Marvellous work!

Brilliant - thank you.

I did an BA, MA and am now on a PhD and haven't spent a penny on any of those. The BA and MA were funded and I am doing the PhD in Finland which has free higher education. The BA and MA were is Ireland btw in 2010 and 2018. It would probably be difficult to access arts council funding without the piece of paper from a degree without having a significant portfolio. I would largely agree with what you're saying here, the focus at the University where I am is on how many peer-reviewed papers can you produce in a year. I am a practicing image-maker, who did freelance work in the past, but yeah, it's definitely a struggle and there is no way I could do it if I took on that amount of debt.

Thank you for this fascinating episode! ♥

in-between projects i go screen-printing A1 artwork traditionally (Acrylic paint rag paper etc) i know it doesn't help you but I love it. I've shot a film on a canon 5d mii works fine for me. Gear works well needs a mic and recording device though 💌

Nice chap, nice video! Interesting.

So great to hear Mike talk about this project.

Thanks this way really insightful!!

400% profit sounds exorbitant but that doesn't include your time, project costs etc.

So that area where staple binding is: did you loose any part of the image or it's seamless? Thank you.

She was also my favorite from my early days. I also have the Diane Arbus book from 1972 (softcover) which I have not looked at for some time. Thanks for reminding me.

Hi Ed. I remember this stage. Young kids, loads of responsibilities and the desire to do lots of interesting things really well. The lesson I learned, at some cost to those around me, is that you will never have the same amount of time and freedom at this stage as you had when you were younger, with more time and more energy to put into your projects. Something has to give. I thought I could manage it all and it ended up being a juggling act with lots of plates smashing all around me. So with some hindsight and I hope insight I offer you this advice - simplify everything as you will not have the time to it all. The book 4000 Weeks by Oliver Burkeman was a revelation to me and I found it very helpful all be it a bit late in the day. Do your book, finish it, do nothing else until you have. When that is fully complete, then begin the next project. Do only that. Nothing else until that is complete. Then when it is time to move to the next project move to that. Meanwhile you will be running a family, earning a living, being a good friend to others etc. etc. The greatest myth of the modern era is that we have time to do everything we want to do as well as we want to do it without constraint. We sadly don't. I wish I had know that when I was at your stage. I wish someone had given me this advice. Do less and do it well. You cannot do it all. I hope that is of some value to you. I

At the beginning of last year I started doing the OCA BA course - the fees have increased 25% both years! It's almost in line with a bricks and mortar uni now and the OCA should be a 'no fills' option. now considering stopping once I finish the current module, or at least continue with the next one and finish the level. Not sure what extra we get for the increases, I'd be less bothered if the staff were getting the money but I"m sure the money goes elsewhere like to the OU (the OU acquired the OCA) or on 'systems'. The staff are great btw

Not a recent graduate (finished Uni in 2009) but think very luckily I was one of the last years to finish before the fees went crazy. I couldn’t imagine even thinking about going to Uni now in the modern day with those prices. Also with the rise of the internet and information just so readily available now I don’t know what the real benefits would be other than having physical access to Kit to learn with to find out what suits your practice. We never learned anything about the business side of photography which is still something I struggle with even this far down the line.

I retired from a University some 8 years ago. I taught a science subject. And the issues you outline in arts teaching was/is present in the sciences too. Increasing numbers of administrators with no knowledge or experience of any subject area "deciding" how courses were to be run and how they should be taught. Usually coming up with some fashionable technique which was wholly inappropriate for the subject and/or the student cohort. Actually I don't think the issue at the top level is really Vice Chancellor's being paid £700K. The problem comes from having a deputy VC, a Head of Student experience, a Head of research funding, a Head of X, a Head of Y...…, a Dean of Faculty, a Deputy Dean of Faculty etc etc all weighing at around £100-150k; each with an office suite, a dedicated PA, top of the range computer kit (which they couldn't use/didn't need just to send email), top of the range iphone, Ipad, first class rail and plane travel, dedicated driver, mileage allowances, health insurance … the list goes on and on. Universities in the UK sadly don't provide the experience they once used to. Increasingly students are starting to see that the cost-benefit analysis has more cost than benefit.

