When it comes to marketing: Act like a freshman and not a senior

Yesterday I was privileged to speak at THE BUSINESS OF VISUAL JOURNALISM WORKSHOP held at the Grady School of Journalism on the campus of University of Georgia.

Mark Johnson, Senior Lecturer in the Grady School of Journalism, welcomes everyone to the workshop.

The first speaker was Allen Murabayashi, CEO and co-founder of PhotoShelter, who covered fundamental web marketing tactics, essential website design requirements and critical features (plus some advance concepts) that helps photographers better utilize their website as a business and marketing tool and grown their online presence to best generate new business.

Some of the points that Murabayashi covered were very similar to my topics, but a little different perspective.  Hopefully by the end of it all people are realizing that if a few people are mentioning similar things then maybe it is something they should pay attention to.

Allen Murabayashi is very vivacious speaker and kept everyone entertained and informed.

One of the things that we were trying to do in our talks was to help those who are starting out or struggling on what we are doing with our time.  Earlier I wrote a post about how I spend much of my time.  Here is a link to that blog post.

It doesn’t take long before you start to see some common themes when you try to apply marketing to any industry.  First of all you must realize that not everyone is a candidate for your services. When you run the numbers it is more likely in the 10% range of those who are interested in hiring you.

You need a large fishing net to be successful when fishing for clients. In that earlier blog post I talked about this process of the Marketing Funnel.

This is the process I talked about earlier.  The idea is to get as many people in the first stage of being aware you are there in the marketplace. At each step you improve that area to help increase the likelihood of people choosing you.

Allen Murabayashi also used the marketing funnel.  He was also letting everyone know that the first thing is to make people aware of your services.  It is very important that you define your niche because otherwise your awareness group has to be even larger than if you are more defined in your niche.

Allen Murabayashi talks about the marketing funnel and how to get people to visit your website and then to use your website to help move them to becoming a client.

Freshman vs Senior Social Networking Skills

Since most in the audience were college students I felt like the best illustration I could use was for all of them to remember what it was like as a freshman.  How when they went to parties they had to go around and introduce themselves and meet folks.  They were proactive and needed to find some friends.

I contrasted how they went to parties as a freshman to as when they are a senior. As a senior you go and usually meet with your friends and just enjoy each other.  You are not looking for more friends you have them.

I challenged the class to act like freshman again and never loose this perspective–looking for friends.

What happens your senior year is graduation. After you leave you discover that many of those friends you had move on and you loose touch.  You are forced to be a freshman again–you are new at your first job and have to make friends again.

Old School Social Networking

I highly recommend getting off your computer where you are on Facebook and Twitter and try the old style of social networking.  Go to meetings, parties and social mixers in your community.

Join an organization and get involved. As you serve you will meet more people. If you have done a good job in defining your niche then it will be easy to identify those organizations where your potential clients are already.

Get involved and serve. One of the best ways to meet everyone is to volunteer to work a registration desk.

How do you grow your business?

The first step in that marketing funnel, after defining your niché, is creating awareness of your services to those who need them. How do you grow your business, grow the numbers of people you come into contact with.

Famous Photographers: Are there really any?

I don’t think there are many photographers who don’t want to be recognized for their work. Most everyone I know wants to have their work and themselves judged as being significant.

I have tried numerous times, as many other photographers have tried, to get hired by National Geographic Magazine.  I wanted to cover significant stories and to be viewed as significant.

Jay Maisel, Bernie Boston, Hugh Morton and George Tames.  Four famous photographers in my book. I took this at the Southern Short Course in the 1980s.

I’ve had the priviledge to meet some of the greatest photographers of our time. What was interesting to me is that most people in the room had no idea who they were. They knew their images, but didn’t know what they looked like.

Bill Fortney emcees a photo event in the 1980s.

Then one year I met Bill Fortney who gave his personal thoughts on the subject. He pointed out that other than maybe Ansel Adams, that most any other “famous photographer” who walked into a local mall would most likely not be recognized.  I think he is right.

Fortney went on to talk about how his pursuit of being a “famous photographer” was probably a big mistake. It was only when he was diagnosed with cancer did he come face to face with the demons of pride in his life.

Don Rutledge my mentor and friend for the most part enjoyed working as the fly on the wall. Sure he liked being recognized like all of us, but he had learned to get out of the way of the story. He knew he had to diminish for the story to be center stage.

