Posts by: A Photo Editor

Know Your Rights: Photographers

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Taking photographs of things that are plainly visible from public spaces is a constitutional right – and that includes federal buildings, transportation facilities, and police and other government officials carrying out their duties. Unfortunately, there is a widespread, continuing pattern of law enforcement officers ordering people to stop taking photographs from public places, and harassing, detaining and arresting those who fail to comply.

Your rights as a photographer:

  • When in public spaces where you are lawfully present you have the right to photograph anything that is in plain view. That includes pictures of federal buildings, transportation facilities, and police. Such photography is a form of public oversight over the government and is important in a free society.
  • When you are on private property, the property owner may set rules about the taking of photographs. If you disobey the property owner’s rules, they can order you off their property (and have you arrested for trespassing if you do not comply).
  • Police officers may not confiscate or demand to view your digital photographs or video without a warrant. The Supreme Court has ruledthat police may not search your cell phone when they arrest you, unless they get a warrant. Although the court did not specifically rule on whether law enforcement may search other electronic devices such as a standalone camera, the ACLU believes that the constitution broadly prevents warrantless searches of your digital data. It is possible that courts may approve the temporary warrantless seizure of a camera in certain extreme “exigent” circumstances such as where necessary to save a life, or where police have a reasonable, good-faith belief that doing so is necessary to prevent the destruction of evidence of a crime while they seek a warrant.
  • Police may not delete your photographs or video under any circumstances. Officers have faced felony charges of evidence tampering as well as obstruction and theft for taking a photographer’s memory card.
  • Police officers may legitimately order citizens to cease activities that are truly interfering with legitimate law enforcement operations. Professional officers, however, realize that such operations are subject to public scrutiny, including by citizens photographing them.
  • Note that the right to photograph does not give you a right to break any other laws. For example, if you are trespassing to take photographs, you may still be charged with trespass.

Read more here: Know Your Rights: Photographers | American Civil Liberties Union.

What Is Photographic Vision Or Voice?

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A reader sent me this question awhile back:

Lately I have been hearing about photographers with ” vision” or “photographic voice”. I guess with everyone being able to do everything technique is kinda not as important as vision? Some quotes I’ve read heard recently”true style is vision” “those who are in demand have vision or a voice and people want to buy into that”. So my question is…what do you think photographic vision or voice is? And who do you think displays it? What photographers would you point to who have “it”?

and then I ran into this interview John Keatley made with his agent Maren Levinson and I think it has some good advice on the questions asked:

Photographers Quarterly Issue No. 2

Photographers Quarterly is a new online magazine edited by Jonathan Blaustein and designed by myself, that gives us an opportunity to to show portfolios and make something purely about the photography. And of course, being an online magazine, we can do whatever the hell we want with it, which I love.

Please enjoy the Summer issue of Photographers Quarterly featuring the work of David Gonzalez, Gay Block, Phillip Toledano, Maude Schuyler Clay, and Susan Worsham.

http://photographersquarterly.com

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Pricing and Negotiating: Splitting the Cost of an Architectural Shoot

Craig Oppenheimer, Wonderful Machine

Shoot Concept: Architectural photography of an event venue and city park

Licensing: Collateral and Publicity use of 50 images in perpetuity

Location: A prominent city in the South.

Shoot Days: Four

Photographer: Architectural specialist

Client: A landscape design company plus four other partners

Here is the estimate:

 

Creative/Licensing: A landscape design company contacted the photographer to discuss a project that they hoped to split the cost of between themselves and four other parties who were partners in the development of the new venue. At first, they wouldn’t reveal exactly who the other parties would be (or perhaps it wasn’t finalized at that point), but from conversations with the photographer and client, it was likely that they were collaborating with the architectural firm that designed the venue, the company that would promote the events at the venue, a local design firm and potentially the local tourism board.

When discussing the project with the photographer, I told him that this is actually quite common in the world of commercial architectural photography. It typically takes many parties to plan, build, decorate and manage a property (whether it’s a residential house or a commercial building), and it therefore makes sense that all of these companies might want images of the final product to help promote their particular product or service. Most of the time, architecture firms, landscape designers, interior designers or general contractors will want to put the images in their online portfolios or submit them to industry publications and contests, and other times they’ll want to use the images for collateral pieces and to have them on hand for other publicity purposes.

