assignment letter photographer

How To Get A Press Pass

Are you a freelance photographer or writer seeking special access to shoot an event? If so, you likely need a press pass or media credential. This largely elusive and highly coveted badge is particularly used for event and concert photography , and it exists in a variety of forms and goes by several different names. As a professional freelance event photographer, applying for press passes is part of my job. I’ve had the privilege of being part of the White House Press Pool to photograph President Obama and photographed more concerts and festivals than I can even remember. Along the way, I’ve had my fair share of approvals and rejections and have learned a lot when it comes to the proper way to apply for a press pass.

In this blog post, I will share the 5 step process on how to apply for a press pass.

What is a media pass?

First of all, let’s define what a media pass is . These passes go by a variety of names–photo pass, media pass, press pass, press credential, photo badge, etc. To keep it simple, I’ll refer to it as a media pass. Whatever name it is referred to, a media pass is a badge or piece of paper that formally allows you to bring professional photography equipment inside of an event space and take photos from a photo pit or specially designated area. The special access granted by the media pass vary from event to event, so be sure to ask what you can and can’t do with a media pass.

How do I get a media pass?

Now that we’ve defined the media pass, let’s talk about how to get one for yourself. Typically, media passes are only granted to members of the media, such as newspaper or magazine photographers, or the official event (house) photographer. Media passes are rarely granted to those seeking to use the photos for personal use or to build their portfolio. If you’re seeking a media pass, you must be on assignment from a publication. Thanks to the prevalence of magazines, blogs and other media competing to provide event coverage for audiences, it can be easier than you think to get a photography assignment.

Step 1: Prepare yourself

Before you pitch your services to a media outlet, make sure you’re properly equipped in these two respects:

a)  Create an online photography portfolio of your best work. Try to include photo samples of other similar events that you have covered before.

b) Equip yourself with professional concert photography gear . Generally speaking, it’s frowned upon for media credentialed photographers to use a cell phone or point-and-shoot camera. Don’t forget a press pass holder like the one below.

Step 2: Get an assignment from a media outlet

To find a media outlet to pitch your services to, answer this question: “what publications do I know of that might be interested in running a story or photo gallery?” Research media outlets and see what kind of event press coverage they tend to do. See how your style fits, or if you have a unique or artistic viewpoint to add.

Learn more about how to pitch your photography services and get a free email template to send to photo editors.

Step 3: Apply for the media pass

Once you have the permission of a media outlet to represent them at an event, one of two things will happen. Either the media outlet will apply for a media pass for you, or they will ask you to apply for the media pass on your own.

The person or organization in charge of issuing media passes will vary from event to event. Sometimes it is the public relations firm, the event organizer, corporate sponsor, artist manager, etc. Track down the event’s official website and look for their “Contact” page. Reach out to the Press or Media contact and find out the procedure for obtaining a photo pass. Keep your email short and to the point, and be sure to include the fact that you are on assignment.

Press pass contact email on the event website.

Media pass inquiry sample email

Hello! My name is _____ and I am a photographer interested in applying for a photo pass for the ____ happening on _____.

I am on assignment with ____ and the photos would be published on their website. Upon request, I am happy to provide an editor’s note confirming my assignment. 

Please let me know what the procedures for applying for a press pass would be.

Thank you for your consideration!

Media pass sample application form

More often than not, they will send you an application form to fill out.

How to Get a Press Pass for Concert Photography

If you’re interested in photographing a concert, you can typically ask both the event organizer or promoter as well as the band manager and record label of the artist. To find this information from the artist or band’s main website or Facebook page (see below screenshot example).

Step 4: Wait for a response

After you have successfully submitted your media pass request, the next step is to wait. Sometimes your approval email comes months before the event takes place. Other times, especially for concerts, you may not hear back until the day of the event. Be patient, and feel free to reach out to your press contact once or twice to check on the status (but don’t be annoying).

Pro Tip: Always ask for the name and phone number of an on-site contact. It’s not unusual that for one reason or another, your name won’t be on the press pass list when you arrive to check in. This happens to every photographer at one point or another. Be sure to ask in advance for the contact info of the tour manager or someone who will be there to help you out if this happens.

What if I don’t get a response?

It’s tough to say how long it will take to process a media pass request. In general, it’s ok to reach out with a followup a few days or even a week later. Ping them with a quick email such as, “Hi there, just checking in to see what the status is on my media pass request.” Remember to always use email for media passes. Never make a phone call unless it’s absolutely necessary.

What happens if they say “no”?

Some events welcome media coverage with open arms, whereas others allow close to none. A quick Google search on the event will show if media outlets have been approved before. This little bit of research can help properly manage your media pass expectations.

Step 5: Follow-up

If all goes well and your media pass is approved, follow-up after the event by emailing your press contact the final, published coverage. This makes their job easier and helps you build a relationship with them.

Photo by Stephanie Dore

How soon should I apply for a media pass?

In my experience, it doesn’t hurt to ask as soon as you hear about the event. Reach out early to make sure you have the correct contact information. You’ll have more time to find and pitch media outlets who might be interested in sending you on assignment. If the event is several days away from the event, there is still a chance of applying for the media pass and being approved. It depends on the event rules. For the best possible outcome, always follow any media pass deadlines that are imposed.

How to NOT apply for a media pass

One way to be automatically rejected for a media pass is to apply without being on assignment. Never apply saying you want to shoot to add to your portfolio. I’ve had multiple PR agents tell me this is the most common way to get yourself automatically eliminated.

Over to you

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62 Comments

Pretty good tips. I’ve written an article for how to get press passes for music concerts here: http://www.justingillphoto.com/blog/how-to-get-concert-photo-pass

question please, how many people does a press pass accomodate? example, if you are going to be the interviewer and coming along with a photographer, would they issue two press passes?

Great question, Will! The answer is it depends on the PR agent or whoever is issuing the press credentials, but in my experience it usually works like this: the photographer will receive a photo pass to shoot the first 3 songs (or first 5-10 minutes) of the event, and the interviewer/reviewer will receive their own seated ticket to the event. Interviewers/reviewers typically do not accompany the photographer. Bottom line: photo/press pass is for one person only.

If you’re looking for a scenario in which one conducts an interview and the photographer snaps a portrait, this is usually arranged privately with the PR agent and will usually take place backstage or off site before or after the ticketed event.

I hope this helps! Let me know if you have further questions or need clarification.

Hey Suzi! During my press credential application they constantly ask for pre and post coverage plans. What should this entail? … well what does this mean?

Great question. This is actually a common request for press credential application to bigger events like festivals. Basically, your response should be an honest answer of any preview and post-event coverage you plan to make on your blog or website. This is very important because it basically details how your presence at the event will help out the promoters or marketers, in other words the decision makers that decide if they should give you a media pass or not. As a result, it’s important to plan on pre and post event coverage, or work with your blog editor/publisher to do this. For pre-coverage, you’ll want at least one blog or news posts announcing and promoting the event to your readers, and post event coverage should include at least one, perhaps several, recap posts with photo galleries. Generally I’ll say this in the application, along with my intended publish dates (ie. one week before and a day after the event). You shouldn’t need more than a couple sentences to explain, but again, the more you prove you’ll make the most out of the photo/media pass, the more likely you’ll receive one. I hope this helps!

Hello, I just starting blogging so I have my own blog. I’m not a photographer but I would like to interview the artists before or after the concerts. Would I still go about it the same way through the email example?

Hi Jared! Yes, I’d say it’s about the same process. Just be sure to specify the publication or outlet you’re doing the interview for, and maybe a quick sentence or two on what the interview’s focus would be.

Hi Jarrad where are you based, I could do photos for you in and around Pittsburgh PA if you wanted.

Thanks Chris, but I’m located in Charlotte unfortunately. Thanks anyway though.

Jarrad, depending on event times and such, I may be able to assist you with photos occasionally. I’m based in Greenville, SC but travel to Charlotte frequently. If you’d like to view my work or contact me here’s a link to my page! Facebook.com/sundownphoto

Thanks Justin. Sounds good. I will keep you in mind when an event comes up. I just liked your Facebook page too.

I requested a media for a Donald Trump rally using just my company’s name as the outlet and it was accepted. But I requested a media to a concert for next month and I don’t think they’ll accept it. What should I do?

*media pass

Hey Jalen! It’s a little tough for me to offer advice without knowing the outcome of your current media request. I’d say your odds are 50/50 for any concert, regardless of the outlet you are representing.

Hey Suzi. I don’t have a blog but I attend a university and help with the school paper and we are wanting to cover a pro football game and have some pictures and interviews of players for a piece we are putting together in our next issue. We are trying to start sending kids each weekend to these games to add to the sport page. What are the chances of getting a media pass to a game such as the Cleveland Browns next home game?

Hi Bryce, I admit that I don’t know the first thing about sports photography and how they handle photo passes, but my assumption is that it would be pretty difficult to get photo passes to a professional sporting event. With that said, it never hurts to ask!

Hello Suzi, We have our company blog but we dont have an outlet yet and I really find it hard to obtain a press pass? Most of the outlets that I emailed dont accept freelance correspondents, It is for IDA documentary and 22nd critics choice awards, need help pls?

