Passion Projects

Hey everyone,

Not often I post in this thread, usually I lurk and learn.

Recent events have put me in a weird state of mind and wanted to see how others deal with it. We all shoot our favorite themes and subjects that come with that. Me being an automotive photographer, shooting a brand new Aventador or insanely modded C63 fits the bill quite nicely. These are subjects I am passionate about and that passion drives me to deliver the product that people come to expect from me and pay me for.

Now, we all get those projects which are not something we lust over, rather something that we have to do to pay the bills. Not every shoot is a Lambo. I was recently hired to shoot a custom built limo for a company for their promotional flyers. I did not decide location and the subject matter did nothing for me. For me, this one time my results suffered as a result and just finished conversation with client that images were not up to what they expected. I agreed and now going to remedy the issue and re shoot to get the shots I wanted in the first place, in the location I wanted etc. Lucky enough to have client willing to work it out and give me a 2nd shot so to speak, other may not have been so forgiving.

My question is, how do you approach those jobs which are not 100% to your liking but you have to do them anyway? Is it better to turn down the project before hand since you know its not what you love, or do you chalk it up to experience and go forth and see what you can do, even earn long term client in the process. Curious to see what more experienced member than myself think.

And yes, I know as a professional you don't let matters of the mind and heart affect your work, you just do what you do and what people come to expect of you. Its not always that easy though.

TL;DR: How do you approach jobs that are not to your liking and preference?

You can't let your emotions or feelings get in the way of business. It's your responsibility to help benefit the client and do what's best for your business, which is getting as many clients/shoots as possible to build your portfolio, referral base, business relationships, and brand.

You may turn down a project that you don't like but what if that client has more work for you down the road, maybe even work you'd enjoy doing. Well turning that initial project down just killed any possibility of a long-term business relationship. Consistently turning down projects that you don't like will destroy your business, or at least severely limit your potential.

At the same time, you still have to approach every new project with excitement. Best way to get excited for a job that's not to your liking is the money. Maybe charge a little more than you normally would to help compensate for your lack of excitement. I know the thought of a nice pay day will get me jumping for joy.

Doing projects that you don't enjoy is part of running a photography business. I suggest that find a way to make them more exciting so it doesn't negatively impact your photography (as it did with the Limo). They don't call it work for nothing.

Good Luck!

eddie_h wrote in post #16978102
You can't let your emotions or feelings get in the way of business. It's your responsibility to help benefit the client and do what's best for your business, which is getting as many clients/shoots as possible to build your portfolio, referral base, business relationships, and brand.

You may turn down a project that you don't like but what if that client has more work for you down the road, maybe even work you'd enjoy doing. Well turning that initial project down just killed any possibility of a long-term business relationship. Consistently turning down projects that you don't like will destroy your business, or at least severely limit your potential.

At the same time, you still have to approach every new project with excitement. Best way to get excited for a job that's not to your liking is the money. Maybe charge a little more than you normally would to help compensate for your lack of excitement. I know the thought of a nice pay day will get me jumping for joy.

Doing projects that you don't enjoy is part of running a photography business. I suggest that find a way to make them more exciting so it doesn't negatively impact your photography (as it did with the Limo). They don't call it work for nothing.

Good Luck!

Great post and exactly what I learned after this whole experience. Im working now with client to get him what he wants as well as rescheduled shoot and this time do it right the way I had my initial images planned out.

Tony_Stark wrote in post #16977448
And yes, I know as a professional you don't let matters of the mind and heart affect your work, you just do what you do and what people come to expect of you. Its not always that easy though.

I think you answered your own question with that statement. When you are charging for your services, the project is 100% about what the client wants/needs/expects, and 0% about what you like, love, or whatever. You should have the discipline level to keep your own feelings about the subject matter from having any detrimental effect on your work ethic. You're not doing it because you like it - you're doing it because they are paying you to do it.

Tom Reichner wrote in post #16978129
I think you answered your own question with that statement. When you are charging for your services, the project is 100% about what the client wants/needs/expects, and 0% about what you like, love, or whatever. You should have the discipline level to keep your own feelings about the subject matter from having any detrimental effect on your work ethic. You're not doing it because you like it - you're doing it because they are paying you to do it.

Good point.

Tony_Stark wrote in post #16977448
I did not decide location and the subject matter did nothing for me. For me, this one time my results suffered as a result and just finished conversation with client that images were not up to what they expected. I agreed and now going to remedy the issue and re shoot to get the shots I wanted in the first place, in the location I wanted etc.

