Category "Working"

What Is Photographic Vision Or Voice?

- - Working

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:

How to Kill Restrictive Concert Photography Contracts

- - Working

“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

- - Working

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

- - Working

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

- - Working

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

1_31_09_Jennifer_Derrick_Miller186082

2_5_11_MichaelHaneyBrooke4189

3_3_09_ozzie_wright156251

3_31_10_Rita_Konig26384

4_2_09_karl_lagerfeld06407

4_2_09_karl_lagerfeld067491

4_5_09_lou_douillon_04859

4_12_09_lucy_DuffyED00845

5_2_13_GregChiatElder502871

5_28_13_MargheritaMissoni62349

7_21_10_EagleStreetAnnie100641

7_22_12_KatieMorossMable24688

7_30_erin_wasson1116

8_11_08_fanny_bill_selby1354

8_25_11_KirkLombard15166-copy

10_18_08_Elisa_Nalin18191

12_10_09KateYoungKeith116941

12_20_11_CurtisKulig42458

ALT1_05_09_Neistat_Bros107061

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.

The Daily Edit: Triathlete: Matt Harbicht

- - Working




Screen Shot 2015-07-13 at 10.16.53 PM

 

Screen Shot 2015-07-13 at 10.16.59 PM

Screen Shot 2015-07-13 at 10.17.15 PM

Screen Shot 2015-07-13 at 10.17.10 PM

Screen Shot 2015-07-13 at 10.25.11 PM

Triathlete Magazine

Art Director: Lisa Williams
Photo Editor: John David Becker
Graphic Designer: Olive Baker
Senior Editor/Writer: Jené Shaw
Photographer: Matt Harbicht

With such a big space and not much available light, what was your plan?
I knew we had enough lighting to really light up the corner with the track logo staring out.  We were shooting that setup with the idea that it would make a great double page opener if they ran the horizontal or a great vertical Table of Contents (which is where it ran).  The bulk of the spread was shot with the broadcast lights on during the track trials.  That gave us just enough light to shoot higher ISO handheld.  We also found a corner of the grandstands that would be tucked away from the rest of our shots where we could set up a small portrait studio for the rider profiles.

Is B/W a departure for the magazine? It works great with training images since the equipment and the kits are riddled with logos. Did you plan on BW the entire time?
I can’t remember seeing a full B&W story in Triathlete before.  I know that magazine has run B&W shots in the past, but nothing like this.  I thought it would definitely be a departure for the magazine, but I also thought it would be great if they ran with it.  B&W wasn’t my plan going into it, but it was a solution to our first setup.  Our first shots took place in the motion capture room and would involve having the riders on the bike trainer in a fairly small space.  Taking the time to light those shots would’ve interfered with what they were doing and just gotten the day off to a rough start.  I converted some of the first few shots to B&W and showed our Senior Editor/Writer Jené Shaw who was on set with us that day and emailed our Art Director Lisa Williams (who was back in the office) samples throughout the day so we were all on the same page.
I know you were a runner and now you’re into cycling. Is that why you were awarded the job?
Not originally.  I got this particular job because I had shot for the magazine in the past and their staff photographer (John David Becker) got really sick the day before the shoot.  They contacted me to fill in, because they already had a relationship with me and I was located near where the job had to be shot.  So my interest in cycling didn’t land me this job specifically.
Are you finding that it’s important to actually understand the culture of a specific sport in order to land an assignment?
I don’t know if it’s necessary, but it can’t hurt your chances.  I was told that I got one of my first jobs with Competitor Group, Inc (Triathlete’s Publisher) because they wanted someone with an endurance sport background to be able to talk shop with the athletes.  In the years since that first job I’ve become much more interested in cycling and triathlon because of my involvement with the magazine.  I think my interest and understanding of cycling helped me make better images for sure!  If you’re excited about what you are shooting, it shows!  In my case it helped me land that initial job and I think it’s great way to keep up relationships with the publications, especially specific sports markets like triathlon or running.
What do you think your excitement for road riding brought to the table?
Just that, excitement.  I love cycling and although I haven’t started measuring my watts on rides like the pro riders we had in the feature, I’m just excited to mix two loves of mine ie: photography and cycling.  I had never been to a Velodrome track let alone shoot on one so I was excited from the get go to be shooting in such a great location.
How long did the shoot take?
We had about 30 minutes per rider while they were tracking the bikes on the trainer, and then about 90 minutes so per rider while they were on the track.  It was enough time to get the shots we needed of them riding, but a lot of the story was about the techs at ERO figuring out what they could do to make the riders faster and more efficient.  We had a small side setup tucked out of the way to shoot rider portraits, so we got each rider for a few minutes as they were leaving.  From load-in to tail-lights we shot from 8am to 3:30-4ish.  I’m incredibly happy with the amount and variety of content we got in under a 10-hour day!
How many laps did they do until you got the perfect shot?
They would run in 3-4 laps per adjustment they made to the bikes or their kit so I would get one shot per lap.  All in all, I think we got 10-15 “keepers” per rider on our lit up corner shot.  We lit it in such a way that I could shoot it wide in profile, or straight on with a longer lens.  In some instances, I even had enough time to switch positions during a lap.  That way the magazine had some variation on the shots.
Who had the highest numbers of watts for the lap?
Honestly, I was so focused on getting our shot list and avoiding getting run over (I was laying down on the track really close to the riders for some of these shots) that I never found out!  I do know that Eric Lagerstrom won the Escape from Alcatraz Tri a month or so after his ERO test and fitting!

