We were lucky to catch up with Ben Rollins recently and have shared our conversation below.

Alright, Ben thanks for taking the time to share your stories and insights with us today. Owning a business isn’t always glamorous and so most business owners we’ve connected with have shared that on tough days they sometimes wonder what it would have been like to have just had a regular job instead of all the responsibility of running a business. Have you ever felt that way?

Am I happy as a business owner? Yeah, for sure! Do I ever think about what it would be like to just clock in somewhere with a steady paycheck? Sometimes…

It usually pops up in those slow seasons with photography when the inbox feels quiet and the bills don’t. I’ve been working for myself in Atlanta since 2013, and before that I freelanced in Texas for about five years. So really, for almost 20 years, all I’ve known is running my own business. So at this point, I don’t really know any other way.

It’s a lot of wearing different hats: emailing clients, shooting, editing, invoicing. But it’s not always lonely work! Atlanta’s got a really strong creative community. Most weeks I’m grabbing coffee with other photographers, taking a mid-day break to play guitar, or cutting out early to meet my kids at the park. That kind of flexibility is what I love most about it.

That said, there are definitely moments I wonder what it’d be like to work at an agency or in an office. I’m a people person, I love collaborating, and let’s be real, a paycheck every two weeks sounds amazing! Cash flow is probably the least glamorous part of owning a business. But every time I play out the idea of getting a “regular job,” I circle back to the same thing: I’d be giving up the freedom I have now. And that’s the part I can’t let go of. For better or worse.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I’m a photographer and director based in Atlanta, though my roots are in the Panhandle of Texas. Unlike a lot of photographers, I didn’t grow up with a camera in my hand. My first real introduction was a black-and-white darkroom class at Amarillo Community College. I loved it so much that I immediately changed my major and took every photo class they offered. That path eventually led me to earn a bachelor’s degree in Art, then I worked a few years at an ad agency in Amarillo. Not long after, my wife and I packed up and moved to Atlanta so I could pursue my MFA in photography at SCAD.

Since then, I’ve built a career creating imagery that feels authentic and genuine, whether it’s for magazines, nonprofits, brands, or organizations. My work has appeared in a wide range of spaces—from shooting covers for Atlanta Magazine (including their annual “Top Docs” issue for over a decade), to campaigns for Children’s Healthcare of Atlanta, The Guardian, The New York Times, Georgia State University, and many editorial assignments featuring artists, athletes, and everyday people. On the fine art side, I’ve exhibited work in galleries in New York and Los Angeles, which has been a great way to connect my Fine Art work with the commercial side of what I do.

I’ve also had the chance to partner with humanitarian organizations around the world, traveling to nearly 20 countries to document stories that aim to bring people closer together. Those projects are especially meaningful to me because they remind me of photography’s power to connect across cultures and experiences.

If I had to give a short pitch about my work, I’d say I’m a portrait photographer who primarily works in the editorial world but also loves reportage and humanitarian assignments—always centered on people. Whether it’s photographing a celebrity, a student, or an indigenous community in the Amazon, my goal is the same: to create images that feel authentic, true, and respectful of the person in front of the camera.

What I’m most proud of, though, is the community I’ve been a part of with this work. The bulk of my business is repeat clients—relationships I’ve nurtured for years that continue to grow and bring in new opportunities. I’m also proud that I’ve been able to bring other people along the way—hiring assistants, crews, and collaborators who many have gone on to build their own careers. The best part of my job is that I usually get to work alongside friends, and that’s something I’ll never take for granted.

Any stories or insights that might help us understand how you’ve built such a strong reputation?

I think what’s helped build my reputation the most are the relationships I’ve made—with clients, crews, and agencies.

Honestly, I don’t think of myself as “the best photographer in Atlanta.” There are so many way more talented people here. But what I do think I bring is a sense of calm and connection. On set, I try to create an atmosphere where people feel relaxed and taken care of.

At the end of the day, so much of photography is just problem-solving when unexpected things come up. My natural personality is pretty laid-back, so even when things get chaotic, I don’t want to look frantic or stressed. I want my clients to feel like they’re in good hands, and I want the process of creating the work to feel enjoyable, not tense, or overly serious.

Of course, delivering strong images is a big part of the job, but for me, how we get there matters just as much. Building trust, keeping things light, and making people feel comfortable. That’s the part of the work I love, and I think that’s what’s kept people coming back.

Where do you think you get most of your clients from?

Being an editorial photographer means I get to spend my days photographing all kinds of people across different industries, backgrounds, and walks of life. The biggest way new clients and agencies tend to find me is through editorial visibility:, ie magazine covers, online news stories, or print features.

Early on, I used to ask every new client, “So how did you hear about me?” Nine times out of ten, the answer was something like, “I saw your work in Atlanta Magazine,” or, “I remember that story you shot for The New York Times.”

The editorial and news world doesn’t usually come with the biggest budgets, but the visibility is huge. Those assignments keep my work in front of the right people, and often lead to bigger commercial or advertising opportunities down the line. I also shoot quite a bit for business-to-business magazines. While those shoots aren’t always the most glamorous, they’ve introduced me to countless CEOs and executives. From there, it’s about building relationships, so when that company needs photography for campaigns, headshots, or annual reports, they already know me and trust my work.

Contact Info:

• Website: https://www.benrollins.co
• Instagram: https://www.instagram.com/benrollins.co/
• Linkedin: https://www.linkedin.com/in/thebenrollins