This movie looks funny as hell. “What attracts me to his work is how uncomfortable it makes me feel.”
Taking a cue from the Creative Review Blog I wanted to ask my readers as well: How do you decide what to charge?
Here’s an excellent Cost of Doing Business Calculator (here), where you input your desired salary, then add up all the business expenses that can’t be billed back to the client and it gives you a day rate based on how many days you expect to bill for the year. In cases where the fee is fixed and below your day rate–editorial comes to mind– you would simply make sure you could subtract something from the promotion or testing category to make it all balance out (or your salary if it has some perceived future benefit).
Back when I used to work for photographers and negotiate the shoot fees the goal was to make the client cringe and not hang up. It would have been much better to do a budget and make sure we were making what we needed to. There seems to be a sudden spate of high end photographers headed for bankruptcy (here), don’t be one of them.
“Speaking as someone who enthusiastically sold out, every time I’ve done something just for the money, no matter how much they paid, it was never enough.” — Pentagram’s Michael Bierut
In 2007 Matt Mendelsohn heard from a friend about a recently graduated fashion student who had all 4 limbs amputated. At the time she was near death but soon turned the corner and a year later was teaching fashion at her alma mater, Virginia Commonwealth University. Matt, a longtime journalist, decided he needed to go document her story on his own, he knew the story needed to be told but didn’t want to waste time lining up an assignment. He ended up photographing and writing a compelling 10,000 word piece about Lindsay that was recently published… on sportsshooter.com (here). He shopped it around to several publishers but they all turned him down. At one big national newspaper the publisher said “advertisers wanted happier stories, not ‘depressing’ ones.”
Of course none of this is news to photographers who now regularly see important stories get trounced by the celebrity/fad of the week. In my own brief magazine career I would often get important stories handed to me with an edict to make the images “happy” so the advertisers don’t get upset. I have a little “lesson” of my own for publishers that I’d like to impart. No matter how much ass kissing you do, your advertisers are still leaving. In fact they may be leaving more quickly now because your readers no longer consider you a “must read” after you’ve taken the edge off everything (due to all that ass kissing, natch).
After the EIC of Self magazine defends their body image distorting cover retouching policy by saying “Did we alter her appearance? Only to make her look her personal best.” The proper response is for a competing magazine to run Matt Mendelshon’s “the Lessons of Lindsay” and tell Danziger to go stuff it. Why won’t anyone do that anymore?
see you next week.
1. You can only work for people that you like.
2. If you have a choice never have a job.
3. Some people are toxic avoid them.
4. Professionalism is not enough or the good is the enemy of the great.
5. Less is not necessarily more.
6. Style is not to be trusted.
“… the point is that anybody who is in this for the long haul has to decide how to respond to change in the zeitgeist. What is it that people now expect that they formerly didn’t want? And how to respond to that desire in a way that doesn’t change your sense of integrity and purpose.”
7. How you live changes your brain.
8. Doubt is better than certainty.
9. On Aging.
10. Tell the truth.
“Sir, we’re not the taco stand” I clearly remember an argument with my editor once where he stood there for half an hour trying to tell me that the shoot budget needed to come down and I tried to explain that no, if he wanted to pay less then we needed to change the shoot not just tell someone to make it less. Explaining it in “real life” terms, that we’re ordering the tenderloin and if you want to pay less just order a hamburger seemed to help.
On a similar note there a new documentary out about writer Harlan Ellison called Dreams with Sharp Teeth. Remember this line from the writers strike:
“I should do a freebie for Warner Brothers? What is Warner Brothers – out with an eye patch and a tin cup on the street? Fuck no! . . . I sell my soul, but at the highest rates. I don’t piss without being paid.”
“The trick is not becoming a writer. The trick is staying a writer.”
Floating down a river in Utah. See you next week.
Wintour is involved in every detail of the magazine: the clothes, editing the pictures and articles. She is decisive, impatient and bears a look that says “I’m the boss, and you’re boring.”
