Category "Business"

The Best Work I Saw at Review Santa Fe: Part 1

 

When I go to a portfolio review these days, I’ve got to get on an airplane.

It’s a big deal.

The packing.
The planning.
The 3 hour drive to the airport.

I’m not complaining, per se, as getting to travel to great cities is a pleasure, not a problem.

But heading to Review Santa Fe last month, it was quite a different experience.

I woke up at a normal hour.
Made breakfast for the kids.

Then I went to two parent-teacher conferences at their school. And I ate in a gas station burrito joint.

Then I went to visit a furniture store, all before I joined the photo festival on a Friday afternoon in late October.

(Quick sidebar, before you scoff, for whatever reason, there are a ton of great little taquerias in gas stations throughout Northern New Mexico. My favorite is run by a couple of ladies from Chihuahua in an Alon station on the North side of Española.)

But back to Review Santa Fe.

It was no great drama to get there, just an average day. And as it was my 5th of 6 portfolio reviews this year, (I’m going to Photo NOLA next week,) it’s all began to feel a bit normal.

Shortly after I checked into the Drury Suites hotel, where the event is held, I walked across the street to try to find a cocktail party at Radius Books.

It seems straightforward, but you’re wrong.

I bumped into Brian Clamp, a friend of the column, and two other women who were scratching their heads trying to find the place. I took the lead, as a local, but really had no idea where I was going.

We ended up in a musty, 2nd-story-carpeted-hallway, chatting about what to do next, when a heavily-plastic-surgeried older woman popped her head out of an office.

She barked at me to shut up, and I saw, through her open door, that she was a psychic.

I was stunned, as she was so rude, but the jokes write themselves.

(If she’s really psychic, why didn’t she know we’d be there? If she’s really psychic, how come she couldn’t tell us how to find Radius Books? If she’s really psychic, how come she didn’t tell me to shut up before I said anything?)

I could go on, but I won’t.

Eventually, we found the party, and it was nice to catch up with colleagues over a stiff bourbon, in a sleek modernist space. They have it going on over there at Radius. (I’ll give them that.)

Beyond the socializing, through, my favorite thing about portfolio review events like Review Santa Fe is the chance to see such a cross-section of photography, and meet people from around the world, all in a compressed space in time.

In this respect, Review Santa Fe absolutely delivered.

I did 17 consecutive reviews on Saturday, and it almost burned out my brain. But the quality of work was high, overall, and as I also popped through the portfolio walk on Friday night, I’ve got a nice selection of work to show you today and next week.

As always, the artists are in no particular order.

We’ll start with Teri Darnell. She had two projects about gay performers, and was also trying to make work about the gentrification of a historically gay neighborhood in Atlanta. I liked the first project, but was really attracted to her photographs of a cabaret in Berlin.

According to Teri, there’s a particular cabaret show on in Berlin that was made in honor of the gay performers who were imprisoned in Hitler’s Germany. She said that in one case, the performers continued to stage work until they were murdered in a concentration camp. (Heavy stuff.)

It’s rare that photographers really play with the element of time, I find, but Teri’s moody, saturated images dovetail so well with the historical-recreation-vibe of the Berlin cabaret.
It’s trippy work for sure.

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Cabaret of the Nameless

Speaking of trippy, Jill Brody is a self-professed Jewish grandmother who spends her photographic time hanging out with subcultures and religious minorities like the Hutterites in Montana.

I’m always impressed when people embed themselves in random places, because the artistic bug just won’t leave them alone. Jill and I discussed the relative saturation of colors in her palette, as I thought one or two of her blues pushed into hyperreal territory, which didn’t fit with her documentary style.


Kevin Horan was another artist who showed me things I liked and didn’t like. I don’t mean to be flippant about it, but from an advice standpoint, it’s good to mention here.

If you can bring more than one project with you, please do. Art is so subjective, and our own interests so broad, that one person may well hate one thing you’ve done and love another.

But if they love anything, you’re way ahead of the game.

Back to Kevin, though, as we saw images taken from airplanes that he’d inverted upside down in Photoshop. I wasn’t interested.

Then he showed me a beautiful, documentary series about finding dead things on nature walks. It really needs no more explanation, as his images are impressive and cohesive.





Santiago Serrano and I discussed the idea of cohesion, both visually and conceptually. He led with two or three pictures I found sub-par, and then had 15 in a row that were stellar. So we discussed how the context of those first few images determines how receptive we are to what comes next.

Santiago is from Quito, Ecuador, where bullfighting has been banned, but lived for a time in Mexico, where it’s not. He has this cool series about bullfighters in Mexico, but then there were two or three pictures of fighters in Ecuador.

I suggested that if 95% of the story was about one place, I’d cut the other pictures, for the sake of story cohesion. In particular, I appreciate his color palette, which captures that sense of the Mexican Baroque.

