Have you ever stepped back in your career, whether you’re a visual creator or not, and thought, “Well, shit… is this it? Is this really as good as it gets? Is this what I want to be doing for the next X years of my life?” Don’t worry, that’s a positive thing (despite however dark night of the soul it may feel like in the moment) And, you are definitely not the only one feeling that way.

When you think about what people or places have moved your career forward the most (regardless of whether you consider yourself a visual creator or not) what comes to mind as common traits? Has it been the upstart entrepreneur who shook you out of the “we’ve always done it this way” way of seeing the world? the wise-sage type whose time-tested ideas and messages resonated just right with what you were seeking? Or just a simple meetup over a cold beverage with a colleague where you hash out pros and cons of a creative project you’re working on. You might be seeing where I’m going with this... When you really break it down, I think there is a brilliantly effective and simple (but sure as shit not easy) way to give yourself a leg up in your career or building your skills – Three words: Plus, Minus, and Equals.

Do you as a photographer ever feel like you’re just not connecting with the right clients? Or that you keep getting assignments/work that just doesn’t light you up or bring you any creative joy to work on? Well, you are so very far from the only one. But it is avoidable, by honing your creative style and making work that draws people in. Put simply, Post eye-catching photos, get eye-catching assignments, put up a generic portfolio – get generic work. Pulling from the world of marketing, there’s a great principle that all photographers can take a cue from and it boils down to this. It’s effective to be better, it’s intriguing to be different, but the best creators of all meld these two facets into their work and are both better and different – That’s what catches the eyes of the public, editors, and art directors and gets you hired.

It is the winter (slightly post-holiday) season! A time to step back, reflect on the year behind us (what goddamn wild one…) and look forward to the future and how your photographic work can and should evolve. So, without further ado, let’s get into this week’s episode on my curated list of five of the best pieces of reading material for you, the photographer, or the visual storyteller in your life. (With a bonus item on the list that should just flat out be required material for every fucking human that’s sufficiently old enough to read it)

One of the core questions I’m always looking to find answers to on this show is “What makes a brilliant visual creator?” Is it the grasp of technical aspects like lighting, composition, and moment? Or a personal skill or special gift of connecting with individuals in your images? There’s obviously a nearly infinite number of talented photographers out there, so what gives certain shooters a true “visual voice”. Well, today’s guest is such a brilliant example of forging that visual voice, that photographic identity, that brand... by melding artistic influences to create as Aristotle so brilliantly said “A Whole that is greater than the sum of its parts.” – Chris McDuffie

It’s only been a few short weeks since our last episode, but it already feels like the entire world has been flipped on its head. We all saw and were outraged beyond words at the murder of Goerge Floyd at the hands of the Minneapolis Police Department. Soon after, my city responded to a collective pain, sadness, and anger with protests that engulfed the Twin Cities in the days after Floyd’s death. The message was and is clear: Now is the time for change. Now is the time for justice.

These days, being stuck in isolation, a lot of us are being forced to grapple with the question “If I’m not taking photographs, am I still a photographer?” (or insert your applicable verb and profession here). We’re all trying to figure out WHO we are rather than WHAT we are or WHAT we do. That’s a painful process for a lot of us creatives, myself included. And it’s the self-same journey today’s guest has been on for years in, around, and through the photography world — and has some mindful wisdom to share from her experience along the way.

Well, this is certainly not a podcast episode I thought I'd have to make but it's one that ought to be made. In this time of incredible uncertainty and confusion surrounding Coronavirus and COVID-19, I just wanted to provide a little bit of respite for all of you photographers all of you videographers, with just a few things to keep in mind and ways to come out the other side of this better than when you started. Which I know sounds pretty much impossible right about now. This episode's gonna get into seven ways that you as a photographer or a visual creator can really make the most of this time of social distancing as we try to fight the spread of the COVID-19 pandemic. And on top of that, I want to provide some ways to help out some of our freelance brothers and sisters in the visual community, so today's episode is gonna touch on a little bit of all of that.

Today’s episode is all about connections. Not in the smarmy, LinkedIn Request, crap networking sort of way, but in the genuine engagement and empathic authenticity that you can only achieve from true photojournalism greatness. Who better to learn from than a photographer would you self-proclaim to rather be a good person than a great photographer, building meaningful connections with the individuals and building a rapport through words before ever picking up a camera to capture images, today’s guest, Alyssa Schukar is an excellent resource to learn from for any working photographer.