Don Rutledge, my mentor and friend, taught me a great deal about being a photographer. I have yet to see anyone who was as masterful with storytelling with a camera. I also was impressed that he would talk with anyone and help anyone who asked him to help. Rutledge helped just about everyone he met even those just starting out.

The Road to Success

I have spent most of my career trying to figure out the steps to success. There are numerous books that help people climb the corporate ladder.  Not very many for those who are using photography as a path, but none the less there are many books on the topic.

What I continue to see over and over is “The Secret.” Most everyone one of the books was helping me to realize that to succeed I must serve.  However, this formula left a bad taste in my mouth. The message was more about how to rise to the top rather than how to live in the moment.

It continued to bother me that the only reason all these authors were writing the book was to tell everyone do this for a while and then you will be in charge.

What Don Rutledge Taught Me

Don wanted to tell stories with his camera, but because he was so good every where he worked they wanted him to manage communications departments. Don knew he was not gifted to lead, but was gifted with visual storytelling.

People around him were mad at him for not stopping doing what he was good at and to lead the division.

What I was learning from Don was that if I were a ditch digger and good at it, there is no reason I couldn’t make a career out of it.

Finally a book about how to be your best

Order it here on Amazon

While in Hawaii I met Jack Hart.  Jack was the art director for many years at CBS for TV shows like The Price Is Right.

For some reason after we were talking for a while Jack said he had a book I need to read.  I had to run off to teach class and just before I was to start Jack came in the room and handed me this book The Chicken Farm and Other Sacred Places: The Joy of Serving God in the Ordinary.

It is a very quick read and you can also get it as an eBook.

This is the first book that I have ever picked up that outlined what I had learned from Don Rutledge.

I believe the key to success is being joyful in life where you are now and not where you might be in the future.

What does this have to do with photography?

I have been working on a book to help students and those starting in this profession to be successful photographers. One of the key messages I believe is learning to connect the eighteen inches between the head and the heart.

The connection of why you do what you do can make all the difference in your attitude and your attitude is what makes people want to hire you over and over. 

It took me many years to understand how important the question “why” is to a story. I had been trained to ask Who, What, Where, When, When and How, but I was just filling the holes with the information.  I needed to be like a child and ask “Why is the sky blue?”

Why does the story need to be told? 

Attitude Adjustment

I have come to see that it is the photographers who understand they are here to serve others.  They serve by helping others communicate effectively using visuals.

When you are a freelancer you will have a client occasionally insult you–or at least it feels this way.  They may demean your position or some other way you feel insulted. You have a choice to respond and set them straight and sometimes this might be necessary, but you need to ask yourself is it worth loosing the account.  

As I read Ken Barnes book I came across this quote he had from Gordon MacDonald, in his book Rebuilding Your Broken World.

“You know whether or not you’re really a servant by the way you react when you’re treated like one.”

Do you seek significance?  Do you want to be recognized? Is this getting in the way of your joy for living?

Chick-fil-A is one of my best clients. They are my best for many reasons, but one that I have come to realize over time is teaching me the value of service.

Dan Cathy, president of Chick-fil-A, helps clean up trash at a Habitat for Humanity build in Columbus, GA.

Truett Cathy, the founder of Chick-fil-A, had trained his children that whenever they came to the restaurant that before they come in to pick up any trash.  Truett also does the same even today. If he sees something he will bend over at the age of 91 and pick it up.

Chick-fil-A trains their people to do any job joyfully, this includes the bathrooms and the dirty dishes.

Will you become a “famous photographer” if you serve others–maybe. I think the real question is will you be happy in the role of a servant, only when you discover the joy in it.

Parts To An Estimate

There are three major sections to an estimate for a job you are bidding on for a client.

1.    Your costs
2.    The price the client pays
3.    Your selling of yourself and why you are the best person for the job

Your Costs

There are two sections to every job when it comes to expenses.

1.    Ongoing expenses spread across all jobs, which we refer to as the “Cost of Doing Business.”  This gets broken down even more into

a.    Living Expenses
b.    Business Expenses

2.    Job costs associated to the project.  If you have prints, travel expenses, and other things that you would not have as expenses unless you were doing this job.

Your costs are not what you quote to the client.  This is what you use to help you know what you must clear for a profit.  Take this information and then figure out what you need to charge.

The Price the Client Pays


1.    The Price

If you are selling to the public prints they put on their walls from portrait sessions you may have a variety of packages that include the shooting fees and maybe a starting number of prints.