1. Members of the service are reminded that photography and the videotaping of public places, buildings and structures are common activities within New York City. Given the City’s prominence as a tourist destination, practically all such photography will have no connection to terrorism or unlawful conduct. […]
2. Members of the service may not demand to view photographs taken by a person absent consent or exigent circumstances. […]
Sports Illustrated has a new book out on May 5th called Slide Show that examines the actual physical slides from the images that made it into the magazine. They pulled their most famous and iconic shots from their archive of more than 750,000 original slides and photographed the mount with all the writing, marks and then the x-acto cut where the image was removed for scanning. Beyond the obvious rehashing of the SI photo archive for cash I felt a twinge of nostalgia for the transparency on the light table. Don’t get me wrong I couldn’t wait for the day when I wouldn’t have to handle slides anymore (which if you think about it has barely arrived, because I remember lots of slides kicking around the office 3 or 4 years ago), but I remember searching through piles and piles of slide sheets for cover shots or openers and it was just so awesome when you hit the jackpot. Also, it’s amazing to see them turning all these horizontals into vertical covers. They must have had some kick ass film scanners at SI because I remember it being so difficult to get a decent cover that way. I think any hardcore sports photographer or photo editor will find this book interesting.
SLIDE SHOW, which retails for $29.95 U.S./$32.95 Canada (Hardcover), will be available online at bookstores nationwide beginning May 5, 2009 (Amazon link).
Jonathan a 3rd year photojournalism student at Ohio University’s School of Visual Communication has a Business Practices class taught by Professor, Marcy Nighswander (that’s what I’m told in an email anyways). For their first assignment she asked them to contact photo editors and ask them “to identify why they quit using a freelancer’s services or product.” Basically, Mrs. Nighswander, wants us to ask industry professionals if they stopped using a freelance photographer’s work for some reason such as, and not limited too, a poor professional relationship or lack of commitment.
I think the vast majority of photography that goes on in the world is simply a business transaction. You sell a product, your customers need it, and they will go elsewhere to get it if you don’t conduct yourself in a professional manner. Customer service, good communication skills, contract writing and all manner of business acumen is required in addition to the ability to take pictures.
Beyond that and I think the higher up you you go in the photography food chain the main reason to stop working with a photographer is if the shoot fails or if you or someone in the chain of command above you decides they don’t like that style of photography.
One of the important jobs photo editors and art buyers do besides finding photographers and working out the details of the shoot is determining beforehand if the photographer you want to work with can execute and deliver the shoot in a professional manner. You call them up on the phone, check out their portfolio and marketing material, look at the client list and generally try to get a feel for it beforehand.
Doug Menuez writes on his blog today (here) about the cold hard truth of shooting for the top news magazines in the 80’s:
At a conference in the 80’s I once heard a young photogapher ask Roxanne Edwards at Business Week what would happen if, you know, somehow the film just did not turn out? Response: “Then you would never work for us again.” Sharp, honest, true answer. But seriously, doh! The other editors on the panel from Time, Newsweek, US News all shook their heads solemnly in agreement. The pressure to get world-class images on deadline against tremendous competition was unrelenting, yet it was also what fueled us.
From the wish I’d said it category:
“It is no surprise that talented photographers are 99% pain in the ass to work with. They have strong opinions, are stubborn, reckless, and most of the time have an extremely bad character. But that is simply because they are constantly challenged by a reality that annoys them. Like being assaulted by mosquitoes, all the time. They don’t have an attitude problem, it’s the world that lacks one.” — From that goddam Bohemian.
My favorite was always when the editor would come stomping into my office all up in arms because the photographer had made all kinds of unreasonable demands on the writer and/or the subject. And, at first I was concerned but then I’d investigate and maybe the subject wasn’t told there would be a photo shoot (a magazine is pictures, words and design you want to write a book go somewhere else) or possibly the writer expected a photographer to follow in their shadows (we need time with the subject to make great pictures) and more likely it’s because creative people are difficult and demanding and it’s not like your writer isn’t a neurotic basket case on deadline, the photo shoot is our deadline. Get over it.
What I guess goes through my mind when I’m taking a picture is I’m thinking wordlessly about how all these elements relate to each other and I’m thinking again wordlessly about finding a balance that I look for a point that seems central to the picture and when I find that point that tells me where to stand and where exactly to aim the camera.
— Stephen Shore
A work can hold a lot of different things at once. explore the medium, explore perception and explore other psychological levels. I think all these levels operate through work at the same time so I don’t feel like I need to limit what I’m doing, that I can hold all these things.