Unless you’ve been living under a proverbial rock in the photography world, you’ve likely heard the quote attributed to Robert Capa “If your pictures aren't good enough, you aren't close enough.” Well, as it so happens, there’s some science behind the photojournalist great’s piece of advice.

everybody listening to this podcast probably knows either from practical experience or just intuitively that crafting a career as a photographer or other visual creator is no small feat. From staving off burnout to managing finances, freelancers have to DO IT ALL. So why is it then that freelancers so often fail to actually break out of the vicious cycle of feast or famine workloads? Well, our guest today is the perfect example of how to make it happen as a freelance photojournalist by diving in headfirst into new locations and experiences and figuring it all out along the way. Lauren Justice is a freelance photojournalist currently based in Madison, Wisconsin. Trust, intimacy, and time are cornerstones of her work and believes in using photography as a tool for education, awareness, and understanding. Clients of hers include The New York Times, The Washington Post, The Wall Street Journal, The Atlantic, and NPR just to name but a few. Lauren has attended the Eddie Adams workshop and the New York Portfolio Review (where we start today’s conversation – so if you’ve been pining after getting that invitation letter, we talk about everything you’ll want to know going into it). Lauren and I talk through her strategy as a two-time NYT portfolio review invitee and how in-person meetings with editors have led to far more work than cold emails or pitches. We then get into her career as an independent photojournalist and the path that took her across the country from Ohio to Flint, Michigan, Nebraska, and finally to Madison, Wisconsin and the visual stories she crafted along the way. And finally we go in deep on her recent incredible portrait series featured on the NYT Lens Blog ‘What Would I Have Done if I Would Have Killed Her That Night?’ and her process for long-term storytelling.

Picture this: It’s late 2018. Feels like a lifetime ago, right? Like the whole damn world’s changed since then. Enter me: Freelancing pretty regularly, working at a past desk job and feeling creatively TOAST — I wasn’t happy with the quality of the work I was producing, but without any buffer time in my life to practice my craft and grow as a photographer. What would you do? Well, if you’re crazy like me, you’d respond emphatically with… start a podcast? Yep. That’s right.

When you hear the word “photojournalist” – What comes to mind? A warzone or conflict photographer? A sports shooter lugging a few supertelephoto lenses around the sidelines of a professional sporting event? Or maybe it’s the fly on the wall, spending countless hours following a singular subject, telling a singular, poignant story with images? Well, in my mind, it’s ALL of that and NONE of that. In today’s episode, Ruthie Hauge and I dive in on treating your creative work as a business, how to get connected in new locations and building your tribe, and the importance of finding a partner who shares your values and complements your skills.

“Only a fool learns from his own mistakes. The wise man learns from the mistakes of others.” Two areas we haven't gone to yet on this show are critique and coaching (Arguably the most impactful way I’ve grown as a photojournalist). That’s why I’m so excited to share a new feature on Photo Forward, a segment I’m calling “Push|Pull.” "Push|Pull" is a periodic Q+A or AMA (ask me anything) style segment where I’m going to do real, unscripted critique and coaching taped podcast episodes with YOU Photo forward listeners.

Probably the majority of you all listening this right now would classify yourselves as creatives of one sort of another. And if that’s the case and you self-identify that way like I do, you’ve probably been fed a similar popular wisdom throughout your lives — creatives (photographers/artists/writers/you name it) produce their best work when they are free, unencumbered and left to their own devices, following their creative spirit… while businesspeople/entrepreneurs and the like need structure and analytical thinking to thrive. Well, quite frankly...we’ve all been fed the same lie. It’s time to get SMART and set some goals.

Hello everyone and welcome to the Photo Forward Podcast, I’m your host Ben Brewer. Today, as you might have gathered from the title and a bit of irregularity in the schedule recently is more an announcement and some housekeeping than one of our usual deep-dive interviews with photographers, videographers and visual creators. So, as some of you might have known, for the past 6 years, I’ve been based out of Madison, Wisconsin. And as much as I’ve loved living in the Cheesehead state, sometimes it’s simply the right set of life circumstances at the right moment to make a leap of faith and relocate geographically. So, spoiler alert: I’ve moved! I’ve made the decision to move back across the border to my home state of Minnesota to continue to grow my freelance work and if I’m being honest, take some steps to grow personally. So what does that mean for Photo Forward. In short, it’s going to be pretty much business as usual. The Podcast will continue with a renewed focus on bringing on exciting, creative, and inspiring guests...with one caveat. As you all I’m sure are aware: Moving on its own is a long, stressful, and time-consuming process — and adding in relocating a business and home office doesn’t make it much simpler. So for all of you that have been Jonesing for new Photo Forward episodes this last month, I wanted to apologize for the lack of updated content. This podcast project has meant a hell of a lot to me this past year and your support and listenership has been a huge driving force along the way. So, in short: New Photo Forward episodes are ON THEIR WAY, but you’ll have to be a bit patient. I’ll be giving plenty of updates (be sure to follow @BBrewerPhoto on the socials) as we “re-launch” the podcast in my new state. I can’t wait to keep producing the series and look forward to having you (and all your friends) along for the ride in 2019 and beyond. So, as always — Keep seeing, keep shooting, and keep putting your best Photo Forward. Cheers everyone.