Hi there! I’m not entirely sure about your exact scenario–can you send me an email with details? Maybe a link to your site and the event page? Email: [email protected]

Hi Suzi, I am trying to send you an email but it bounced back?

Sorry–[email protected]

Thanks a lot Suzi, I sent an email. Happy Thanksgiving!

Suzi, when you reach out to media outlets, where and when does the discussion of compensation fit into this scenario?

That is an excellent question. Sometimes, media outlets will respond to your pitch with an offer of compensation. But more often than not, you’ll need to ask them directly. I would avoid bringing up compensation in your initial email pitch and only bring it up once you’ve gotten at least one response from the outlet. When you do ask, keep it short: “Do you offer any compensation?” If they say no, it’s up to you whether to accept or not. The pros and cons of doing work for free or for exposure is an interesting topic…I’ll write a follow-up post on it soon.

Hi Suzi, at my school, I am involved in a blog that is based entirely on the music industry and local concerts/festivals/events. If I were to reach out for a media pass for a concert, what do you think the chances of getting the pass would be. Thanks, Amy

If your blog is related to the music industry, I think you have good chances. Doesn’t hurt to try!

Hey Suzi! Building on Amy’s question, I have started a blog website revolving around Conventions that I attend and I want to apply for ACL music fest in a few months. I’m the sole person working the website, so how would I go about filling out the editor part to prove I’m on assaingment for my own blog?

That is an excellent question. Personally, I think you should go ahead and list yourself as the Editor and Photographer/Press person requesting access. In some cases, events and festivals actually prefer smaller one-person publications, and this can work in your favor depending on the quality of your content and how you build relationships with the team that manages event press credentialing.

Since I have a couple of large questions, is there any way I can contact you?

Sure, shoot me an email: [email protected]

Hi Suzi! I am just starting out in concert photography, and only have 3 pictures in my portfolio (the rest are all portraits or travel photos). They are from when I snuck my dslr into a festival several years ago, and are great photos, but I never intended on using them for anything, so I ended up losing the files and only have low-quality screen shots. Here is my website so you can see for yourself (gracemadelinephoto.com). Anyways, how would I go about building up my portfolio to send to online publications? Would it be possible to do promotional work (handing out and putting up flyers/posting to social media at my college) in exchange for a press pass? Specifically, I am wanting to contact the Boston House of Blues, which is 5 min from my dorm, but a rather well-known venue. I don’t know if I’ll sound dumb by proposing that to them and ruin my chances of applying for shows later when I am with a magazine… my boyfriend who is an EDM producer promotes at a venue where he lives gets to open for artists in turn for promoting, so that gives me some hope. Or do you think that I should go ahead and apply for a magazine internship now with the 3 photos I have? Sorry for the long message, but I have a lot of questions! Thanks and love your articles!

Hi Grace, I think your photography portfolio looks great! In all honesty, I don’t think you need more than 15-20 images in your portfolio, as long as they are really solid images that convey your best work. I’d perhaps try to fill your concert section with a few more images – try to get slightly more varied shots from different angles and perspectives and some wide shots or crowd shots to show variation and flexibility. Note that your concert portfolio doesn’t need to have popular, recognizable artists in it. You just need to have quality, dynamic photos that demonstrate your ability to shoot good concert photos, no matter who the photo subject is.

When looking for events to photograph, consider smaller events with lesser known artists in your area. Many of these artists would love to have photo coverage and they can be great to work with to build up your skills and portfolio. I also think it’s worth reaching out to local venues (both large and small) to see if they would be open to the promotional work exchange you mentioned above. Also, take advantage of your boyfriend’s connection to the music industry! As a performing artist, he can likely get you an all access pass that lets you roam around with a camera. You may not have an official press pass, but you can use your backstage pass to get your camera in and take some photos of him performing, and any behind the scenes photos.

Hope this helps!

Hi Grace. I retired from a non-journalism job about 13 years ago. During that job I gained some photographic skills and found I enjoyed it and decided to go into photojournalism. I signed up for classes at a local college to get a photojournalism degree. While there I worked on the school newspaper. This gave me my first press pass. I learned how to write news stories but I also tried to expand into areas I was interested in like concerts. I covered a few local ones but when Charlie Daniels came to town I pitched covering it to my editor. She agreed so I called Daniels’ press people and pitched covering it for the college and they not only sent me press credentials for the event, a book and a pass for a meet and greet before the concert, they also set up a phone interview with him as well. During the time I was in college I also participated in doing a book for the college with my photos in it. What I found was that I volunteered for everything I could, whether it was a music artist, sporting events actor, politician, school department head or instructor or even the construction of new buildings, I did everything I could just for the experience. I didn’t just wait for assignments, I pitched new ideas all the time and some saw print. I was even lucky enough to become a stringer for the Associated Press, which I still do. I learned a lot there and received a lot of opportunities that started me down the road. I currently freelance for a motorcycle magazine but during that time I have covered groups like ZZ Top, Lynyrd Skynyrd, Heart, Joan Jett, Mary McCaslin, Big and Rich and many others. I’ve even done some fashion and lifestyle stories. What gets me in there is the motorcycle gig and I love that too, but I love covering concerts as well. It also enables me to tell the stories of the people I meet whether they’re attendees, promoters or industry leaders. For me there’s nothing quite like seeing my stories, photos and name on the byline in print. Don’t be afraid to stretch your talents. Do whatever you can to get your photos published and contact the media people of the people you want to cover but have a medium to publish your photos whether its for a college paper, monthly or weekly supermarket/community paper, the local newspaper. traffic accidents, or police stories or even an internet news site. They are always looking for contributors. Then when you apply for that press pass for a big name and one of the questions they ask on the form will be what publications have you been in and when was the last time? You can answer them with something awesome, even if it took you awhile to get that answer. Have fun along the way and don’t be afraid to tackle assignments and take as many classes to learn your craft as possible and have fun.

I agree 100% Steve! Never be afraid to convey your excitement and passion for what you’re photographing and introduce yourself to every single person you meet while on assignment. You never know which connections will lead to big opportunities down the road.

Hi Suzi! I’m the editor of an online veteran centric news outlet, Veterans News Today, located on Facebook. I’ve only has the page in operation for six months, but already have a large following. My issue deals with getting permission to film on and conduct interviews with VA government, upper level management. Recently I was doing an expose on the VA facility located in West LA, CA, where there is a horrible homeless veterans issue. I contacted the Director of Communications for the facility and was prohibited from filming on the VA property. No specific reason, just the denial. The same individual then denied my request to cover a meeting that should be open to the public.

My question is, how do you get the government to follow their own rules and allow the public officials to be photographed and interviewed in public?

Sorry about going so long.

Hi Paul, Thanks for reaching out, and apologies for my delayed response. I’m sorry to hear about your press access problems. As the daughter of a veteran, I thank you for your efforts and hope you’re able to continue your work. Regarding enforcing photographer rights, this is a tricky issue, especially if the people in charge aren’t following their own rules. I would collect as much info as possible (email communications with these officials, recorded conversations, etc) that clearly demonstrates these people not abiding by their own rules. I’d then consult with an attorney or legal professional for advice. Perhaps there’s an exception to the rule where they are permitted to restrict you from filming/photographing. If not, the legal professional should be able to suggest next steps. Alternatively, you could also take the emails/recorded conversations and publish them online or take them to your local newspaper/TV station to bring more public attention to the matter. It seems this is what the VA does not want happening, so you can expedite the process a bit.

This isn’t quite my area of expertise, but I hope this helps! Please keep me posted and let me know how it turns out.

Thanks again, Suzi

No problem about the delay. I have a paralegal degree, otherwise I would not have known they were breaking the law. The facility in question bows to the locals and ignored the veterans and I have been reporting about that. I plan to contact the Director of Public Affairs, at the VA in DC and am going to address it that way. I go to DC often, and I think the only way things are going to change is to get a top down order to cease. If that doesn’t work, I’ll be filing a court order telliing them to allow the recording. I thought at first, it may be a Hippa issue, and offered to blur out the patients faces, and even their plate numbers, but that wasn’t the issue. The real issue is the director of the facility thinks she is above the law and when I put everything out there, I think she will be looking for a new job, or she and the VA will find themselves in court.

Please thank you dad for his service and thank you for the input.

I fixed the problem by filing a suit against the VA, the director of the hospital, and their PR rep. Filed the action on Friday and got a call from the special asst to the Secretary of the VA. Did the recording that Wednesday. I’m putting the video together and the video has caught them at their lies. I’ve been trying to get a major network to run the info, but everyone is too busy either slamming Trump or defending him to hear any real news.

I’ve built a good enough story the show corruption, at that facility, back to the 60’s. It stinks not having anyone willing to take the issue to the nations public.

Thanks for the update, Paul! In terms of getting news coverage, maybe consider pitching small, local networks too. That could maybe get you started and then escalate from there. Wishing you the best, and please continue to update me on the progress!

As a publisher and journalist, my experience has varied. Ironically, I have found it rather easy to get approved for some of the largest events and activities, and more difficult to get approved for some of the smaller things. It becomes increasingly difficult now because so many people call themselves journalists, and perhaps are not, or are not perceived to be. Whether you’re trying to be approved for an event, or trying to gain access to a celebrity for interview, there is someone handling the request who is tasked with doing the research as to who you are and who you represent. You must do you best to prove your legitimacy, or you will likely be turned down. You also run into those who realize you’re legit, but you’re just not “big enough” for them, and they feel like you don’t necessarily have a large enough audience. Luckily, for the cases of rejection, I’ve seen many of those who rejected come back to us in the end requesting coverage or interview. All in all, we’ve had a pretty healthy experience.

