Three live sessions of ninety minutes. Ten people.
The business side, which nobody teaches and everybody needs. This is the masterclass I wrote and taught in Athens, now run live online across three evenings. No shooting component. This is about the work becoming paid work.
Session one, what you sell and to whom. Where the money actually is across editorial, commercial, prints, licensing and teaching, from twelve years of doing all five. Building the body of work clients hire from. What an editor decides in the first thirty seconds. Then everyone writes their positioning line and the group pressure tests it.
Session two, the pitch. What editors, art buyers and galleries open, and what they delete unread. Real pitches from my own inbox, the ones that worked and the ones that died. The rate conversation, and what to say when they ask your number first. You write a real pitch, we sharpen it together, and you send it before session three.
Session three, money. Day rates, licensing versus work for hire, and why one photograph has ten different prices. Invoices, deposits and kill fees. Income stacking, using my own working year as the open case study. Then we price a real job each person is facing right now, out loud.
You leave with: a positioning line, a pitch you actually sent, a rate card, and a ninety day plan with dates on it.
Taught by a working photographer with clients including Netflix, Amazon Prime, Paramount and the NBA, and a feature in The New Yorker.
All course materials © 2026 Borrowed Time Bureau LLC. For your personal use only. Not to be copied, shared, resold, or taught by anyone else.
Three live sessions of ninety minutes. Ten people.
The business side, which nobody teaches and everybody needs. This is the masterclass I wrote and taught in Athens, now run live online across three evenings. No shooting component. This is about the work becoming paid work.
Session one, what you sell and to whom. Where the money actually is across editorial, commercial, prints, licensing and teaching, from twelve years of doing all five. Building the body of work clients hire from. What an editor decides in the first thirty seconds. Then everyone writes their positioning line and the group pressure tests it.
Session two, the pitch. What editors, art buyers and galleries open, and what they delete unread. Real pitches from my own inbox, the ones that worked and the ones that died. The rate conversation, and what to say when they ask your number first. You write a real pitch, we sharpen it together, and you send it before session three.
Session three, money. Day rates, licensing versus work for hire, and why one photograph has ten different prices. Invoices, deposits and kill fees. Income stacking, using my own working year as the open case study. Then we price a real job each person is facing right now, out loud.
You leave with: a positioning line, a pitch you actually sent, a rate card, and a ninety day plan with dates on it.
Taught by a working photographer with clients including Netflix, Amazon Prime, Paramount and the NBA, and a feature in The New Yorker.
All course materials © 2026 Borrowed Time Bureau LLC. For your personal use only. Not to be copied, shared, resold, or taught by anyone else.