You can anonymously submit (here) what you were paid to shoot for a magazine along with some of the terms and conditions. There’s a spreadsheet of all the results on the blog and (here). If you’ve been in this business for awhile it’s mostly what you already knew or thought someone paid. If you’re new to photography you might be a bit shocked.
Photographers Andy Anderson, William Allard, Jim Arndt, Daniel Beltra, Mark Gooch, Andy Mahr, Kurt Markus, David Spielman, Matt Turley and Olaf Veltman got the call of a lifetime when veteran adman Jimmy Bonner of The Richard’s Group phoned with simple instructions and a mantra from Paul Harvey. He asked them to go spend time with farmers and ranchers and take pictures to be shown in a 2 minute spot for Ram during the Super Bowl. No AD’s or clients or craft service; just photographers and their subjects.
AdWeek is calling it the #1 spot from the Super Bowl and love or hate the sentimental message you’ve got see this as a clear referendum on the power of photography. At nearly $3,800,000 per 30 seconds of air time, Ram and The Richards Group made a huge bet and came up aces. According to Andy Anderson and his blog Rob Baker, and Deb Grisham we’re also involved in the production.
Harry Fisch organizes Travel Photography trips with Nomad Photo Expeditions and recently won the places category in the 2012 National Geographic Photo Contest. 72 hours later he had lost it. The winning image was disqualified because he had removed a plastic bag in post. A blog post about what happened (read it here) has an email from the editor telling him that cropping the bag out or simply leaving it in would have had no impact, but digitally removing it violates the rules. Ouch. Harry is a good sport about it and concludes that had he been on the jury, he would have done the same saying, “rules are rules.”
Many people will argue that photography can never tell the truth. That the lens, image processing, where you stand, and what you chose to include in an image all alter the facts. This misses the point entirely. The point of truth telling in photography is for the photographer to make an image that gets us as close to the truth as they can. That is the goal. Now that the mechanical limitations of photography (film and printing) are gone we are less reliant on the camera to tell the truth, so that obligation falls on the photographer. You must build trust with your viewers and editors so they believe what you are saying.
This is an unusual position to be in, because photographers often relied on the camera and film to do this. Inherent imitations of the medium prevented them from doing too much to alter what happened (although many pushed it as far as it would go). Limitations may be returning to cameras. A new software development by the the human rights organization Witness aims to make it easiter to verify the authenticity of video, photos, or audio created and shared from mobile devices (story on Nieman Journalism Lab). “The app collects metadata that it will bundle and encrypt with your photo or video — including generating an encryption key based on the camera’s pattern of sensor noise, which is unique to each camera.”
The current practice of submitting RAW files for verification (to magazines and contests) may soon be assumed by software that does the verification for us. I expect this will be taken to the next logical step and any work that’s done in post will be recorded and encrypted by the software as well. Eventually news organizations and contests could set a “score” that’s some percentage of allowed manipulation to the pixels of an image that they consider ok. Maybe the software will disable certain tools used in post processing (this is Hal, I’ve disabled the clone tool). Regardless, the goal will be the same. Getting us closer to the truth. And the burden will return to the limitations of the software and not the photographer. That will be a good thing.
Update: the contest was incorrect [corrected], it was not Traveler’s but National Geographic magazine’s, which is officially called the National Geographic Photo Contest. And Harry Fisch was the Places Category Winner not the Grand Prize Winner of the overall contest [corrected].
I attended National Geographic’s annual Photo Seminar last week. What started in 1967 as a way for photographers to informally gather and talk about their work (one attendee described it as an after the holidays palate cleanser), has become an annual rite for the exclusive group of photographers in the “Nat Geo” club and various hangers-on. From what I could gather the more recent seminars have taken the shape of canonizing the old guard, highlighting young new talent and pushing the boundaries of what might be acceptable for photography among the members and staff. A perfect mix in my opinion.