Thanks for sharing your perspective, James! I agree that getting a press pass is sometimes a totally unpredictable situation. Sometimes larger events are more accommodating than smaller events, or vice-versa. I’m of the opinion that it’s largely about being consistent and developing rapport and lasting relationships over time. But above all, you absolutely need to be representing a real publication as the publicist will certainly do their research before issuing a press pass. Thanks again for sharing!

I completely agree ‘James’ regarding your comment on being “legit” yet not “big enough” as far as the artist is concerned. That’s the frustrating part for me. Great comment. Respect.

As a photographer who has shot for both big and small media outlets, I can tell you that a media outlet’s reach or “legitimacy” is sometimes a helper or a burden. Some bands prefer only big outlets, some prefer small, and some yet prefer none at all. You never know until you ask!

Thanks for the insightful article Suzi, it answers a lot of questions I had. I’d like to hear your thoughts on a particular situation. Can I email my question to you? (at [email protected] ) Thanks!

Sure, shoot me an email!

I’m a multimedia journalist that just started a new online magazine. And I’m starting to venture out to gain more access to events. But I noticed you said that it’s best to be on assignment for there publications. But I wanted to know would I have to go through a well known publication in order to gain access coverage for my own site?

Hi Felecia, If your own site is an online magazine, then that site would be considered the publication that you apply for a press pass under. Typically you wouldn’t go through another publication to get credentialed for your own.

I have my own radio show on a popular internet radio station here in NYC. We’ve been on Air now 2 months. We’ve covered a few well Known local event. Would we go about press passes the same way?

Are you planning to send a photographer? If so, then yes, the same process would apply.

I retired from a non-journalism job about 13 years ago. During that job I gained some photographic skills and found I enjoyed it and decided to go into photojournalism. I signed up for classes at a local college to get a photojournalism degree. While there I worked on the school newspaper. This gave me my first press pass. I learned how to write news stories but I also tried to expand into areas I was interested in like concerts. I covered a few local ones but when Charlie Daniels came to town I pitched covering it to my editor. She agreed so I called Daniels’ press people and pitched covering it for the college and they not only sent me press credentials for the event, a book and a pass for a meet and greet before, they also set up a phone interview with him as well. During the time I was in college I also participated in doing a book for the college with my photos in it. What I found was that I volunteered for everything I could, whether it was a music artist, sporting events actor, politician, school department head or instructor or even the construction of new buildings, I did everything I could just for the experience. I didn’t just wait for assignments, I pitched new ideas all the time and some saw print. I was even lucky enough to become a stringer for the Associated Press, which I still do. I learned a lot there and received a lot of opportunities that started me down the road. I currently freelance for a motorcycle magazine but during that time I have covered groups like ZZ Top, Lynyrd Skynyrd, Heart, Joan Jett, Mary McCaslin, Big and Rich and many others. I’ve even done some fashion and lifestyle stories. What gets me in there is the motorcycle gig and I love that too, but I love covering concerts as well. It also enables me to tell the stories of the people I meet whether they’re attendees, promoters or industry leaders. For me there’s nothing quite like seeing my stories, photos and name on the byline in print. Don’t be afraid to stretch your talents. Do whatever you can to get your photos published and contact the media people of the people you want to cover but have a medium to publish your photos whether its for a college paper, monthly or weekly supermarket/community paper, the local newspaper. traffic accidents, or police stories or even an internet news site. They are always looking for contributors. Then when you apply for that press pass for a big name and one of the questions they ask on the form will be what publications have you been in and when was the last time? You can answer them with something awesome, even if it took you awhile to get that answer. Have fun and don’t be afraid to tackle assignments and take as many classes to learn your craft as possible and have fun.

What if I need the pass for a personal project..like a book. Specifically I’m doing a photo-journalistic book so I’m only on assignment for myself technically. How would I obtain event credentials for that, if I can at all?

Typically shooting for yourself for a personal project won’t qualify for a press pass for most events. Instead, pitch your project idea to some publications and see if they would run with the story. This way, you’d have better odds of applying for and scoring a press pass. You can (and should) always shoot extra “personal project” shots while on assignment.

Hi, thanks a lot for this article!

I have a question: Would you know whom to contact in order to cover celebrity events, such as movie premieres? A photo agency in Europe wants me to cover these types of events for them, as I live in Hollywood, and they don’t have any other photographers based here right now. It would seem like a great opportunity for me, so I would want to do it, but I’m not sure how to go about it. Is there a type of press list one can get on for these types of events? Or would one have to ask about each event separately? I assume these types of events are very busy with photographers, and one problem is that I have not covered any celebrity events before so, other than the assignment from the agency, I couldn’t really point to any existing pics of events I may have covered. Does this matter if I have an assignment from an agency, or would the organizers likely turn me down? What kind of celebrity events other than movie premieres might I be able to try and cover, to build more of a portfolio for these types of pictures? The agency is mostly interested in big time celebrities, to sell on their website. I want to take advantage of this opportunity, but I’m not really sure how to go about it. Would you have any suggestions?

Thanks a lot!

Thanks for the question, Alex! You’ll have to reach out and pitch to the PR/media contact of each event individually. Over time, you’ll develop relationships with them that will make it much easier to get into events. Every time you reach out to cover an event, you must be on assignment from your agency or client. For a photo agency, I imagine it wouldn’t be hard to get them to get an assignment from them. Aside from film premieres (and think small, local film premieres too if you have a local arts community), other red carpet events could be at galas and fundraising events. Sometimes actual celebrities might attend them, other times you’ll have local celebrities (ie. your local politicians). No matter how “famous” the person, it’s always good to get as much red carpet experience as possible.

I hope this helps!

Thanks for the reply. How would I know whom to contact for movie premieres? These are not typically advertised as events with website and contact info, so it seems more complicated to find the right department. My mother is an international journalist and asked some of her press contacts at the studios, but a lot of them didn’t really seem to know or weren’t very helpful. I’m thinking there would have to be one department at each studio that handles these types of request, or even has an e-mail list with invites, but where could I get their contact info? Thanks a lot! 🙂

Interesting site Suzi. This is my first time on here. My situation is a little different from others on here but not by much. I work with a TV station in which I conduct interviews with artists we play who are coming to town. I’ve also written for the two major newspapers locally, which led to my TV gig. I’ve built a respectable amount of contacts as a result.

The challenge is getting publicists to convince artists to appear on TV. Most prefer doing phone interviews, which we can do on the air. However, for whatever reason they hesitate to do it. Frankly, it was much easier getting interviews for the newspaper. That said, overall I have a better (and more unique) platform if I do say so myself.

Anyway, I’m with an independent local station that reaches over 50,000 viewers, a prime demographic that attends concerts. We can and do air interviews in their entirety (commercial-free), something corporate-owned stations would NEVER do. It’s a tough sell when it shouldn’t be. At the very least, we should be getting as much opportunity to spread the word about an artist as radio stations do.

Live Nation reps and their clients are the most difficult. The funny thing is, LN blames the artists when media access is denied. The artist blames Live Nation and tosses it in their lap. In other words, both pass the buck on accepting responsibility.

Your thoughts?

Thanks for sharing your story! I have two thoughts:

1) Getting permission to record video or live TV broadcast for events (especially concerts) is almost always more difficult than getting granted a photo pass. I don’t have any experience in requesting video passes, but just based on how many times I see videographers mixed with photographers at the events I shoot, it seems like there are more restrictions and hoops to jump through.

2) In terms of playing the “blame game” when you get denied a media pass, that’s almost always going to happen. I think at the end of the day, it doesn’t so much matter why you got denied, rather than the fact that the answer was no. The best recourse is maybe trying to better understand the reasoning why (ie. the artist prefers no video).

Thanks for responding Suzi. To clarify, I was referring to TV interviews with artists to preview their show, via Skype for example. They grant newspaper interviews more than TV, at least in my experience. Sorry for the confusion. Respect.

Ah, that is actually an interesting point that I wasn’t aware of. Thanks for sharing your experience! I’d still say my comment above applies–hard to say exactly why they choose to grant interviews to one type of outlet over another.

Hello, thanks for this informative article. My wife and I are amatuer photographers and my wife is really interested in getting into freelance photography for whatever media outlets would have her. She really is an amazing photographer, she has a great eye for great shots. She really wants to get a press pass for a concert in Austin, TX and was wondering, how do we find out what publications or websites would be interested in covering a story about that concert? Anyone have any inside knowledge on local news that normally likes to cover concerts or online sites that like to? Any input would be greatly appreciated!

Hi Ken, Great question! Honestly, it’s hard to tell these days which music blogs and publications are still around and accepting freelancers. A good chunk of the ones I used to work with even a few years ago no longer exist. I’d do a Google search for “Austin music blog” and see what comes up. Also worth checking in with your local alt-weekly newspaper or magazine. On the national side, Paste Magazine seems to still be going and would be worth checking in with. At the very least, you can always start your own blog/music site. I know several photogs who have done this to great success. Hope this helps!

