an all-knowing twenty something year old, I bypassed the core of his statement and simply focused instead on the part where he said, “Now this is more like it...”

Even though, I tend to fool myself into thinking my mind is a steel trap able to capture the slightest detail of a conversation and the visuals to go along with it. However, when I think about that day, the only visual that comes to mind is me sporting the goofiest, broadest, silliest of smiles while thinking “YES! I’m in!”

However, reality settled shortly thereafter as he then handed me my portfolio back and said, “You are not ready yet but stay in touch.”

I thanked him and I as I turned around to leave while feeling crestfallen, befuddled and perplexed, he called me back and added, "The average National Geographic shooter is mid forties."

Being in my 20's this sounded downright blasphemous!

Now that I’m in my forties, I finally understand Kobersteen’s statement about the average age of the magazine shooter.

Two decades of experiences have granted me the quiet kind of professional wisdom only learned through first-person experiences. The kind that seeps through your consciousness, methodically, unannounced and without boastful expressions of its importance.

One good day this knowledge becomes part of who you are. And unbeknownst to you, it grants you the command of word and authority only possessed by those who know their craft and have had a lifetime to learn it. And if you are among the lucky ones, this knowledge is accompanied by clarity of  sense and of purpose.

I know now my purpose in life is that of helping others become better observers and documenters of the world around us. I am here teach them how to shift their visual paradigm.

Thanks for the time and advice Mr. Kobersteen.

“Every person we meet awakens a different beast within us.” - Unknown

Road Scholar's Art Revolution and Photo workshop in Cuba Dec. 2014

These images are from my latest trip to Cuba a week or so ago. On this occasion, I was leading a group of photographers from the Plymouth Digital Camera Club and others on a Road Scholar Art's Revolution and photo workshop trip. This was my seventh visit to the island. The first time I visited it was in the middle of the "Special Period" in 1992. That time I had gone to Cuba with Pastors for Peace to document Rev. Lucius Walker's annual US government- embargo-defying trip to the island nation. Growing up in Panama, I was raised by my Cuban grandparents and uncles. I'd always heard the names of relatives in Cuba but I had never met them in person. So in 1992, I showed up un-announced at their doorstep and despite finding themselves in the middle of one of the toughest times for Cubans, they opened their doors and welcomed me with open arms. As they have continued to do so ever since. But even I'm pretty sure that even without having had family there, I'd have still fallen in love with this magical place. There's something spell bounding about Cuba and of its people. Any photographer who's visited the island would tell you that in Cuba the colors somehow seem more vivid, the textures more lively, and the people friendlier. So on this a historic day as today is when the US and Cuba have decided to re-establish diplomatic relations I would like to share some of what I see when I go there. TECH STUFF: My trusty Nikon camera gear: A Nikon D4 and a D810. Two lenses 17- 35mm 2.8 and 70- 200mm 2.8... and a ton of memory cards.

New Boston Ballet's Swan Lake Production rehearsal

Boston, MA 101614 Rehearsal for the new Boston Ballet's production of Swan Lake. (Essdras M Suarez/ Boston Globe Staff) BEHIND THE SCENES: Because I knew these are my last weeks as a newspaper photographer, I have been begging the photo desk for assignments that are meaningful to me and this is one of them. And as always, I enjoyed it tremendously. Spending time photographing these amazing athletes with their limitless grace, and effortless gravity- defying feats is not by any means a chore. However, yesterday was a bit of a chaotic. This rehearsal was opened to members of the media so about six different other outlets were there at the same time. So not only do you have to do your job to create an accurate- and - creative visual depiction of the activities going around you but on top of that you also have to make sure you don't get other shooters in your frame. TECH STUFF: 2 Cameras Nikon D3s and Nikon D4/ 2 lenses: 17-35mm 2.8 and a 70-200mm 2,8 with a 1.4 TC/ ISO 800- 1,000/ WB: AWB

Street Photography workshop in NYC for the NY Botanical & Zoological Photographic Society

NYC_0907214 This past weekend, I had the pleasure and honor of speaking and teaching a workshop to the NY Botanical and Zoological Photographic Society. We walked around the High Line Park in Chelsea and a bit around Chelsea Market. NYC this weekend was perfect for this endeavor. Even though I usually don't get to make that many photos, I would call keepers, while teaching these kind of workshops; this time around I couldn't help myself and join in the fun since there were photos everywhere you look. I even got lucky and while trying to make a point about exposing for the highlights I managed to get a great portrait of Connie, one of the NYZBPS members, and then when I found a broken mirror lying on the ground and while explaining how getting low makes your images more interesting.

During my workshops I try to teach people how to see and how to create a certain degree of order within the confines of our viewfinder from the chaotic maelstrom of every day life. And as long as you apply this rule it will always work out : KEEP SHOOTING, KEEP MOVING, KEEP ADJUSTING TECH STUFF: Two Nikon cameras; a D4 and a D3s/ Lenses: 70-200mm 2.8 and 24-70mm 2.8/ WB mostly Sunny and some AWB/ ISO 125- 800/ File type: JPGs.

Deutsche Bank Championship TPC Norton, MA

Norton, MA 090114 Scenes from the Deutsche Bank Championship at TPC on September 1, 2014. (Essdras M Suarez/ Globe Staff) BEHIND THE SCENES: I am not a fan of covering any sports. Therefore, I usually don't know what is going on during most games , competition, tournaments, etc. One of our crack sport photographers called in sick this weekend and I was assigned today to photograph this golf tournament. I thought I had done a pretty good job getting images like these and I even thought I got the guy whom I thought had won the tournament... much to my chagrin I was later informed by my photo desk that I had not even photographed the winner. Live and learn. TECH STUFF: Two cameras: Nikon D4, and Nikon D3s/ Two lenses: 70-200mm 2.8 and 500mm 4.0/ ISO 200- 320/ WB: AWB, sunny and cloudy. Amount of images shot in a day: 1,335.

North Atlantic Right Whale story

Grand Manan, Canada August 7, 2014 I had the opportunity to travel to Grand Manan Island in the Bay of Fundy across from New Brunswick, Canada for this story, which focuses on a famous marine biologist and his quest for saving the North Atlantic Right Whales. He told us, he had not been to the Bay of Fundy area for several years and the last time he'd been there they'd only seen few Right whales. However at the end of our 14-hour day out there, he told us how lucky we’d been with the weather and with the large numbers of whales we got to see. He and his wife told us, we might've seen about 60 cetaceans and out of that many creatures about 50 of them were Right whales. I have a ton of images of whale tails (flukes) coming out of the water. However, what called my attention was the scarring due to propellers one of these creatures had. I also couldn't help but notice how much like nostrils those blowholes truly look. And of course I was fascinated withe the "barnacle beards" they sport. The flukes, and the barnacle patterns is what helps scientist differentiate one from another. TECH STUFF: two Nikon bodies: D3s, D4/ Three Nikon lenses: 500mm AF 4.0, 70-200mm 2.8 with a 1.4TC and a 17-35mm 2.8/ ISO 100-640/ WB: sunny and cloudy/ Format: JPG Fine (PS: the whale images are pretty much full frame) Behind the scenes: I love my 500 F4 because of all the prime telephotos Nikon has, this is one of the lightest so I can hand hold it. However 14 hours of hoisting that bad boy to my eye took me out of commission. My forearms became very sore, as well as my shoulders and my spine. Being in a boat did not help much. But I wouldn't trade the kind of shooting day I had yesterday for anything in the world.