For me it was an awesome treat to watch photographers talk about their work. I look at work on my computer, in books and magazines and even sometimes on the wall, but it’s rare that I get to hear a photographer talking about their work. And wow, what a difference that makes. I need to do it more often as it renewed my spirit for the craft.
If there’s one word that describes what I witnessed at the event it would be emotion. From photographers who want to change the world, to those whose deep emotions manifest in the work to a deep love of subject, my nerves were raw after each speaker finished their outpouring of emotion. As I watched I discovered an excellent way to keep notes was to simply tweet out the great quotes I heard. Now, going back and remembering it all here are my highlights.
Master of ceremonies Vincent J. Musi in response to the unprecedented flood of photographers and imagery we’re experiencing quipped in his opening remarks “Have photographers become the endangered species?”. The answer came minutes later as he introduced street artist JR to the group. I say that because I believe what has changed is simply the definition of “professional photographer.” Go see JR’s Ted Prize talk from 2011 to understand what a special person he is. The mind bending part of his work is when he crowd sources and does not directly participate in the creation of it. This is an important concept for photographers who don’t want to become endangered to consider.
The next photographer continued that thought as Michael Ravine who works with NASA and others discussed putting cameras on space ships and sending them to orbit the moon and rove around mars taking pictures. Many of us have fallen in love with the photography NASA and JPL are doing today, but nothing raises the hackles on traditional photographers like not standing in the field with your camera to make the picture. But, making pictures remotely is another concept that needs to be explored further.
Other highlights for me were an on stage interview of David Alan Harvey by Vincent that had so many memorable moments including David’s first rejection letter from National Geographic where he was told “You are young and strong and this is good because what I’m about to tell you will make you old and sick.” His own emotional journey into each subject he covers: “When I read about method action, I do the same thing with my photography” and “I go native every time. There’s a little piece of me in every assignment.” Then Aaron Huey gave a showstopper with his Pine Ridge Reservation talk that I’ve highlighted here before (Ted version) where he said, “Pine Ridge broke something inside me, but also opened something in my heart.”
Finally, Sebastião Salgado whose passion and devotion to photography and planet surely cannot be matched delivered the perfect summation of what I just witnessed: “Photography is the most powerful language ever created in the modern world”
I believe and have preached this thought over and over throughout my career. Photography is still powerful, but photographers must evolve and incorporate new ways to make and deliver the emotional impact available to them.
It’s just past the time of the year when everyone has posted their favorite photography books from 2012 and I thought I’d get in on the action, but because I’m very edgy I’m picking a book from 2011. Ok, actually I bought it last year intending to write about it, but my motivation left me somewhere along the way (almost didn’t do it again). My pick for for a timeless book everyone should own is The New York Times Magazine: Photographs edited by Kathy Ryan.
If you’re a fan of editorial photography, you know that The New York Times Magazine is the gold standard. This is not because they have their pick of photographers or because they publish weekly and have lots of assignments to hand out or because they’re not sold on newsstands so they don’t have to do many of the stupid things other magazines do to hit promised circulation numbers. All good reasons but no that’s not it. It’s because Kathy and crew swing for the fences with their pairings. They pair ambitious projects with ambitious photographers. They pair subject with a photographers particular experience and interest. Like a sommelier in the editorial department, they know it’s the chemistry between subject and photographer that makes incredible, memorable, home run photography.
This would be a great book if they simply picked the best photography from the last 33 years of the magazine and shipped it off to the printer. What makes it incredible and a valuable resource for anyone in the photography business is the commentary that accompanies nearly every image. The photographer, the subject, or one of the photo editors gives anecdotes about the subject, the shoot and even the circumstances surrounding the assignment. For me, it was like being in the photo department at The New York Times Magazine. An incredible treat for someone who loves magazine photography. If you’ve spent your career looking at photography like this, you will pick up the subtle difference when a great pairing is made.
Here’s a sample:
Author Tom Wolfe. Frome “Wolfe’s World,” published October 31, 2004.