Going to photo school is one of the singular worst ideas any artist or commercial artist could make. Never spend a dollar on education that is not required for employment. Ask anybody who consults with business and ask them if it is a good idea to start your life - and your business - with massive debt. Not gonna find many folks who would think that makes sense.

There is just so much I could say about this. I was a full-time academic but in my mid-50s they closed my Arts/Humanities dept. Subsequently, perhaps foolishly I did an MA Photography. Where to start? With the closure of the local Art schools where people were taught the skills to undertake work in their chosen discipline. Then no sooner were they swallowed up by the Polytechnics than the Polys became Universities. Studio based subjects are expensive to teach because they require space and other resources. The Research Assessment Exercise and its descendants prioritised research over teaching so the staff had to do the same. Teaching students about 'ideas' became preferable to teaching them how to paint, sculpt, photograph, because it's what the lecturers get paid/promoted for and it has the additional benefit of being inexpensive (lecture theatres cost less than studio space). So in photography for example, where there's no really serious research going on, we find staff constantly recycling ideas from Sontag, Berger, Barthes etc.

I finished my Diploma in '99 and my Bachelors part-time by 2010. All my lecturers were people who have never worked as working' photographers full-time, bar one who was a photojounalist for a while. Their idea of the commercial world was incredibly idealistic and out of touch, and one cannot blame them,... but It is indeed a case of teaching is an easier option than hitting out as a freelancer. It couldn't prepare me for real life. Another issue is that art courses don't bring in much by way of research grants and government finance allocations for every post graduate article and research project,... hence their pay comes under pressure.

I don't have a degree of any description, though I have over 50 amateur years behind the lens. But problem solving is my thing, and the way to problem solve is work out what you want to achieve, first. You can throw all sorts of what you think are solutions at a problem, but if you haven't worked out your end goal, there's a good chance you won't get the result you wanted. For example, what do you want to learn and what sort of photography do you want to do? What other skills (examples: languages, business, self promotion, a driving licence) do you need? What is the most cost effective and time effective solution; how much time and money can you afford? Is it better to go into huge debt paying for education or is it better to not earn very much at first? Do the sums. Good luck.

What a breath of fresh air, just found your channel, watched the video about uni, completely agreed with all points in that one. I came out of a fine art photography course completely clueless, worked in shops, then lecturered for ten years, worked commercially and gave up about two years ago. I lost all motivation for any of my own work after been berated by my last boss about how ***t I was photographing his products, although all my photography is still used on their website even though they replaced me with another photographer. Do you think there is a good platform online for sharing work anymore, for cultivating a community? I’ve closed my Facebook account, pretty much given up on Instagram. I want to try and get back into making work, so I’m going to work through your videos for motivation. Really like the idea of creating a book. If I find a spark I’ll subscribe to your paid videos, as on RU-vid I have no interest in gear reviews. Keep up the cracking work

The big universities in the US are failing because they are teaching marxist political indoctrination as their primary goal. Degrees are largely worthless because the graduates have largely been taught rubbish totally unrelated to their degrees. This means you have a lot of professors getting paid to teach underwater basketweaving and other useless 'subjects.' A degree in the US is really a degree in how to exploit nepotism. Point being, as someone who rund a photography business, I will hire a self taught photographer with talent before a university graduate with a degree. I have found that degreed individuals in non- technical fields have a sense of entitlement imparted upon them by 'education.' Essentially, in the US, degrees have been reduced to "mum and dad had the money to buy baby a degree."

I'm doing it for a piece of paper.

Excellent episode, thanks! Suggested connexions with YT photographers who have made useful observations along these lines: Photographic Eye, Daniel Milnor and Cam Mackey. Also, the Democracy At Work YT channel by Professor Richard Wolff.

