Taking the Plunge From Practicing to Professional Photographer

Magnum Photos began hosting workshops with Magnum photographers in 2010. Designed for aspiring or practicing photographers, the original five-day shooting workshops were a chance for the cooperative’s photographers to share their knowledge, feedback, and best practices with the wider photographic community. 15 years later, Magnum’s educational outreach has evolved, with a dedicated Magnum Learn team hosting a wealth of online and in-person workshops around the world. 

What are the most common challenges that practicing photographers, hoping to go professional, encounter today?

Sofia Abechir: The digital landscape has made photography more accessible than ever before. While this has really helped widen the spectrum of voices we see in the industry, it has undeniably led to an oversaturated field. I think there are four key challenges that we have encountered from participants over the years. 

Firstly, emerging photographers often need guidance on finding their own voice and understanding where to position their work within the contemporary artistic and editorial context. Then, it’s a question of finding time to work — photographers struggle to find the time and funding necessary to develop an in-depth personal project before they turn professional. Thirdly, the industry can be hard to understand for someone who has just started photography. It lacks transparency on how to publish your work, what is expected from you when submitting funding applications, how to build your network, and so on. These more logistical issues mean that even if you’ve cleared the first two hurdles, you will probably find it overwhelming and difficult to navigate. 

And finally, the industry is losing funding. Press and media have seen budget reductions over the years, whether to send a photographer on assignment or to publish a long-term photo series. This reality has a knock-on effect across the whole industry, from cooperatives like Magnum to enthusiastic photographers looking to make a name for themselves.

If we pick up on this idea of an oversaturated industry, what does this mean concretely for aspiring professional photographers, and what can they do about it? 

Sofia Abechir: An oversaturated industry just means that it is extremely difficult to stand out. This isn’t a bad thing, as Mark Power said in a conversation with Rafał Milach recently, it just means that something that used to be considered a profession on the “periphery” has become part of the mainstream. But it has changed things.

Having a great photographic technique is no longer enough for a photographer who wants to become a professional. The industry, and the public, are now looking for critical and cohesive photo stories — stories that are telling you something, stories that mean something. The images need to be strong, yes, but the storytelling needs to be stronger.

On the other hand, there’s more visibility, and many initiatives are much more accessible. Photographers from all around the world can access a variety of calls for applications, funding, festivals, and residencies that they probably would never have heard of otherwise. It also means that we’re noticing a change in the “gatekeepers” of the sector — institutions remain important and still allow photographers to conduct personal work, but we can see that self-publishing, alternative spaces, and independent curators now play a major role.

What kind of key opportunities are out there for photographers today? 

Sofia Abechir: For me, there are five key zones of opportunity to look out for when developing a professional practice; long-term series supported by grants, foundations and NGOs; photobook publishing either independently or by publishing houses — this has become central to photography; exhibitions and art fairs of any size; editorial collaborations with magazines and digital platforms; and artistic residencies of institutional partnerships.

What should photographers look for to help support a transition from practicing photographer to professional? 

Sofia Abechir: I think the first thing is a solid time commitment to photographic education, whenever possible. For mentors or tutors to understand who you are, your way of living, where you come from, how you make decisions, why you are drawn to a particular subject, what pushes you to photograph. It’s an incredibly important context for any tutor to be able to help you develop your own photographic voice. 

I think that it is also important to have places where you can exchange and dialogue with other passionate photographers to allow healthy self-reflection and critical thinking. We have found that workshop participants benefit greatly from the openness of exchange and group feedback that we encourage in our workshops. It’s largely about immersion — being immersed in a group of fellow photographers fosters creativity, dialogue, and deep thinking. Being a photographer can often feel like a lonely or isolating job. So it’s crucial to find groups or initiatives where you can combat that feeling. 

Above all, it’s a question of continuity rather than intensity. It can and will take time — months, years, sometimes decades — to develop a project. You need to give yourself space and a good rhythm to take breaks, reflect on the work, and come back to it. 

And finally, practicing photographers need transparency around the reality of the industry today.

Let’s take a look at the new Magnum Learn initiative: the Magnum Learn Lab for Storytellers. It’s the most ambitious course to date, aimed at practicing photographers who are looking to develop their careers. Where did the idea come from? 

Sofia Abechir: Developing a long-form workshop program has always been on our minds. I remember talking about it when I joined the Magnum Learn team back in 2021. Since then, we’ve met with hundreds of new practicing photographers, listening to their thoughts, understanding what they lack to be fully able to step up as professionals. We’ve been adapting our workshop programs to fit these needs, but we felt like something was still missing. 

