Issue #59: The life of a freelance photojournalist: “If I’m holding a camera, I’m drawn to the action”
Featuring Sophie Park, a Boston-based photojournalist who frequently shoots for The New York Times, Getty Images, and more
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In today’s installment of Friends With Cool Jobs, which explores how women are seeking professional balance and fulfillment, we’re talking to a very cool freelance photojournalist.
But before we dive in: Monday’s most popular link were these ultra-flattering Janji shorts Aja’s bringing back for the summer.
Written by & edited by
is a Boston-based Korean American photojournalist whose stunning work covering a range of topics — including politics, immigration, conservation, and human rights — has been published in The New York Times, The Washington Post, The Wall Street Journal, National Public Radio, and The Boston Globe.
We talked about photographing everyone from grizzly bears to Donald Trump, her not-so-typical work days, how much photojournalists get paid, and more.
On getting started:
I studied international relations in college and never once spoke to a career counselor about photojournalism. But throughout and after my college career, I kept coming back to it. After graduating, I got my first national assignment for the Washington Post via a friend. Since then, by attending workshops, networking, and cultivating relationships with photo editors, I’ve been able to carve out what feels like an unlikely and fortuitous path to freelancing full time.
On her dream assignment:
My partner and I went to Katmai National Park and Preserve in Alaska, which is home to thousands of brown bears. I thought about pitching photographs of the bears [for work] but decided to be present for the trip and photograph for pleasure. When I got home, I shared some photos in a Substack post that eventually made its way to the Washington Post travel section photo editor. They were looking for someone to travel to Alaska for Fat Bear Week coverage. That’s how I ended up going back to Alaska with journalist [and Platonic Love friend!] for Fat Bear Week.
On the stories she covers:
The first type of assignment is a longer-term story where I’m meeting with people and photographing them over several days, weeks, even years. It can be a very slow process — sometimes I won’t even take photos when I first meet with them.
Then there are the stories where I’m actively news gathering because the news is happening as I’m photographing it. That’s what the last few days have been like — I’ve been covering the divestment encampments around college campuses in New England. This type of work is stressful, because it hinges on a lot of things falling into place, and you’re working on a deadline with multiple editors touching and reviewing your photos. I’m often filing photos from the field — meaning finding reliable WiFi is always a big concern.
On building trust:
It is an incredible honor to be let into someone’s life with a camera. Historically, I think the tradition of photography has revolved around taking — it’s even in the phrase “taking photos” — but thankfully, there’s a reckoning happening in the industry where people are more mindful of collaboration between the person being photographed and a photographer and the need for active consent and communication in certain situations.
When I talk with younger photographers, I always remind them to be kind. I mean, sure, there are asshole photographers who make it. But our jobs require us to connect with people, and the only way to do that is to be patient and listen and be compassionate.
On safety and being close to the action:
It is amazing what having a camera in your hand does to your brain, for better or for worse. If there’s action happening, and I’m holding a camera, I’m drawn to the action. In spite, and maybe because of this, it’s very important to me to prioritize safety and take stock of how what I’m photographing is affecting me.
On personal relationships:
I went up to Lewiston, Maine last fall the night the shooting happened. When I first got the call, I sat on it for a few minutes and then said, I think I’m going to go. My partner was like, Are you kidding me?
When something like that happens, it can take a while to process the things that I’ve seen and photographed. I’ve sacrificed parts of my personal life over the past couple of years as I’ve gotten really busy and dug into freelancing. I’ve had to create more rules and boundaries to help balance my personal life.
On pay and benefits:
There is immense pressure to take everything that comes your way as a freelancer. I’m grateful to live in Massachusetts — we have a pretty good universal healthcare system that many of my colleagues living elsewhere aren’t afforded.
There are very few staff photojournalism jobs. The day rate (for a freelancer) for a national news organization is generally $400 to 450 per day. Reuters pays $350, and they have a work for hire agreement which means they own the photo rights. All the work that you produce that day becomes theirs. Then other publications buy the photo rights for more than your day rate.
Unfortunately, that’s a common business model these days. The New York Times pays $450 for an eight-hour day, the Wall Street Journal is $500, and last time I worked for NPR, it was $600. It can make this type of news-gathering work extremely hard and unsustainable.
On why her identity is a strength:
I feel lucky to be coming up when there’s an effort to diversify the industry. But so many times, I’ll show up to a news assignment and be the only woman or non-white photographer, or the youngest one by twenty years. I got to go up with a small group of photographers to the front of the stage at one of Trump’s rallies. It was me and my five older white male colleagues, and I was like, one of us does not look like the other! But my colleagues — especially the photo community in Boston — have been so wonderful in taking me under their wings.
The Trump rally I mentioned before was my first time photographing the former president, and one of the other more experienced photographers made sure to prepare me for what to expect. As solitary as freelancing can be, I’ve made it this far with the support of my community.
And sometimes I feel like I have a superpower, which is that people trust me, and I’m pretty disarming. Whether that’s by nature of my race or my gender, I feel like I’ve been able to leverage my identity with people who maybe otherwise would’ve been distrustful.
Sophie also shared a few of her favorite things (like her artist of the summer!) for our paid subscribers…