Okay, show of hands. Who here, when you were starting your photography career or just getting into taking pictures said, “I want to be a music photographer!” or “I just want to go shoot photos at concerts!”. I think I can safely say that, at least, the idea has crossed the minds of most visual storytellers at some point. There’s something entrancing about the being a concert or music photographer — maybe it’s the spectacle of the lights and showmanship, maybe for the more video-centric amongst us the purposeful, natural blend of audio and visuals, or maybe it’s something about being part of the concert “experience”. But shooting concerts for free doesn’t put food on your table. Photo credits don’t keep the lights on. Like being any type of photographer, to truly “make it” as a music photographer you have to niche down, achieve a unique style, and find your creative vision that makes you different – not just better – and create work with value. Today’s guest is a perfect example of focusing down in your work and honing your craft, but never losing sight of the real-world practicalities of making photography work that makes you a living. Nate Ryan is a Minnesota-based photographer and filmmaker, capturing editorial and commercial imagery with a journalistic approach, telling visual stories with integrity. An avid cyclist and active outdoorsman, Nate loves to capture the stories and environments of the natural world. As the staff photographer at 89.3 The Current since 2010, he’s captured photos and video of the countless studio performances with bands that visit the station, as well as many live performances at venues in Minneapolis and St. Paul. In today’s episode, I get an inside perspective on what it means to be more than just a concert photographer, how Nate pushes himself on every assignment as a photography team of one, and how he creates work for himself that fires him up to get PAID by national clients to shoot that kind of work for them. You can find show notes with photos and links online at photoforward.media/podcast/Nate So, without further ado, my behind the curtains conversation with 89.3 The Current Photographer, Nate Ryan.

I know you’ve always heard this old adage: “Think Outside the Box” . It’s often used as something like a motivational poster, acting as a pseudo-metaphor for creativity or innovation. But let’s take a step back to examine that: Think OUTSIDE the box. Think outside the BOX. That assumes there’s a box, some bound on creative output (more on that later). But it makes a critical assumption that I’ve got to say I disagree with: That substantial success only comes through side-stepping constraints, especially creative ones. Hey everyone and welcome to the Photo Forward podcast, where we dive in deep each week on the art of visual storytelling, exploring the stories behind some of the greatest photographers in the world. From their origin stories to finding balance as creative professionals, to how to actually make a living as a photographer, videographer, or multimedia creator – I’m your host, Ben Brewer Now, I’m not some genius of Creativity, but I can speak to what I know working as a photojournalist. Along all my assignments, all my projects, all my editorial work — I know this much: The only way I’ve been able to succeed and grow into a better photographer is through limiting CONSTRAINTS. Yes. That’s right. Aspects of my job that actively constrict my photography have improved my work the most. How so you ask? Well, I see it growing me in four big ways from four kinds of creative constraints. Work with what you got (LIGHT) No Do-Overs (ONE CHANCE) No option but to produce (NECESSITY) Deliver your work to the world, FAST I can pretty comfortably say, there aren’t a whole lot of professions out in the working world, like a photographer, that share this unique blend of limitations AND expectation for visual creativity, i.e. ART. I love it, I feed off exploring the box that I’m constrained in. And making my best work inside it. Sure, I can break the mold and innovate outside the box like that old adage, but not until my skills grow, making me the champion of the box I’m in. Let’s break these down: So, first: Work with what you got (LIGHT). Aside from portrait shoots and some of my video work, almost all of the photo projects I’m on, I shoot with all available light. This is DEFINITELY not a dig against photographers that integrate flash into their creative style. That’s their deliberate choice and honestly, their work kicks ass. Check out the photos of a friend of mine, Phillip Montgomery to see some truly unique, amazing visuals, shot with a speedlight (@PhillipMontgomery on Instagram) When I’m making these images on assignment, I don’t get to complain my way into having better light, fewer flickering fluorescent bulbs, better matched color temperatures. Nope. And because of the ethical standards that we as photojournalists hold ourselves to to capture the world as it is, there are absolute rules to how much I’m allowed to tone images in post-production editing. Capture creative angles on fleeting moments, no matter what light I have, or don’t have. So, next time you’re shooting photos, play with the light you have. And I do love that word PLAY here, exploring joyfully how you can use it — not complaining that there isn’t enough or that it isn’t quite right. So, the second constraint on my work is really one of the defining characteristics of photojournalism. Take a look at all of these images of transformative visual moments in history. They’re staggering, they’re arresting, and they all happened in the blink of an eye and then gone, passed, over and done with. What makes the photographers so damn talented, comes from their ability to capture these split-second images. And that, right there, is the essence of the second constraint — No Do-Overs — and as a result of that, Capture Authentic Moments (Though honestly, everything that goes into the ethics of photojournalism, that’s really its own videos worth for a future episode). So, what makes this constraint so powerful on photography? Think about it this way. When you’re forced to create the image you want, the first time, no do-overs, you have to make it happen in three big ways: planning, intuition, composure. You put yourself in the physical place you’ll need to be, making sure your equipment will deliver exactly what you need it to. You visualize the shot you need to make, following that gut feeling and anticipating peak action or fleeting moments of humanity. And finally, you stay composed and focused on making those anticipated images regardless of the circumstances going on around you, no matter how hectic, emotional, or “hurry up and wait” the situation may be. And this dovetails right into the third instance of constraints on my photography — Necessity. Part of what comes with being a professional photographer or any professional creative for that matter, is that when all the of that planning, intuition, and composure come together, you HAVE TO deliver your visual creativity ON DEMAND. When I agree to cover a news event or making a portrait image for editorial clients, I commit to delivering for them. No excuses. Sure, extenuating circumstances come up, but those are the exception not the rule. Often times, I may be one of the only still photographers on location at newsworthy events and, if I don’t make that memorable image happen, it’ll never happen. When your clients depend on you to deliver, that necessity is a constraint that drives me CRAZY. It pushes me to create on a totally different level. And when you create memorable images for the world, as the Reuters photographer on assignment or the designated freelancer for the New York Times, MINUTES MATTER. At events where the big TV news agencies are on location, by the time the live feed cameras stop rolling, still photographers are already behind, already fighting against the breakneck speed of information, 24/7 news culture. It’s definitely not unusual to see a pack of still news photographers *hauling ass* back to laptops to download, caption, edit, and file off images to our photo editors or assignment desks. And it’s not just good exercise in a physical way. It’s exercise in creativity and visualization. I feel like I’m practically downloading in my mind the full set of images on the card— which angles/positions worked, when you nailed focus and exposure and when you DIDN’T, and when specific moments of emotion or peak action clicked, all in the name of shaving minutes off time to deliver these images to the world. In the words of photographer Chase Jarvis, founder of Creative Live — “It’s Chaos; just the way I like it.” And there we have it, those are the constraints, the walls of the box, that I work within as a photojournalist. I’m constantly learning to find the walls...so I can eventually break outside of it. These limitations and challenges stay attached to me, even when I’m not on assignment. They challenge my way of thinking in every aspect of my life . Because not having all the light, not having all the equipment, not having all the opportunity and time in the world… that’s what drives innovative, transformative work.