Inès Clavel: There is a strong desire within our team to support emerging photographers by equipping them with the tools they need to navigate the industry. As Sofia said earlier, it’s becoming more and more challenging, and it’s an intimidating environment to step into. Although we already host week-long workshops around developing a professional practice, the long-term, sustained industry guidance is what has been lacking in our programs to date, and this program is specifically designed with that goal in mind. The first edition will take place in 2027, which coincides with Magnum’s 80th anniversary. It felt like the perfect moment to launch a year-long initiative with photographers from across Magnum, and to open up a new form of dialogue with the photographic community. 

Sofia Abechir: Exactly. The timing felt right. With the Learn Lab, we are taking all of our learnings on what practicing photographers really need, and are combining them all together. We needed the year-long format to do that, so that we can build up three immersive residencies where all participants and mentors will stay and spend time together, with expert-led professional sessions, and ongoing one-on-one mentorships with Magnum photographers. This format acknowledges that growth happens over time, through sustained engagement.

Can you shed light on the curriculum and what participating photographers can expect? 

Sofia Abechir: We designed the course so that photographers from around the world can join without having to put their whole life on pause. It will also trace an entire arc for each photographer — from an initial idea to a finished book dummy and public presentation at Paris Photo in November 2027. 

There are three main pillars:

1- Three immersive in-person residencies focused on research, editing, constructive feedback, and individual projects with our mentors,

2- A total of 136-hours of online sessions throughout the year with industry professionals, covering publishing, assignments, funding, and professional strategy, 

3 – Eight one-on-one sessions throughout the year with a Magnum photographer for personalized project guidance. 

It’s a hybrid curriculum of online and in-person, with the three in-person residencies punctuating the year.

What is the balance between individual and group learning? Why is it important to have both? 

Inès Clavel: We’ve structured the course in a way that strikes a balance between both individual learning and group sessions, both online and in person. Both, we’ve found, are fundamental to developing a practice. Individual learning gives you the space to focus on your own project, reflect deeply, and move at your own pace. It’s where you develop your voice, test ideas, and get personalized feedback, and that’s essential for building a strong, personal body of work. 

Group learning, on the other hand, brings perspective and accountability. Sharing with peers, hearing different approaches, and getting collective feedback helps you see your work through new eyes and pushes you to think out of the box. 

Both really matter for us because photography is both deeply personal and deeply connected. You need time alone to create, but you also need community to grow. The balance helps you stay grounded in your vision while staying open to inspiration, constructive feedback, and collaboration.

Who is this course made for? What kind of photographers should apply? 

Inès Clavel: The Learn Lab for Storytellers is designed for emerging photographers who already have a foundational understanding of their photographic practice and who are seeking to refine and streamline their creative approach, as well as build their knowledge of the industry with Magnum photographers and industry experts. 

You should consider applying if you feel ready to deepen your practice and to take the next step in your career — if you are ready to commit to a significant project and are looking for mentorship and professional guidance. Ideally, this is before or during the phase of seeking broader recognition, publication, or exhibition opportunities, as the online sessions with industry experts will help with this and provide space to ask questions, get feedback, and find direction. 

Who are the mentors for the first edition? 

Inès Clavel: This year’s main mentors are Magnum photographers Newsha Tavakolian, Antoine d’Agata, and Rafał Milach, alongside designer Ania Nalecka-Milach and artist/editor Tania Bohórquez Salinas.

Newsha Tavakolian has mentored our last two summer courses. We knew she was the perfect fit for the year-long program. She has a rare ability to truly understand each photographer. She offers deep empathy and knows how to gently, but effectively, push people further. Her approach sometimes includes video, which adds a fresh, dynamic layer to the mentorship. Antoine d’Agata brings his signature intensity and poetic vision, challenging photographers to dig deeper into emotion, risk, and raw truth in their work. Rafał Milach is a master of editing and sequencing, essential skills for shaping a powerful, cohesive project. His eye for structure helps photographers turn raw material into compelling visual narratives.

We also made it a priority to include Ania Nalecka-Milach and Tania Bohórquez Salinas, professionals who work with photographers in design, editing, and storytelling every day. Their perspective is invaluable: they help bridge the gap between image-making and how work is seen, read, and experienced by the world.

On top of this, a curated list of 10 additional Magnum photographers will be offering online mentorship, bringing even more diverse voices, approaches, and support to the program.

The first edition of Magnum Learn Lab for Storytellers, scheduled for January 2027, is now accepting applications. Find out more here.