The Daily Promo: Ed Sozinho

- - Working


Sozinho_PDN002

Sozinho_PDN003

Sozinho_PDN005

Sozinho_PDN006

Ed Sozinho

Who printed it?
I used Moo Printing for this promo piece.  There print quality and sizing were great.
Who designed it?
I have a background in design, so I was very comfortable with designing the piece.  The concept was to produce something that could be taken apart if someone wanted to pin an image to a board.  First and foremost the images had to be clear without distraction, all contact information is on the back of each print.  The clip board was the finishing touch to add protection and a second usable leave behind.
Who edited the piece?
I did the edit and then ran it by a couple of colleagues that I trust to see their reaction.  I found they all enjoyed the physical and tactile act of taking it apart and looking at the images.
How many did you make?
I ran less than 50 for this piece.  This was a very pointed piece to specific individuals.  It’s part of a rebranding and directional shift with my work.
How many times a year do you send out promos?
I send out email promos every month.  I believe it’s important to be front of mind with art directors and clients.  This is the first mailer I have sent out in a long time.  I feel like we are all getting burned out with everything insta- and a flash on the screen.  I found myself enjoying and studying images in print more than on the screen, that instinct told me it was time to try an old school approach.
Where did the clip board idea come from?
A good friend and I were having a bourbon as we do and talking about the piece.  He is a great builder and suggested we build something out of acrylic.  The very next day I went to Lost Luggage to get some supplies for my new printed portfolio, again old school, anyway I was waiting around and found these great pieces.  They are used for menus, I instantly recognized their double use as the promo piece and as a clip board.  It was important for me to make sure whatever I send out could be re-purposed.  The concept developed further with the mini photo of the clipboard with a note pad and asking to repurpose the board, I would hate to see those beautiful boards being wasted.
What’s the backstory to this idea?
I have been wanting to produce a personal series of images that I had running around in my head for a long time.  So I sat down with my sketch book and started getting them on paper.  I then used those sketches to start producing each shoot.  The concept of double lit images was integrated from the very beginning.  It was important for me to create texture and volume with the fill light and an authentic outdoor adventure with the since of place and gesture.  All the models were also wearing Patagonia clothes for a consistent thread of product placement.  These images are not what Patagonia would typically use, that wasn’t the point it was about creating a body of work that was personal in conception but commercial in application.  I created this lighting system using three Canon 600 speedlites with a big soft box mounted to a heavy steel arm.  It weights maybe 15 pounds and acts like a sail.  The first day of shooting with the fly fisherman we had 20 mph winds and my poor assistant almost went into the drink, I have since modified the design so it’s less like a sail.

 

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

- - Working

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

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: Paolo Marchesi

- - Working

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: Paolo Marchesi

_MG_7372

_MG_7584

_MG_7617

_MG_7638

_MG_7833

_MG_7884-Edit-Edit

_MG_7942

_MG_7948

_MG_8070-Edit

_MG_8094

_MG_8102

_MG_8253

_MG_8349

_MG_8388

_MG_8597

_MG_8704

_MG_8736

How long have you been shooting?
20 years

Are you self-taught or photography school taught?
I went to Brooks Institute of Photography

With this particular project, what was your inspiration to shoot it?
Living in Montana I had seen many rodeos, some smaller and others bigger and more commercialized. I find the bigger, more commercialized, rodeos to eventually get repetitive and not so interesting. Shooting the high school rodeo took all the commercial aspect out and it made it for a true experience. I was blown away by how good and tough these kids were. They are the real deal cowboys.

How many years have you been shooting this project before you decided to present it?
I had shot many rodeos over the years of living in Montana but none touched me as much as this one. You could truly feel the tension and energy. These kids and their parents put their soul into it and it showed.

How long do you spend on a personal project before deciding if it is working?
I tend to get distracted too easily by my many interests. I find it difficult to shoot the same thing over and over. I usually move from personal project to personal project. I like to experience it all and if you look at my body of work it shows. At times it can be detrimental as people like to see photographers who specialize.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I never shoot for my portfolio, my personal work is my portfolio. Since the beginning of my career as a photographer I only photographed things that I was passionate about or involved in. I never specifically photographed subjects that might sell or get me a job. If I am not interested in them I don’t shoot them. I became a photographer by documenting my lifestyle and activities I participate in.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I post on facebook and instagram. I started writing short stories in chapters on Instagram and has been fun. I love story telling using images and words. I just finished three stories about my dogs that had quite some success. You can check them out on Instagram @marchesiphoto

If so, has the work ever gone viral and possibly with great press?
Yes, I had a picture of a trout jumping and a river surfing story I wrote and photographed that went viral. For sure great press but I can’t associate much monetary gain from it.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I have printed them as promos.