You may shoot weddings and then have similar print costs like the portrait photographer, but also have more prints and binders to create books for the couple.

When you shoot for corporate or advertising you have shooting fees plus usage fees.  These usage fees are based on where and for how long they plan to use a photograph. 

         2.    The Package

Typically you are going to offer more than one solution and hope that you can up sell the client. Most often you will have 3 to 4 prices.

A)    Rock Bottom Price
B)    Low End Price
C)    Medium Price
D)    High End Price

Your Sales Pitch

This is the area I see the weakest for most photographers.  They quote a price as a take it or leave it price.  Those who understand how to sell often do not mention prices until they have sold the client on their services.

The key is to first find out what they need and learn how to meet the need and even exceed it.  Once you have done this selling is quite easy.

If you are just pitching packages and not understanding how they plan to use the images you are unable to show how you are helping them.

Lets break this down into bite size steps:

1.    Establish the need.  You can ask directly and sometimes they know, but more than often you are going to need to explore with the client and understand them and or their business to be able to establish what they are trying to accomplish.

2.    Word all of your pitches to address the need and show them how by picking a certain product you are offering they will accomplish even more.

3.    Give them options. Too often photographers do not put themselves in a very good negotiating position.  Try your best to always think of three prices they could choose to meet their needs.  Maybe on the bottom price they only get the digital images.  Next level they get prints and on the top end you even provide online galleries.  Be creative think of ways that you can give them a choice.

Learn to say yes!

When a client asks for something that you are uncomfortable with, unless it is unethical price it so you can either bring on help to make it happen or the money is enough to make it worthwhile.  When you are saying to the client I would love to help you and here is how much it is to do that for you then if the price is too high, they said no and not you.

Too many photographers for example say no to not selling their copyright.  Just put the price high enough that it is worth it.  Surely you would like to retire tomorrow for the right price today.

Put yourself in the clients perspective

While you may have done everything just right and it makes sense to you, ask a friend who knows nothing about photography to hear your proposal.  Ask them to let you know if anything doesn’t make sense to them.  Ask them if it feels like you are excited about serving them.

If people are only shopping price rarely will you get the job.  If they are shopping for solving their problem and feeling taken care of by a photographer—you most likely are in the running using these principles.

Roasting Coffee and Multimedia have a lot in common

This is Arabica coffee on the plant just before it is picked.  The pickers go through the plant picking the red berries leaving the green for later. (Nikon D3S, ISO 8000, f/8, 1/400, 28-300mm)

I went to Mexico last year to cover the coffee growers and help them tell their story. The story was to talk about how they were able to turn around the industry in their communities. Prior to Café Justo (the Coffee Cooperative group) being formed the coffee growers were going North to cross the border to look for work so they could feed their families.

Photographers I think are struggling like the coffee growers when they were not roasting their coffee but selling to intermediaries who then sold to the roasters.  They were struggling.

Photographers I think are going through a similar opportunity when it comes to multimedia. I define multimedia as combining still images with audio and/or video.  In the old days we had slide shows where multiple projects were being synced for conferences and workshops. With the web today the world is your audience so you no longer are restricting the audience as we did in the past.

This is the Arabica Coffee in the bushell before it has the outer shell stripped off. (Nikon D3S, ISO 12,800, f/5.6, 1/125, 28-300mm)

The coffee growers of Just Coffee cooperative were exploited by the coyotes before they formed.  They were being paid $35 a sack.  Once they formed they paid themselves $130 a sack and today they pay themselves $160 that is $1.60 per pound.

You see he who roasts the coffee makes the money.  The cooperative bought a roaster and due to this expense they went from only 20% of the total price that went to the farmer to 100%. Watch the video below to understand their story.

[youtube https://www.youtube.com/watch?v=Q9wmMSv3SoY]

Photographers are similar in that who publishes a story is where the money rests.  When photographers are putting together the complete package they can increase their income dramatically just like the coffee farmer.  Multimedia is the roasting process for the journalist.

When I started putting these packages together is when I truly started to feel like a visual journalist.  I no longer was handing over raw material.  When you do the interviews and put the whole package together you really feel like you are telling the story on a whole different level than just producing the elements for a story.

While the learning curve is quite steep the rewards are even greater.  As you start to produce packages it will influence how you shoot and make you a better photographer.