Despite their intended use, it’s common for such clients to request unlimited use (including advertising), which was the original request from this client. However, I felt that such usage should be negotiated separately for each client (especially in this case since there were a few companies involved that could take full advantage of unlimited use), and we were able to convince them to limit the initial licensing to Collateral and Publicity use only.

Additionally, the commercial architectural photography segment of the industry has established rates that have more or less become standard. That’s mostly due to the same type of projects arising again and again for the same types of clients with similar expecations for the scope of the project and licensing. Oftentimes, architectural photographers are charging up to a few thousand dollars a day, plus expenses and a per image processing fee. In some cases, architectural photographers are even making more money on the processing than they are on the shoot. Given the time it takes for an experienced architectural photographer to process an image, they can earn a substantial amount of money by charging accordingly.

There’s nothing inherently wrong with these “standard” rates, as long as the photographer recognizes projects that fall outside of the typical project for an architecture firm or an interior design company. For instance, there are plenty of major brands that need architectural images to promote and sell products (like paint companies, home/garden products, appliance manufactures), and the typical rates that architectural photographers are charging their real-estate or architecture firm clients are most definitely not appropriate for these other companies.

In this case, we knew the parties were all interested in having the photographer capture 30 exterior images (20 during the day and 10 at night), and 20 interior images. Also, based on the shot list, time of day required for each shot and the photographer’s experience, we determined that the shoot would require four shoot days. Given the intended use, and having a grasp on what the local competition might be charging, we came up with a modest creative/licensing fee of $10,000. However, that fee did not account for multiple parties, and I felt it was only appropriate for a single client. So, that begs the question of how to charge for multiple parties licensing the same images.

A common tactic used by architectural photographers in these situations is to add a 33% surcharge to the fee for each additional party involved, and have all of the clients split the overall fee and all expenses. This tactic and approach can vary, especially if each client wants different images, but based on this concept and the fact that everyone was planning to share all of the images, we decided that each additional party joining in would increase the fee by $3,300 (33% of the $10,000 fee). Since those parties were still being lined up while we compiled the estimate, we included this rate as a “licensing option”.

Photographer Travel/Scout Days: The photographer would fly to the location on one day, scout the following day, and then fly home the day after the final shoot day.

First Assistant: The photographer would bring his first assistant with him, and this accounted for two travel days, one scout day and four shoot days.

Second Assistant: We included a local second assistant for each shoot day since the venue was quite large, and the photographer would need an extra set of hands to carry and set up equipment.

Equipment: The photographer owned all of his own gear, and decided to charge a rate of $1,000/day for wear and tear on his camera, lenses, lighting and grip, and based the total rate on a “3 days same as a week” discount that most rental houses apply.

Airfare, Lodging, Car Rental: I used kayak.com to estimate these rates based on the production schedule. Flights were a few hundred dollars round trip, which I rounded up to $500 per person (for the photographer and his assistant) to include baggage fees and fluctuation. Lodging was in the neighborhood of $200/night and I factored in six nights for two rooms. The car rental rate included $20/day insurance and fuel.

Parking, Meals, Misc.: I included a $75/day per diem for the photographer and his assistant for 7 days each, and included $25/day for lunch for the second assistant each day. Additionally, I included $100 for each shoot day to account for miscellaneous unpredictable expenses that may have come up during the trip. That totaled $1,550, which I rounded down to an even $1,500.

Shoot Processing for Client Review: This covered the time it would take the photographer to transfer and review all of the images in order to compile a web gallery for the client to choose from. Since most architectural images require a descent amount of post production and layering, I included this rate to account for some basic compositing the photographer would need to do prior to showing the images to his client. It would basically get the images headed in the right direction before really diving in and performing the more time consuming processing.

Selects Processed for Reproduction: As I mentioned earlier, it’s common to separate image processing fees and charge them to each party involved based on the images they want. However, since we felt we were already at the limits of the budgetary threshold, we included all 50 images for a single lump fee of $10,000. This broke down to $200/image, which would account for an additional 1-2 hours of retouching for each image.

Results: The project was awarded to the photographer, although he did end up making a few concessions by waiving his travel days, reducing the post processing fee a bit, and coming down on his equipment expenses. However, the four other clients did jump on board, which increased his fee by $13,200 ($3,300 each).

