Jason Andrew

Worst purchases are speedlights, expensive and never used.
 
Transcript: "Worst purchases. I've always made been in speedlights. I feel like they're extremely expensive and I never end up using them. They end up sitting in my camera bag, and by the time I think about selling them, it's not. We're selling them anymore, and then they send up in the closet. So, yeah, there's usually my worst purchases"

When selling her licensing for original long-form content, I would start by making sure the project is edited in sequence and I have a well-researched and well-written project proposal and 1-2-3 sentence elevator pitch. Then I would research publications to see if they've run work of this style and reach out to editors and photographers I collaborate with to get their opinion. Finally, I would submit my work for grant proposals and contests to get more eyes on it, while also leaning on colleagues and friends to help each other out.
 
Transcript: "Hey Sammy, thanks for asking the question about selling her licensing. Original long-form content. I usually ask myself three questions first. Is my project edited in sequence? Well, no more than 15 to 20 pictures. Do I have a well-researched and well-written project proposal and number three? Do I have a 1-2-3 sentence? Elevator pitch. If I've got all that together, then I'll start looking at where I'd like to see this work, researching Publications to see if they've run work of this style. If the stories ever been run and who may be interested and I usually Get those questions answered by reaching out to editors that I work with frequently or photographers that I collaborate with. Once we kind of layout group of names that we think may be interested, then I'll start individually emailing them with small project proposal 325 pictures in the email and you know see where it goes from there while I'm doing all this. Usually in the beginning of the year, when contests and grants are beginning to pop up as they are now towards the end of the year. I'll start submitting. Either work for Grant proposals and for contest just so more editors can see the work and get in front of more eyes. It's not always successful, but I would definitely say to lean on your colleagues, lean on the people that you are currently working with or friends with and, you know, help each other out. And so they'll help you and you can help them. And, you know, make sure that you find a good home for the work that you've been creating."

In 2004, I was on a surf trip to South Africa and realized I had no interest in shooting surf anymore. I wanted to focus on socio-economic problems and document moments in history. 12 years later, I'm still doing what I love and am fortunate for the work I do and the community I'm part of.
 
Transcript: "I would say, I made that decision in 2004 I was on a trip to South Africa to Surf and what I thought take photos of surfers and I wasn't a week into the trip and I realized I had no interest in shooting surf anymore. I was really interested in the country. I was really interested in the socio-economic problems and Discover the book, the Bang Bang Club and started reading it and just felt a connection to what they were doing at that time during apartheid and was looking at my surf photos and I was bored. I was a, you know, out of school, a couple years and I was a history major and I was really interested in what was going on around the world and just realize, as much as I loved surfing, I did not want to spend the rest of my life taking pictures of surfers. I wanted images that I thought could influence change or document moments our history that we will hopefully never repeat themselves. And I don't know, 12 for 12 years later, loving what I do, I definitely didn't want to do day-to-day news and I don't find myself doing it often. But when I do do the big stories like all the January 6 coverage and right now I'm just really fortunate for what, you know to be there and for the work that I do and I don't know I'm good at it and I love it and I love the colleagues and I love the community and you know, the money is not great all the time. But you know, I never got into it for the money."

Film stock is expensive and there's no real value in it anymore. I have a lot of different types of film including Fuji 400, FP 100c, and 4x5. Please don't unpeel the plastic on your 120 film as it may not be good.
 
Transcript: "Unfortunately, there's no real value in film stock anymore, everything is really expensive. I just went down in my freezer, which is loaded with more films and I'll probably never use but I still shoot a lot of film. So I brought up some that I use and some things, I don't think you should do portrait 400-800, use it all the time. Probably spend way too much money on it, but I love taking it on portrait shoots and for personal projects, I've got a bunch of Fuji. 400. That's 220. So I get 24 Shots. Instead of 12 on a medium format, that stuff is golden. I still have a huge stock of FP. 100c Fuji has made that in ages. It's a peel, apart film, and I love to bleach off the backs and get these really raw funky negatives off of them. One instant is a new look. It's a new type. 100 4x5 peel apart film. Haven't tried it here. It's gold. I have a lot of four by five film because I'm working on some new projects and experimenting with that. And then the one thing that please, please, please do not do is unpeel the plastic on your 120 film. Like I have here on the right hand side friend, gifted it to me, I don't know how much lightly because in this stuff. It's probably good. It's probably not. But I'll use it toy cameras and just to screw around. But yeah, unfortunately is really no value in film anymore. It's also expensive so you can get your hands on it or somebody's. Got it. Take it just stuff it in the freezer and otherwise just know you're gonna spend a lot of money on shooting it and processing it, and then scanning it."

I always bring two cameras on a job as a precaution, so that I don't get stuck without the chance to continue my work if one of them fails.
 
Transcript: "I always bring two cameras on a job, no matter if it's a portrait shoe or I'm traveling overseas or I'm just working a local Story. The last thing I want to do is have a camera died on me. It may never leave the bag and they sit there. I may actually use it. Same goes when I'm doing portraits on film or some my longer bigger, projects have been all shot on film. I'm always bringing two cameras. It just don't want to get stuck. Without the opportunity to continue the work that I'm doing."

A 50mm lens is the best option for a beginner photographer. It forces the photographer to move around and explore different perspectives while providing a versatile focal length. A 35mm or 85-135mm lens can also be used if a wider or longer perspective is desired.
 
Transcript: "Best lenses for a beginner would be 50. Mm, just start out with a fixed lens to lens that people have been using for ages. Most film cameras back in the day, if your parents bought them, probably have a 50 millimeter lens on them. I would say it's the best lens forces. Your legs to move forces, your eye to move. If you want to get wider you back up, you want to get closer, you move in closer. I think that's the best lens you can start with. If you want to go a little wide, you can go with that. 35, and if you want to go a little longer, 85 or 135 or my other favorite lenses. Just to give you an idea, like I carry three lenses in my kit. So 3550 in a 135 and if I'm carrying anything wider, anything longer, it's very specific to what I have to photograph."