— Stephen Shore
So, it appears that Omnicom Group doesn’t want to be responsible for paying vendors if the client hasn’t paid them. It certainly seems to be the trend these days where citizens are held responsible for corporations that can’t pay their bills but an advertising agency eliminating their traditional role as financier for advertising campaigns maybe signals an impending overhaul of the way business is conducted. It seems like some kind of insurance may be required to pull off a big budget shoot in the future.
Here’s the media alert ASMP sent out:
Omnicom Passes the Buck
It has been brought to the attention of the American Society of Media Photographers (ASMP) that the Omnicom Group, the world’s largest advertising agency holding company, has changed its terms and conditions in an effort to limit their agency liability and in so doing transfer that liability to independent photographers and producers. Basically, by disclosing their agency status and for whom they are acting, the advertising agency is only liable to the extent that their client has specifically paid them for any amounts payable to you. Additionally, ASMP has been informed that reps are being told that there will no longer be any advances on assignments.
These new policies are most probably the result of the market and governmental pressures experienced by major corporate clients such as GM who in their effort to avoid bankruptcy are now prioritizing their financial obligations and will make payment according to those priorities. In other words, some suppliers will be waiting significantly longer to be paid depending upon the client’s priorities. That being the case, agencies do not want to be left on the hook for reimbursement of monies expended on behalf of their clients, especially where the fear of bankruptcy exists.
These terms and conditions are simply not in the best interests of photographers, producers or clients. This action, clearly taken in anticipation of increasingly difficult financial conditions is a unilateral effort to shift the burden onto those who are least prepared to bear it. Should an independent photographer of moderate means be the banker for a Fortune 100 company? By eliminating their customary role as intermediate financier, agencies are removing value from the value-added chain, and that will ultimately lead to an overall dampening effect on commerce.
Meanwhile, there is no incentive for the agencies to make photographer friendly changes to their terms and conditions as long as photographers are willing to accept the current terms. Notice of these changes should be included in your blogs and discussed on related lists and social networking sites. The issue needs to become viral and requires significant support from key photographers in order to gain traction and effect change. If it is business as usual for the agencies, then nothing will be accomplished.
ASMP would recommend that photographers include in their paperwork a statement making it clear that there will be no grant of copyright license until all related assignment invoices are paid in full. Images should be registered with the Copyright Office immediately upon completion of the shoot and prior to first publication and/or possible infringement so that in the event that legal action – a last resort – is needed, recovery of statutory damages and court costs will be possible.
In addition, the Association of Independent Commercial Producers (AICP) recommends the following:
“If an agency’s internal policy insists upon these payment terms (sequential liability), the production company should:
a) Make sure the advertiser (“client”) also signs this agreement. If it is a rider, the terms of payment and the full contract price should be added to the rider.
b) Be provided with the advertiser billing and contact information.
c) Copy the advertiser on all invoices.
d) Notify the advertiser of payment due as soon as terms of the contract (payment dates) are not met by the agency.”
As a possible course of action, since the agencies are shifting liability to their corporate clients, perhaps photographers should consider approaching the clients directly for advances and or other payments prior to the beginning of the assignment.
Ultimately, this is a case of the supplier beware!
Executive Director, ASMP
Honestly Rodale it’s not like you fought the good fight or anything. You saw some trouble on the horizon and quickly pulled out a gun and shot yourself in the head.
From the media kit: “Best Life teaches successful men the art of balance. Luxurious yet packed with service, Best Life guides its reader through the many demands of his life—teaching him to manage his finances, nurture his family, care for his health, protect his environment, and still find time to pursue his passions.”
More like: “We created this magazine for advertisers. We don’t give a crap about the staff, contributors or readers. We put all that stuff between the covers to keep the ads from touching each other.”
Look, I get it. These are corporations. The bottom line is the bottom line. It’s just that some of these magazines are starting to look like wall street ponzi schemes.
I got an email from a photo editor this week asking for advice in a situation that he’s found himself in at a magazine. His Art Director is an “old-schooler” where you pick your images based on physical qualities like focus and level horizons. He also has a penchant for sunny blue skies. The editor on the other hand wants the literal translation of the story in pictures and will pick the worst image of the bunch as long as it contains the who, what, when, where, why or how of the story. Top that all off with the fact that the two of them have been around for a long time and tend to use the length of their experience as a way to push their same as it always was agenda.