First of all, your portfolio is very nice.

Did you communicate that to the client?

I agree with the other comments that you always need to deliver as a professional, but a large part of that is setting your client's expectations. For high-end work like this, it can never be 0% about what you like, love, or whatever. They are hiring you based on your previous work which is all about what you like, love, or whatever, so you need to communicate how much control you need to produce a certain quality of image.

So if they pick a location, you need to let them know that the shoot may not produce X results. In my experience, when clients are dead-set on their original plan, they will listen to you, but elect to go with their idea. Then if that idea doesn't work out, you can say, shoulda done it my way, reshoot will be $xxx. There should be language in the contract that addresses reshoots in order for this to work.

mltn wrote in post #16978533
First of all, your portfolio is very nice.

Did you communicate that to the client?

I agree with the other comments that you always need to deliver as a professional, but a large part of that is setting your client's expectations. For high-end work like this, it can never be 0% about what you like, love, or whatever. They are hiring you based on your previous work which is all about what you like, love, or whatever, so you need to communicate how much control you need to produce a certain quality of image.

So if they pick a location, you need to let them know that the shoot may not produce X results. In my experience, when clients are dead-set on their original plan, they will listen to you, but elect to go with their idea. Then if that idea doesn't work out, you can say, shoulda done it my way, reshoot will be $xxx. There should be language in the contract that addresses reshoots in order for this to work.

The mistake being here was that I set up this shoot through a mutual friend/client, so the communication was not there from the get go, basically until we got to the location. So obviously my concern for location and out come was not heard until after the images were delivered and were not up to the clients demands.

Tony_Stark wrote in post #16978545
The mistake being here was that I set up this shoot through a mutual friend/client, so the communication was not there from the get go, basically until we got to the location. So obviously my concern for location and out come was not heard until after the images were delivered and were not up to the clients demands.

I've been here before, and it's very frustrating. Now you know, and there's no better lesson than experiencing something like this first hand.

Also I just stumbled across the pricing portion of your site, and I think you need to make some big adjustments. I think your lowest package should offer a lot less, and then consider having more packages/options with more specific offerings per price bracket. Just my 2¢ but you must be doing an insane amount of work for each of your packages for the rate.

Honestly I think $275 is way too low for 1 meticulously processed image, let alone 12.

mltn wrote in post #16978562
I've been here before, and it's very frustrating. Now you know, and there's no better lesson than experiencing something like this first hand.

Also I just stumbled across the pricing portion of your site, and I think you need to make some big adjustments. I think your lowest package should offer a lot less, and then consider having more packages/options with more specific offerings per price bracket. Just my 2¢ but you must be doing an insane amount of work for each of your packages for the rate.

Honestly I think $275 is way too low for 1 meticulously processed image, let alone 12.

My website is always a WIP and pricing is definitely something I struggle with to find a nice balance. I haven't been at this very long but slowly increasing as time goes by. Was tough enough as it is to get shoots starting out for $100 and still for $275. I'm working my way up to clientele that can and will afford to pay what I charge but for now Im still in early marketing stages to reach those people. Money in automotive photography is not very abundant and many people wonder that I can do what I do in this field and can still make money, since they themselves can't get clients to pay what they want, which is significantly less than what I charge. Each market has its own characteristics and Toronto is nothing compared to bigger scenes like Florida and California. Its not easy but Im working my way up.

Tony_Stark wrote in post #16978545
The mistake being here was that I set up this shoot through a mutual friend/client, so the communication was not there from the get go, ...

We had similar situations shooting for an ad agency & the end client wasn't there. But the agency AD usually was, & at the very least we had a layout to work from as a starting point + the experience of what they had asked for in the past.
Next time I suggest that you shoot it their way as you understand it, & then shoot it the way that you think it should be, & let them decide after. If nothing else, you'd get a good image for your book.

It doesn't matter what the subject is, but what your time is worth & what the final use will be, no? So I agree that you're prices are too low. "12 total shots... individually and meticulously processed to ensure quality" for $275.00? Who are your clients & what do they use the images for?
Perhaps not relevant in a slow Toronto market, but shooting cars for the big 3 in 1970 we usually got $1,000 a shot. Even now I charge the classic car guys $200 for one print of their "baby", although I do provide more images on a CD.