In past episodes of Photo Forward, we’ve looked at a ton of different topics in visual storytelling — from creating a long term documentary project to how to pitch that work to editors in the wider world. And in all of those stories, it’s been typically centered around solo operators, freelancers, and individuals. Well today is breaking that mold ENTIRELY. Crafting a successful freelance photography career is NO SMALL FEAT. From accounting to marketing to insurance and everything in between… It’s ALL on YOU. Now imagine adding an extra personal wrinkle: Your photography partner is also your LIFE PARTNER. That’s the story for today’s amazing guests – Jenn Ackerman and Tim Gruber. Jenn Ackerman and Tim Gruber are a husband and wife team based in Minneapolis, MN. You will almost always find them working side by side, which has been the case since grad school. They enjoy the collaborative nature of being a tight-knit team and pushing each other to create images that sing. Their goal on every assignment is simple - evoke emotion and authenticity in every image they make to advertising, corporate and editorial clients. They pride themselves in being storytellers and work to create a narrative in every photo they take. Their work has been honored by the Communication Arts Photography Annual and Advertising Annual 2009, 2013, 2014, 2015, 2017, 2019, American Photography 28, 30, 31, 32, 33, 34, 35, 36 PDN Photo Annual, Review Santa Fe Center Project Competition, Photolucida’s Critical Mass, Inge Morath Award, Magnum Expression Award, POYi, and many others. Their most recent documentary film won an Emmy and they were named a McKnight Fellow and to PDN's 30 Photographers to Watch. In today’s interview, Jenn, Tim and I tackled a ton on the nature of crafting AUTHENTIC visual storytelling work, getting through those “scary” times building a creative business, and how crucially important open communication is for growing a collaborative partnership.

We humans, big hairless apes that we are, have become proficient over millenia at a great many things – crafting tools, harnessing nature... you get the picture. But we’re also adept at something you might not even actively think about: HABITS. Different and better results come from taking action. It’s your brain chemistry; don’t let it get in the way of you creating your best photography.