Becoming a producer made me a better photographer

You learn to shoot more.  You realize you need more images to tell a story than you needed for a print piece. You need transition shots, details and sometimes more variety to help move the story visually while the audio is laying the foundation.

You listen more. For the most part it is the audio that drives the story and not the visual. You learn how important a good quote is from a person.

You ask better questions. When you realize you need good audio for the story you start to ask questions and when editing realize what you would change. This changes the next time you interview someone.  You are more present and forming the story much earlier in the process.

You are aware of verticals and horizontals more. When you have a rectangle screen to fill you don’t want to waste that space with nothing, so you learn to shoot even more horizontals. Since most of my material is also going to print, I still need good verticals.  Now if I see a photo that I might have just shot as a vertical, I now make sure I have it as a horizontal.

The coffee growers of Café Justo. (Nikon D3, ISO 500, f/5, 1/1600, 14-24mm)

You are aware of the quality of sound. I have learned to close doors and not interview people in front of a water fountain. I hear little noises that I didn’t hear before. While this helps me get better audio it also impacts how I see. When you cannot get rid of a noise you then need a visual to help the audience resolve the noise. If you hear a chicken in the background then having a photo with the chicken will help the audience not hear this as an annoying noise, but to give context because you helped with a visual.

If you are like the coffee growers looking for work somewhere else because your pay for your work is low, look to become the roaster like they did–learn a new skill. I recommend multimedia, but it could be web design and helping people put together websites.


You are not going to go and buy the software and tomorrow start charging clients for this work.  I believe it takes about a year or two to master the software the sound gathering and most importantly developing the visual storytelling ability at a different level–the final product.

Are you out of focus?

I read a lot of books and they are not all about photography. I enjoy reading as much about business and it is here that I keep coming across ways to be more successful.

I have adapted some of what I am reading to photography. This is my attempt to help to get people to see we need to bring some balance into our business lives to achieve our goals over time.

Success is when preparation meets opportunity.
— Henry Hartman
Each of us have our strengths. I have written before about the strengths finder and encourage you to discover your gifts/strengths.
Stanley in Burkina Faso, West Africa on assignment.

Where you focus  

Where you focus yourself is where your energy will go. This tends to be along your strengths.

  • Comfort with Technology – In the days when we were processing film, there were many photographers who would love to take one negative and work on it forever.  Ansel Adams would fall more into this category.  He worked very hard to get the very last drop of detail out of the image.  Today PhotoShop or Lightroom is what can eat up all your time if you let it. It could also be being more comfortable with the camera and lights and therefore you shoot products because working with people distracts you too much from your comfort zone.
  • Comfort with the subjects – There are many photographers who really enjoy how photography gives them access to people and places. They will spend as much time as possible letting the camera introduce them to people and less time with the camera. Some of these photographers really struggle with the technical things they could do with their camera and may just learn how to do shoot a certain way and repeat this. On the extreme of this may be someone like a school portrait photographer.  You don’t really have to know all the technical, just set it up the same way and it is your ability to get great expressions and knowing how to make people comfortable with the camera that sets you apart.
  • Comfortable with your gut – You like responding to situations and just can sense the right thing to do in a certain situation.  This could be the war photographer who doesn’t necessarily like cover the death and destruction, but know they are good at making those photos that tell the story and can do so without loosing their life in foreign countries or in a war zone.

I have found a niché in multimedia.  (Photo by Ken Touchton)

What you develop as your niché

Photographers tend to play to their strengths and then work hard to develop them even more. Like a musician starts to play the piano due to an interest, then spend a lot of time taking private lessons and practicing to hone this skill.

Photographers need to spend time going to workshops with instructors who can help them develop the skills to rise to the top of the industry. Photographers will seek out mentors who they admire their work and can help coach them.