I hope that you're making the rounds of the agencies? Find a guy that's handling the type of clients that you're trying to reach. Take him to lunch... frequently, not so much to get work but to keep your ear to ground about what's happening in the business. Sometimes there are Associations where you can make contacts. I'm sure that Toronto has at least one.

As for shooting "jobs that are not to your liking and preference", I try to consider it a challenge to satisfy both myself & the client. At least it's not the same old stuff.
If you had asked about shooting "jobs for a client that is not to your liking and preference", well I've fired clients before. ; )

eddie_h wrote in post #16978102
You can't let your emotions or feelings get in the way of business. It's your responsibility to help benefit the client and do what's best for your business, which is getting as many clients/shoots as possible to build your portfolio, referral base, business relationships, and brand.

You may turn down a project that you don't like but what if that client has more work for you down the road, maybe even work you'd enjoy doing. Well turning that initial project down just killed any possibility of a long-term business relationship. Consistently turning down projects that you don't like will destroy your business, or at least severely limit your potential.

At the same time, you still have to approach every new project with excitement. Best way to get excited for a job that's not to your liking is the money. Maybe charge a little more than you normally would to help compensate for your lack of excitement. I know the thought of a nice pay day will get me jumping for joy.

Doing projects that you don't enjoy is part of running a photography business. I suggest that find a way to make them more exciting so it doesn't negatively impact your photography (as it did with the Limo). They don't call it work for nothing.

Good Luck!

I have to say this and the other advice you have recieved so far is spot on... and surprisingly realistic for a forum where repondents usually thing it's all about " Their Reputation" and how they want their work to look.

I did a lot of commercial work and faced the same sitiuation I think you are getting at many times. Often teh person commissioning the work was appointed the job of getting something photographed and dosen't have the first idea about it. they will tell you they want this or that and you know straight off it's going to be a dogs breakfast. Sometimes out of pride or whatever they will pretty much insist you do it the way they want.

What I used to do is firstly try to work out the details such as where the shoot would take place. I'd then recce it if I didn't know it already. From there I would suggest the actual place the photography would be done ( such as the exact spot in a park) or tell them that the location was no good and suggest an alternative or at least the requirements for somewhere suitable.

This goes for all aspects. They may plan for something to be photographed at Midday which could be the worst time for that subject. It may be a time when the light is on a building the wrong way and casting shadows or the background is inappropriate or whatever. I would advise them of my concerns and if they were insistant I would put them in writing so I had a fall back. Do not underestimate the level of turncoating and denial that goes on in corporate jungles. Some people will do and say anything to deflect blame. I found that out the hard way, even recently when I forgot the lesson.

Wherever possible, I would ask with as much insistance as was polite to do it their way and to do what I thought was best. I would add that if they did not want what I did, they would not be charged. IF they liked my idea, obviously they paid for the time in doing it their way ( the wrong way! :0) ) and my time in doing it right.

I'd guess that they agreed to this about 90% of the time and about 85% of the time from that, when they saw the images it was a bit of a revelation followed by something along the lines of " Oh, now I understand what you were talking about".
Even before the shoot you have to think ahead. I usually try and thing backwards.

What is the end goal? Lets say its a shot for an advertising piece.
What iws the ad? Internet, magazine, newspaper, brochure. Say it's a brochure ( because I had this exact thing once) what is the layout? Is it a full page or a skinny DL or something? If it's a DL, you are better off with a tall and long shot ( where possible) than maybe the production department's manager who was left with organising the shoot ideas of a wide panoramic which is going to be tiny in the 2 column layout.
If its newspaper, then no use having a lot of high contrast and colour details in an ad to be printed in low res B/W.
You get the idea.

In saying that, I once got asked to sit in on a production meeting for an ad aimed at tradesmen. I exaggerate not, the " committe" discussed ( argued) for damn near 2 hours just on the make and model phone the guy in the ad for their trade helpline should be holding! They went round the office picking up peoples phones, they were looking on the net and printing out pics, trying to research it as we sat there.... it was mind numbing! I think the thing that really lead them to their decision when they did finally settle on something was me saying " If the viewers of the ad even notice they type of phone the guy is holding, your whole message is lost and the ad is a failure straight off. That seemed to embarras a few of the main procrastinators.
Then another hour went into working out what style of shirt the guy should wear, If chequed was too stereotypical, what colour it should be, what colour overalls, if they should be boilermaker or bib and brace..... 4 hours all up. Thank god I got paid to endure that fiasco.
Took me less that 2 hours to shoot it from arrival to setup to shoot and leaving.