The Art of the Personal Project: Andy Reynolds

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Andy Reynolds

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How long have you been shooting?
Pro – 14 years

Are you self-taught or photography school taught?
Self taught

With this particular project, what was your inspiration to shoot it?
There was a ‘day in life’ photo event for PCNW I wanted to contribute to so I just started driving around at night looking for something to photograph. All I had was a camera and sticks. I wanted people in it but had no lights. As I was passing a brightly lit 7-11 the idea just hit me. So that night I shot at a half dozen places – a few places turned me down. But the prints earned the Center some money and the feedback from the images was enthusiastic so I continued it.

How many years have you been shooting this project before you decided to present it?
I liked this idea right away so I photographed several more clerks and put it on my site. I try to get them still when I travel.

How long do you spend on a personal project before deciding if it is working?
I’ll try to make a small collection of images then proceed if it seems to be working. But if it’s personal, you’ll probably try to always make it work.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Nervous and never knowing if it’s as acceptable as the commercial stuff. At the same time it’s for yourself so you can have a freedom with it. I think it has to make sense with my other portfolio images kind of relaying the fact that it’s an Andy R photo. My portfolio is mostly personal.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I add to my tumblr blog and instagram.

If so, has the work ever gone viral and possibly with great press?
Nope, but one day…

Have you printed your personal projects for your marketing to reach potential clients?
Yes. I used some from a series of ‘waist-ed’ shots and also some ‘anonymous’ pieces.

Artist Statement about Clerks of 7-11

Love them or hate them at some late hour you will probably come across one of these clerks.

The following are some complaints to Consumer Affairs regarding other 7-11 Clerks from across America. My subjects were forthcoming and pleasant.

Every single 7-Eleven has a rude employee behind the counter that doesn’t know how to provide customer service it seems. The 7-Eleven on Roscoe Blvd in Canoga Park, CA has a rude employee. He is a man and looks miserable and mean. All he does is give you this look of hatred and stare at you the whole time you’re in the store. And then when you pay at counter, he never says thank you or have a nice day, nothing, not a word. He is creepy and they need to get rid of him.

My husband was pumping gas at 7 Eleven and I needed to use the washroom. I went into the store to do so. There were 3 different signs saying how the washroom is always clean and if it is not clean, to alert the employee on duty. When I walked into the public washroom, I was just about sick when I saw the toilet. The seat was covered in dried urine. Needless to say, I obviously could not use that washroom. I went to talk to an employee and voice my complaint. I tried to tell her my concern, she cut me off mid sentence and then she walked away. I cannot believe the horrible customer service. I don’t wish to return to that store.

My boyfriend gave the cashier ten dollars for his gas pump and charged it on the pump to the people who were ahead of him in line. He went in afterwards because the pump wasn’t working and the man said, “Oh, there’s nothing I can do,” even though he knew what he did. I called this man after we left because my boyfriend didn’t know what else to do and I demanded a refund for his hard earned money, in which none was given.

I went in to this 7-11 store to purchase a drink. I brought it to the counter and the lady rung it up I asked her how come the prices differ a lot? She said you’re a complainer. I said if that’s what you think. Then she patted me on the stomach and said your fat. I was shocked and walked out very upset. I got in my car with ny friends and left.
This occurred on Jan 10th I also called the 1800 number that I got of the internet and the person I spoke to said someone from the local office in Melville will call me I never received a call. Every day since this event I haven’t been able to stop thinking about it makes me very upset. I also can’t even go to that 7-11 being afraid on what is going to be said to me.Since this happened on my birthday I won’t ever be able to forget this forever.

Andy Reynolds

Once a gaffer in the spoiled world of blockbuster budgets, unending craft service and larger- than-life film crews, Andy walked away for the chance to really learn photography. Setting up shop in NYC, Andy worked for funny guys and fashiony guys. Although perfect for portfolio building, the city wasn’t ideal for family building; thus, Andy headed west. Settling amongst Seattle’s rain-battered hills of fleece and Starbucks, Andy finally found himself with the time, space and budget to create his own brand of imagery. Combining 15 years of experience with an impressive collection of awards and the full-blown belief that the image is the most vital part of photography, Andy continues to craft high-end concepts for clients and of course, fun.  http://andyreynolds.com


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

How to Kill Restrictive Concert Photography Contracts

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“The Norwegian press as a whole, has made a joint statement to never sign any contracts put forward by artists or their management pushed forward by concert photographers, as can be read here. In Norway, most concert photographers are, in essence, photojournalists and identify more or less as such. And because of that, we are part of the press. We are not 100 concert photographers, but 7000 journalists.Together we have a powerful voice. We generally do not meet any photo contracts, and the few we do, never gets signed. And because of that, contracts get fewer and fewer. With the press associations and unions behind us, we actually have a powerful voice against such demands, and the contracts get dropped (though, it has to be said that the local promoters have done tremendous work as well in that regard, but without all of the press acting like a collective, they would have no incentive to waiver the contracts). The aforementioned Foo Fighters contract? Guess what: that was not presented to the photographers in Norway. I can’t even remember the last time I “had” to sign a contract. That’s what having some integrity gets you.”