Thank you for those suggestions, I’ll look into it. The concert she wants to cover isn’t local, we live in South Florida, so that’s kind of the reason why we’re kind of lost when it comes to who would cover it. We are working on putting together a photo portfolio for her right now. I’d really love for this to become an actual job for her, even if only part time since she love photography so much. Thanks again. 🙂

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Credential Guidelines

• 2023 Credential Guidelines

ELIGIBILITY

USATF will issue media credentials to “members of the working press”. By definition, a “member of the working press” shall be a paid employee or representative of a known and established “media organization”. By definition, a “media organization” is either a person or entity engaged in disseminating information to the general public through a newspaper, magazine, or other accepted publication, radio, television, or other medium of mass communication. Clubs (including those representing clubs/teams/athletes, i.e. photographer shooting on behalf of a club or an individual athlete), and coaches will not be credentialed as media.   Having been credentialed at previous USATF, World Athletics, NCAA, Olympic, or other related events does not guarantee acceptance.   Journalists who receive credentials must be on assignment for a reputable media organization as outlined above that has a record of consistently covering the sport. All photographers will be required to submit a letter of assignment to the USATF communications team to be considered for a credential. Content creators will be required to submit a content plan prior to approval. Freelance reporters must be able to submit a letter of assignment upon request.   On a case-by-case basis, USATF will consider applications for media credentials from independent online media representatives. Credentials will be granted to these individuals if space allows and after all established media organizations have been accommodated.   All journalists who wish to attend USATF events must submit a media credential application . Journalists, and their editors, who apply for credentials acknowledge they have read and agree to these media eligibility guidelines as well as USATF’s broadcast restrictions . Organizations may request more than one media credential, however, USATF reserves the right to limit the number of credentials allocated to any media organization in its sole discretion . USATF does not guarantee that any credentials will be awarded to any organization.

APPLICATION DEADLINES

Media credential applications must be received by the established deadlines . USATF will not guarantee that media who submit their applications after the deadline will be accommodated. Submitting an application in no way guarantees that you will receive a credential. Space may be limited and only a specific number of media credentials will be issued per event.

CREDENTIAL ACCEPTANCE

USATF encourages all media organizations to attend USATF events. However, if there is a limitation on the number of credentials issued for a specific event, USATF will consider the following criteria, in order of significance, when issuing approval:

• Media organizations with a large national audience
• Local media in the host city
• Media outlets that attend USATF events on a regular basis
• Sport-specific specialty media
• Independent online representatives

An acceptance or rejection email will be sent to the applicant and/or editor listed on the application no later than 10 days after the application deadline. Please contact [email protected] if you have a question about the status of your application.

CREDENTIAL USAGE

Credential Use Conditions   Credentials must be worn and visible at all times during the event. Each credential is issued specifically for the journalist who was accepted through the credential process. Any media outlet that wishes to change the name(s) of its credentialed media must submit a new credential request. If the change is to take place after the credential deadline has passed, contact [email protected] prior to the event. Credentials may not be given or loaned to another person for any reason, failure to adhere to this can result in the loss of credential for all parties involved   Credentialed journalists will receive admission to the event, access to media work areas, mixed zone, and to any spaces designated for media in the venue. Misuse of a USATF media credential will result in the immediate loss of the credential, removal from the media areas and the possible loss of credential privileges for future events for the journalist and the assigning media agency.

PHOTOGRAPHERS

Photographers must be on assignment from a known and established media organization and use professional camera equipment. Photographers must attend mandatory photo meetings, as outlined in a media alert sent prior to competition by a member of the USATF communications staff   All photographs taken at the event are to be used solely for non-commercial editorial purposes by the publication and website for which an individual is credentialed. Photography is for editorial and/or personal use only and may not be published otherwise. If a photographer is working on behalf of multiple outlets, they must disclose all outlets in their application.   Failure to comply with the policies stated in the preceding paragraph will result in the immediate loss of credential privileges for all future USATF events. Additionally, the media outlet associated with the photographer in violation of such policies will lose the ability to credential a photographer at future USATF events.   Updated 3/19/24

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Overview of Press Credentials

Press credentials get you into events where you could never go alone – behind the scenes at sports, entertainment, and breaking news events.

All Press Programs are fully supported by the Editorial Staff at American Image Press and Today’s Photographer International Magazine. All press programs come with a letter of assignment specific to you. IFPO member photographers, journalists, photojournalists, reporters, broadcasters, bloggers and other media enthusiasts may participate in these programs. Questions about what type of press credentials will work best for you? Call Vonda Blackburn at 1-800-654-9557 or email at [email protected]

GOLD PRESS PROGRAM

This program is ideal for local and regional events in the USA. This “The Gain Access Program” program was inaugurated in 1986. The backbone of this unique program is Today’s Photographer magazine and American Image Press. IFPO member photographers and journalists are on assignment for the magazine and are encouraged to submit their work to other outlets as well. The editorial staff provides support for you to gain access to the events you choose.

US PRESS CORPS

This program is ideal for all kinds of events and is particularly effective in North America and Western Europe. Designed for the toughest barriers, gates and doors. In addition, members report that wearing the hard card badge with lanyard while traveling can yield discounts and preferential treatment. As a US Press Corps member, you are among a distinct and impressive group. In many situations, because it is highly visible and recognized, this can carry more clout than other credentials.

A.I.N.S. Universal Press Credentials

This program is the most recognized and ideal for veteran photographers who concentrate on high profile events of international interest. Recognized and widely accepted globally. IFPO’s veteran press members use this program to push into global calamities and war zones. From Hurricane Katrina, Haitian Earthquake, Indonesian Tsunami . . . to Iraq War, Afghanistan War, Sudan Civil Strife, and 2022 Ironman World Championships. IFPO members working from the field asked for each item and service that is currently included in the package, making it the most successful press program available through IFPO.

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How to do a Photography Alphabet Project

What is a photography alphabet project.

If you’re new to photography, the alphabet project is a great way to learn the basics of composition and lighting. It’s also an excellent way to challenge yourself creatively.

The best thing about this project is that it doesn’t require any expensive equipment or fancy gadgets. All you need is a camera, some creativity and a little bit of free time.

The idea is simple: take pictures of 26 different subjects (one per letter of the alphabet), each in a unique style and using different types of lighting. When you finish, you’ll have an entire portfolio of images that showcase your skills as a photographer and help build your portfolio.

The Alphabet Project can be done by anyone who has basic photography skills — from amateur photographers to professional artists. Although you don’t need any special equipment or gadgets, it does take some time and effort to complete successfully.

Some ideas for a photography alphabet project

A photography alphabet project is a fun way to teach your students about photography. It’s also a great way to get them involved in the classroom!

You can use this activity with any letter of the alphabet. However, we prefer to use it with the letter A for the following reasons:

The A is for Art. This activity helps students understand that art is everywhere and that they are artists, too! Students will create their own art pieces using various mediums such as chalk pastels or watercolors. They will then learn how to take photos of their art using their cameras.

It’s a hands-on approach! Students can get messy if they want but there are also more structured activities that require less mess so no one needs to worry about cleaning up afterwards!

It’s a great way for kids to express themselves through photography while learning about technical aspects such as composition and lighting techniques…all while having fun!

This exercises takes you through all 26 letters of the alphabet, starting with A and ending with Z. Each letter represents a different photographic concept or technique that you should practice while taking pictures.

For example:

A – Anticipation – “Anticipate what might happen next”

B – Breathing Room – “Give yourself enough room in your composition so that the viewer can breathe”

C – Center Of Interest – “Find a subject that is unique and interesting enough to be the center of attention for your image”

Photography Alphabet Projects are a great way to get kids interested in photography.

The first step is to find a word that your child is interested in and then take a picture for each letter of the alphabet. The best place to start is with something that your child loves. If they love animals, you could do an animal photography project or if they love trains you could do a train photography project.

You can also do more generic projects such as taking pictures of your favorite places or things that make you happy. For example, if you love flowers, then take pictures of flowers at different times of the year. Or if there’s a particular place that makes you happy, then take pictures there at different times of the year too.

Each week, you can post a photo that relates to each letter of the alphabet and provides a brief description about why you choose that particular photo. You can invite other photographers to share their own photos that relate to that same letter via social media using the same hashtag. You can create the hashtag for your own project and let other know and use.

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Letter Confirming Assignment

At certain restricted events showing a press pass might not be enough. This is when the IAPP Letter confirming assignment is invaluable.

This document is issued once by request for a specific department. It proves you are involved in reporting the news.

This can be just as important at press conferences as at presentations, sports events, premieres, plant tours, for business occasions and also for gaining access to crime scenes. As an extra service, the International Association of Press Photographers issues you this journalistic identification in the form of a confirmation.

Letter Confirming Assignment:

• Department-related design
• IAPP embossed seal
• Signed by Editor in Chief
• Accreditation and editorial seals
• Personalized and non-transferable
• Original paper copy
• Format approx. 8.27 inch x 11.65 inch(21 x 29.60 cm)

Letter Confirming Assignment, Reporter ID Card, Press Pass , Certificate of Accreditation, Travel Press Card and Press Vehicle ID: Click here to order!