Think ahead to the end goal not just on the shot itself.

The thing is though if you say after the event, "Well I didn't like this location/ setup/ background or whatever and I wouldn't have done it that way" then it IS YOUR fault. Your the shooter, if they knew what they were doing, they wouldn't need to hire you in the first place. If I hired someone to paint my house and afterwards I said that colour is awful and the painter said yeah, I could have told you that, did 2 last week and they looked total crap as well,The guy may be waiting for his money a while for not giving me the benifit of his professional experience and knowledge.
That is what I am paying for after all.

If you forewarn people and it turns to ship as you predicted, that's on them 100% and if they want it done again because they aren't happy, then they are paying full tilt again.
You advised and more importantly covered your arse so if they chose to ignore that advise and end up unhappy, that's on them.
Again though, if you don't prewarn or speak up about your resevations, anything afterwards is and will be seen as a cop out.

It's ridicilous to think every job that comes along is going to be just what you want. Just befcause you don't think it's fantastic and exciting dosen't mean it deserves any less than 100% of your effort. You may be shooting Workboots for a small buisness but the importance of those shots to the business owner who could have the make or break of his business tied up in those boots is far more important than anything else in the world.

Once you have people beating down your door and waving wads of cash at you to shoot for them, sure, only do your dream jobs but till you get to that, you better make the best of the bread and butter job because untill you do them well, The caviar people won't be interested in you.

No matter what you are doing, be the professional and the expert. Look at all the details, the potential pitfalls and let them know. If they go against it, and there may be good reason to for reasons you are not aware of ( and don't underestimate pride) You have covered yourself if they see them and go Yecch.
If you can do it the way you think best after you have done it their way, then you have really covered yourself.

Luckily, profewssional service and covering your butt go hand in hand in most cases.

djphotosyd wrote in post #16979385
I have to say this and the other advice you have recieved so far is spot on... and surprisingly realistic for a forum where repondents usually thing it's all about " Their Reputation" and how they want their work to look.

I did a lot of commercial work and faced the same sitiuation I think you are getting at many times. Often teh person commissioning the work was appointed the job of getting something photographed and dosen't have the first idea about it. they will tell you they want this or that and you know straight off it's going to be a dogs breakfast. Sometimes out of pride or whatever they will pretty much insist you do it the way they want.

What I used to do is firstly try to work out the details such as where the shoot would take place. I'd then recce it if I didn't know it already. From there I would suggest the actual place the photography would be done ( such as the exact spot in a park) or tell them that the location was no good and suggest an alternative or at least the requirements for somewhere suitable.

This goes for all aspects. They may plan for something to be photographed at Midday which could be the worst time for that subject. It may be a time when the light is on a building the wrong way and casting shadows or the background is inappropriate or whatever. I would advise them of my concerns and if they were insistant I would put them in writing so I had a fall back. Do not underestimate the level of turncoating and denial that goes on in corporate jungles. Some people will do and say anything to deflect blame. I found that out the hard way, even recently when I forgot the lesson.

Wherever possible, I would ask with as much insistance as was polite to do it their way and to do what I thought was best. I would add that if they did not want what I did, they would not be charged. IF they liked my idea, obviously they paid for the time in doing it their way ( the wrong way! :0) ) and my time in doing it right.

I'd guess that they agreed to this about 90% of the time and about 85% of the time from that, when they saw the images it was a bit of a revelation followed by something along the lines of " Oh, now I understand what you were talking about".
Even before the shoot you have to think ahead. I usually try and thing backwards.

What is the end goal? Lets say its a shot for an advertising piece.
What iws the ad? Internet, magazine, newspaper, brochure. Say it's a brochure ( because I had this exact thing once) what is the layout? Is it a full page or a skinny DL or something? If it's a DL, you are better off with a tall and long shot ( where possible) than maybe the production department's manager who was left with organising the shoot ideas of a wide panoramic which is going to be tiny in the 2 column layout.
If its newspaper, then no use having a lot of high contrast and colour details in an ad to be printed in low res B/W.
You get the idea.