Source: How to Kill Restrictive Concert Photography Contracts

Instagram and Art Theory

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Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone’s hands. (Although the parallel to art as “celebration of private property” is probably most vivid in the case of those who most closely resemble modern-day aristocrats. See: “Rich Kids of Instagram”). But images retain their function as game pieces in the competition for social status. “Doesn’t this look delicious?” “Aren’t I fabulous?” “Look where I am!” “Look what I have!”

Source: Instagram and Art Theory – artnet News

Capturing a Singular Vision

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Do you have any advice for people just entering the profession?

Don’t underestimate the importance of defining your style. In art history classes in college, we studied famous renaissance painters. Our exams would entail matching paintings we had never seen before with the artist whose style the painting resembled. For photographers I call it “singular vision,” the visual thread in your work that reflects your personality. It seems obvious, but it is difficult and requires constant deliberate attention and initiative. It also requires some serious soul searching, exposure to art in all genres, experimentation, experience, feedback, time and maybe a little therapy. For a lucky few, it comes easily and naturally, but for the rest of us, it takes hard work. I think I was shooting for twenty years before I fully understood my singular vision. I wish someone would have encouraged me to look for it from the start. I may have gotten there sooner.

Source: http://www.commarts.com/insights/capturing-singular-vision

The Art of the Personal Project: Todd Selby

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As a former Art Producer, I have always been drawn to personal projects. A personal project is the sole vision of the photographer and not an extension of an art director/photo editor or graphic designer. This column features the personal projects of photographers who were nominated in LeBook’s Connections. Check out The Selby at http://www.lebook.com/selby-0

Today’s featured photographer is: Todd Selby

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How long have you been shooting?
I’ve been professionally shooting since 2001 but I have been taking photos my whole life.

Are you self-taught or photography school taught?
I took a night class at SVA.

With this particular project, what was your inspiration to shoot it?
I’ve always been interested in people in their spaces and thought it would be nice to do my own thing and get it out there.

How many years have you been shooting this project before you decided to present it?
I did it for the purpose of posting it online so I would say it took me 3 days or so to get my first post up.

How long do you spend on a personal project before deciding if it is working?
I shoot what I’m interested in, and hope other people are interested as well.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Its cool when commercial work can push you in new directions.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes I do a lot of Instagram and Facebook.

If so, has the work ever gone viral and possibly with great press?
I think it’s done well online and has been picked up by the press too.

Have you printed your personal projects for your marketing to reach potential clients?
I have published three books of my personal work (The Selby is in Your Place, Edible Selby and Fashionable Selby) and otherwise it’s mostly a digital affair.

Todd Selby is a photographer, director, author and illustrator. His project, The Selby, offers an insider’s view of creative individuals in their personal spaces with an artist’s eye for detail. The Selby began in June 2008 as a website where Todd posted photo shoots he did of his friends in their homes. Requests quickly began coming in daily from viewers all over the world who wanted their homes to be featured on the site.  The Selby’s website became so influential — with up to 100,000 unique visitors daily—that within months, top companies from around the world began asking to collaborate.

These projects have included ad campaigns and collaborations with Louis Vuitton, American Express, FENDI, Nike, Microsoft, Sony, Airbnb, Hennessy, Ikea, eBay, Heineken and a solo show and pop up shop at colette. Todd also has a monthly home column in The Observer Magazine, a monthly fashion column in Le Monde’s M Magazine and has frequently contributed to  Vogue, Architectural Digest France, Casa Brutus Japan and the New York Times T Magazine.

Todd’s first book, The Selby is In Your Place (April 2010) focuses on creative people such as authors, musicians, artists and designers in their homes and the second called Edible Selby (October 2012) focuses on the kitchens, gardens, homes and restaurants of the most dynamic figures in the culinary world. The third book in ‘The Selby’ series, Fashionable Selby, was published in March 2014 and explores the kaleidoscopic world of fashion, featuring profiles of today’s most interesting designers, stylists, haberdashers, models, shoemakers, and more.

