I'm very pleased to welcome Dr. Alex Mustard to the "My Story" section of this site. Alex is an outstanding underwater photographer, marine biologist and a fellow contributor to DIVER magazine as well as numerous other titles - you can find out more about Alex's work at his website.
Alex is spot on with his views on the diving magazine world and how to break into it as a journalist. He mentions the need to create a niche - a reason for editors to invest in you. You'll often hear me talk about creating exclusivity and as one editor I know succinctly puts it, "the ability to provide the material I didn't know I wanted."
Initially this can seem quite daunting, how do you come up with the idea no-one else has developed yet? Well, I'd suggest you take a look at the music industry for inspiration, since the Beatles and Elvis, have there really been any major changes in popular music? Or is all 'new' music just an amalgam of an old recipe, twisted and turned into a new product?
As you experience your diving world, think about it from new angles and question it:
I wonder what people would think about.... if they saw this issue from another perspective?
That's interesting... I wonder why... happens?
An enquiring mind is an essential piece of a journalist's toolkit, and the good news is, while some are born with this skill, it is one I believe can be developed by others.
Interestingly, Alex has never thought about himself as photo-journalist, the thing is though, he is. Several years ago I was considering going on a course to learn about how to become a journalist. I researched everything that was available, from on-line learning, courses at universities, to the "You could earn thousands as a writer!" nonsense. Finally I called my editor and asked him what he recommended. He seemed quite surprised I was even considering this route, "you've covered travel features, interviews, news stories and complex issues - you are a journalist already." I guess there are some titles in life you can earn without a course or qualification.
I'm very grateful to Dr. Alex Mustard for providing his story - how he became a noted photojournalist.
Keep writing...
Brendan
Your Story – Alex Mustard
I was quite surprised when Brendan asked to me to write about getting started as a photo-journalist as I have never describe myself as one! I am an underwater photographer – I write as a necessity. Usually a financial necessity. That said, I do hold editorial positions on five underwater magazines (Dive, UK; FiNS, Singapore; Ocean Geographic, Australia; Underwater Photography, UK; Wetpixel Quarterly; USA) and contribute to many more on a regular or occasional basis. I have been a full-time underwater photographer since March 2004, before which I worked a marine biologist.
My route into the business was by taking nice pictures. Winning international photography awards got my name known and has brought me plenty of offers of work. I have rarely pitched for work or submitted on spec – I just about have time to do everything I am offered: books, advertising and magazine work. Like Brendan honestly admits, I do not consider myself a naturally talented writer and I have to work hard to pen decent text. Before doing this professionally, I improved my writing skills by volunteering to write for Underwater Photography Magazine, I was only paid £50 a time, but this was an excellent education in the art of crafting articles. I still enjoy writing for that magazine – although I no longer get paid! That crafty Rowlands fellow. I think I must be the only magazine contributor who has negotiated his way to zero pay.
Marine life article on evolution in hamlet fish, in Issue 1 of The Sea Magazine (UK). April 2008.
My main motivation for writing for diving magazines is to provide a regular income to keeps the cash flow going between more lucrative, but sporadic advertising and book work. I enjoy it too. It is also a good route to complementary travel and it raises you profile, which leads to more work offers etc. I tend to write about underwater photography and marine life. I rarely write dive travel features and have never written a dive kit review (except for underwater camera equipment) as these interest me less. Plus others do them very well.
Nobody goes into underwater photography to make bucketfuls of money, but many will also tell you it is impossible to make a living, which is untrue. My annual income is now 2 to 3 times what I was paid working the University (which admittedly was not a bulging City pay-packet). The challenge is getting going - surviving long enough to get known and to build relationships with magazines and other clients.
Article about critter diving in DIVE Magazine (UK). April 2008
JB also raises a very important point. This is not a career for the work shy. The basic problem is that in UW photography/photo-journalism the pay per unit work is relatively low. Therefore to make it function as a career you have to do lots of units of work. It is a simple equation, but people forget you get paid for the articles and images you sell not how many trips you do or how many photos you take. Perhaps the biggest mental change I made when “going pro” was to move the point of satisfaction from taking a good photograph to selling it.
Finally, and most importantly, the key to success is profit, not income. You must be restrained with your expenditure to turn a profit. Being a pro does not mean you can buy every piece of photo kit or travel everywhere you have dreamed. I have always wanted to go to Galapagos, but although I can afford it, it is not a good way to make profit. Instead you’ll find me on a complimentary trip to the Red Sea. That’s the reality of doing it as a job, rather than trying to earn some cash from a hobby.
It is important to consider all aspects as a business. Many photographers look at diving magazines and say “my photos are as good as those, they should publish mine”. The error in this line of reasoning is that the magazine already has a contributor who can produce that work. And they know and trust that contributor to deliver appropriate quality material reliably and regularly. They are not going to take a risk on you unless you can offer something different or better, or ideally both. Like any business you must create a niche for your product – a reason for editors to invest in you and not someone else. Also like any successful business you must deliver quality goods on time. Magazine deadlines are sacrosanct. Leave an editor with blank pages to fill at the 11th hour and you will not be working for that magazine again. Keeping a good working relationship with the customer (editor) is very important. As it would be in any line of work. All that said, editors are always on the look out for new talent. The door is always open.
Taking nice underwater photos provides all sorts of opportunities (and incase our friends across the world don't know who these smartly dressed individuals are, it's only the Queen and Prince Phillip! - Brendan). What has amazed me most in this job is how quickly you go from nobody to well known in this industry. It is a small place and I am shocked by the doors that have opened for me, just as a result of taking pretty pictures. My final piece of advice relates to this. The diving industry is not massive and the media side of it is even smaller, so treat people how you would like to be treated. Dr. Alex Mustard 
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