Read more about the many benefits and opportunities for IAPP press pass holders.

Learn more about IAPP and find out about the numerous benefits we offer to our members.

Registering with IAPP only takes a few minutes. We have provided step-by-step instructions on how to obtain your press credentials safely and securely.

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Get Inspired With These Creative Photography Assignments

Last year I wrote about what to do when you find yourself in a  photography rut (I’ve reposted the article so it appears near the top of the recent articles list, or you can click the link to read it).

One of the ideas is giving yourself creative photography assignments or briefs. Over the last year I’ve realized just how powerful this idea is as I’ve set myself assignments and briefs to follow.

I believe in this way of working so strongly that I wrote a new assignments ebook, 100 Creative Photography Assignments , with the aim to give you enough ideas and inspiration to give you at least a year’s worth of shooting.

The book is structured into twenty broad themes, with five assignments for each theme. 

Today I’d like to share some of my favorite assignments from the book with you. The theme is listed in brackets after the assignment.

These assignments will boost your creativity. Some of them are easy. None of them are complicated. Most of them are challenging. All of them are designed to help you see the creative potential in everyday subjects.

To give you a taste of what’s in the book here are some of my favorite assignments. Whether you buy the book or not, I hope you’ll find these ideas useful.

Assignment 19: Hands (Frames)

Use somebody’s hands as a frame for something they are holding. It helps if the object is smaller than your model’s hand. Stuck for ideas? Ask somebody to cup their hands and fill them with strawberries. It’s verging on cliche but fun to play with.

I made the photo below on a walk with my son. He picked up the yellow berries and held them out for me to make a photo. His hand frames the berries, and the dark background frames his hand. It’s another variation on the frame within a frame idea.

Assignment 28: Botanical gardens (Flowers)

Botanical gardens are ideal for finding flowers that don’t normally grow in your local area. Big tropical flowers in particular make great subjects. 

The advantage of botanical gardens is that they often have large greenhouses full of interesting plants and flowers you can photograph all year. 

You can move in close to make great close-up photos of unusual flowers. You can also step back and make photos of flowers in their environment. Add interest by including the glass of the greenhouse walls.

Assignment 33: Street art (Buildings)

Street art is a fascinating subject because, in urban environments, there’s so much of it. It’s a theme you can return to as you travel, photographing street art in different parts of the world.

For me, there is a clear difference between graffiti, which is mindless vandalism, and street art like in the photo on this page, which is made by skillful artists. The first is depressing (which could be an interesting theme in itself and is also connected to Assignment 39: Urban decay ). The second is uplifting and celebrates creativity and freedom of expression. 

But of course, you may have a different opinion and you can interpret the brief any way you like.

Assignment 36: In the area (Your local neighborhood)

The hardest thing about photographing your own neighborhood is familiarity. The longer you’ve been living there the more likely it is that you’ve stopped noticing how interesting it might be to somebody seeing it with fresh eyes.

This assignment is your opportunity to put that right and make a series of photos that show the local architecture in your neighborhood. Whether it’s suburban housing, rural life or urban living, there’s something interesting to photograph. 

If it helps, imagine you’re a visitor from another country seeing your neighborhood for the first time. What would they find interesting about it? What makes it different? If your neighborhood is boring, how can you capture that boredom?

Assignment 39: Urban decay (Your local neighborhood)

Some buildings can look good for centuries if they’re well looked after. But others soon fall into decay, especially if they’re not maintained. Look for the beauty in decayed or run-down buildings. 

You expect older buildings to be in a state of disrepair, especially if you live in a country that has plenty of ruins. But more modern urban decay can be just as interesting. Why do modern buildings fall into disrepair? What stories do they tell about their neighborhoods, towns and cities?

Another approach to this idea is to photograph urban decay in other countries, and then compare the results with what you get in your local area.

Assignment 58: Small towns and cities (Urban skyline)

This assignment is similar to the previous one except that this time your brief is to make a photo of the skyline in a smaller town or city. 

The focus is on ordinary buildings. Residential areas are often an interesting subject. As you wander around you’ll see a big difference in architectural styles as you move from one neighborhood to another. 

These are smaller, more intimate urban skylines. It’s another assignment with great potential to turn into a series.

Assignment 65: Shadow as a frame (Light and shadow)

Your brief for this assignment is to photograph a scene with a brightly lit subject framed by shadow. Architecture is a great subject as you can use standard features like arches and doorways. 

As long as you have something interesting lit by the sun to juxtapose against a shady foreground you’ll have enough contrast to get this effect. You can play with the shadows in post-processing to see whether making them darker improves the composition.  

Another approach to this brief is to stand indoors and shoot out through the window. If the scene outside is lit by the sun there’s enough contrast to create a black frame around it.

Assignment 72: Abandoned furniture (Everyday objects)

The other day I walked past an old armchair abandoned in the street, and it reminded me of the photo on this page that I made in Newport, Rhode Island, some time ago. 

It also reminded me of a red couch I saw abandoned in a field in Mexico, some old chairs I saw outside a house in Alaska, and the time I saw a motorcycle gang sitting on an old sofa watching a carnival in New Zealand.

This is a good assignment to keep at the back of your mind. If you see a piece of abandoned furniture somewhere, make a photo of it, even if it’s with your smartphone. As time goes by you’ll build an interesting series of images. 

Assignment 80: Limited color palettes (Composition)

The final composition assignment tests your observational skills by asking you to make photos of scenes with a limited color palette. 

Often this type of scene is dominated by a single vibrant color, like the orange flowers in the photo on the right. Using a limited color palette simplifies the design of the photo by simplifying the colors used in the composition. 

If you’re outside making photos, then this brief is a good test of your composition skills. But you can also think about this assignment if you have more control over the scene. 

If you’re making a portrait of somebody, for example, what happens if you ask them to wear a blue jumper, blue jeans and stand in front of a blue wall? What difference does it make if they wear an orange jumper instead? Exploring the use of color like this can give interesting results.

Assignment 83: Cool colors (Mood)

A few years ago I spent a summer in northern Spain, where there are a lot of cloudy days. But the clouds gave the landscape another mood, fertile rather than arid, cool rather than hot, contemplative rather than vacation-like. 

Cloudy light has a higher color temperature than sunlight, which means it’s naturally blue. You can neutralize that by adjusting White Balance, or you can enhance it instead, adding to the mood and feel of the scene. That’s what I chose to do in the photo on the right. It’s also your brief for this assignment. Look for a scene that works well with cooler, blue colors (like a winter landscape or a cloudy seascape) and make a photo that captures the moodiness of the scene. 

Assignment 91: Road signs (Landscape)

Some photographers equate landscape photography with photographing the wilderness, but there are many parts of the world where the natural landscape coexists with man-made elements. In long-settled countries like Britain the entire landscape has been affected by man in one way or another. 

For this assignment your brief is to incorporate road signs into a landscape photo. How can you juxtapose man-made and natural elements of the landscape in an interesting way?

In the photo on this page, I was struck by the symmetry created by placing the road sign between the distant wind turbines, another man-made element of the landscape.

100 Creative Photography Assignments

These assignments come from my new ebook 100 Creative Photography Assignments

I’m proud of this one and wish I’d had it 20 years ago when I was starting out in photography.  Click here to learn more

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What does it take to be an excellent on-assignment photographer.

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Photographers work in a variety of ways and environments. A number of professional photographers prefer to work inside their own studio, while others move and travel around to find good subjects.

There are photographers who shoot at random, while there are others that work with a theme. Some shoot for weddings, birthdays and other special occasions; while several others prefer to go for assignment photography. On-assignment photographers are in-demand nowadays; so much so that many are determined to try out their luck in the field.

Assignment or On-Assignment Photography

An on-assignment photographer works in a different environment and circumstances when compared to one who does studio shoots, journalism photography or stock photography. The photos he takes are based on a specific assignment set by a client or customer. There are terms and requirements that he needs to consider, including the payment or fee for the work he does.

In other words, someone pays for the work an on-assignment photographer does.

On-Assignment vs. Stock Photography

Whereas stock photography refers to photographers taking photos according to their preferences – or whenever they see a scene worthy of being captured, an on-assignment photographer does not take photos until someone orders or unless a customer gives him a project (“ assignment “) to work on.

Many prefer to go into on-assignment photography because it involves less financial cash out compared to stock photography. An assignment photographer does not spend for production costs and other similar expenses; his client does this for him. Stock photographers; on the other hand, cover their own production costs because what they do is self-assigned work. They sell their work at prizes that can cover both their expenses and hard work. On-assignment photographers give their clients a packaged costing that includes production and labor expenses.

Photos taken by a stock photographer may not find buyers (and are therefore tucked away in files), while on-assignment photographers are almost always assured that their clients will pay for their work.