Before working on this project full time Todd worked as a translator and Tijuana tour guide to the International Brotherhood of Machinists, a researcher into the California strawberry industry, a Costa Rican cartographer, a consultant on political corruption to a Mexican Senator, an art director at a venture capital firm, an exotic flower wholesaler, a Japanese clothing designer, and a vermicomposting entrepreneur. Todd currently lives in New York City. His pastimes include going to the airport, eating four square meals a day, breaking his computers, and working on his tan.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

Alec Soth On Taking The Photos You Want Versus More Commercial Images

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There are photographers who can juggle these two impulses, but most fail. Better to either take the path of making money or making art. In my case, I didn’t plan on making a living with my art. I had a job at an art museum and figured that would be my future, but kept doing my art as a separate activity. I’m glad I kept it separate. Had I tried to become a commercial photographer, I couldn’t have kept my focus.

Source: I’m Alec Soth, Magnum photographer and founder of Little Brown Mushroom. Ask me anything! : photography

The Art of the Personal Project: Matthew Johnson

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is:  Matthew Johnson, based in Austin, Texas.

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How long have you been shooting? 
This is just my second year shooting freelance editorial and commercial work, but for the past 15 years I’ve assisted and worked on and off as everything from a staff photographer for a Major League Baseball team to an aerial photographer for a marketing firm.
 
Are you self-taught or photography school taught?
Mostly self-taught.  I have a magazine journalism degree from University of South Florida, but the program was writing based with just a handful of photojournalism classes available as electives.  They really resonated with me though, so I signed up for every one available.  This was in 2000, so I was spending time in both the darkroom and in the computer lab learning some early version of Photoshop, but everything was still totally film based. 
 
Once I had taken all the classes provided in my program, my professor was kind enough to help me out by first recommending me for an internship shooting for the university’s PR department and then connecting me with my first job out of college shooting for a Major League Baseball team.
 
After a season of shooting baseball I ended up putting photography on the back burner for about 5 years as I started a charter fishing business and was working full time as a fly fishing guide.  By the time I came back to photography, things had changed so much I felt like I was starting from scratch again, learning anything and everything I could from experimenting on my own, assisting, and reading everything from library books to blogs and forums.
 
With this particular project, what was your inspiration to shoot it?
This project came about when I was hired for a commercial job shooting a handful of resorts down on the Yucatan Peninsula for a startup travel agency.  Being down in the center of this world-class fishing area of the Yucatan was the perfect opportunity to work on this project with a subject I’m really passionate about.
 
Fly fishing has been a big part of my life since I was a kid growing up in Oregon spending all my free time camping and fishing.  Before moving to Austin and getting back into photography full time I lived down in Key West where I had gotten my Coast Guard Captain’s license and started a charter fly fishing business.  For 5 years I split my time between Key West and SW Alaska where I spent the summers working as a guide at a remote fly fishing lodge.  So fly fishing and outdoor culture have always been favorite subjects. 
 
I have such a romantic idea about the lifestyle of fly fishing so it was exciting to work on a project trying to capture that feeling.  It was really my dream project: spending time on the water with good people, meeting local guides and even setting down the camera long enough to catch a few fish myself.

How many years have you been shooting this project before you decided to present it? 
This was shot on a single trip to the Yucatan Peninsula in about a week.  My projects are often something like this, where I shoot them relatively quickly while on a trip.  On the other end of the spectrum, though, I have some projects going that focus on annual events that I only get a chance to work on for a few days every 12 months.  Right now I have portrait projects focusing on fireworks stands owners and the youth culture at the Texas Relays track meet that both fall into this category.  I’ll keep working on these projects for at least another year since I’m really enjoying them, but I like sharing the work while it’s in progress.

How long do you spend on a personal project before deciding if it is working?
I’m not someone that is shooting a new project every week so I’ve usually put quite a bit of thought into what is interesting to me about a project and how I’ll want to explore the subject before I’m actually shooting anything.  So if I get to the point of taking the first photo it means the subject intrigued me enough that I’m definitely getting something out of it.  In order for a project to turn into a long term effort there has to be some challenge or lingering questions that I couldn’t quickly or easily answer, but every project that I’ve ever started has ended up working for me on some level.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
When I first started showing my book around I didn’t have much personal work in there, but I would often pull out some loose prints from my own projects and I quickly realized that people really enjoyed seeing that work.  The personal work is bound to be more inspired and unique, and is the type of work that I want to get more of, so I realized that separating the two just didn’t make sense.  I will have commissioned jobs that I don’t use for my portfolio, but I don’t really ever have personal work that I wouldn’t want to share in my portfolio or on my blog.  