In saying that, I once got asked to sit in on a production meeting for an ad aimed at tradesmen. I exaggerate not, the " committe" discussed ( argued) for damn near 2 hours just on the make and model phone the guy in the ad for their trade helpline should be holding! They went round the office picking up peoples phones, they were looking on the net and printing out pics, trying to research it as we sat there.... it was mind numbing! I think the thing that really lead them to their decision when they did finally settle on something was me saying " If the viewers of the ad even notice they type of phone the guy is holding, your whole message is lost and the ad is a failure straight off. That seemed to embarras a few of the main procrastinators.
Then another hour went into working out what style of shirt the guy should wear, If chequed was too stereotypical, what colour it should be, what colour overalls, if they should be boilermaker or bib and brace..... 4 hours all up. Thank god I got paid to endure that fiasco.
Took me less that 2 hours to shoot it from arrival to setup to shoot and leaving.

Think ahead to the end goal not just on the shot itself.

The thing is though if you say after the event, "Well I didn't like this location/ setup/ background or whatever and I wouldn't have done it that way" then it IS YOUR fault. Your the shooter, if they knew what they were doing, they wouldn't need to hire you in the first place. If I hired someone to paint my house and afterwards I said that colour is awful and the painter said yeah, I could have told you that, did 2 last week and they looked total crap as well,The guy may be waiting for his money a while for not giving me the benifit of his professional experience and knowledge.
That is what I am paying for after all.

If you forewarn people and it turns to ship as you predicted, that's on them 100% and if they want it done again because they aren't happy, then they are paying full tilt again.
You advised and more importantly covered your arse so if they chose to ignore that advise and end up unhappy, that's on them.
Again though, if you don't prewarn or speak up about your resevations, anything afterwards is and will be seen as a cop out.

It's ridicilous to think every job that comes along is going to be just what you want. Just befcause you don't think it's fantastic and exciting dosen't mean it deserves any less than 100% of your effort. You may be shooting Workboots for a small buisness but the importance of those shots to the business owner who could have the make or break of his business tied up in those boots is far more important than anything else in the world.

Once you have people beating down your door and waving wads of cash at you to shoot for them, sure, only do your dream jobs but till you get to that, you better make the best of the bread and butter job because untill you do them well, The caviar people won't be interested in you.

No matter what you are doing, be the professional and the expert. Look at all the details, the potential pitfalls and let them know. If they go against it, and there may be good reason to for reasons you are not aware of ( and don't underestimate pride) You have covered yourself if they see them and go Yecch.
If you can do it the way you think best after you have done it their way, then you have really covered yourself.

Luckily, profewssional service and covering your butt go hand in hand in most cases.

Thanks for the lengthy reply! Was nice to read through all that. I definitely took the wrong approach for this situation but I have gained the experience as a result. I am working with client to resolve the issues and rescheduled shoot is in the books. I agree, customer service is everything and what keeps people coming back.

Very good thread, I had similar issues recently myself.
Lately I did quite a few model shoots, where the focus is the model and the aesthetic of the image. Crop in interesting ways, light in dramatic ways, get interesting poses... etc...

Earlier this week I did a clothing line shoot, 4 models, LOTSA outfits, so its shoot, change, repeat, no time for being too creative.... the focal point is the clothing. I spoke to a pro buddy of mine regarding lighting, posing and framing beforehand, as I knew I am yet to do something like this.
Things I had to consider was colour of clothing, background noise/distracting from the oufits. Framing the shots full length (and often boring). I lit the setting with higher contrast lighting to get some pop from the clothing.

It was a very tiring shoot as I had to do lots of tweaking (the client is someone I know and knew beforehand Im new to this). The client is however very happy with the results and Im glad I did this (was a free shoot as I wanted the experience for this type of work).

Few things I learnt:
-I wasnt able to scout the locations beforehand, as I was abroad, wish I did, some areas did not work.
-When photographing a product, you really must remember to focus on the product! yes the model must look flattering, but make sure there isnt a thread out of line, or red remains red.
- Manage expectations, Communicate with the client before and during shoot: eg. I told the designer/dressmaker then and there "this location will not work, clothing will get lost" etc... Dont just go ahead unless you comfortable.
- Be sure to be geared up properly, Some areas in hotel was very cramped, and luckily I had a full speedlight system and could leave the large strobe/battery setup in the car.

I am actually looking forward to doing another similar shoot, as I learnt lots! Im just glad the client love the work.