  • Going with your gut (Kinaesthetic Knowledge) If you have an interest in war photography you may spend your time reading books on war photographers, wars and study politics and culture at levels very similar to the experts in these fields.  The reason you do this is you know that to survive you must know more than shutter speed and f/stops.  You need to understand the culture and know how to get around in situations that there are not manuals for, because it is new. You may reach out to The Dart Center which helps journalists deal with Post Traumatic Stress Disorder.  
  • The empathetic photographer (Emotional Quotient) I have a close friend who has a special needs child and who has a heart for not just his child, but for all special needs people. This photographer goes to seminars, reads stories and today covers these subjects helping give a voice to the voiceless. 
  • The Strategic Photographer (Intelligent Quotient) May be looking for ways to use their mind to use maybe more technological answer to situations.  They may use multimedia, panoramic, post production skills and other things that play to their intellect to help a client achieve their goals.  
  • The Spiritual/Moral photographer (Spiritual Quotient) photographer lets their inner wisdom guide their compassion.  You see a lot of humanitarian photographers who are driven by doing the right thing. I think there is a difference between the empathetic photographer and the Spiritually guided photographer. Sometimes the spiritual minded photographer can lack some empathy just as sometimes the empathetic photographer can lack some pragmatic thought.
Stanley teaching in Kona, Hawaii. (Photo by Chris McCloud)
Moa Noble twirls the fire knife. It is part of the Samoan traditions in Hawaii. This is the photo I was showing the class how to make last February in Kona, Hawaii. 

DANGER – Too Focused

When you only go to what you perceive as your strengths sometimes this is the same as being a child who just wants only ice cream or macaroni and cheese for every meal.  It is unhealthy. I suggest expanding your horizons.  Go to events, seminars, workshops, or take up a new hobby just to bring some fresh air into your life. The reason you want to do this is to access your untapped potential.

Focus Inward for a change

I have been on Weight Watchers and learned that when I stay with the plan I loose weight, when I depart from it I put it on. What is the core thing I have learned–tracking everything I eat and sticking to a prescribed number helps me take weight off.  If I go above that number too often I start to put weight on.  The numbers that Weight Watchers assigns to a person is based on their height, weight and activity level.

Photographers need to track what they do. It is when you take some time for self observation that you will notice you are spending a lot of time at the computer and no time meeting new people and growing your business. 

You should be able to take a calendar out and see where your time is going. If you want to be successful it will look like a good balanced meal.  If all you have is all steak and no vegetables you cannot sustain a healthy business.

How do you become successful?

Same as the answer to how do you play at Carnegie Hall–Practice, Practice, Practice.  My sister-in-law is Pam Goldsmith.  She is one of the top violists in the world. She sits first chair in the studio musicians group of Los Angeles.  What this means is she plays on most of the recorded music for Hollywood productions.

These are the highest paid group of studio musicians in the world. When they record the music for a movie they hire this group for a good reason.  They play everything for the first time they see it and 90% of the time that is the last time they play it. They record them sight reading most all the movie scores.  It would cost too much to practice a few times and then play it.

Since I grew up playing the trumpet I was blown away at this. I didn’t realize when you master the instrument at the highest level you can play a piece of music that no one has ever played before the first time as if you had been playing it for a lifetime.

How do they do it? When they are not performing they are practicing.

I too must perform on this level every day with my photography. I get one shot. I don’t make a photo of someone and we evaluate it and then I try it a few time over and over till I get it right.  How do I do that? I practice everyday taking pictures and looking without my camera. When I pick up my camera I seldom think about what I am doing to make a photo–I just do.

Where my time goes as a full-time Pro Photographer

I have seen some pie charts lately on forums and blogs about how much time a professional photographer spends doing different things to run their business.  I thought about what I am doing and believe this is pretty close to what I do in the chart above.

In some ways I see some of these overlapping and not as clean delineations. For example I see blogging as much a part of “Marketing” and “Learning/Workshops” as something totally independent for the others. 

Stanley shooting an assignment. (photo by: Knolan Benfield)


I may actually shoot even less than 10% of the time, but this is close.  When I first started doing this full-time I was lucky if this were even 1%.

When I was on staff I shot a little more percentage wise, but even as a staff photographer there were a lot of other responsibilities.

Even when I look at my time doing what many consider what a photographer does it is broken down into different parts.

I may shoot for a day with a client and then have to spend a full day or more ingesting the images, culling the take, editing the picks, converting them from RAW to JPEGs and then delivering the images. Often after booking the job and before I show up there are a lot of pre-production things you need to be involved in. You need to charge batteries, sometimes scout the location, line up assistants, talk the the client to coordinate and many other things to be sure the shoot is a success.


When someone has contacted you for a photo shoot one of the first things is collecting all the information you can to encapsulate the clients expectations. After you have all this information you are going to need to prepare an estimate.

I write down all the hard costs that I can think of for the project. I think of all the time I will need to complete the project.  This is figured on how long it could take and not on if everything goes well. I try to under promise and over deliver.