For me, Tom Wolfe’s eccentricity is wonderfully expressed in this picture, by that crazy smile. He was charming. I thing that, above else, Tom Wolfe wis absolutely charming. And when I was equally charming, he was more charming. I like a portrait session to last ten minutes. When it goes past ten minutes, I’m in trouble, of something strange is happening. Because my photo-shoots are uncomfortable for most people. — RICARD BURBRIDGE
Filmmaker Spike Jonze. From “Spike Jonze’s Wild Ride,” published September 2, 2009 (cover image)
I have to say, Dan was pretty patient with my back-seat driving. I definitely had opinions on what the photos should be. I think he has an ego as a photographer, in that he wants to make something he is connected to, but not so much so that he doesn’t also want the photo to represent the person. —SPIKE JONZE
Artist Kiki Smith. From t”The intuitionist,” published November 5, 2006.
Sometimes the slightly out-of-focus image is the one to go with. To me, this image is absolutely alive. It just breathes. And that celestial blue light brings to mind the hues and spirituality of Giotto. Goldin is a defining photographer of our time, who skips back a couple of centuries for her inspiration. — K.R.
Petlyura’s artists’s squat in Moscow. From “Young Russia’s Defiant Decadence,” published July 18, 1993
Gueorgui Pinkhassov says that he doesn’t have a particular intention when he is photographing; he is interested in something he doesn’t know. When he is shooting, he ignores the action and concentrates on the movement and intersection of purely visual elements–line, form, light. “Don’t be afraid to take bad pictures,” he says, “because good pictures are the mistakes of the bad pictures.” In this photograph, there are four separate actions that all weave together: one person lifts a cigarette, one tosses a ball, the dog looks on, and the Lenin-like figure drops the flag to the ground. For Pinkhassov, life is really like a tapestry—he’s never shooting just one thing, there are often several things happening simultaneously. –K.R.
1. The creative industry operates largely by holding ‘creative’ people ransom to their own self-image, precarious sense of self-worth, and fragile – if occasionally out of control ego. We tend to set ourselves impossibly high standards, and are invariably our own toughest critics. Satisfying our own lofty demands is usually a lot harder than appeasing any client, who in my experience tend to have disappointingly low expectations. Most artists and designers I know would rather work all night than turn in a sub-standard job. It is a universal truth that all artists think they a frauds and charlatans, and live in constant fear of being exposed. We believe by working harder than anyone else we can evaded detection. The bean-counters rumbled this centuries ago and have been profitably exploiting this weakness ever since. You don’t have to drive creative folk like most workers. They drive themselves. Just wind ‘em up and let ‘em go.
2. Truly creative people tend not to be motivated by money. That’s why so few of us have any. The riches we crave are acknowledgment and appreciation of the ideas that we have and the things that we make. A simple but sincere “That’s quite good.” from someone who’s opinion we respect (usually a fellow artisan) is worth infinitely more than any pay-rise or bonus. Again, our industry masters cleverly exploit this insecurity and vanity by offering glamorous but worthless trinkets and elaborately staged award schemes to keep the artists focused and motivated. Like so many demented magpies we flock around the shiny things and would peck each others eyes out to have more than anyone else. Handing out the odd gold statuette is a whole lot cheaper than dishing out stock certificates or board seats.
3. The compulsion to create is unstoppable. It’s a need that has to be filled. I’ve barely ‘worked’ in any meaningful way for half a year, but every day I find myself driven to ‘make’ something. Take photographs. Draw. Write. Make bad music. It’s just an itch than needs to be scratched. Apart from the occasional severed ear or descent into fecal-eating dementia the creative impulse is mostly little more than a quaint eccentricity. But introduce this mostly benign neurosis into a commercial context.. well that way, my friends lies misery and madness.
This hybridisation of the arts and business is nothing new of course – it’s been going on for centuries – but they have always been uncomfortable bed-fellows. But even artists have to eat, and the fuel of commerce and industry is innovation and novelty. Hey! Let’s trade. “Will work for food!” as the street-beggars sign says.
