Photographer Hanina joined us on Darklight Pro and spoke openly about working in the commercial and advertising world, sharing how she handles client demands, tight budgets, and the need to trust her own eye while keeping her style at the centre 💅🏽

She talked through the steps that helped her grow from smaller brand shoots to larger campaigns and showed how confidence and persistence shaped that path. The conversation sparked strong questions from the group, so we followed up with six more to explore her process in greater depth.

Three months out of university, my first well-known brand job for Nike elevated my career. Another pivotal moment came about three years ago when I truly started believing I deserved to be in these rooms, to be considered for jobs, and my confidence on set grew massively. Working with motion crews is tough—I learned to stand up for myself and my team, and that shift pushed my career forward.

I ask to see the brief early. If it doesn’t align with my style and there’s nothing else in it for me, I may turn it down. I always communicate clearly with the client about what my style entails. Sometimes a brief may limit your style, but if it’s for a brand, I deliver what they need while keeping my approach intact where possible.

I take each job as it comes and read the room. A small company with limited followers will have a smaller budget compared to a large client with extensive licensing needs. Whatever the size, I make my needs clear from the start—kit, team, everything necessary to deliver my best work. If a client can’t meet that, I politely decline. It’s better to turn down a job than compromise on quality.

I never rule out smaller brands, but I’m clear about what I need to produce my best work. If a client can’t cover kit or team costs, I’m honest from the start. When I was starting out, I accepted smaller jobs out of necessity, but transparency is always key. It’s better to show honesty than make false promises.

Whenever I have a spare day, I research brands I want to shoot for and email them. At the start, there were no limits—I contacted everyone. Eight years later, I still do it. Remember, as a freelancer you’re both a creative and a business. Balancing time between creating work and running your business is key.

My confidence grew with experience. At first, I was nervous on calls, leading PPMs, or on set. Nervousness isn’t bad—it shows you care. I also draw on a bit of ‘fake it until you make it’ energy. Growing up with a dad in sales and a mum in PR probably helps too.

@haninastudio

haninastudio.com

You can join the Darklight Pro platform to tap into practical advice, real-world insight, and a growing set of resources designed to support your career. You’ll connect with other photographers, learn directly from industry creatives such as commissioners, brands, and agents, and join our monthly events and talks where members share the strategies that actually move their work forward. Every past session is available to watch anytime, and new members can start with a two-week free trial here 👈🏼