This situation is a little unusual in that it’s usually only the editor that favors literal images and uses things like the meteorological conditions in the image as a point of argument for or against using something. In the past I’ve always had good luck teaming up with the Art Director to get things past the editor and I made a post awhile back about my techniques for getting new photographers past them for assignments:
1. Gang up. Get the Creative Director to back you in the meeting. “Oh yeah he’s great, I worked with him at my previous magazine and he always delivered.”
2. Shiny Objects. Toss out important people or magazines they’ve shot for. “He shot a feature in Vanity Fair recently.”
3. Padded Portfolio. Print the portfolio shots that back your case. “See, she really gets what we’re trying to achieve here.”
4. Play Dumb. Assign and feign telling them about it recently. “Oh, I thought we discussed that she was shooting this earlier.”
The same sort of ideas work well for getting the images you want published.
1. Stall- I used to find myself in a situation where the editor would end a layout review with “Let’s see if we can top that.” To which I would spend the rest of my time that month not trying top it, because I was perfectly happy with the images we had picked. I also recall a separate situation near the end of my tenure where I had commissioned a heavy hitter to shoot a portrait for the opener of the story. The editor was not pleased with the results because he was expecting… something more literal, so I was tasked with dredging up every little bit of stock that might work instead. I didn’t completely phone-it-in, so as not to arouse suspicion, but I did find it handy to read blogs instead of scour Getty for hours on end.
2. Withholding- The classic technique is to simply leave out the obvious choices. This is like playing chicken: “Is this all there is?” “Well, these are the best.” “Can I see all the images?” “I’m still working on it, can we try these first?” “Ok, but then after this I need to see the rest of the images.” “I have a doctors appointment so it will have to wait.”
3. Showdown- First, you need to lean on the Art Director to include your images in the layout choices for the editor. Looking at pictures in the layout is so much better than on your screen or the light table (sadly only used for printouts now) and brings you one step closer to the final OK. When your variation comes up on screen or is presented you need to fight tooth and nail to defend it. This is where reading books that talk about photography comes in handy. Defending an image by saying “I like it a lot” will get you nowhere. Sometimes, honestly it comes down to a fight where telling them they’re making a huge mistake and the picture they picked blows is your only choice.
4. Build Your Case- Changing someone’s mind about the photography they think is “good” can take months and possibly years of laying a foundation with examples of work you think is important. You need to provide examples and reinforcement of quality imagery in the field. I used to have a huge bulletin board where I would rip pages out of magazines, tack up promo cards and prints of the images they didn’t pick as sort of a massive mood board to the direction I wanted the photography to go. Also, buy plenty of magazines that are using photography well and show them to the editor whenever you get a chance. Anything redesigned by Luke or DJ at Pentagram is always a sure bet.
None of this is easy. Expect your stomach to be doing back flips and your hair to tingle as you try to steer the Titanic away from the ice.
Finally, I will say this about the future of magazines and photography. There is no future for magazines that don’t challenge and surprise their readers with original sophisticated imagery. The internet has set the ground floor and if you can’t rise above it, you will disappear.
Everyone has a “best photo you ever made” and when you’re getting started hopefully it is continually replaced by a new best photo you ever made, but at some point a picture that you made stands for a very long time (or an essay, book, body of work).
Erik Hersman was blogging from TED 2009 and filed this from a talk Elizabeth Glibert author of “Eat, Pray, Love” and it got me thinking about dealing with not being able to capture lightning in a bottle twice:
Elizabeth Gilbert: Genius and how we ruin it
Elizabeth weaves an insightful story of artists, success and pressure. She asks if she’s doomed. What if she never replicates the success of her past book? Is it rational or logical to be afraid of the work that we were put on this earth to do? Why have artists and writers had this history of manic depressive and mental illnesses? Why does artistry always lead to mental anguish?
“I think it might be better if we encouraged our great creative minds to live.”
“It’s exceedingly likely that my greatest success is behind me. That’s the kind of thought that can lead a person to start drinking gin at 9:00 in the morning.”
Read it (here).
I can identify many photographers by a single image or a series of images but when I talk to them about it they tend to talk about all the flaws in the images or how it was a fluke. I wonder if that’s just a defense mechanism. I suppose there are the popular “best photos you ever made” and the critical version but when you’re just trying to make it the popular one counts the most.
UPDATE: The video just went live.