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I’m a big fan of Tumblr, and I’ll post photos on Instagram as well.  I deleted my Facebook account about two years ago and the decision still brings a smile to my face.  It was never a good fit for me, I just didn’t enjoy it.  I felt really uncomfortable every time I posted something, like I was just highlighting the cool things in my life, while on Tumblr and Instagram posts are just about my work.  It’s also really nice to be connecting with and following photographers, artists, editors, etc. rather than having an endless social media feed of weird updates from distant relatives or people from high school that I don’t really even know. 

If so, has the work ever gone viral and possibly with great press?
Nothing too crazy, but I’m always surprised by which images on my blog are shared the most.  I recently posted a set of images from the boardwalk in Santa Cruz that were taken early in the morning with nobody around so the park has an eerie deserted feel to it, and even though I liked the images I was surprised by the response.  You never know what might hit a cord with people. 

Have you printed your personal projects for your marketing to reach potential clients?
Definitely, I sent out around 200 postcards highlighting this project and have tried to send printed promos out with all the projects that I’m most excited about, since they show exactly the kind of work I’m wanting to get commissions for.

Artist Statement:  Fly fishing is often romanticized as a quiet, meditative art practiced standing thigh deep in a mountain stream, but serious anglers have progressed the sport beyond rivers and lakes to the saltwater flats of tropical destinations around the world.  Combining the skills of fly fishing and hunting, anglers stalk the shallow waters looking for difficult to spot game fish like bonefish, permit and tarpon that can be individually targeted, often in water that is only a foot or two deep. 
 
This exciting form of fly fishing has it’s own culture and romanticism: early mornings at the boat dock as the sun rises, the smell of sunscreen and saltwater, gorgeous expanses of tropical water all to yourself, powerful fish jumping into the harsh equatorial sunlight breaking tackle, and the cold beer that invariably waits at the end of the day with labels from places like Mexico or the Bahamas.  This work attempts to capture that excitement and anticipation of the next trip to one of these tropical paradises to chase fish with a fly rod.

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Matthew Johnson is an editorial and commercial photographer based out of Austin, Texas.  Before landing in Austin he grew up Oregon, and spent time in the Florida Keys, SW Alaska and Jackson Hole, Wyoming working as a fly fishing guide.  Prior to his obsessions with photography and fly fishing he spent all his time running, competing as a distance runner in multiple NCAA championships while at USF.   You can see his work at http://www.matthewjohnsonphoto.com


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

It’s Just Pictures

- - Working

Everybody has this romanticized vision of what you’re doing — a little bit of Robert Kincaid in the “Bridges of Madison County.” The truth is, we are like the Expendables. We’re like Sylvester Stallone and Terry Crews and they are bringing us in when there is some guy who has been kidnapped in Kazakhstan and they’ve got to get him out. And it’s ugly, it’s not pretty. There is never an excuse of like, it rained or my camera didn’t work. You don’t have too many second chances.

My biggest regrets tend to be holistic — about an entire story and the approach I took — rather than a specific incident where I screwed something up. Because the truth is, man, it’s just pictures and not that big of a deal. We’re not doing heart transplants or rescuing people from tall buildings. It’s easy to think we’re more important than we are. Some of the most experienced photographers died trying to photograph things they believed in. Friends of ours. I photograph dogs, so what’s going to happen? Something is going to pee on you, what’s the big deal?

Source: Vince Musi at Look3 – NYTimes.com

Getting Into A Competition Is Cool, Not Getting In Means Nothing

- - Working

Not getting into Unbound! means nothing.  Rejection from other competitions, exhibitions, grant proposals… those rejections mean nothing.  Yes, getting into a competition is cool, over-the-moon excellent.  And we hope that if you get into Unbound4!  that you will see that as a genuine compliment.  If you get in to this show, we are going to spend our time installing your work, looking at your work, promoting your work, trying to sell it off the walls, maybe end up buying it ourselves, and finally returning it if it isn’t sold.  Getting in to this exhibition means we really like your work.  Not getting in does not, however, mean the opposite.   Not getting in means nothing.  We reject a lot, A LOT, of quality work.  Our gallery is only so large.  We have invited several artists, as we do each year, and so some of the space is spoken for, which means of the 400+ submissions, there are 1,300 or 1,400 images to consider and we are looking for maybe 25-30 pieces.  Sure, it is pretty easy getting down to the most serious contenders for the show.  But we probably begin the real struggle once we have maybe a couple hundred images or so to consider.