How to Become an Excellent On-assignment Photographer

To become an in-demand on-assignment photographer, you need to do what a regular photographer does: hone your craft and improve your knowledge. And how can this be done? Here are several tips:

• First off, you should consider joining a camera club . You don’t need to find one that specializes in on-assignment photography; you just need one that can offer your various opportunities of honing your craft. There should be competitions that you can join, selfless sharing of knowledge, practices and field trips. A camera club is also the best place to meet people who share your passion.
• Take photos . A lot of them; all the time, wherever you are. You don’t have to use your SLR or any high-end technically advanced camera; your digital point-and-shoot will do. The important thing is having the freedom to shoot different scenes. To practice the concept of on-assignment photography, take several shots of a particular scene or subject. For example, you can take shots of different angles of a person casually strolling in the park. Or maybe successive shots of toddlers gathered in the playground as if they were in a meeting. You can also take portrait shots of your family members.
• Practice by giving yourself an assignment or a photo theme . Start with something that you are interested in. If you like dancing, look for street dancers and spend time with them. Take your photos over a period of days – not just in one sitting. This will allow you to explore different angles and scenarios. This can be a weekly or monthly activity.
• Study magazines and other visual publications . Observe their photos and try to determine what make them compelling. You might want to cut out some pictures that you really like and create your own version of them. Some may say there’s no originality in this, but it’s one of the best ways to practice and test your skills. It’s just for run-through, anyway.
• Be alert and observant . An excellent photographer is always aware of what’s happening around him. This will help you come up with good ideas and stories for your photos. Assignment photos tell stories that your clients want the public to know. Watching the news and reading newspapers can also help you find subjects to shoot. For example, a senator running for public office can hire your services to help build up his image for Election Day. A lot of celebrities hire assignment photographers for a PR stunt or when they want to reach out to their fans and followers.
• If you have the time and the money, go on a shooting trip or vacation . This will give you different perspectives. You’ll find other interesting subjects and thus, explore the extent of your creativity. For example, when in Rome, visit three or four historical churches and take a series of photos. They don’t have to tell a story, but whether you intend to or not, they will send out a message. This is one of the most integral purposes of on-assignment photography: to create a unified message (like when you take photos for a campaign or publicity stunt).
• To create excellent on-assignment photographs, you need to know how to create compelling pictures . This can only be done if you devote your time and passion to it. Don’t rush things. Take it one day, one photo at a time. Assignment photography is not like stock or journalism photography; the client will set the rules and schedule for you.
• Finally, browse through your photos and choose the best ones . Come up with a cohesive collection of your work. Your portfolio should showcase your creative and storytelling abilities, your vision, your experience and your love and passion for the craft. Build your collection slowly as this will be the first thing that your prospective client will ask from you.

Whether you prefer to concentrate on assignment photography or taking photos, the best thing to do is practice, practice and practice. If you have the patience and determination to practice, you’ll never be too far away from achieving perfection in everything that you do.

About the Author: Michael Gabriel

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Professional Photographer Assistant Cover Letter Examples for 2024

Your photographer assistant cover letter should immediately convey your passion for photography. Highlight your eye for detail and your dedication to the craft right from the start. In the second paragraph, discuss your experience in assisting with photo shoots and your ability to anticipate a photographer's needs. Show them you're a team player who brings creativity and technical skills to every project.

Cover Letter Guide

Photographer Assistant Cover Letter Sample

Cover Letter Format

Cover Letter Salutation

Cover Letter Introduction

Cover Letter Body

Cover Letter Closing

No Experience Photographer Assistant Cover Letter

Key Takeaways

Diving into the world of professional photography can be thrilling, but landing that perfect assistant role often hinges on crafting a standout cover letter. You may find yourself stumped, wondering how to encapsulate your unique skills without regurgitating your resume. The key is to weave a compelling narrative around your proudest professional milestone, while keeping your tone formal yet fresh, sidestepping those clichés that hiring managers see all too often. Remember, brevity is your ally; your story should unfold in just one page. Let's guide you through the process of creating a cover letter that captures the essence of your photographic flair.

• Some inspiration from other professionals' job-winning cover letters;
• The best structure and format for your photographer assistant cover letter;
• Insights on how to write about your best achievement to stand out;
• A creative twist on your photographer assistant cover letter intro.

Upload your photographer assistant resume to Enhancv's AI, which will quickly scan and prepare a job-winning cover letter for you.

If the photographer assistant isn't exactly the one you're looking for we have a plethora of cover letter examples for jobs like this one:

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Photographer Assistant cover letter example

Johnatan Wright

Los Angeles, CA

+1-(234)-555-1234

[email protected]

• Highlighting past experiences that are directly relevant to the role showcases the applicant's relevant expertise, as seen with mentions of Getty Images and Vogue Studios.
• Quantifying achievements, like improving shooting efficiency by 15%, provides concrete evidence of the candidate's impact in previous roles.
• Detailing specific responsibilities and skills, such as advanced camera equipment handling and efficient workflow engineering, conveys a clear understanding of the job requirements.
• Demonstrating the ability to contribute to the company's success with concrete examples, like location scouting that led to a successful campaign, shows proactive initiative and results-driven mindset.

What are the basics of the design or format of your photographer assistant cover letter?

To start, here's a reminder for you: the Applicant Tracker System (or software that is used to assess candidate profiles), won't be reading your photographer assistant cover letter.

Recruiters enjoy reading photographer assistant cover letters with a standardized format that uses:

• the same font as the resume (e.g. modern ones like Raleway or Volkhov are prefered over the clichéd Times New Roman or Arial);
• single spacing to keep the content concise and organized (this is all ready for you in our cover letter templates );
• a one-inch margin to wrap around the text, like in our cover letter builder ;
• PDF as a file format, as it allows your design (and visual element) to stay the same.

Finally, we can't go on without mentioning the key sections of your photographer assistant cover letter.

In the top one-third, make sure to include a header (with your contact information, name, role, and date), a salutation, and an introduction.

Next, follows the heart and soul of your photographer assistant cover letter or its body.

End your photographer assistant cover letter with a closing paragraph and, if you wish, a signature.

The top sections on a photographer assistant cover letter

Header with Contact Information: Includes your name, address, phone number, and email, crucial for the recruiter to know who you are and how to contact you for an interview or further discussion.

Opening Greeting: Address the hiring manager or the team leader directly if possible, as personalized salutations show you've researched the company and are genuinely interested in joining their photography team.

Introduction (Objective Statement): Briefly state your purpose for writing and express your enthusiasm for the opportunity to work as a photographer's assistant, setting the tone for your cover letter and catching the recruiter's attention.

Body (Professional Experience and Skills): Highlight relevant photography techniques, equipment handling experience, and soft skills like attention to detail and ability to follow directions, which are critical for assisting photographers in a fast-paced environment.

Closing and Call to Action: Conclude by reiterating your interest in the position, thanking the recruiter for their time, and expressing your eagerness to discuss how your skills can contribute to the success of their photography projects in a face-to-face interview.

Key qualities recruiters search for in a candidate’s cover letter

• Prior photography experience: Demonstrates a foundational understanding of photographic techniques and principles, which is essential for providing effective support to the lead photographer.
• Technical proficiency with cameras and editing software: Shows that the assistant can handle equipment and post-processing work, which are core parts of the photography workflow.
• Attention to detail: Critical for ensuring all aspects of a shoot are executed correctly, from lighting and composition to the final touches in post-production.
• Strong organizational skills: Necessary for managing equipment, assisting with scheduling, and handling various tasks during shoots, making sure everything runs smoothly.
• Excellent communication skills: Key for liaising between the lead photographer, clients, and other team members, ensuring clear and concise information flow.
• Creativity and an eye for aesthetics: Enables the assistant to contribute ideas, provide constructive feedback, and maintain the artistic direction of the photography projects.

How to personalize your photographer assistant cover letter greeting

Before you start writing your photographer assistant cover letter, take the time to find out who is recruiting for the role.

Search for the recruiter's name on LinkedIn or the corporate website to address them personally in your photographer assistant cover letter salutation .

What if you can't find out who's recruiting for the role?

Always aim to avoid the very impersonal "Dear Sir/Madam" - instead, opt out for "Dear HR Team" or "Dear Hiring Manager" to make a better first impression.

List of salutations you can use

• Dear Hiring Manager,
• Dear [Company Name] Team,
• Dear [Hiring Manager’s Name],
• Dear [Department] Hiring Committee,
• Dear [Department] Team,
• Dear [Mr./Ms. Last Name],

Introducing your profile to catch recruiters' attention in no more than two sentences

The introduction of your photographer assistant cover letter is a whole Catch 22 .

You have an allocated space of no more than just a paragraph (of up to two sentences). With your introduction, you have to stand out and show why you're the best candidate out there.

Set out on a journey with your photographer assistant cover letter by focusing on why you're passionate about the job. Match your personal skills and interests to the role.

Another option for your photographer assistant cover letter introduction is to show you're the ideal candidate. Write about how your achievements and skills are precisely what the company is looking for.

However you decide to start your photographer assistant cover letter, always remember to write about the value you'd bring about. Making it both tangible (with your metrics of success) and highly sought out.

What to write in the body of your photographer assistant cover letter

Now that you've got your intro covered, here comes the heart and soul of your photographer assistant cover letter.

It's time to write the middle or body paragraphs . This is the space where you talk about your relevant talent in terms of hard skills (or technologies) and soft (or people and communication) skills.

Keep in mind that the cover letter has a different purpose from your photographer assistant resume.

Yes, you still have to be able to show recruiters what makes your experience unique (and applicable) to the role.

But, instead of just listing skills, aim to tell a story of your one, greatest accomplishment.

Select your achievement that:

• covers job-crucial skills;
• can be measured with tangible metrics;
• shows you in the best light.