Mature student - 54 - signing in. I love photography. To say it’s my life sounds a cliché, but it is one of the few things I do that fills me with joy and excitement. I am at a leading university with truly stunning facilities, pretty good lecturers and all, but for me the facilities and the ‘technicians’ are the standout. This first year has been a somewhat ‘whatever’ process, as it has seemed nothing more than a box ticking exercise. Yes, I’m a mature student and it was pretty much stated and confirmed that the first year would be a yawn, but I can’t help feeling that the level of entry into university into the arts - and it would seem into photography - is basic at best. A catchall for a handful of talented potentials and then a net thrown wider to guarantee an income to university. There were some on the course at the beginning that had zero experience using a ‘camera’, as a phone camera seemed to be their entry. I accept that potential was seen during their interview process, but this basic approach seems to equate to an artist getting onto an art degree having never using a pencil. Yes, I accept that one can explore photography and art in all manner of ways, but not understanding the basic principles seems to work against all those others on the course that are many steps ahead; and somewhat puts into question why a course is three years long and maybe not two if we are negate the first year as a warmup. Those that did a foundation course are merely repeating the first year at great cost. Purely my opinion, but at £10k course loan and £10k living expense loan and then what appears to be compound interest, the costs soon stack up. So far for this first year interest alone has been just over £4k. I hope to have great success but am all too aware that both for the youngsters and I, we are likely to be strapped with this loan in some cases for the rest of our working lives. (I’m not complaining as I went into this fully aware, but I question if my younger fraternity are as fully versed in the true cost) University should be a decision for the future and not just an excuse to bin three years before hitting the job market. The sell to the youth that a university education guarantees a decent paid job at the end is frankly a joke. It promises the earth but offers - as you say - stacking shelves and being years behind their peers in the employment market. All part of clever university marketing campaign. Education should be solely for development. Yes, lecturers should be paid well, but universities should be run solely as educational establishments, not as some money-making enterprise for those at the top. All money should be fed back in, not frittered on all the points you raised and more The first year for me has been a challenge of frustration, but I have grown in my skillset and in no way feel bitter about those that teach and support me; but I have a huge issue with the establishment that seems to be in place to rinse the students for every penny. From food and drink to housing, the whole process on campus is about screwing students for every penny and then reminding them of how lucky they are. What saddens me - I was once president of my student union at college back in the 90’s - is how unaware students are of the bigger picture. Something that seems to have been driven out of the youth. To close, university has great merit. Yes, one can buddy up, pay to have a mentor et al, but there is a lot to say about immersing oneself in a medium and exploring all aspect. This is what university is all about. It is what the name implies. What needs to change is the mentality of the establishment to cost out students from starting or completing their studies due to prohibitive costs that are ever rising. Ps. Great channel.

So doing my master's degree in photography was both one of the best things I have done and also one of the most stupid. Certainly, I wouldn't recommend doing a masters degree, if you want to be a professional photographer, as I think there are much better alternatives, which cost a lot less, which will prepare someone to work in the industry much better. The reason I did my master's was partly for redemption because my BA didn't go the way I hoped (23+ years ago). I wanted to do my fellowship, and the practical side of doing a master's would help*. The photography industry was going through a torrid time, and I had hardly any work coming in. I also love photography and I was thinking of doing some teaching. When it comes to the positives and negatives. The positive is you can learn a huge amount about the history of photography and whilst most people think they are creating something unique, the honest truth is most stuff has been done before. I found the university Library to be amazing, and the books were so inspiring. It was also great to see other students in the library. The staff were incredibly kind and really cared about the students. The support that I got made a massive difference and I would never have got the grade I did without it. Universities encourage students to be creative and to try things they have never done before. When it came to the theory of photography, the staff were very good. Sadly, there were some downsides to university. It felt like UCA was just taking anyone on for their photography course (It was more about making money). Many of the students doing the master's degree had no idea how to take a photo or use a camera. Some had never done photography, and the quality of work they created, while creative, was technically very weak. Education is not geared toward getting students into work. When I speak to professional photographers, they unanimously say that the portfolios they get sent are poor, and when they get students in, they have no idea how to use photography equipment properly. While I thought the technicians were really lovely, there were problems. They were great at technical knowledge, like film photography, but when it came to lighting and practical photography, there were big gaps in their knowledge*. The equipment was generally good, but there were certain things that never should have happened. The university didn't have a good stock of backgrounds, and when the MA students were doing their final projects, there was not one white background. This was completely unacceptable. We were told to use the downstairs studio, but those were being used to photograph all the fashion students' portfolios, so they were unavailable to the photography students. Having worked in the industry for years before I did my master's. I found the course to be incredibly fulfilling and frustrating. Yes, I did learn a huge amount, but I also got into a lot of bad habits when it came to technique, and whilst the freedom I had was in some ways great and I was able to concentrate on the areas, I felt I was weakest in (Light female subjects and shooting colour photography). It is only now, a year after I finished my masters, that I feel I have got back to producing the quality of work I did before I did my masters degree. I think education needs to reassess how it works with practical subjects. College education is currently in a dreadful state, and the quality of work I see coming from students is, at best, subpar. Colleges really need to be the place for students to learn how to use equipment properly, but all they are teaching is creativity, and not very well. When I speak to photographers who went to college, 30, 40 years ago. They said the industry was completely different, it was geared towards, bringing students out ready to work. Universities and colleges need to get back to trying to achieve this. If I was running a course. I would want every student to learn business and marketing because that is a massive part of being a professional. Every student should know how to set up a camera. They should know the basics lighting (and ideally more). They should be able to edit up to a high level using Lightroom/Photoshop/C1P. They should be creative, but learn to be creative in a practical way. I would like to see more collaborations between universities and professional associations. * I am not blaming the technicians; one was good, and the other was okay. But they needed more practical training (which they could get externally).