I, like many professional photographers, have what I do for a living and that supports the family, pays the mortgage and all the bills. This work is usually collaborations and is always for the client. If I don't consistently exceed the clients expectations then I no longer have clients or money to do my own personal work. And then I have my personal work. That is for me and not a collaboration or for a client but a real creative outlet for me and that has kept me from burning out over the years.

My professional work is the base that makes everything else possible. I do that to support the family and my personal work. Heres a couple of really good quotes that get to this by two GREAT photographers:
"When money enters in, - then, for a price, I become a liar, - and a good one I can be whether with pencil or subtle lighting or viewpoint. I hate it all, but so do I support not only my family, but my own work." - Edward Weston

"There’s always been a separation between fashion and what I call my “deeper” work. Fashion is where I make my living. I’m not knocking it. It’s a pleasure to make a living that way." -Richard Avedon

I. like Avedon, don't hate the work I do for clients the way Weston did. I really enjoy the commercial/advertising work I do. It has provided a good living for me and a decent standard of living for me and my family. But my real passion is what I do for me and though I have had success with my personal work I don't think it could support that standard of living we are accustom to. And because I don't have to make a living with that I can create exactly what i fell and not having to create to sell so that is not driving my vision either.

If any opf you are in New York on July 1 please stop by the Soho Gallery. I was selected for this exhibit at the Soho Gallery in New York. It was a juried show and only 42 images were chosen from over 2600. The opening is July 1.

Heres the info..
http://www.sohophoto.c​om …te/competitions​/national/

Here is the photo that they selected

nazmo wrote in post #16980881
Very good thread, I had similar issues recently myself.
Lately I did quite a few model shoots, where the focus is the model and the aesthetic of the image. Crop in interesting ways, light in dramatic ways, get interesting poses... etc...

Earlier this week I did a clothing line shoot, 4 models, LOTSA outfits, so its shoot, change, repeat, no time for being too creative.... the focal point is the clothing. I spoke to a pro buddy of mine regarding lighting, posing and framing beforehand, as I knew I am yet to do something like this.
Things I had to consider was colour of clothing, background noise/distracting from the oufits. Framing the shots full length (and often boring). I lit the setting with higher contrast lighting to get some pop from the clothing.

It was a very tiring shoot as I had to do lots of tweaking (the client is someone I know and knew beforehand Im new to this). The client is however very happy with the results and Im glad I did this (was a free shoot as I wanted the experience for this type of work).

Few things I learnt:
-I wasnt able to scout the locations beforehand, as I was abroad, wish I did, some areas did not work.
-When photographing a product, you really must remember to focus on the product! yes the model must look flattering, but make sure there isnt a thread out of line, or red remains red.
- Manage expectations, Communicate with the client before and during shoot: eg. I told the designer/dressmaker then and there "this location will not work, clothing will get lost" etc... Dont just go ahead unless you comfortable.
- Be sure to be geared up properly, Some areas in hotel was very cramped, and luckily I had a full speedlight system and could leave the large strobe/battery setup in the car.

I am actually looking forward to doing another similar shoot, as I learnt lots! Im just glad the client love the work.

Thats what it all comes down to, have new experience and growing as a result. I definitely won't be making the same mistake twice. Sometimes you need to learn the hard way through your own experiences, despite what others may tell you before hand.

airfrogusmc wrote in post #16981342
My professional work is the base that makes everything else possible. I do that to support the family and my personal work. Heres a couple of really good quotes that get to this by two GREAT photographers:
"When money enters in, - then, for a price, I become a liar, - and a good one I can be whether with pencil or subtle lighting or viewpoint. I hate it all, but so do I support not only my family, but my own work." - Edward Weston

"There’s always been a separation between fashion and what I call my “deeper” work. Fashion is where I make my living. I’m not knocking it. It’s a pleasure to make a living that way." -Richard Avedon

So my commercial work is my day job and my personal work is my passion and my passion project. THis has all been an amazing passport into worlds I would never have gotten into otherwise. So I am grateful for it all. I have photographer homeless veterans some REAL heros, movie and TV celebs, been sent all over by clients to exciting places and even photographed open heart surgery so it's all been good and a great ongoing journey.

Allen

Thanks for those quotes Allen, they really hit home! Interesting to see everyone's take on this and definitely agree that when doing this as a profession client always comes first. This time I let myself get in the way and my product suffered as a result. Also, congrats on the gallery, must be a thrilling experience!