Use the next three to six paragraphs to detail what this success has taught you, and also to sell your profile.

Time to wrap up your photographer assistant cover letter

Writing the closing paragraph of your photographer assistant cover letter is just as important as the salutation.

You have to make it personalized to the job advert and recruiter.

Experienced professionals advise candidates to end with a request or reminder for follow-up. Write that you're grateful for the opportunity, and, at the same time, hint that you're available for the next steps of the process.

Otherwise, you could also conclude your photographer assistant cover letter by facing the future. How do you see yourself, as part of the team? In particular, how would you settle in your new role in the first six months to a year?

What to write on your photographer assistant cover letter, when you have zero experience

The best advice for candidates, writing their photographer assistant cover letters with no experience , is this - be honest.

If you have no past professional roles in your portfolio, focus recruiters' attention on your strengths - like your unique, transferrable skill set (gained as a result of your whole life), backed up by one key achievement.

Or, maybe you dream big and have huge motivation to join the company. Use your photographer assistant cover letter to describe your career ambition - that one that keeps you up at night, dreaming about your future.

Finally, always ensure you've answered why employers should hire precisely you and how your skills would benefit their organization.

Key takeaways

Writing your photographer assistant cover letter doesn't need to turn into an endless quest, but instead:

• Create an individual photographer assistant cover letter for each role you apply to, based on job criteria (use our builder to transform your resume into a cover letter, which you could edit to match the job);
• Stick with the same font you've used in your resume (e.g. Raleway) and ensure your photographer assistant cover letter is single-spaced and has a one-inch margin all around;
• Introduce your enthusiasm for the role or the company at the beginning of your photographer assistant cover letter to make a good first impression;
• Align what matters most to the company by selecting just one achievement from your experience, that has taught you valuable skills and knowledge for the job;
• End your photographer assistant cover letter like any good story - with a promise for greatness or follow-up for an interview.

Cover letter examples by industry

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How to Put Your Thesis on a Resume

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Letter of Assignment

I'm the photographer of the sport's section of my college's newspaper and now I have the chance to cover another event not related to the sports and it needs a letter of assignment. Since we usually shoot inside the college and for that we have full access and permission anywhere automatically, the editor-in-chief, who is also a student, never made one of these letters, and I would really appreciate if someone could help me find a sample or send me one so that we could make something that looks professional and be able to get the credentials. Thanks a lot in advance.

Tiago -- The Stute Sports Photographer

I have emailed you a template of one you can modify for your own use.

'Have you been seen lately?' http://www.glenegrant.com http://www.onemodelplace.com/member.cfm?P_ID=61209

Thank you very much Glen, that was a great help, I really appreciate it. Take care,

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Beginner Photographer Cover Letter Example

Cover letter examples, cover letter guidelines, how to format an beginner photographer cover letter, cover letter header, cover letter header examples for beginner photographer, how to make your cover letter header stand out:, cover letter greeting, cover letter greeting examples for beginner photographer, best cover letter greetings:, cover letter introduction, cover letter intro examples for beginner photographer, how to make your cover letter intro stand out:, cover letter body, cover letter body examples for beginner photographer, how to make your cover letter body stand out:, cover letter closing, cover letter closing paragraph examples for beginner photographer, how to close your cover letter in a memorable way:, pair your cover letter with a foundational resume, key cover letter faqs for beginner photographer.

You should start your Beginner Photographer cover letter by addressing the hiring manager directly, if possible. Then, introduce yourself and state the position you're applying for. For instance, "Dear Mr. Smith, I am an enthusiastic beginner photographer with a passion for capturing memorable moments, and I am excited to apply for the Photographer position at your company." This opening is direct and shows your enthusiasm for the job. It's also important to briefly mention where you found the job listing or who referred you, as this can show your genuine interest in the position and the company.

The best way for beginner photographers to end a cover letter is by expressing enthusiasm for the opportunity, summarizing their qualifications, and inviting the reader to view their portfolio. A strong closing might look like this: "I am excited about the possibility of bringing my unique perspective and creativity to your team. My passion for photography, combined with my technical skills and eagerness to learn, make me a strong candidate for this position. I invite you to view my portfolio at [website] to see examples of my work. Thank you for considering my application. I look forward to the possibility of discussing my application further." This ending is effective because it reiterates the applicant's interest, summarizes their qualifications, and provides a clear next step for the reader.

A beginner photographer should include several key elements in their cover letter: 1. Introduction: Start with a brief introduction about yourself and your interest in photography. Mention why you are interested in the specific role or company you are applying to. 2. Skills and Experience: Highlight your photography skills and any relevant experience you have. This could include photography courses you've taken, any freelance work you've done, or any photography-related projects you've been involved in. If you have experience in different types of photography (like portrait, landscape, or event photography), be sure to mention this. 3. Portfolio: Mention your photography portfolio. This is a crucial part of any photographer's application, as it gives potential employers a chance to see your work. You can include a link to your online portfolio or offer to provide a physical portfolio upon request. 4. Equipment Knowledge: If you have experience with specific photography equipment or software, be sure to mention this. This could include different types of cameras, lenses, lighting equipment, or photo editing software like Adobe Photoshop or Lightroom. 5. Soft Skills: Don't forget to mention any relevant soft skills. This could include things like your attention to detail, your creativity, your ability to work under pressure, or your excellent communication skills. 6. Conclusion: In your conclusion, express your enthusiasm for the role and your eagerness to bring your photography skills to the team. You can also mention any goals you have for your photography career. Remember, your cover letter should be tailored to the specific role and company you are applying to. Research the company and the role to understand what they are looking for, and try to highlight these skills and experiences in your cover letter.

Related Cover Letters for Beginner Photographer

Creative photographer cover letter.

Event Photographer Cover Letter

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Photographer Cover Letter

Photographer Assistant Cover Letter

Professional Photographer Cover Letter

Wedding Photographer Cover Letter

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Freelance photographer resume example, photo journalist resume example, photographer resume example, photographer assistant resume example, professional photographer resume example, wedding photographer resume example, try our ai cover letter generator.

11 Advanced Photography Exercises for High School Students

Whew! Eleven advanced photo assignments…did you try them all?

As I explored these photography assignments again, I had so much fun taking new photos and applying the techniques right alongside you!

If you didn’t join in on all the fun, you’ll find the complete list of photo prompts we explored below. Click on each link to see the short blurb with related tips and tricks for each prompt.

Also, if you teach photography, here’s a free lesson plan that goes along with this whole series. Click the button below and enter your email! (You can also  click here to purchase the entire unit, including all the worksheets with keys, test with key and review, a complete presentation, and a project outline.)

Alphabet Photography

ABC! Ready, Set Go! Take your alphabet pictures; you may be surprised at how fun and challenging finding photography letters can be!

Extra Credit

Do you need some extra points? Here are some photoshoot ideas that will get you extra points in the grade book and give you a reason to support your school! So go [insert your school’s name here]!

Built-In Camera Flash

You may need to use the flash on your camera when you’re in a pinch! Check the link for tips to make the light look as natural as possible!

External Flash

If you’ve got an external flash, it’s time to learn to use it! It can come in very handy in low-light situations!

Candid Photography

What is candid photography? Well, it’s a bit like being a spy! You’ll need to take pictures on the sly to capture those authentic expressions you’re looking for.

Story Telling in Photography

A picture is worth a thousand words? You bet! Maybe more! Take thoughtful, rich photos that have the ability to strike emotion in your viewers.

Pattern in Photography

Pattern photography is some of the most artistic photography you can take. Finding a good pattern and then capturing the perfect angle to accentuate it is fun!

High Contrast in Photography

I think most the great photographers thrive on high-contrast photography. These photos pop out and say, “LOOK AT ME!”

Low Contrast in Photography

This type of photo is much more subdued than your high-contrast photo, but if done effectively, it can really set the mood!

Color Contrast in Photography

We live in a world of color, so naturally, we  must  learn how to make the colors look good in our photos! So, using the color wheel and some good old-fashioned simplicity, we’ll get some pictures with great color contrast!

Light Painting Idea

What do you get when you mix a camera (with a tripod), a dark room, and some light sticks? Light Painting! This is one of the most fun photography assignments I’ve ever done!

I hope you take the time to try all these out! Also, don’t forget to click the links above to download the worksheets and view the full articles on each.

Thank you SO MUCH for all YOU do for those budding Photographers out there. YOU are truly amazing, too!

Click here to receive the  FREE lesson plan  that goes with this blog series and be added to my email list so that you don’t miss a thing! (If you want to do the thing right, check out this link to get information about the entire unit! )

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10 Photo Assignments to Inspire and Challenge Your Skills

Liz Masoner is a professional photographer and she shares her tips and techniques on photo editing and how to photograph nature, portraits, and events with film and digital cameras. Liz has over 30 years of experience and she is the author of three books on photography.

The best way to learn photography is to practice, though sometimes you can get stuck in a rut and not know what to shoot. That is why photographers love assignments; they give us a purpose and an idea of what to photograph. 

Why Are Assignments Important?

Self-assignments are key to any photographer's growth. Even professionals with decades of experience will work on personal assignments that they may never get paid for. The goal of any self-assignment is to spur creativity, solve problems, learn new techniques, and challenge yourself.