I apologise if this is a little long. I have rather a lot to say, and I will probably create 2 posts. One on alternative ways of doing qualifications and one on universities and my experience. Most photographers want to turn to professional, I would recommend professional associations for several reasons. Firstly, you get to meet and talk to some of the best professional photographers in the industry. This is great for many reasons. The photography industry is very much an individual industry for most, but if you are a member of an organisation, you can talk and learn from other professionals about issues, ask for advice and make friends. You can enter competitions and critiques. One way I improved my photography was by entering competitions and getting my work critiqued. This helped me in so many ways. I was able to compare my work to other photographers. Sadly, there don't seem to be the number of critiques that there used to be, but the knowledge I learnt from critiques completely changed my photography and how I viewed myself as a photographer. When it comes to qualifications. Generally, professional organisations and the RPS have 3 tiers of qualification: licentiate, associate, and fellowship (The Guild of Photographers calls their qualifications something different). Licentiate is generally a decent photography level, Associate is a high level of work, and fellowship is for generally the best photographers in the country. It consists of a panel of 20 images based on a theme. The work is judged by 4-6 judges dependant on the level, all fellows. Associated and fellowship panels are printed and presented to the judges generally as 2 lines of 10 images. So my panel which I did as part of my master's degree, and completely screwed up, just about got me an Associate qualification. And whilst I hate my panel with a passion, I appreciate what I learnt from all the mistakes I made in pre-planning. Now, when it comes to Photographic organisations, you have the BIPP (The British Institute of Professional Photography), Society of Photographers, Association of Photographers and RPS Pro. There is also the Guild of Photographers and Royal Photographic Society, which have both professionals and amateurs. Sadly, the Master Photographers Association merged with the Royal Photographic Society, and a new organisation was formed for professional photographers, which is the RPS Pro. I was a member of the MPA, and at one time, it was the best photographic organisation, but unfortunately, a variety of things happened, and a lot of members decided to leave, and it became a shadow of its former self, and from what I hear from members of the new RPS Pro, it is pretty dead, as an organisation. The BIPP has some good points, but I feel it needs to find its purpose. In theory, it is similar to the MPA, but it has a number of problems. It stopped doing critiques and regional and started doing a monthly competition. With the BIPP, you can get mentored by qualified members for qualifications. There is also a national print competition. The big advantage of the Society of Photographers, is they have a big convention each years, which comprises qualifications and judging (which members can watch), a big awards event and a trade show in the middle of London. They do a monthly online competition, and when doing a qualification, they offer a free assessment of any panel that is going in for judging. The one organisation I have hardly mentioned is the AOP (Association of Photographers). To be honest, I don't know much about the AOP. It feels like it is aimed more at magazine and newspaper photographers than the BIPP and Societies, which are more portrait, wedding, nature, and commercial photographers. So, joining a photographic body can be very rewarding, but you have to put in the time and effort to get the most out of it. Many people join and then do nothing and then complain that they don't get anything back.