This Faustian pact has been the undoing of many great artists, many more journeymen and more than a few of my good friends. Add to this volatile mixture the powerful accelerant of emerging digital technology and all hell breaks loose. What I have witnessed happening in the last twenty years is the aesthetic equivalent of the Industrial Revolution in the 19th century. The wholesale industrialization and mechanistation of the creative process. Our ad agencies, design groups, film and music studios have gone from being cottage industries and guilds of craftsmen and women, essentially unchanged from the middle-ages, to dark sattanic mills of mass production. Ideas themselves have become just another disposable commodity to be supplied to order by the lowest bidder. As soon as they figure out a way of outsourcing thinking to China they won’t think twice. Believe me.
So where does that leave the artists and artisans? Well, up a watercolour of shit creek without a painbrush. That one thing that we prize and value above all else – the idea – turns out to be just another plastic gizmo or widget to be touted and traded. And to add insult to injury we now have to create them not in our own tine, but according to the quota and the production schedule. “We need six concepts to show the client first thing in the morning, he’s going on holiday. Don’t waste too much time on them though, it’s only meeting-fodder. He’s only paying for one so they don’t all have to be good, just knock something up. You know the drill. Oh, and one more thing. His favourite color is green. Rightho! See you in the morning then… I’m off to the Groucho Club.”
–Linds Redding, a former Saatchi and BBDO art director, died of Cancer in October age 52.
“Power down. Lock up and go home and kiss your wife and kids.”
(click images to make bigger)
Wednesday – 12.19.12
Design Director: Theresa Griggs
Photo Director: Sarah Rozen
Art Director: Susannah Haesche
Deputy Art Director: Kristen Male
Photo Editor: Andrea Verdone
Deputy Photo Editor: Irene La Grasta
Photographer: Landon Nordeman
Fantastic to hear from the EIC Chris Johns on his favorite images from the magazine this year. Every magazine that takes photography seriously should do this.
Congratulation to Martin Schoeller, Mitch Dobrowner, Lynn Johnson, Aaron Huey (2), Stephanie Sinclair, Karla Gachet and Ivan Kashinsky, Paolo Pellegrin, Paul Nicklen, Michael “Nick” Nichols for the recognition.
Hilarious Instagram parody to get your Monday off to a good start:
“In Vogue: The Editor’s Eye” will be broadcast Dec. 6 on HBO. More here: http://www.hbo.com/documentaries/in-vogue-the-editors-eye
A reader sent this to me:
An OpenLetter to the Publishing and Advertising Community:
In the wake of Sandy, if you want to help out, hire people from New York and New Jersey. If you shoot your job here, that provides work for photographers, photo-assistants, producers, hair and makeup artists, stylists, rental studios, equipment houses, printers and caterers.
Most people lost at least 2-3 weeks of work and are still losing because of Sandy. We have the best in the business right here in NYC. Almost all of us are freelancers. We are not getting sick days or vacation days.
Every time you assign one shoot or award an advertising campaign, that helps New Yorkers get back on our feet. As photographers and producers, we can then hire other local people to work with us. We don’t want hand-outs. We want to work. Some of us have lost power, had our houses flooded, lost belongings but we persevere with our desire to work and rebuild.
If it can be shot in New York, shoot it here! (Your community is depending on you.)
The Cool Hunter is an influential website that’s been aggregating/curating on the web for a very long time. It’s one of the precursors to Pinterest where the author goes out and collects things found online and reposts them for their audience. And, Cool Hunting is an actual job in marketing where people go out and spot trends that businesses can use. So, for any businesses selling “cool” products, landing on a website like this is something you want to happen. This of course runs counter to copyright laws, because the website reposts images without permission and even sells advertising next to the found images. They rely on their influence over brands and their ability to simply remove images if contacted about a violation to avoid getting in trouble over this. That’s what makes Facebook’s decision to permanently disable their fan page and its 788,000 fans so interesting. Cnet is reporting that Facebook closed the account due to “repeat copyright infringement” (story here). Any business that is not posting images they own on Facebook should be very worried about this development. It makes me wonder if Facebook is showing Pinterest that the proper way to curate is to upload something you own the rights to then enable the sharing.