Source: Open Letter to Photographers / Artists ‹ Candela Books + Gallery – Copyright 2012.

The Art of the Personal Project: Callie Lipkin

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Callie Lipkin

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How long have you been shooting?
20 years
 
Are you self-taught or photography school taught?
Both – I studied art at Northwestern University and then at the University of Minnesota, but my training really comes from my years as a full time photojournalist. I always loved the storytelling aspect of photography so I was shooting documentary work at ‘art school’ but it was not incredibly well received. I was shooting long term projects on things like people with Huntington’s Disease and children diagnosed with ADD and that was not seen as much as an art form back then. My work was more warmly welcomed in the photojournalism world.
 
With this particular project, what was your inspiration to shoot it? 
I was inspired completely by the environment. I had driven by the barbershop a couple of times and decided to ask about doing a shoot there. I was just coming off of some more heavily produced tests and wanted to go in a totally different direction with a more traditional documentary approach which is more like the work I did when I first started as a photographer.
 
How many years have you been shooting this project before you decided to present it?
Some projects I have worked on for years, or months. This one in particular I shot in a matter of hours. Every project is different that way. Sometimes it’s good for me to do something without thinking about it at all. It’s a good creative exercise, which I enjoy. I developed the concept for the magazine mailer after shooting this project in order to have a fitting format to showcase how the pictures all work together.
 
How long do you spend on a personal project before deciding if it is working? 
I usually know in an hour or two if something is not working. But I think the nature of my work is to keep pushing to solve a problem. I can’t remember shooting a project that went entirely into the scrap heap, at least not right away, but some might not be as developed as they need to be for a 12 or 16 page mailer. They all find their place somewhere – maybe on my website or blog, or in a treatment statement if it’s subject matter that applies to a particular proposal.
 
Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Most of my work originates from personal projects since they are the place to try something new without any fear of failure. They almost have to be different from my existing work in order to continue to grow my personal style. Client work usually references personal work and is a place to perfect and fine tune what I started on my own time. I feel lucky that many of my commercial jobs come from clients seeing my personal projects, getting inspired, and wanting to use that inspiration as a jumping off point for their brand imagery.
 
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes. Since we don’t get permission to post client work on social media all the time, personal projects are incredibly important to share in this way. It’s also a really great way to get instant feedback when I am working on or editing a project to gauge which images are connecting with people the way they are connecting with me.
 
If so, has the work ever gone viral and possibly with great press?
I have had some press for my series of burlesque projects that spanned several years. If my work reaches people in my network and they feel moved or inspired by it in some way I am satisfied. If it reaches beyond that, it’s gravy.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. I send out a publication titled Vault to current and prospective clients at least twice a year. I try to include some copy that gives the story or subject matter some context and it usually features a personal project. I got a great response to the printed piece for this collection from the Belmont Barbershop.
 
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Callie Lipkin is an authentic photographer. A look through her lens reveals a simple organic moment between photographer and subject. 20 years of shooting has given her a truthful eye, her images unfolding like the story of her subject revealing themselves a little more shot by shot. 

While an undergrad at Northwestern University, a fortuitous trip to China opened Callie’s eyes and her focus from a career in engineering to one in professional photography. Post graduation, Callie started her photography career in journalism, interning and working for several newspapers including the Beacon  News in Aurora and the prestigious Boston Globe where she worked side by side with POY and Pulitzer Prize winning photographers. In 2001, she found the newspaper business on shaky ground and decided to pursue a freelance career. Today, Callie has a long list of clients who benefit not only by the beautiful quality of her photos, but also from her passion and desire to get the best possible shot. Callie is known to set up a shot with a goal in mind then allow the process and interaction between the subjects to give it depth and character. 

“I like the problem solving aspect of photography, not knowing how we are going to execute something exactly, but giving it room to breathe and grow. The most interesting looking images I take are that way because they came about naturally, it’s a connection between who I’m shooting and their surroundings. I feel like there is the opportunity to learn something about the world, or about myself, almost every time I interact with someone new.” 