I did my PGD in photography back in 2012 (not in the UK though). I had a background in human resources and a steady job but just wanted to do something more with my photography and hence did the PGD. I hoped to start a Freelance career in photography back then and left my job to go all in. Now almost at the end of the program, I realized I had no interest in commercial work and wanted to pursue more conceptual and fine art photography. That was the moment of truth for me when I found out there is no career in fine art photography. Luckily I had education and experience in another field which brought me back to reality. I have been photographing passionately on the side and building my work slowly. It's a tough grind and the colleges and institutions don't prepare you for the harsh realities of when you graduate from an art school. Very very few make it and it's almost always not because of the work they produce but rather they have the skills to market themselves and build upon their social skills.

Was the tumble dryer on? :D If you're a Spanish speaker, Julian Baron a couple of months ago launched an online school. It's affordable. A year ago I did a recorded course about photobooks with Mariela Sancari on platform called Domestka and it was excellent. Exceeded my expectations :)

What a nice chap you are! First up, some quick fixes? Contacting film schools with a promise to students of a small payment now and more if your film brings any kind of success. If you can find a few mature students to help they would have access to kit as well. Or... buy the cheapest second hand video camera you can, but do two visits at each location, once as the film-maker and the second time as the photographer? Or... find an older, retired friend/ family member to be crew in the short term, or... shelve the difficult project for now, do a simpler one and pick this one up again when you have gathered more people to you, which also means you could look to find some younger "friends" willing to help for expenses... But also remember that being creatively promiscuous may lead to both your photography and film making suffering. I travelled down this path, first I was a theatre maker, than a photographer, then I taught myself film-making then abandoned everything and eventually found my way back to photography. My last bit of advice is to remember that production companies always need product, 25 years ago I rang up some and said I had an idea for a documentary it was me and a photography series I was working on, one of them took me on and a 30 minute programme got made in which the director allowed me to present it as well as it being about my practice, and by chance a commissioning editor for another terrestrial TV channel saw it and that ended up with three years of me being a TV presenter. All long ago now, and it's probably a lot harder to get to talk to the right people but the bottom line is you never know unless you try so be more proactive in reaching out, and keep making these videos because I look forward to viewing them! I'm Jojo, on Instagram: Jojothephotographer xx Good luck xx

Hi Ed...came across your channel today and love your talks especially about editing photographs and pursuing projects. I have been photographing for 15 years and have just about enough work to publish 3 separate books on long form projects and perhaps even a monograph. Will keep looking out for more videos from you.

Hey Edward. Can relate to this and it's a normal part of the process! If you want an extra pair of eyes/ an objective perspective on your project let me know and I'll drop you an email. I'm no big deal but have been filming and editing moving image stuff for a job for about 10 years and am also doing a couple of self-initiated docs at the minute (one shooting and one in post). With cameras I find the FX3 and mirrorless cams a pain to shoot with and only really ok as a b cam or on jobs where they can't budget for a bigger gimbal. If you're on a budget some of the older cams are great like Sony FS7 (or even 5) or Canon C300 mk2 or 3. They can be had quite cheaply on ebay, are still used a lot professionally and don't get in the way of filming doc stuff.. they just work and are fun to shoot with. Canon would be great if you already have a lot of nice glass! Good luck with it and keep going!

Thanks so much for all the messages of support and amazing advice. I spent yesterday going through transcripts of all the interviews, writing a script to edit from and I got up this morning at 530am while the kids were asleep and by 830am I got a trailer edited together in Premiere that's looking pretty good! Yep! A 2.5 minute trailer that hopefully makes people want to see more. I'm now hunting for ways to get some funding, so looking for how to get this to people... again not a world I know... but maybe some channels/streaming services might want in and get me on my way. I won't need much cash but for what I plan on doing I do need some better kit. I feel hopeful! Thank you, thank you, thank you.