As you start out in photography, you're probably filled with excitement and ready to shoot anything you can. That being said, sometimes a little direction and guidance are necessary.

Below, you will find ten photography assignments. Each covers a new topic, skill, or concept and they were chosen to help you learn how to see as a photographer. They are meant to be a personal challenge that you can complete at your own pace and with no outside judgment, simply as a means to practice and improve your photography. Hopefully, you will learn something new with each assignment and be able to use that in every photograph you take in the future.

Remember when composing your images to keep in mind the basics: the rule of thirds,  shutter speed , aperture,  depth of field , and  exposure .

Assignment #1: Up Close

This assignment encourages you to get close and personal with your subject. It is an exercise in viewing a common object in a new way and examining its finer details.

• Choose an object that you see or interact with every day.
• Focus on a small part of it, get as close as your camera will allow you to focus, and shoot away.
• Try to capture different angles and unusual lighting to add to the mystery of this tiny world.

From the whiskers of your cat to a fragile Christmas ornament, and even common soap bubbles, there is an entire world that we often overlook because we don't get close enough.

Assignment #2: Motion

Photography is a static medium which means that it doesn't move. Conveying a sense of motion is often crucial to capturing a scene or emotion and it is an essential skill for photographers to practice.

The goal of this exercise is to understand how shutter speeds can be used to convey motion.

• Choose a subject or series of subjects that will allow you to convey motion in your images.
• It can be slow motions, like that of a turtle, or fast motion, like a speeding train.
• Blur it, stop it, or simply suggest that there is motion in the photograph.

Challenge yourself to capture the same motion in different ways. For instance, you might go to a race track and stop the movement of the cars completely in one image, then leave the shutter open and allow them to blur out of the frame in the next. 

Assignment #3: Shadows

Shadows are everywhere and they are vital to photography because this is the art of capturing light. With light comes shadows and when you begin to look at shadows as a photographer, your world will open up.

• Take a look around for shadows and record them with your camera.
• You could show the shadow as the total focus of the image. Perhaps the shadow is incidental to the subject.
• Is the shadow natural or created by flash?

Shadows are integral to creating depth in a two-dimensional medium such as photography. Take some time to seriously explore the "dark side" of the light.

Assignment #4: Water

Water is everywhere in photography and it presents many challenges. There are reflections and movements to work with and in this exercise, you will take a deeper look at water.

• Find water anywhere: lakes, streams, puddles, even the glass on your kitchen table.
• Pay attention to reflections and use them to your advantage in the photographs. Use this opportunity to get familiar with a polarizing filter (a very useful tool in your camera kit) so you can accentuate or eliminate reflections.
• Play with the motion of a stream or the crashing waves. Notice the difference between stopping the flow of water and allowing it to blur to create a real sense of movement.

Be sure to make water the subject and not an accent to the image. Water alone is beautiful and mysterious and your challenge is to explore all of its potential as a subject.

Assignment #5: Leading Lines

A classic assignment in photography schools, 'leading lines ' is a popular and fun subject. The goal of this assignment is to learn how to direct the viewer to your subject using lines.

• Choose a subject then look around for lines in the scene that you can use to 'lead' the viewer to the subject. 
• Find an interesting line then determine what the subject of your photograph is.
• Remember that lines can be man-made or natural. For instance, the yellow line down the middle of the road or a tree branch. Even a person's arm can be a leading line of their face.

Use this assignment as an excuse to take an afternoon photo excursion. Walk downtown or in the woods and look around you for interesting lines that lead the eye to a subject. There is an amazing assortment of lines out there in the world and once you begin to see them, you won't be able to stop. 

Assignment #6: Perspective

How do you normally stand when you shoot? If your answer is straight up like a 5-foot-something human being then this assignment is for you. The perspective assignment challenges you to view the world from an entirely new perspective, which in turn gives the viewer a new look at the ordinary.

• Take another afternoon or evening for a photo excursion wherever you like.
• This time, every time you find something to photograph, stop!
• Ask yourself: How would a squirrel see that tree? How would a robin view that birdbath? How would a snake view that log?
• Take your photographs from very high or very low angles. Get on your belly or stand on a chair, whatever you have to (safely) do to get the 'right' angle on your subject.

If you pay attention to professional photographs, many of the images that have the WOW factor are photographed from extreme angles. People enjoy these photos because they've never seen an object from that viewpoint. It is new and unique, and you can train yourself to shoot with this in mind.

Assignment #7: Texture

You may have captured a few textural details in the 'Up Close' assignment, but this assignment takes that to the next level. The goal in this one is to study textures and forget about the object itself: the texture becomes the subject. You will also begin to realize how light affects the appearance of texture.

• Find a few objects that have very detailed textures like trees or rocks, even knit sweaters or woven rugs.
• Photograph them as close as your lens will allow.
• Use different angles and capture the same texture as the light changes. Notice how the different lighting directions and camera angles can change how much texture appears.

Textures are all around us and many of the best photographs in the world play up the textural element. This assignment should teach you how to recognize and accentuate those elements in your photos.

Assignment #8: Color Harmony

Color is important to photography because the world is full of color. This exercise requires a bit of study in color theory, which you will then put into practice in your photographs.

Do you remember art class in elementary school? You may have learned that yellow and blue make green, but color theory goes beyond that. There are cool and warm colors, complementary and contrasting colors, neutral colors, and bold colors.

It can get quite complicated, and photographers should have a basic understanding of color so you can use that when composing photographs. You don't have to study color like a painter would but can use tricks used by interior designers to influence your color decisions.

• Once you have an idea of color theory, take another photo excursion and put what you've learned into practice.
• Capture photographs with the primary or tertiary colors.
• Look for complementary colors then contrasting colors to photograph.
• Try finding a scene to photograph that is filled with neutral colors, then one that uses a bold color to 'pop' from the scene.

This is an advanced lesson, but one that any photographer working with color images will find useful. As you practice working with colors, it will become second nature and you will know how to work with color to change the feel of your images.

Assignment #9: Emotions

Take a photo of a person smiling or scowling, right? Not so. The intent of this assignment is to convey emotion in photographs  without  a face.

• Take photographs that express each of the basic emotions: happy, sad, and mad.
• How would you express the feeling of anger with no person? What about happiness? Sadness?

This is a purely conceptual assignment, but it is important to be able to relay emotion in your photographs and you might not always have a person available to do that with. Challenge yourself to think deeper about this one.

Assignment #10: Don't Look!

Are you ready to put your photography skills to the test? In today's world of digital cameras and the ability to see image captures right there on the LCD screen, photographers are losing some of the skills needed to visualize a photograph.

In this assignment, your challenge is to shoot as if you were using a film camera. That means that you will not look at the photographs you've taken until they are downloaded on your computer. Instead of relying on the camera's screen to see if you 'got the shot' you will rely on your instinct and knowledge, just like photographers did before digital photography. Can you do it?

• Plan a photo excursion to a particular location and permit yourself to photograph only 36 images (a roll of 35mm film).
• Turn off your camera's LCD screen so it does not show you the image after you have taken it.
• If you cannot turn off the camera's screen, cut a piece of thick paper and tape it over the screen. Use masking or painter's tape so you don't leave a residue on the back of your camera.
• Go out and shoot your 36 frames, thinking carefully about each image because you don't have an endless number of shots. Bonus points if you turn your camera to completely manual settings for focus and exposure.
• Don't peek at your photos until you get home and download them.

How did you do? Were you able to get good exposures on your own? How did it feel to be 'blind' and not know how your image turned out right away? 

This is similar to what it is like to shoot with film and it does require you to think harder about every image you take. Next time you shoot, slow down and pay attention, pretend that the screen is not there and rely on your own skills to create a great image. You will be a better photographer in the end.

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Redwood Photography

Pictures from the Redwood Photography group

Assignment #4: Alphabetography

Assignment Title : Alphabetography: Spelling with Images

Objective : To find and photograph objects or scenes in nature or around the campus that resemble the letters of your name. Then, compile these photographs into a single composite image that spells out your name using Adobe Spark.

Assignment Details :

• Exploration : Walk around the campus, nature areas, or any place you have access to and search for objects, scenes, or perspectives that resemble letters.
• Photography : Capture each “letter” using your camera. Pay attention to composition, lighting, and contrast to ensure that each letter stands out clearly.
• Editing and Composition : Use Adobe Spark to edit your images if necessary (crop, adjust lighting, contrast, etc.) and then compile them into a single image that spells out your name. Ensure each letter is recognizable and that the composite flows well visually.
• Submission : Save your final composite image and submit it via our site by next Wednesday. Filename alpha.yourname.2024
• Presentation : Be prepared to present your composite image to the class, explaining your process, how you found each letter, and any challenges you faced.

Tools Needed :

• Adobe Spark (access provided through school email)

Due Date : Next Wednesday 2/14/2024

Additional Notes :

• While outdoors, be mindful of your surroundings and stay safe.
• Respect private property; do not trespass to get your shot.
• If photographing people, please get their permission.

Final Notes: This assignment will not only help you develop a keen eye for detail but also enhance your ability to think creatively within constraints. Adobe Spark’s easy-to-use interface should make the process of compiling their images straightforward. Don’t be afraid to experiment with different layouts and designs to best showcase your work.

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