After I know the costs of the project and what time I have involved I then start my estimates with the Cost-of-doing-business.  These are all the costs to just have your doors open for business that you must spread over all your jobs to recover.

After adding all this together I then compare this to what is the going rate.  While I could do a job for $1,000 why would you price it at this when the going rate is more like $5,000?  On the same note, if the going rate is $1,000 and my figure is $5,000 this has to somehow be justified.

The last part of writing an estimate is putting myself in the place of the client and creating the verbiage that will help them understand the bottom line and why I am the best for the job.

Book Keeping

I spend a lot of time invoicing, tracking my expenses, following up on outstanding bills, getting 1099 forms from assistants, providing 1099 information to clients and the list goes on and on.

I have bills, healthcare and taxes to pay. Knowing the IRS can call you in and want to see your books will cause you to spend time doing this or paying someone to do it for you.

Stanley teaching. (by Dennis Fahringer)

Educating Clients

I am often spending time helping clients understand why a certain treatment will help them achieve their goal. Sometimes I am having to put together examples of my work for other clients or from my portfolio to help them see what I am proposing.

In this industry seeing is believing and talking is cheap. 

Sometimes I have to find contrasting examples to make my points.

Often clients do not really know what they want and you are problem solving and proposing possibilities in order to get them to tell you if you are on the right track or not.

The best scenario is for the client to invite you into the process before they are making the decision to use a photographer. I do this for many of my clients.

Surprising to me I have found myself talking myself out of shooting a job because that wasn’t the best thing for the client.

Portfolio Development

I really think you need to go and work on your own personal projects to create the material to show to clients and attract clients to what you enjoy doing the most.

What you often find is that clients may not hire you to do what you are showing, but hire you because you are showing them it. They may want to do something like what you want to do and because they feel good about your work will hire you to shoot other things in hopes that by bringing you in they might somehow get their bosses to see your portfolio pieces and want to do it as well.


This really overlaps with Portfolio Development. I must keep current with the latest gear, software and techniques to see what things I can do to improve what I am doing now or even to do new things all together.

I enjoy being inspired by other people’s work and then I also need hands on workshop time with some of the new software.


Today you need to interact with your audience as much as possible. People hire the last guy they can remember.

Blogging helps me be in front of clients and potential clients.

Blogging also helps to differentiate you from others.

This is like how a series of photos will help you more than one photograph. Every one has at least one photo in them that could win awards, but consistently showing a variety of work shows you can deliver all the time.

The way blogging helps differentiate you is showing your expertise. When it comes down to it people are hiring you as a problem solver more than a photographer. Talking about how you solved a problem and then showing the images demonstrates your problem solving ability. Showing a portfolio of images shows you make pretty pictures.


If people just would call me and I was booked for the rest of my life then I wouldn’t have to do marketing.

No matter what business you are in you have to find those clients who want to hire you.

I think in many ways photography is more difficult to market than food, healthcare or housing. Photography to a certain extent more of a luxury than a necessity. If it were a necessity then you are marketing to everyone and then just trying to explain why to pick you over another grocery store.

Most people own cameras and will most likely take their own photos to use before they take the next step of hiring a photographer.  Getting people to want to hire you over them doing it themselves requires you to prove your value.

Even if you were selling widgets the numbers would be similar.  For every 1,000 companies you contact only about 100 of them will be impressed enough to take a second look at you.

Of those 100 companies that think they are interested only 10 will hire you for the job.

In this business of photography very few of those 10 that hired you will hire you again repeatedly.

If you are a wedding photographer your hope for the client is they only hire you once to shoot their wedding.

Unless your client has an ongoing need for photography like supplying a website with fresh material or a publication you will only be hire occasionally by them. 

A very successful corporate photographer will shoot maybe 100 days a year. If 8 of those 10 clients hire you only 1 time a year and the other 2 hire you maybe 3 times a year you will start to see the reason why you spend a lot of time marketing.

10 Clients who hire you 3 days a year = 30 Days
+ 70 Clients who hire you 1 day a year = 70 Days
Total of 100 Days

There is no formula except that you will spend a lot of time finding people to hire you.

Want to be a full-time freelancer?

This is an article written for Shuttterbug magazine a couple years ago and after being called for another interview I revisited what was written and think the tips apply today.

Take a moment and read it and give me your feedback in the comments below.

Click on picture to go to the article where you can read it online or print out the PDF on your printer.

shutterbug article