Sorry you're struggling so much with this, but it is a lesson for us all to see we must keep fighting our way through! As per your questions, when I read number 2 I thought of this video I had watched some time ago: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yxEpGwfHBHg.htmlsi=Cz-uXTqzQvBnWcwR I suspect that machine won't be sufficient, technically, for your filmmaking needs, but it does offer a way to film yourself. Have a look, you never know. Good luck!

I can sympathize. Single dad here. All I have is aphorisms and one-liners. * Sounds like you're in the middle of the second act when the hero almost gives up. But we know you won't. You'll alter your approach and resolve the story in a satisfyingly novel way. * Sometimes things are fast, sometimes they hardly seem to move at all. But are you paddling the sailboat even a little bit forward each day? Congratulate yourself on getting closer to that horizon, and keep your eye on it. Your destination won't come to you, after all. * Jon Kabat-Zinn? His book "Wherever You Go There You Are" ain't bad.

I've just decided to reboot a portrait project I had exhibitions for in 2001 and 2002. I contacted the first 2 subjects, got their buy-in, and now I'm paralysed by the sheer prospect of having to carry the new format, create something that doesn't waste their time and to keep the momentum of it going once it is running without it collapsing like a flan in a cupboard. ... so I feel your sentiments. I've been in that position many times. Not many people on YT started out more or less as the same time I did (went pro in 2000), so I love your take on stuff. Many guys who are in the public eye, with the same years under their belt, is wildly successfull (many just didn't make it!), with lots of wonga and it seems like they moved onto a different place altogether. I've shot amazing projects and have done thousands of jobs, but I eke out a living, day to day, and it's great to see a guy just share that journey.

I feel like in this video you documented "the inner and outer struggles of creation" very well. But struggle no more, I know exactly what to do - make a 5 minute short funny-goofy-blairwitchstyle document (with what you got right now) about the struggles of making a document that you are part of. Take this short document and sell it to film festival. Now you have money and people. Now make The Document. Just kidding, I know nothing. I derived this brilliant strategy from "Mark Duplass | SXSW Live 2015 | SXSW ON" video, seems like the guy knows what he is talking about. It is true, that mentors doesn't grow on trees - we are left with youtube. So, good luck everybody and remember - "the cavalry is not coming" :-)

As a photographer, I know someone who often says, 'Be kind to yourself.' This sounds like telling yourself you have to do something while also saying you are not ready because you don't have the right equipment. You want to do the project by yourself, but to do it without the new camera, you have to have someone else to shoot the video, if you want to be in the video. It sounds like you are not in the right mindset for this project at the moment. Maybe it is worth looking for something smaller to do, just as a stopgap, something fun, whilst you get yourself in the right position to carry on with the project, be it finding someone to help shoot the project with you or get a new camera. I don't know if this is useful advice or not, but what is important is to enjoy what you are doing.

Hi Ed, saw your call for help and here are my two cents of wisdom which I hope will assist in some way. First of all, good on you for asking for help. This is something I've struggled with (still do) and when you're used to doing everything yourself it can be really difficult putting your hand up and asking for help. So big respect to you for putting your self out there and asking for feedback. 1. A while ago I picked up a Lumix GH4 for $400 AUD (or less, I can't remember) it's the first mirror-less camera that can shoot 4K. If you check on RU-vid lots of indy film makers are using the Lumix GH series for their movies. If you want to shoot high quality video for little money, this may be the best option. Depending on the aesthetic you're after - and if you want to do a gonzo style DIY punk trippy documentary - use different cameras. Get a 10 year old digital video camera, pick up an old GoPro, get an old iPhone, really experiment and play with the medium. On marketplace and buy-nothing there are often people getting rid of their old stuff, different view points, perspectives, moments, and be presented with different cameras. Think outside of the DSLR film maker approach and look at the "I'm going to make this documentary whatever it takes" approach and explore all possibilities. 2. I guess to do this you'll need a small team of some sort, unless you'll only be filming yourself talking to the camera on the tripod. If you're involved in the action, then another camera person will need to be involved (or a drone than can follow you around? I'm sure I saw this somewhere recently). Maybe look at film schools and arts colleges for people that want to volunteer or take part for little money. When I started my podcast the first audio engineer I met was a student at the audio visual school. 3. Unless you're already an established documentary film maker, reaching out to the major funding bodies will be difficult. If you don't have an idea that ticks all their boxes, and you're not incredible at writing grant proposals, it will be almost impossible. It might be better to look at companies that want to sponsor the documentary, lend you equipment, or be involved in some other way. Sometimes it's easier to get products and services as sponsorship than it is cash - so think about what you need to buy and go directly to the source, ask if you can collaborate or if the businesses will sponsor the film in any way. Rather than getting the funding from somewhere else and then paying for what you need/want. Look at Seth Godin's Boot Strappers Bible and apply it to making a movie. He has lots of good ideas and advice which pertain to starting a business with no money, adapt them to making a film. 4. As with question 3, look at students and film enthusiasts who want to get involved in a project and want something to put on their CV. Even if you can't pay them, it's a win if they're learning, having a good time, and will have something to show at the end of it. Payment doesn't always have to be in cash - it's nice of course - but having made films when I was in my 20's it can also be a lot of fun. They don't need to be young either, if there is another professional who has always wanted to be part of a production but their job or life hasn't let that happen, this is a great opportunity to be part of something. Again, think outside the photography community and what you're comfortable with. 5. You could try all the camera companies and see if anyone is interested in sponsoring you. Show them your photography, tell them about the documentary, but similar to the BFA and others, they usually want someone with a proven track record before committing to anything. Unless you can convince them what you're doing is good for their brand - what can they get out of it? Yes, you want to make a documentary, but how does that help Sony, or Canon, or any of the other camera companies? What sets you apart from the thousands of other documentary film makers who have the same idea and want to get their movie made? If you can capture their attention somehow and present an interesting story - that can benefit them - then perhaps you can convince them to get on board. Otherwise look at alternatives, go through their distribution channels rather than directly to the source. Contact the people supplying the cameras to different regions and try to convince them. Another option is equipment hire companies. You don't need to own the gear, you just need access to it whilst you make your movie. 6. This is a very good idea. If you want sponsors, they want proof of product. Not some crazy guy with a wacky idea. If sponsors know you can deliver the goods, they'll be much more open to collaborating and working together than if you have nothing to show. I think you said you've made documentaries in the past? Put together a highlight reel or something which shows you know what you're doing. Have you presented at film festivals before? Have you won any awards? Have your previous films received any kind of acclaim? Any kind of third party recognition is helpful for getting others on board. I hope that helps. Again, good on you for asking for help and putting yourself out there. Really Ed, I know it's difficult and you've really made yourself vulnerable by asking in public., but you've built up a RU-vid channel to 5k subscribers over the course of a year - so people like what you're doing! You've just hit a road block which is a normal part of the process, asking for help will get you to the next stage and clear the path for what you need to do next. In general be open to everything, don't decide immediately, weigh up all the feedback and advice that comes through and see what else materialises. Good luck with the next steps, looking forward to hearing what other feedback comes your way! Michael

Interesting! In this case, I would advise doing a joint venture. You already have a following and lots of experience. You just need to find someone with the gear and lots of drive!!! This sounds like an easy problem to solve.

Your honesty is brutal and a thumbs-up click does not do any justice. On the other hand, no thumbs up no help from the algorithm. Social media is not suited for art and it is definitely not suited for anything else than fake American enthusiasm. I wish you all the best. I really do.

I don't do documentaries, but when I ruminate my life could be a docu-comedy-drama-meltdown. Perhaps do what you do. Pictures on My mind. The life of Ed. You probably can come up with some interesting characters and situations. No camera. Use your mobile phone. Stop mind F-ing about the gear. Set a time up everyday to progress with the project. Everyday. The camera people can be those in your life, parents ...

You seem to be a good editor of your own work, judging from what you did with the zines. If you want to be like Nick Broomfield you need a mic boom! :D and a filming wife/son/third person. What is the documentary about?

I'm glad RU-vid recommended this video. Casual style in talking about the photographs, I like it.. Thank you ☕