————-

It all started with that trout at age 4. It was a beautiful morning on the Sesia River in the Italian Alps. Who would have known that a fish could change someone’s life forever. Many years and more fish went by before I graduated in Design from The Istituto Europeo Di Design, in Milan. I worked as a Junior Art Director in Paris and as a designer in Italy until I picked up a camera. It didn’t take long to realize that T squares and rulers weren’t for me. I grabbed the camera and flew across the Atlantic to move to Santa Barbara California where I graduated from Brooks Institute of Photography with a Degree in Commercial Photography. Upon graduation I packed my bags and moved to San Francisco. San Francisco is a cool city, and no one can deny it but every time I drove to Hat Creek or the Owens River to fly fish or the Sierras to climb something happened inside me. The peace and beauty of rivers and mountains inspired me and raised many questions. I had been working in the city for 5 years, doing mostly digital and studio photography until one day stuck in traffic on the Bay Bridge on my way to Yosemite I asked myself why? I watched the driver next to me honk in anger at the stranger in front of him and asked myself why again? I asked myself why many times until in spring 1999 I packed everything and moved to Montana. I wanted to be closer to my cold blooded friends and nature, away from stress and a crowded existence. A few years later, while visiting my brother in Indonesia, I discovered surfing and rekindled my passion for the Ocean. I realized I needed surf and Ocean in my life to have a complete picture. I decided to buy a house in Todos Santos, Mexico and have been splitting my life between the two places. Working worldwide from Mexico and Montana focusing my photography on the outdoor activities I love to do and being outside in nature in search for a new adventure. Couldn’t do it any differently…


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.

I Don’t Object To Staging – The Honesty Lies In My Ability To Understand

- - Working

I remember your picture of a Spanish woman throwing water into the street. Was this staged?

A. I would not have hesitated to ask her to throw the water. (I don’t object to staging if and only if I feel that it is an intensification of something that is absolutely authentic to the place.)

Q. Cartier-Bresson never asks for this…. Why do you break this basic rule of candid photography?

A. I didn’t write the rules — why should I follow them? Since I put a great deal of time and research to know what I am about? I ask and arrange if I feel it is legitimate. The honesty lies in my — the photographer’s — ability to understand.

Q. Why do you print your own pictures?

A. The same reason a great writer doesn’t turn his draft over to a secretary… I will retouch.

via Discussing Honesty in Imagery – NYTimes.com.

Josef Koudelka on Motivation, Humanity and What Makes a Good Photograph

- - Working

LH: How important is composition in your photographs?

JK: It’s not a good photograph without good composition. Originally I’m an aeronautical engineer. Why do airplanes fly? Because there is balance.

A good photograph speaks to many different people for different reasons. It depends on what people have been through and how they react.

The other sign of good photography for me is to ask, “What am I going to remember?” It happens very, very rarely that you see something that you can’t forget, and this is the good photograph.

via PDN Online.

World Press Photo Sets The Bar For Allowed Image Adjustments

- - Working

Bravo to World Press Photo for taking a leadership role in the debate of what levels of image enhancements, adjustments and manipulation are acceptable for photojournalism. As the winners of this years contest were announced the news that 20% of images that made the final round were rejected for “manipulation or careless post-processing” left many people with jaws agape.

You can engage in the debate with the links below (if you haven’t already), but I wanted to highlight what I think are very important changes in how image adjustments are viewed.

David Campbell, Secretary of the 2015 Photo Contest jury, tweeted out the following:

This is a major departure from the old standard of “digital darkroom” which tried to allow old darkroom techniques used by many of the great photojournalists.

This departure is highlighted by Jury chairwoman, Michele McNally in a story on the lens blog titled “Debating the Rules and Ethics of Digital Photojournalism” where she states:

“digital is not film, it is data — and it requires a new and clear set of rules”

It’s also worth noting that World Press Photo called in all the RAW files for images in the penultimate round and then had independent experts perform forensics on the images and present their findings to the jury.

I think World Press Photo has taken some important steps this year in leading by example. The old darkroom technique of burning and dodging things out of your images are OUT but processes that adjust the aesthetics are IN.

http://lens.blogs.nytimes.com/2015/02/17/world-press-photo-manipulation-ethics-of-digital-photojournalism

https://storify.com/davidc7/what-are-world-press-photos-rules-and-standards-on

http://blog.photoshelter.com/2015/02/world-press-photo-eliminates-20-percent-of-images-for-manipulation/

http://www.bjp-online.com/2015/02/image-manipulation-hits-world-press-photo/

http://time.com/3706626/world-press-photo-processing-manipulation-disqualified/

https://www.david-campbell.org/photography/manipulation-examples/

https://bitly.com/bundles/martijnkleppe/m

Advertisment ad adsense adlogger