An example of having hired an “outsider” would be my multi-year partnership with David duChemin. The “interview” process began long before he was even aware of it as I became a regular reader of his blog where I was able to learn about the person, his passion and approach. Yes, his photography is first class, amazing, consistent and speaks loudly about the dignity of humanity. But I knew that in order to “sell in” a stranger I would need to represent the whole picture of who David is, not just show the pictures he takes. I was blessed to find in David someone with communication skills off the charts, someone who knew how to articulate the vision as well as the assignment. And more importantly I was confident and willing to risk that the individual I had been watching, listening to and finally interacting with would remain the same whether he was in my office or in the middle of death and despair in the DRC. I could write pages about the how the partnership was nurtured and how it grew, introducing him to other clients and never experiencing one moment of regret. There is no way to stress the significance of selling the holistic qualities of a photographer. While one can be taught to point and shoot, the intangibles of integrity, cultural sensitivity, honesty, respect, vision and shared ethos need to be present in the photographer's life.

Let me add that you should never underestimate the power of connection. I became aware of Matt's work through David. While I have only had limited opportunity to use some of his existing work vs. assignments for new work, it is a process of knowing and learning about Matt the person, through David's endorsement, through the eyes of one I respect who participated in one of the Lumen Dei workshops, our brief exchanges as well as the evidence of his work, that Matt remains on my short list of options. I'm confident and willing to risk my reputation should the right opportunity arise. Too often the time and investment required to build partnerships is underestimated but I can promise it and it pays off in the long run. Repeat clients confirm that reality…

Regarding “guaranteeing” the work. The responsibility of the one hiring is immense in ensuring the assignment and client's expectations are articulated clearly and that dialog, the back and forth process of clarification is thorough. As the agent who hires on behalf of the NGO I am accountable to deliver the goods and if the assignment fails – I must go back and get it right – at my expense. Has it happened? Yes. Not with David, however. And the experience of failing taught me much about the sheer weight and value of knowing the “who” behind the camera before assuming that a portfolio represents all we need to know.

Seems like you may have some answers to your own questions that would be of interest to readers on this blog. I couldn't quite tell if you do the hiring, the communications and marketing, or the photography. Regardless, you either look for these things or offer them yourself.

With the NGOs you work for how do you “vet the potential photographer skill set with the organization's need”? How do you evaluate “not just portfolios,” but also “personalities and passions”? —or sell yourself in this manner?

I agree 100% these elements to a partnership are critical and I believe part of the application process with FFH will evaluate along these lines. But with your extensive experience, perhaps you have some words to offer here.

Do you have case examples of when you've “hired an outsider” who has effectively captured the NGOs “unique mission and ethos”? What do you attribute this success to? –or have you been this person?

How have you seen hired photographers “guarantee” their work? –or how do you?

Speaking into this community can perhaps spark some of the change you seek.

If something doesn't happen before we launch, then this could be an excellent thing to work on collectively in a forum, which we could later distill. My guess is that those of us working with NGOs full time already have propositions like this, if not officially, at least via email correspondences of the past. What if we combined our “pitch” into one highly refined for the market as it is today and used that in combo with some data showing the actual value return? Anyone know where we could find such research and results?

All that said, I think FFH is offering a HUGE value to both NGOs and emergings photogs. Cheers to Marco Ryan for leading the way!

Thanks for taking the time to chime in on topic. You certainly speak with authority and have the unique perspective to be ability to see both sides.

One word of caution regarding the “strings attached”. Asking for a commitment for inclusion in future budgets before they have experienced the exchange of value is risky. The value proposition from the outset must in the end benefit those the organization seeks to serve. so if the assignment is photographic resource to be used in the raising of funds to help orphaned children, you need to tailor how the partnership will be measured and evaluated against their bottom line.

I'm unclear on how you are vetting the potential photographers skill set with the organizations need. This matching process is critical. Personalities and passions are central to a successful partnership, not just portfolios. In addition, strong, basic communication skills (verbal and written) must be part of the mix. They look for cultural sensitivity and place a premium on the intangible elements of an individual's ability, not simply the 4×6 photograph. It takes au unique inner landscape and skill set to work in this arena.

Regardless of the size of an NGO they don't claim to have a core competancies in areas of specialty like photojournalism. They recognize the power of an image and often do not go with the unknown because of the fear that their unique mission and ethos can't be captured by an outsider. How will you be addressing these realities?

And what is the role of Focus on Humanity in guarenteeing the work of the photographer?

To me the most important point is to enable NGO's to realise the intrinsic value of a good photographer's work over just sticking that Canon Ixus in their intern's hand. In addition they then have to see return on their money. I can understand the caution in giving money to a photographer when people need help immediately but if a photographer can demonstrate a return on the NGO investment in them by their photos bringing in 200% or more of that investment then the NGO can see it is worthwhile. But that not only takes a great photographer to make great images but great marketing and use of those images by the NGO. It's how these problems and notions are approached that will define the market space.

I was recently travelling in Ayuchuco in Peru. I met a photographer from Europe who was there on assignment for an NGO. Yet the photographer did not speak Spanish or Quechua nor intimately understand the culture he was trying to document.

I thought why didn't the NGO hire someone from Lima or Cuzco. They could have saved alot of precious money hiring someone locally instead of paying for air tickets and expenses of bringing someone in. In most cases the local photographer could be hired far cheaper because of the local economy while the money they spent would have stayed closer to the area of the people they were there to support. It turned out the photographer was friends of one of the execs of the NGO and got the job through cronyism.

I'm sure he did good work but it is valid to question why the NGO would spurge donated dollars on an assignment instead of spending more wisely on a local photographer.