Funny video for your Monday morning entertainment.
I don’t think many covers are thought out in this level of detail but the conversation is always very similar with some sort of reference art, preferences of lighting and mood for newsstand sales and a description of an image you see in your head. I think the key to the cover discussions is to hire talented photographers and leave the description more amorphous so they can use their creative talent and on-set adjustments to make it great. This is obviously a great collaboration between a talented creative director and photographer.
Dear Anuschka and Niels,
We would like to brief you on how we envisage the cover of Re-Magazine #7. As you both know, the theme of this issue will be ‘Re-View’; all the articles will, in some way or other, question their own place and function. Magazine formats such as fashion features, letters and interviews will be ‘reviewed’. It remains to be seen however, if the published images and texts will amount to a significant media contribution . They may verywell cause the same kind of pollution caused by the daily flood of undesired information.
In nearly every issue of Re-Magazine, we are inspired by the notion that people yearn for media silence because they’re continually subjected to information overkill. Texts Meant To Be Written, Not To Be Read. Pictures Meant To Be Taken, Not To Be Seen. In a way, ReMagazine is a magazine that refuses to be a magazine. The cover should communicate this ambiguous refusal – the cover as a review of itself.
How do you feel about a girl on the cover? In our opinion, it would be better to work with a non-professional model. Someone from your own scene, someone you already know. Maybe someone you know really well. For example, someone you shared the third story of a house with for four years when you were a student. Perhaps someone with mixed blood, an Albanian father or something? That her grandmother still lives in Albania and she visits her during the holidays. Someone with long brown hair, copper highlights, a sort of autumn feeling. A girl’s face that has something classical, but also with a modern aura. A face in which the features are all very small; the eyes, the mouth, the nose. There are so many people who seem quite ordinary, but if you look at them closely, have really striking faces.
We have a strong preference for a cover with a Vermeer connotation. The Girl with the Pearl, for example, is in fact already a cover avant la lettre. The glance the girl casts over her shoulder at the very moment the viewer catches her eye, is the central motif of this painting. That specific glance can be linked effectively to the concept ‘Re-View’. The painting is layered in gray tones and has a dark – nearly black – background. Regarding the cover, it’s probably better if the image is brighter and lighter because dark covers don’t sell at the newsstand.
Ideally the facial expression of the girl will be less subtle and sensual than in Vermeer’s painting. Possibly a bit startled, a combination of curiosity and fear. Maybe even a bit scary. You could achieve this effect by getting the model to pose in an uncomfortable position. Having her avert her gaze from the camera as far as possible, but still just able to look into the lens. A difficult pose to keep. Possibly this will result in that slightly uneasy, startled and anxious look. The image together with the word ‘Re-View’, no longer has the meaning ‘critique’ but more a sense of reawakening in a visual world, seeing your surroundings afresh. Maybe the image expresses ‘Don’t buy me!’, ‘Go away!’ A message that alienates people but also intrigues when displayed among all the other magazines at the newsstand.
We advise you not to take too long with the shoot. Have it take place, preferably, during the day. Towards the end of a Sunday morning, for example, so that the sleep wrinkles have just disappeared and the day’s weariness is not yet evident on the model’s face. Between eleven and two is probably the best time. When the model arrives you could make her feel at home by kissing her cheeks three times and offering her a cup of Earl Gray tea.
While Niels is reminiscing about his student days, Anuschka can get the rolls of film out of the fridge and put on some music. Music the model also likes. Nomi for example, that opera singer from the Eighties who has overdosed on heroin since then. The singer who sings extremely high and then very low, a bit of opera and then an Elvis cover.