Callie’s been successful in her photographic style, winning several awards including 1st Place from AltPick in 2009 and having her 2014 Whirlpool campaign featured in Archive Magazine.  Callie lives in Chicago with her husband and their two sons, her greatest inspiration and favorite subjects. When Callie’s not shooting photographs she’s spending time with her family, playing piano (in which she is classically trained), running, and honing her cooking skills by creating healthy meals with her boys.  She is also available in her hometown of Minneapolis as a local and for travel worldwide.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

This Week In Photography Books: Ken Schles

by Jonathan Blaustein

Some people party for fun. Others do it out of habit. Still others because it distracts from deep sorrow. Until they wake up the next day, with yet more to forget. (And more rotgut to swill.)

I don’t binge drink anymore. I don’t feel nostalgic for lost evenings stumbling around cities, the dark world vibrating before my eyes. I remember the feeling well, though, like a phantom limb.

But I don’t miss it.

At first, it was fun, as I was a “good boy” who never had the chance to rebel, as a youth. By the time I got around to it, I gave it my all, vomiting with regularity. Fighting too. And yelling. But it never turned me into the lothario I craved to be.

Realistically, I wouldn’t be the me I am today had I not made my share of mistakes. And I certainly had some good times. It’s a phase, for most of us, and then we grow out of it.

Like the 80’s.

I suppose the 70’s might quibble, but I think the 80’s were the most phase-like decade ever. Everyone was happy when it was over.

The end of the Disco era saw a New York awash in drugs, sex, and the diseases they spawned. Mostly AIDS, of course. But the city had not-yet-recovered from the dank 70’s, so it still appeared a ruin, in many ways. Pre-Internet, Pre-Guiliani, it really was Gotham.

I picked up on bits of the vibe, through the evening news, and on occasional trips into NYC with my folks, to catch a Broadway play or a baseball game. (That’s what the Bridge and Tunnel folks did.)

But my take is only tangential. Occasionally, you’ve got to go to the source to see, feel, or know what went down, all those years ago. Thankfully, we can do just that.

“Invisible City,” by Ken Schles, is a photo-book I’ve heard of many times, but never seen. Frankly, I didn’t have a clue what it was about. But it’s been re-released by Steidl, so now we all have the chance to flip through a touch-stone of the 80’s, New York City style.

The book doesn’t tell you it’s New York, and it doesn’t have to. The night time, the grime, the Brooklyn Bridge, they all conspire to let us know where we are. The decay of the city, the fashion, give us the time period. (As do the end notes, which inform us the book was originally released in 1988, designed by New Mexico’s own Jack Woody.)

At first, I was thrown, because the pictures are not uniformly excellent. They’re not the kind of photographs that make you envious of the artist’s talent.

The effect is more cumulative, as it should be, in a good book. Picture after picture is blurry. Grainy. The camera was constantly in motion, which is a damn good structural metaphor for a city that never sleeps. There is graffiti, and street lights, and a baby carriage standing, alone, in a creepy hallway.

Cafe Bustelo shows up twice, which proves these guys were keeping it real.

We see lots of drinking, but none of it emblematic of joy. It’s more the addiction variety, with women half-passed out on the toilet, or cross-eyed drunk in a restaurant. We sense a bohemian scene, not unlike Nan Goldin’s friends, but here it never coalesces into a redundant vision.

Motion, always motion.

There is a picture of two people copulating like animals in a ramshackle courtyard that was perfectly set up by a picture of pretty flowers overlooking a similar space. There are boobs, of course, because Boobs Sell Books℠.

Overall, we enter a space in time, and then we leave. I looked at it again, as soon as I was done, just to double-check that the world was there waiting for me, while the cover was closed.

There are excerpts from the kind of writers that give pictures like this high-level-intellectual-street-cred: Kafka, Baudrillard, Orwell. They were helpful and appropriate pieces of writing, but masked an important reality. Ideas, words, often take priority in a certain kind of art: the kind that alienates, and claims the high ground.

Pictures like this, though, speak to the gut. They isolate time from itself, which needs little philosophical underpinning. But I guess, if you’re going to make a classic book, backing up your ideas with heavyweights is never a bad call. (Duly noted.)

Bottom Line: A re-issued classic, straight outta the NYC 80’s

To Purchase “Invisible City” Visit Photo-Eye

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