 

Festival de aficionados practicantes en Campo bravo, ubicado en San Juan del Rio. Mexico. 25/06/2010

Novillero Jose Miguel Parra durante un descanso de los entrenamientos diarios en los viveros de Coyoacan como parte de sus practicas de toreo de salon. Mexico DF, Mexico. 28/07/2010

Segunda Novillada en la Plaza Arroyo en la ciudad de Mexico. Mexico DF, Mexico. 31/07/2010

Segunda Novillada en la Plaza Arroyo en la ciudad de Mexico. Mexico DF, Mexico. 31/07/2010

Segunda Novillada en la Plaza Arroyo en la ciudad de Mexico. Mexico DF, Mexico. 31/07/2010

Novillero venezolano Jose Miguel Parra, antes y durante su actuacin en la ciudad de Huamantla como parte de la segunda novillada de la feria anual. Huamantla, Estado de Tlaxcala, Mexico. 20/08/2010

Novillero venezolano Jose Miguel Parra, antes y durante su actuacin en la ciudad de Huamantla como parte de la segunda novillada de la feria anual. Huamantla, Estado de Tlaxcala, Mexico. 20/08/2010

Novillero venezolano Jose Miguel Parra, antes y durante su actuacin en la ciudad de Huamantla como parte de la segunda novillada de la feria anual. Huamantla, Estado de Tlaxcala, Mexico. 20/08/2010

Novillero mexicano Salvador Lopez, durante su tercera presentacion en la plaza Mexico como parte de la temporada novilleril 2010. Mexico DF. Mexico. 05/09/2010

El matador Cristian Aparicio durante sus entrenamientos diarios de toreo de salon en los viveros de Coyoacan. Mexico DF. Mexico. 09/09/2010

Adair Rutledge is the gutsy sort, and she needs to be. Adair, a blond, Southern, white woman, decided to do a story about a youth football team in Nashville, made up exclusively of African-American children.

We had the “stay in your lane” chat last week, so I won’t bore you, but Adair embedded herself for years, and really got to know these people. I’d argue it’s why they engage with the camera so freely and openly.

Leslie Sheryll is a former photo lab owner from New York who crossed the river into New Jersey. Most people go in the other direction, so more power to her. (I left the Tri-State area entirely, so who am I to point fingers?)

Leslie had some intricate Photoshop layered work, based on historical images she’d acquired and then digitized. She wanted to make work that really captured the spirit of the 19th Century women depicted, and her series featuring poisoned plants, which I’m showing here, was very cool.

Abrus precatorius rosary pea poison

Poppy   Papaveraceae

Veratrum Album Poison false hellebores

Oenanthe crocata L. Hemlock Water-dropwort

poinsettia

Aconitum napellu,  monkshood

Lily of the Valley ,Conuallaria majalis

Vomica Poisonous
Strychnine Tree

Lily, Lilium

Finally, we’ve got Lee Johnson. He’s an Englishman living in Switzerland for work, and has been photographing the ski lifts in summer, hinting at a time when the snow won’t come. (Speaking of which, we’re very far behind normal here in Taos at the moment.)

He shoots with a boutique European film that approximates the color of expired film, then digitizes the film, and has it output as a digital polaroid-style print. Furthermore, for the images below, he’s then made digital snaps of the actual prints.

Are you confused yet?

Well then, come back next week for all the answers.

Calculate Your CODB

- - Business

Lincoln Barbour has a great post on Cost of Doing Business for Photographers.

 

Being in business as a photographer, you have to know your CODB, because that’s how you set your Baseline Creative Fee (BCF).  If you take jobs that are below your CODB, you are operating at a loss. You should also do your CODB every year to make sure you’re staying on track and to set sales goals.

In a very simple formula, this is how you calculate your CODB:

(YOUR SALARY + YOUR EXPENSES) ÷ SHOOT DAYS PER YEAR = DAILY CODB

Fortunately, there’s an easy way to calculate your CODB and it takes less than 30 minutes to do. You will need two things: Your Profit & Loss Statement from last year and NPPA’s Online CODB Calculator. If you use accounting software like Quickbooks (PCMac) or AccountEdge (Mac), it’s really easy to generate you P&L report. Make one and print it off. Then click over to NPPA’s Online CODB Calculator.

 

Not only discussing how to calculate it but also how to base your fees on it. Go here to read the post.

“ever since I standardized my pricing, I’ve gotten more jobs that pay better.”

Sobering Truths About Making A Career Out Of Photography

- - Business

This post that I found via Steve Coleman on Facebook lays out the cold hard facts of starting a wedding or portrait photography business in 2011. You can certainly apply most of it to commercial and editorial photography as well. Photographer Laurence Kim takes his MBA and 20 years of business experience to explain how the photography business compares to other career options.

First, the options you may or may not have for building enough wealth to live the American Dream (live a middle class or better lifestyle, send your kids to college and retire at a reasonable age).

1. The Investor – Use money to make money.

2. The Professional – Advanced degrees command high fees.

3. The Corporate Employee – Climb the corporate ladder.

4. The Public Employee – Job security and a retirement.

Finally the photographer.

Zero barriers to entry – A camera and a cheap website then you’re off.

Zero leverage/scalability – Your are trading your time for money. Stock used to provide leverage but that’s dead.

Zero equity-building- What’s Joe Smith Photography worth when you decided to retire. Zero.

Zero benefits – Buy your own health insurance and match your own 401k.

Laurence’s conclusion: “I actually can’t think of a worse business than photography.” And the bottom line: “from a wealth-creation standpoint, photography is a lousy career.” Yikes!

Yeah, I know what you’re thinking, I’m different, I’m going to become the next Dan Winters. Sober up for a second and read his post (here). The key here is not just making a living at photography, but a career: enjoy life, raise kids, retire and die happy.

I rarely give in to the devil on my shoulder and write about failure, but I’m feeling the negative energy people are sending me and this post was too honest to pass up. Everyone needs a kick in the pants once in awhile.