When the model feels at ease, you can begin with the styling. A pearl earring or a headscarf à la Vermeer isn’t necessary. In actual fact you don’t need any styling at all.
Professional models have self-thinking hair that springs into form at the mention of the words ‘photo shoot’ and we don’t want that now, do we? Possibly, the model is a little disappointed that there are no hair and make-up artists running around on the set, but she’s sure to understand when you explain that you’d rather portray her naturally, with uncombed hair, to stress her simplicity. During the shoot Anuschka might possibly tuck the model’s hair behind her left ear, as a reference to the line of the headscarf in The Girl with the Pearl by Vermeer. It might also be wise to ask the model to wear something neutral. In case her clothing isn’t right, it’s best to keep a gray or black T-shirt in reserve.
For the lighting you could for example use a RedWing softbox measuring 90 by 120 centimeters. It would be best to place the softbox about one-and-a-half meters from the model. Set the RedWing softbox to medium to ensure the lighting isn’t too harsh. A light gray background seems to us a very suitable choice. Scenery would only distract.
Maybe it‘s a good idea to direct a small, subtle red spotlight on the model’s face? Not an obvious effect in first instance, but once you’ve discovered it, an essential part of the photo – like a stain. Niels could make a hole with his finger in a polystyrene partition.
Behind the partition you could aim the red spotlight on the model. In this way you can conjure up an improvised, painterly red spot on her face.
In the end you could flip the image horizontally. So the reader could see her as she sees herself when she looks in the mirror.
For this shoot you could use the Mamiya RZ67II instead of the Sinar technical camera. With the Mamiya RZ67II you can just keep snapping away, leaving you with 47 pictures to choose from in the end. With the Sinar you always have to change cassettes and ultimately you end up with only 5 pictures. With the versatile Mamiya RZ67II it’s easier to capture that specific look we’ve described. And don’t you agree that with the technical camera something of the picture’s inner focus might be lost because the model’s eyes, due to the slowness of the technique, assume a much dreamier expression?
Jop, Julia, Lernert, Arnoud
(via Richard Turley)
Internet criminals are using a website called “Kickstarter” to bilk friends and families out of money for terrible, ill-conceived, and unnecessary “personal projects.”
via, The Onion.
The internet is buzzing about these Olympic portraits taken by Joe Klamar for AFP and Getty. Most of the talk is about how unprofessional they look with ripped seamless, rumpled flags and sinister lighting (Reddit thread here). I have to agree, but rather than throw Joe under the bus I think AFP and Getty are to blame for not doing an edit or even tossing the shoot (actually don’t know if that’s even possible). Obviously Joe had his 5 minute sessions with exhausted athletes and failed. So, why not edit them?
There’s some interesting conspiracy theories surrounding the shoot as well. BAG has a post abut how it could have been intentional and meant to poke holes in the idealized portraits we normally see of team USA (here): “I think this subset of photos also take a silent sledgehammer to the jingoistic adulation of the American team, to the extent these athletes serve as a fantasy extension of the dying dream of American worldwide superiority.” Unfortunately, I think the answer is more pedestrian: editors asleep at the switch treating an olympic portrait session like a flickr feed.
You can see the whole take (here). Note: other photographers images are mix in with Joe’s.
Hot on the heels of Jonathan’s post yesterday about the Fotofest portfolio review I discovered that Review Santa Fe has their listing of Photographers whose portfolios made the cut up on their website. I’m pointing it out, because it’s a great resource for anyone who hires photographers for a living. When that was my job I would take time out each week to troll the internet for new talent and running across anyone’s curated list was a great find and could easily suck up an hour of your workday, but would result in a couple new bookmarks.
Any of you who made the list, congratulations and good luck next week. I’ll be around (not reviewing) so come say hi. The website is quite easy to navigate, because you can quickly click to the next photographer (bottom left) and each one is only represented by a couple images. Plus, it lists where they live which is incredibly helpful.
Ken Burns on storytelling: