Wow. Just Wow.
Larry Fink has spent over 40 years photographing jazz musicians, wealthy manhattanites, his neighbors, fashion models, and the celebrity elite. His archive is a thoughtful collection of American history, and Fink’s experience of it. See the project at http://mediastorm.com/clients/2015-icp-infinity-awards-art-larry-fink
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
How long have you been shooting?
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 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.
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.
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 means no significant material may be added or removed by either cloning or substantial toning.
— David Campbell (@davidc7) February 12, 2015
Jury based decision on outcome (whether significant material had been added or removed) irrespective of technique (cloning or toning) used.
— David Campbell (@davidc7) February 12, 2015
All images are processed. Levels of processing that do not add or remove content a matter for aesthetic judgement.
— David Campbell (@davidc7) February 12, 2015
Levels of processing that do not add or remove content a matter for aesthetic judgement, and do not break contest rule.
— David Campbell (@davidc7) February 12, 2015
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.
In a clear violation of the ASME (American Society of Magazine Editors) Guidelines, Condé Nast has asked their Editors to write advertorials for the magazines they edit:
Condé Nast caused a stir in the media world Monday when it announced plans for a new studio that will allow marketers to work directly with editors at its magazines to create “branded content,” ads designed to blend in with regular articles.
ASME Editorial Guidelines state:
9. Don’t Ask Editors to Write Ads
Editorial staff should not participate in the creation of advertising. Editorial contributors should not participate in the creation of advertising if their work would appear to be a conflict of interest.
The Board of Directors reserves the right to expel from membership in ASME any editor of a print or online magazine who willfully or repeatedly violates the ASME Guidelines for Editors and Publishers.
The National Magazine Awards are tonight and they’re even giving renown photojournalist James Nachtwey an award for Creative Excellence. I wonder if ASME will stick up for editors and next year The New Yorker, Vanity Fair, Vogue, W, Wired, GQ, Bon Appétit, Traveler and Details will not be allowed to participate? Challenging times for magazines for sure.
At least fifty percent of the image is done in the darkroom—I think Gene would say ninety percent. The negative has the image, but it can’t produce the image completely, as the photographer saw it—not as Gene saw it. You have to work it over and over with the enlarger, you have to burn it in, you have to hold back areas—this detail down here or over there.”
Karales continued, getting more specific about the technique: “Gene always liked to get separations around people, figures, and that was always done with potassium ferrocyanide. It was the contrast that made the prints difficult. Gene saw the contrast with his eyes, but the negative wouldn’t capture it the same way. So he would have to bring the lamp down and burn, and then if that spilled too much exposure and made it too dark, you would lighten it with the ferrocyanide. You had to be careful not to get the ferrocyanide too strong, and yet you couldn’t have it too weak, either. If it took too long, it would spread. So I would blow the fixer off of the paper so ferrocyanide would stay in an area, and then dunk the paper right away to kill the action. Or if you wanted something to go smoother, then you left the fixer there. It was extremely delicate and complicated, but we got it down pat.”
Photographers Rep, Heather Elder, has a conversation with her photographers every year defining creatively and financially what a successful 2015 will look like. She has a post up on her blog notesfromarepsjournal.com with two very important trends happening in our industry: http://notesfromarepsjournal.com/2015/01/13/want-to-know-what-we-told-our-photographers-about-2015
These trends reveal a change in the conversation she has with creatives where it is now assumed that anyone being considered is 100% right for the project and has the talent, vision and skills to pull it off.
Now, instead of scrutinizing your work, it is about how much can you shoot? What is your vision for the photography? Do you have similar libraries to show the client? There will be a lot of moving parts, how will you produce this project? Are you willing to negotiate? And, will they enjoy being on the production with the photographer?
And social media is a natural conduit where these conversations can begin. Many photographers have the chops, but are not having the conversation with their potential clients. Here’s a post to push you in the right direction.
I can take a significantly better looking image with my iPhone today, than I could with a $22K digital camera in 1999. A teenager can share an image so much more easily with millions of people, for free, and do so so much more quickly, than I could as a photojournalist at The New York Times less than a decade ago… and that’s amazing, and at times of course: scary.
Both the QUALITY and COST have been evened out within our business: and historically that’s relatively rare.
The question we now must all ask ourselves as creative professionals is: how do we survive within this new landscape? (especially in one that is moving so fast!)
[…] Well then answer has been around for awhile. It’s nothing new: it’s called SKILL and KNOWLEDGE OF (and respect of) CRAFT.
Am I an idealist? SURE – but I also think I’m quite grounded in reality. And I think that as the cameras become ubiquitous, as everyone gravitates towards the same tools, the playing field will truly become leveled, and ironically we’ll discover that our only true differentiator in time will become the author’s understanding of how they can best put those tools into use. That is what will ultimately set us apart from one another. The exponentially increasing camera technology will indeed be its own worst enemy.
— Vincent Laforet
Read the whole post on: Vincent Laforet’s Blog.
PDN: What kinds of changes to the industry had the biggest impact on your work as an agent?
JR: Before I answer, I should say that the governing principles remain the same. It’s a timeless dynamic, going door-to-door flogging stuff. There’s all sorts of nuance, but it only takes one bout of sitting in an advertising agency’s reception area surrounded by portfolios—waiting for the assistant art buyer to totter out and escort you to a conference room—to allay any doubt that there’s something fundamentally Willy Loman about the whole gig. That hasn’t changed. Nor has the fact that we need them more than they need us.
There were times I’d take some conference call, having stepped away from the dinner table at home; I’d be pacing about on the porch, gesticulating like a spastic cranefly, snorting, laughing too loud, spouting platitudes about “authenticity” and “shooting from the inside out.” Then I’d come back in and there’d be [my family] Juliette, Winnie and Dusty staring at me with half eaten meals and that collective “who the fuck are you?” look. Like the girls had just watched their dad dance on a bar in a Speedo for nachos.
Digital changed the landscape. Before the pixel, craft was still an elemental component of the narrative. A process that involved trusting strips of cellulose in a mysterious dark box was replaced by instant, impeccable rendering, in situ on vast monitors. The photographer’s role as sorcerer and custodian of the vision was diminished: The question “have we got it?” became redundant. Now it was the photographer asking the art director asking the client. Which is a big deal. Because the previous dialectic was that you engaged people who brought something to the party you couldn’t provide yourself. Like Magi, the “creatives” brought creativity; photographers, vision. By abdicating those responsibilities to the guy who’s paying, you’re undergoing a sort of self-inflicted castration. A culture of fear and sycophancy develops. Self-worth diminishes, because nobody really likes being a eunuch, even a well-paid one. There’s less currency in having a viewpoint. The answer to the question “What have you got to say?” drifts towards “What do you want me to say?” There’s reward in being generic, keeping one’s vision in one’s pocket. Trouble is, when your vision has spent too long in your pocket, sometimes you reach for it and it’s not there any more. Something Pavlovian sets in: the bell rings when it’s kibble-time and you drool on cue. Suddenly many jobs can be done by many people, photographers become more interchangeable, the question of “Why him over her?” shifts to ancillary aspects of the process; personality, speed, stamina, flexibility. And there’s profit in mutability; being able to gather several photographers under a single umbrella with a shared mandate makes you more flexible and attractive. But the corrosive byproduct is that the unique sniper’s eye of a Greg Miller, Chris Buck, James Smolka, Sian Kennedy becomes not only less relevant, but actually an obstacle. In shifting ground to garner a larger share of the mainstream, you risk losing identity, licking the hand that feeds you.
There were other strands that played into this shift. The “make it look like my niece could have shot it” esthetic; the bespoke corporate stock library with its emphasis on bulk delivery of cliché; endless emphasis on “aspirational” as a reaction to difficult economic times. Oh, and how about the Death of Print? Half the industry getting fired in a month and no sign of a magazine this side of Bulgaria. Loop back to the top. Add decimation and fear.
Read More: PDN Online.
Cinematography is a strange blend of creative art and practical resourcefulness. Deakins is aware of this and, while striving for artistic relevance in his films, acknowledges that he sometimes needs to get out of the way and avoid favoring perfectionism over the realistic obstacles of a shoot.
He’s also quick to point out that his job is ultimately to serve the director and that the “art” of cinematography is meaningless when it doesn’t benefit the director’s vision.
It is this combination of attitudes that makes Deakins a voice of reason in cinematography circles. He’s such a capable artist who, at the core of it, is OK with releasing his “art” into the public — shortcomings and all.
Read more here: The Black and Blue.
Good advice on reaching photo editors with your work: “It doesn’t matter how you approach me as long as it’s a good photo”.
I sent takedown notices to a store selling phone cases, to Etsy for an artist hawking pirated prints of a fire ant, and to Twitter for an exterminator heading his company account with one of my bed bug photographs.This rate of commercial infringement is normal, as photographers and other online visual artists can attest. I deal with most cases by using a provision of the 1998 Digital Millennium Copyright Act DMCA that requires Web hosts to remove infringing content when informed. I send, on average, five takedown notices to Web hosts every day, devoting ten hours per week to infringements. Particularly egregious commercial infringers get invoices.
I actually have let a few of my most commonly infringed images go unenforced. I could not keep up, so I left these as a natural experiment. The result confirmed what I suspected: images that become widespread on the Internet are no longer commercially viable. Thousands of businesses worldwide now use one of my Australian ant photographs to market their services, for example, and not a single paying client has come forth to license that image since I gave up.
Copyright infringement for most artists is death by a thousand paper cuts. One $100 infringement here and there is harmless enough. But they add up, and when illegal commercial uses outnumber legal ones 20 to 1 in spite of ambitious attempts to stay ahead, we do not have a clear recourse. At some point, the vanishing proportion of content users who license content legally will turn professional creative artists into little more than charity cases, dependent only on the goodwill of those who pity artists enough to toss some change their way.
Many photographers and photo editors have asked me to look into rates for social media use. I reached out to Suzanne Sease for the first of what will be a series of articles looking into the pricing and usage. – rob
When Rob asked me to reach out to Art Directors and Art Producers to get an idea of what photographers are charging for social media, I got a surprising lesson. Since I was an Art Producer for over 20 years, I am very fortunate to be able to reach out to those currently in the field. To get a more complete understanding of pricing I spoke with people from traditional advertising agencies to social media ad agencies to in house corporate ad agencies. These businesses were all over the country from large to small cities.
I found quite a range in pricing with free use from amateurs to inexpensive stock to photographers shooting original content making the best rates. Several articles I found mentioned clients taking the ad budget for TV and allocating it to social media to use the free venues (Facebook, Twitter, Instagram, Tumblr, Pinterest, Vine, YouTube to name a few) to promote their brand. Because these venues are free, clients sometimes put little value in paying for images. Many have social media marketing rolled into use by asking for unlimited. Some said they spell it out like consumer print, social and internet because they don’t need trade. If they don’t have a great budget they will not ask for unlimited because it is print where the money is spent and social is thrown in.
Many clients doing social media only are looking for stock and a Senior Art Producer at large top agency I talked to said they pay as little as $50.00 to $65.00 per image for use with top brands. The images were anything from a scuba diver, grandfather and grandson fishing, a campfire, sandcastle on the beach, and cows grazing that were shot well. These images came from Getty, Masterfile, Corbis and Shutterstock.
One Creative Director at a social media advertising agency said they felt that places like Flickr, Tumblr and Instagram were going to make a photographers business harder while another Senior Art Producer said that Flickr was a dangerous alternative, because releases are not filed and determining if the person who posted the image is actually the true owner of the copyright can be difficult. They said they will only work with known stock companies because their contracts protect as well as indemnify their client. Another Senior Art Producer at another large International ad agency said they recommend clients purchase royalty free images from $300 to $500 each so they can use it forever. They also said that banner ads would price between $500 and $700 for year with a rights managed image. If they used rights managed images for social media, the range is $300 to $500 for the year.
There are some photographers who have positioned themselves to work on social media campaigns. I interviewed one photographer who has been asked to do many social media only campaigns and the fees have a huge disparity because of different client budgets. On the high end, they got around $8,000 for 6 shots in 1 day of shooting.On the low end was $650 for one image/unlimited usage. They said that most clients are looking for quick images that do not have the detail and production value of a print shoot. On the average shoot, the client wants up to 25 images with social media use only for around $5,000.
The best way to position yourself is to be on a retainer for a client so you can shoot when the client has an immediate need (sometimes in real time). This goes for about $10,000 a month for social media use only.
A Creative Director at a social media ad agency said they would pay $500.00 for a one image shoot with lasting 2-3 hours total (pre-pro, shoot and edit). This is how fast clients want to get their social media marketing up. And for shoots when they need 15-25 images in one day, their client pays $2,000 max. Some clients will have usage based on time but more and more are asking for unlimited.
An example of the speed of the images needed, if you remember during the 2013 Super Bowl when the power went out, it was the ad agency for Oreo (360i) who sent this tweet out and it was advertising gold. It was because usage had been covered in the original negotiation that allowed them to tweet it.
Kit Kat just surpassed Oreo at Apple’s expense with the “bending” iPhone 6 plus.
And then there is Real Time, where someone is hired to shoot and send images out as they are shot. The fashion industry likes to do this as well as brands holding an event to get more people to the event. In this situation they will pay about $1,000 to $2,000.00 per day plus expenses for a full buyout.
Finally and unfortunately in some cases advertisers are starting to use everyday people to add to their social media marketing to give their brand more attention. They are not paying for the rights to use those image.
Here are some interesting articles I found:
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 founding 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 fed with helpful marketing information believing that marketing should be brand driven and not specialty. Follow her at SuzanneSease.
She is presenting with Kat Dalager Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014/
If you want to comment on the “Directive for Commercial Filming in Wilderness; Special Uses Administration” that was widely reported to allow charging people $1500 to take photos on federal wild lands you can do so here (deadline extended to Dec. 3):
I can’t make heads or tails of the directive pasted below but on Friday the Washington Post reported:
After receiving complaints about a proposal to require photographers to have a permit to shoot on federal wild lands, the U.S. Forest Service says it will make some changes to ensure it doesn’t violate First Amendment rights.
And that the news media and private individuals will not be asked to apply for a permit to take pictures.
Directive for Commercial Filming in Wilderness; Special Uses Administration
This Notice document was issued by the Forest Service (FS)
Notice of proposed directive; request for public comment.
The Forest Service proposes to incorporate interim directive (ID) 2709.11-2013.1 into Forest Service Handbook (FSH) 2709.11, chapter 40 to make permanent guidance for the evaluation of proposals for still photography and commercial filming on National Forest System Lands. The proposed amendment would address the establishment of consistent national criteria to evaluate requests for special use permits on National Forest System (NFS) lands. Specifically, this policy provides the criteria used to evaluate request for special use permits related to still photography and commercial filming in congressionally designated wilderness areas. Public comment is invited and will be considered in the development of the final directive.
Comments must be received in writing on or before November 3, 2014 to be assured of consideration.
Submit comments electronically by following the instructions at the federal eRulemaking portal at http://www.regulation.gov or submit comments via fax to 703-605-5131 or 703-605-5106. Please identify faxed comments by including “Commercial Filming in Wilderness” on the cover sheet or first page. Comments may also be submitted via mail to Commercial Filming in Wilderness, USDA, Forest Service, Attn: Wilderness & Wild and Scenic Rivers (WWSR), 201 14th Street SW., Mailstop Code: 1124, Washington, DC 20250-1124. Email comments may be sent to: email@example.com. If comments are submitted electronically, duplicate comments should not be sent by mail. Hand-delivered comments will not be accepted and receipt of comments cannot be confirmed. Please restrict comments to issues pertinent to the proposed directive, explain the reasons for any recommended changes, and, where possible, reference the specific section and wording being addressed.
All comments, including names and addresses when provided, will be placed in the record and be made available for public inspection and copying. The public may inspect the comments received at the USDA Forest Service Headquarters, Sidney R. Yates Federal Building, 201 14th Street SW., Washington, DC, in the Office of the Director, WWSR, 5th Floor South, during normal business hours. Visitors are encouraged to call ahead to 202-644-4862 to facilitate entry to the building.
For Further Information Contact
Elwood York, WWSR, at 202-649-1727.
Individuals who use telecommunication devices for the deaf (TDD) may call the Federal Information Relay Service (FIRS) at 1-800-877-8339 between 8:00 a.m. and 8:00 p.m., Eastern Standard Time, Monday through Friday.
1. Background and Need for the Proposed Directive
The proposed directive is necessary for the Forest Service to issue and administer special use authorizations that will allow the public to use and occupy National Forest System (NFS) lands for still photography and commercial filming in wilderness. The proposed directive FSH 2709.11, chapter 40, is currently issued as the third consecutive interim directive (ID) which is set to expire in October 2014. The previous directive addressed still photography in wilderness and did not provide adequate guidance to review commercial filming in wilderness permit proposals. The notice and comments are collected and used by Forest Service officials, unless otherwise noted, to ensure the use of NFS lands are authorized, in the public interest, and compatible with the Agency’s mission and/or record authorization of use granted by appropriate Forest Service officials.
2. Overview of Proposed Directive, FSH 2709.11, Chapter 40
The Forest Service is requesting public input with respect to Agency policy. Our intent with the issuance of this notice of proposed directive is to consider such input and, as appropriate, incorporate it into future policy. Certain suggestions, whether due to legislative or other limitations, may not be implemented through Agency policy, and we wish for the public to understand that as well.
The current language has been in place for 48 months. This proposal would make permanent guidelines for the acceptance and denial for still photography and commercial filming permits in congressionally designated wilderness areas.
Section 45.1c—Evaluation of Proposals
This proposed section would include criteria in addition to that of still photography to incorporate commercial filming activities. Furthermore, the Agency is proposing to clarify when a special use permit may be issued to authorize the use of NFS lands if the proposed activity, other than noncommercial still photography would be in a congressionally designated wilderness area.
The proposed directive for FSH 2709.11, chapter 40, section 45.1c is as follows:
45.1C—EVALUATION OF PROPOSALS
A special use permit may be issued (when required by sections 45.1a and 45.2a) to authorize the use of National Forest System lands for still photography or commercial filming when the proposed activity:
1. Meets the screening criteria in 36 CFR 251.54(e);
2. Would not cause unacceptable resource damage;
3. Would not unreasonably disrupt the public’s use and enjoyment of the site where the activity would occur;
4. Would not pose a public health and safety risk; and
5. Meets the following additional criteria, if the proposed activity, other than noncommercial still photography (36 CFR 251.51), would be in a congressionally designated wilderness area:
a. Has a primary objective of dissemination of information about the use and enjoyment of wilderness or its ecological, geological, or other features of scientific, educational, scenic, or historical value (16 U.S.C. 1131(a) and (b));
b. Would preserve the wilderness character of the area proposed for use, for example, would leave it untrammeled, natural, and undeveloped and would preserve opportunities for solitude or a primitive and unconfined type of recreation (16 U.S.C. 1131(a));
c. Is wilderness-dependent, for example, a location within a wilderness area is identified for the proposed activity and there are no suitable locations outside of a wilderness area (16 U.S.C. 1133(d)(6));
d. Would not involve use of a motor vehicle, motorboat, or motorized equipment, including landing of aircraft, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(a) and (c));
e. Would not involve the use of mechanical transport, such as a hang glider or bicycle, unless authorized by the enabling legislation for the wilderness area (36 CFR 261.18(b));
f. Would not violate any applicable order (36 CFR 261.57); and
g. Would not advertise any product or service (16 U.S.C. 1133(c)).