Don’t Like Me

- - The Future

Lots of chatter online about how photographers should embrace sharing their work and stop complaining about copyright. All started by this post (here) by the king of HDR (Trey Ratcliff) who says:

As this future becomes more and more plain to me, I see a rapture of sorts, where old-school photographers clinging to the old-fashioned ways of doing things will be “left behind.”

Which is funny because this sort of rapture, where a photo blogger suddenly loses their virginity, is pretty common. Witness the Strobist back in December of 2008: Four Reasons to Consider Working for Free.

Now, I can’t blame them for their rapture, because they and many others have discovered a perfectly legitimate business model for making a living with a camera: Selling Something Besides Photographs.

So, I want to provide a little perspective here. Making a living selling photographs will not die. On the same note photographers should look at, understand and possibly adopt some of what they are doing into their own business. Selling ebooks, dvds, workshops and giving lectures will make up part of the income for successful photographers in the future. Nothing wrong with that. Declaring that everyone will be left behind unless they share everything and make up the difference with ebooks on tips for punters is completely wrong.

The key is this: Focus your attention on the people who you have a legitimate business interest with and be okay with not being liked by everyone.

Ipad v Print Portfolio

- - Blog News

“I vote for an iPad when an agent comes to see me and wants to show me books of multiple photographers and/or artists. However, I still prefer a big, beautiful printed book for presentation. I know our Creative Directors still want to see a well-put-together printed portfolio when they’re deciding on shooters for upcoming projects”

via blog.imagebrief.com.

The Daily Edit – Tuesday
2.14.12

- - The Daily Edit

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Glamour

Design Director: Geraldine Hessler
Photo Director: Suzanne Donaldson
Art Director: Sarah Vinas
Senior Photo Editor: Martha Marisanty

Photographer: Jason Nocito

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

ACLU Says: Know Your Rights Photographers

- - Working

Silly video about an important topic:

They also have a page dedicated to photographer rights: http://www.aclu.org/free-speech/know-your-rights-photographers

When in public spaces where you are lawfully present you have the right to photograph anything that is in plain view. That includes pictures of federal buildings, transportation facilities, and police. Such photography is a form of public oversight over the government and is important in a free society.

When you are on private property, the property owner may set rules about the taking of photographs. If you disobey the property owner’s rules, they can order you off their property (and have you arrested for trespassing if you do not comply).

Police officers may not generally confiscate or demand to view your photographs or video without a warrant. If you are arrested, the contents of your phone may be scrutinized by the police, although their constitutional power to do so remains unsettled. In addition, it is possible that courts may approve the seizure of a camera in some circumstances if police have a reasonable, good-faith belief that it contains evidence of a crime by someone other than the police themselves (it is unsettled whether they still need a warrant to view them).

Police may not delete your photographs or video under any circumstances.

Police officers may legitimately order citizens to cease activities that are truly interfering with legitimate law enforcement operations. Professional officers, however, realize that such operations are subject to public scrutiny, including by citizens photographing them.

Note that the right to photograph does not give you a right to break any other laws. For example, if you are trespassing to take photographs, you may still be charged with trespass.

The Daily Edit – Monday
2.13.12

- - The Daily Edit

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The Red Bulletin


Creative Photo Director:
Susie Forman
Chief Photo Editor: Fritz Schuster
Deputy Photo Editors: Valerie Rosenberg, Catherine Shaw, Rudolf Ubelhor
Creative Director: Erik Turek
Art Director: Kasimir Reimann 

Photographer:Philip Horak

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

This Week In Photography Books – Irina Ruppert

by Jonathan Blaustein

In service of radical honesty, let me state for the record that I’m exhausted. Practically brain dead at the moment. In a couple of the interviews I conducted in 2011, I talked about the reality of the photographer’s 21st Century hustle. We all have two or three jobs, cobbling things together to make a go of it. We do it out of passion, desire and necessity. But sometimes, speaking for myself at least, it leaves one drained of creativity juice, like a de-sanguinated chicken.

Speaking of bloodless poultry, I spotted one on page two of the new book “Rodina,” by Irina Ruppert, recently released by Pepperoni Books in Germany. (Sorry, it was a rooster.) We’re always hearing some version of the conversation about how everything’s been photographed, all the good ideas taken, nothing new under the sun. As one who strives to innovate, I like to dispute that train of thought whenever possible. But there is also a ton of value in a story well-told, a vision perfectly executed, a narrative jaunt in an exotic place, rendered through the eyes of a stranger. “Rodina” is such a story.

Eastern Europe & Northwest Asia seem to have become hot subjects in the last few years. Some photographers have been attracted to the darkest of sides, human trafficking. Others to the kitch-tastic combination of fabulous oil wealth and fabulously bad taste. Others still are seduced by the “trapped in time” aspect of one of the world’s last “undiscovered” frontiers. Regardless, I’ve seen a lot of work made in that part of the world. Some stands out, some fades into the deeper recesses of my memory in an instant.

This book makes the cut, and I enjoy writing about it after highlighting work by so many heavyweights in the last month. I’ve never heard of Irina Ruppert before, and I couldn’t care less. That’s one of the true secrets of a great photo book: if it all comes together, the fame and/or reputation of the maker is of little significance.

The cloth-bound, tan hard-cover book lacks any text on the outside, and has a small piece of fabric embroidered onto the front. It’s a touch that speaks to the hand-made and the intimate, and indeed, it is a small and lovely little ride on the inside. The first photo shows an old Bulgarian Airlines airplane sitting on the grass in front of an apartment building. Consider me intrigued.

Photo two was mentioned above, and of course, I’m always interested in work that shows us what we don’t want to see.
A skinned cow head on the wall, chicken foot in a bowl of soup, and a goat standing on the road round out the symbolic theme. I love it. Woven in between, we see images of rolling fields, purple kitchens, hanging laundry, sidelong glances, and an old dead woman decked out in a coffin/horse cart. Throw in a fisherman rowing away from a random set of explosions in the water, and you had me at “Hello.” Really cool book.

Truth be told, (once again) I never thought of myself as a photo-book lover before I started writing this column. A photography lover, yes, but the books I could take or leave. That was then. Now, having had the privilege of scoping out all the new releases for a half-year, I feel differently. A book is an object, and the image edit a rhythmic narrative. It all needs to coalesce just so for me to really love the object, even if I never hear from the artist again. So for all the talk of shrink wrap, collectors’ markets and art stars, it’s good to remember that a great photo-book can come from anyone, and that it needs to be held and appreciated.
Bottom Line: A great book from a little-known artist

To Purchase Rodina visit Photo-Eye.

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

What Wikipedia Won’t Tell You

- - Blog News

As it happens, the television networks that actively supported SOPA and PIPA didn’t take advantage of their broadcast credibility to press their case. That’s partly because “old media” draws a line between “news” and “editorial.” Apparently, Wikipedia and Google don’t recognize the ethical boundary between the neutral reporting of information and the presentation of editorial opinion as fact.

via NYTimes.com.

The Daily Edit – Friday
2.10.12

- - The Daily Edit

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Shape

Creative Director: Ben Margherita
Design Director: Sarasvati Munoz
Photo Director: Toni Paciello
Associate Photo Editor: Joanna Muenz

Photographer: Tom Corbett

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Roadtrip to Marfa – Part 2

- - From The Field

by Jonathan Blaustein

There’s nothing quite so sad as a bunch of fancy coffee addicts, also hungry, twitching down the highway 80 miles for a fix. But when your alternative is the gas station in Van Horn, Texas, you do what you must. That being said, the drive towards salvation was most definitely precarious. First, it was David complaining that there’s no room for Credence on a Texas road trip. (“Have You Ever Seen the Rain”) Sacrilege.

Then, I made the (apparently) equally egregious mistake of calling dibs on some photographic subject matter I found, thereby guaranteeing that my buddies would come out, shutters blazing. (It was a forlorn piece of a frozen Santa suit by the side of the road, across from a pecan farm.) According to my friends, there’s no such thing as dibs on a photo safari. My mistake.

Eventually, we made it to Marfa. Out came the Iphones, desperate for a recommendation. Of course, this not being the most meticulously planned trip, most of the restaurants in town were closed. Seems Marfa’s business class has figured out that their jet-set-clientele all leave town sometimes, together, off to better weather, so in response, the shops in town just close, without warning, whenever they like. Seems fair.

But enough about that. We found a nice little cafe run by a sweet Swiss woman, and collapsed into our seats. (She also sold small batch, $14 chocolate bars. Telling detail.) Yes, the coffee was good. Yes, the fruit smoothie made me feel better. Yes, I did feel pangs of guilt for having become so dreadfully bougie at some point in the last ten years.

The four of us choked down the last few bites of our identical baguette sandwiches, as we had a 10 am appointment at the Chinati Foundation for a tour of the facilities. Perhaps this might be the right moment to explain what a “Chinati Foundation” is, and why it was important enough for us to drive straight into the mouth of hell to see it. (For those of you who know the backstory, feel free to skip down a paragraph.)

Without me reciting details like a well-informed, unpaid docent, (Thanks, Mike Bianco) I’ll cut to the chase. At some point in his youth, the soon-to-be-famous Minimalist sculptor Donald Judd passed through Marfa. There was a small military base there, just some barracks really, and he was smitten. Later, the base would be used as a lightly guarded holding facility for German Officer POW’s captured in WWII. Still later, Judd would return, buy up most of the town, and begin installing his work as he saw fit. Then, institutional money came in to support his vision. (Hence the Judd and Chinati Foundations.) Finally, as you might expect, hordes of moneyed followers descended, thereby making Marfa, officially, the strangest place I’ve been in the United States. (Take that, Scottsdale.)

So now you’re caught up. I suppose it’s also worth mentioning that I heard the Director of the Chinati Foundation speak in Reno last Fall, and he said there would be a special exhibition of Hiroshi Sugimoto’s new photo sculptures on display. I figured that seeing what an acclaimed photo master had cooked up in his lab was enough of a reason to schedule the trip. After all, we all love ourselves some Sugimoto, don’t we?

We arrived a few minutes late, as it was difficult to find the place through the barrage of broken down little shotgun houses. I can’t stress enough how “rustic” are the outskirts of this little town. When you know how many billions of dollars are driving down the street at any given moment, it’s just impossible to connect those two realities. In fact, now that I’m home and have thought about it a bit, perhaps our nightmare of a visit to Van Horn was a blessing. It enabled the four of us to stay grounded, remembering vividly how the other half lives. It’s hard to get freaked out by a few art world snobs when you’ve still got the stench of human desperation in your nostrils.

Ah, the Art you say? How is it possible that I’ve made it this deep into my ramblings without discussing it yet? Shameful. The work on display at the CF was world class. We began our tour in a hangar building, where some Judd furniture was on display. Rows of concrete on the floor were interspersed with rows of perfectly raked gravel. Without thinking, I started walking on the gravel, messing it up with each step, and then turned to watch everyone else walking gingerly on the concrete lines. (Does that tell you everything you need to know about me?) Watching the light forms falling through the windows on the concrete, listening to the creaks of the old building, it was a terrific twenty minutes.

From there, we walked on, past a Richard Long spiral sculpture of volcanic rock from Iceland. The artificial nature of said nature was not super-powerful, set against the tall grass and waving trees of the sunny South Texas morning. On we walked, and soon enough we’d reached one of two humungous hangar-type-buildings. Together, they housed one of Judd’s most famous works: 100 aluminum cubes, each mostly identical but slightly different than the others. The buildings were brick, with still more concrete and glass. (None of the tour allowed photography, unfortunately, but I did sneak one image later on.)

At first, I was surprisingly disappointed. I was expecting to feel exalted, like the best Museum experiences, where you can feel your cells re-arranging in real time. When our emotions are engaged, along with our minds, the best viewing experiences fill us with an almost spiritual joy at encountering the best that humanity can muster. That didn’t happen here. Instead, I found myself pressing my face against the window, looking out at the rectangular concrete sculptures in the golden Winter grass. Yes, I felt like the kid trapped in detention, staring at all his friends having fun outside at recess. So strange.

Then, I accepted that this was not an installation that spoke to my soul, but perhaps it might seriously engage my mind. Whenever I hear people describe Art as having left them cold, it bugs me a bit. As much as I love warmth, there’s definitely a place in the world for it’s opposite. Cold ought not to be, automatically, a pejorative term.

But it’s an appropriate term here. Cold, clinical, precise, mechanical, repetitive, exact, mathematic. Rows and rows of shiny boxes, standing at attention. Ever so similar, just slightly different. Almost like soldiers. Or more specifically, German Soldiers. In World War II. Gleaming officers, stepping out of gleaming Panzer tanks, the finest German engineering could produce. Yes, that’s when the lightbulb went off. It all made sense.

Now, I’ll be the first to admit that I’ll never know if this is what Judd was thinking. But those POW’s used to be in these hangars, and now they’ve been replaced by the sculptures. Not only that, but they even kept some painted instructions on the wall, in German, that said “Better to use your head than lose your head.” So lets not assume it’s that big of a stretch. Once that idea popped into my head, my appreciation for the work flowered. Call me crazy, if you like, but when I mentioned my theory to the guys, they all nodded and agreed that it made sense.

From there, we hit one more installation, which was my favorite of the day. Created by the Russian Artist, Ilya Kabakov, one of the barracks had been transformed into a faux, abandoned, Russian primary school. Yes, it was a bit precious, (you had to avoid stepping on some of the perfectly arranged dirt) but the vibe and attention to detail were astonishing. It felt so real, with little odds and ends everywhere, here a school book, there a photograph, here a chemistry beaker, there a set of boxing gloves. My most enjoyable impression, again requiring a bit of imagination, was that we were actually in a parallel Universe, one in which the Soviets had won the cold war back in the 50’s. They colonized the US, and then abandoned the more useless parts, like this stretch of nowhere Texas.

We soon headed back to town for lunch, and a visit to a warehouse that featured John Chamberlin sculptures. (Fantastic.) As we were leaving, I couldn’t resist the urge to scribble “JB wuz here, bitches” on the side of a beige-colored power box. I’ve never done graffiti before, yet the compulsion was overwhelming. I think I’m sharing it here, not to present myself as a rapscallion, but rather to point out that among a certain class or caste, (here, Art world snobs) the crush of formality can create a counter-reaction. You think I’m an outsider? Here, I’ll show you. I’ll leave a mark on your special art place. So there.

As I said, the Chamberlin car sculptures were amazing, and a must if you do make your way to Marfa. After lunch, we returned for the second part of the tour. The Dan Flavin light sculptures were cool, but seemed out of place outside of Manhattan. One barracks had remnants of Art made by soldiers past, and was pretty cool. Finally, brain-dead, we begged off the tour and snuck into the Sugimoto installation. (We joined a private tour, at $300 a pop, given by the COO, who was terrifically nice and gracious.)

As much as I like Sugimoto’s work, these things were not worth driving 600 miles to see. Two rooms had two rows of 12 sculptures, each identical to the naked eye. Basically, they’re pyramids of optical glass, with a photo embedded in the orb part of the sculpture. Each image is strikingly similar, one of Sugimoto’s ocean horizon photos, printed on film, to be see-through. Carefully examining one, I loved the way the light and image itself changed depending on where I stood, or moved my head. Two inches to the left, and the image would disappear. Clever, and Zen to be sure. But we all seemed to question why there were some many, as 24 didn’t really improve upon on one, or perhaps two or three.

Finally, we went into town to find some beer, and grab a quick look at Marfa Ballroom, a famous local gallery. When I try to talk about how much this version of the art world revolves around money, power, and private planes, it’s helpful to share this anecdote. I noticed the sign with the staff list, and noted one of the founder’s names. Later that night, at dinner, someone mentioned that said person had just inherited a half a billion dollars. It was said casually. That is all.

In fairness to Marfa Ballroom, they did have some pretty cool work on display in the group exhibition “AutoBody”. Two cars sat outside, locked in a super-slow motion crash that had been pre-ordained. The photographer/artist Liz Cohen was showing a car sculpture that she’d created, which was awesome, and some photographs, which were not. (You decide: In the photos, she was dressed up as a Latina pin-up girl, like you’d see in Lowrider magazine. They were so dry, it was not an engaging spoof. But given her physical attributes, it’s certain that the work will sell. Craven or brilliant?) The gallery was also showing a four channel video installation, “North of South West of East,” by Meredith Danluck, which was so good that all four of us sat and watched for 5 or 10 minutes.

We drove back to the Chinati Foundation, one more time, for a late afternoon stroll out into the prairie, to see the army of concrete sculptures that I’d been ogling all day. Once again, my quest for the transcendent fell short, mostly because I was talking to my friends the whole time. But, if you’re a fan of Minimalism, this work is tough to top. Exquisitely beautiful, seemingly permanent, they mesh so well with the blue sky and the yellow ground. They’re grouped into mini-installations, in a line a Kilometer long. So it’s experiential. You walk, you think, you avoid the snake-holes. Magnificent. Perfect, really. And then you think, how long will these things last? 500 years? A thousand? Regardless, they’ll be here, watching over a slice of Texas, when we’re all gone.

The boys and I had dinner, went to bed, and left the next morning. The drive North was fun, as work, (at least my work,) was done. We passed back through Van Horn, which was much less scary in the light of day, but still as depressing. At a quick pee stop, at the Wendys/Truck Stop/Only-Store-In-Town, we were completely surprised. Walking in, the place was overrun by teenagers. Dozens and dozens. Barely room to move. One student stood out, a flamingly gay little blonde kid, wearing a Swiss-style ski hat on the top of his head. It was so obvious, he was so out there, that my heart broke a little.

The four of us shook our heads, amazed at how hard life must be for the boy, stuck in a backwater like Van Horn, surrounded by a sea of desert and homophobia. And in that moment, I remembered why I love road trips so much. You get out of your life, you reconnect with the enormity of this country, and you never, truly never, know what you’ll see next.

The Daily Edit – Thursday
2.9.12

- - The Daily Edit
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More

Creative Director: Debra Bishop
Photo Director: Natasha Lunn
Associate Art Director: Susanne Bamberger
Associate Photo Editor: Jennifer Dessinger

Photographer: Dan Winters

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Roadtrip to Marfa – Part 1

- - From The Field

by Jonathan Blaustein

Much later in the day, David and I stopped off at a tiny little rest stop off I-25, just South of Socorro. A brown sign, made for tourists, announced we were on the famed Camino Real, also known as the Jornada del Muerto. The journey of death. Finally, it all made sense.

I knew it would be a dangerous day hours earlier. Descending out of Taos and into the canyon, where the highway hugs the Rio Grande for twenty miles or so, I pulled out to pass a line of cars. It’s something I do all the time. As I finally got a clear look down the hill, a horse-trailer was backing up traffic ten cars ahead. I tried to merge back, but there was nowhere to go. (In the exact spot where a family died a few years ago.)

Desperately, I jammed the gas and barely wedged myself in just beyond the nose of a semi-truck hauling pressurized chemicals. Releasing a pent up breath, seconds later, I looked in my rear-view mirror to see the truck swerving, barely keeping it together. Not 30 minutes into my trip, and I almost ignited a firestorm of misery. Classy.

Twenty minutes later, traffic came to a stand still. Lights were flashing, sirens screaming. Not good. As I inched along, off to my right, another semi-truck had launched off the road into the rocks along the river. Hard to see how the driver could have survived. Never seen that before. Bad omen.

From there, I herky-jerked my way down past Santa Fe. Cops were everywhere, brainless drivers the norm. It was so odd, so disconcerting, that I mentioned it to the Native American woman behind the counter as I paid for my breakfast burrito at the Casino/Gas Station/Rest Stop just north of Albuquerque. (Casino Hollywood on the San Felipe Reservation, BTW.) She nodded, implacably, and said, “Yeah, one of those days. You never can tell.”

So by the time the brown sign reminded me that the Camino Real is not for the faint of heart, I was practically relieved. At least I wasn’t imagining things. One needs to keep one’s wits when heading down to the borderlands, a world populated with smugglers, junkies, truckers and dropouts. (Now that I think about it, I suppose it’s not that different from where I live.)

Why a road trip? Well, that’s an easy answer. David and I were headed South to Las Cruces, where we intended to meet up with our friends Ken and Scott. After a pit stop of a studio visit with photographer David Taylor, (the king of La Frontera) we ditched one car, piled into Ken’s Prius, and continued on towards Marfa, Texas, Art Mecca. So there’s the why. I rallied a few buddies to take a big Texas road trip, to go see some great art and write about it for you, the APE audience. Nobody died, nobody even got hurt, so in the end, it was worth it. But drama-free? Not likely.

My three friends are all photographers, and also accomplished in other aspects of the field. (An editor/publisher, a professor, & and a museum executive.) Each of us drowns daily in a sea of email, commitments, and plans. So for once, we relished the opportunity to wing it. No hotels were booked. No Yelp reviews were solicited. No idea where we were going to spend the night. Romantic? Not exactly.

When you’re 21, you don’t mind sleeping anywhere. Road Trips are just an excuse to drink way too much Mountain Dew (which lacks any other purpose), smoke too much weed, and take pictures of absolutely everything. Think about it. When you’re out in the middle of nowhere, every single fence-post seems profound. “Look man, it’s a cactus, just oozing cactus-ness. Just one more shot, OK?”

On this trip, however, I was the youngest at 37. Creaky backs and coffee-snobbery are the norm in this demo, and the idea of just stopping “wherever” for the night doesn’t work as well as it did a decade or two ago. (Though Ken did bring along some coffee-crack in a creamer cup called Stok. Look into it…)

David Taylor, desert expert, mentioned there was a town a ways North of Marfa called Van Horn. He assured us there was nothing else around for miles, so we default set that as a destination for the night. Hopped up on shitty burgers and vitamin water, the four of us drove. And drove. Mountains in the reflected moonlight are a sight to behold, but very difficult to photograph from a moving car. So they’ll exist in my memory only. (Close your eyes, and maybe you can imagine it. Charcoal gray, texture, jagged lines pushing up from the ground, no other light around.)

By the time we got to Van Horn, it was almost 11 at night. (Damn you, time change.) The decent-looking motels were the first into town, and surprise, were all booked. So there we were, sitting in the the car at a gas station, doors opened for fresh air, and that’s when the Iphones came out. Seriously? If you don’t want to TripAdvisor that crap three weeks ahead of time, what’s the point of doing it near midnight, thirty yards from the nearest hotel? We pounded the pavement for a bit, checking in at the certainly haunted Hotel El Capitan, before finally settling on a Days Inn adjacent to the off-ramp. I was confident, which was a mistake.

In these long articles, I try to keep it breezy, keep it funny, and keep moving along. But we’re what, ten paragraphs in and I haven’t even gotten to the Art yet? It’s not like this is the New Yorker, and I’m aware that you don’t have unlimited time to stare at your screen. This time, though, I have to slow down. We’ll get to the art, and the insane mashup of billionares slumming with South Texas poor folk. We’ll get there. But what my friends and I witnessed that night, in Van Horn, is worth conjuring for a couple more minutes.

We walked into the Days Inn lobby, David and I, ready to book a room. Immediately to our right, recumbent on a sofa with a TV behind it, we saw a young woman. At first glance, she looked 25, and attractive. Dark hair, nice figure. As she swooped around us to the front counter, though, we got a better look. Not a day over 20, and more likely less than that.

She would have been beautiful, and probably was until a few years before. But now? With the discoloration under her eyes, she was like a cancer-ridden raccoon, and the expression peering out was dead. Not defiant dead, like the junkies in a Mikhailov photograph, but dead in a soul-sucking, depressive way that makes you touch your wallet and lock the car door. Meth, most likely, though I suppose it could have been crack. Whatever the culprit, this girl was gone.

She handed over the key cards, and ushered us on our way. I wanted to cry. We got to the rooms, and David rushed right to the bed to see just how crappy this place was. He found…blood stains on the bed. For real. That’s the kind of detail that a better writer than I would make up, but there it was. Real blood. Perfect. As my room’s door was broken, we had to re-engage our meth-head princess, which was one more encounter than I ever wanted in my life. Her reaction, if you can believe it, was to throw the new bedding at a co-worker, and scream, “Blood stains? I don’t get paid enough for that shit.” She stormed off, never to be seen again.

Her colleague, a nice enough guy, was from India, and rocked a thick accent. At that point, you reach the “I’ll believe anything phase,” so I only grinned. Scott, who’d been to India a few times in the last couple of years, was fascinated, and chatted with the guy for a few minutes. I was shocked that he was shocked. It is America after all.

We drove around the town a bit, stopping here and there to take photographs. Once we returned to the motel, we stalked around the parking lot like quivering hunters, never straying out of eyesight of each other. Lest you think we were scaredy-cats, I’ll state that between the four of us, we’ve traveled the world, and lived in many a metropolitan city. This place was just that disturbing. Why?

Because we’d entered that part of America not often seen by Coastal Elites, or fancy-boy artists such as ourselves. The kind of place where, behind each Motel door, someone’s shooting up. Someone else is getting smacked around. And door number three has 32 Mexicans huddled together, chained, while their minder watches “Dancing With the Stars.” Tomorrow, they’ll climb back in the van for the trip to Chicago, or Raleigh, if they’re lucky.

We woke, the next morning, very glad to see the daylight. (And the Prius, for that matter. At least we had four walls to protect us, but the Prius was a sitting duck.) I surmised that there was probably not a plate of vegetables in the entire town, and my comrades concurred. So we piled back into our little Japanese rolling box, found the highway, and drove South to Marfa, where fancy coffee and fresh fruit, doubtless, awaited us.

Still Images In Great Advertising- Shawn Michienzi

Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.

I have known Shawn Michienzi for decades throughout my career as an art buyer. I never had the honor to work with him but came close once. Shawn is a pure advertising photographer-he loves the business and brings a lot to the table when he shots a campaign. I interviewed Shawn with his West Coast rep, Kate Chase (he was sick as a dog and had a hard time finishing his sentences before breaking into a coughing fit).

Suzanne: There is a lot of propping in this ad campaign- did you shoot it in Washington, DC or Minneapolis? And how big were the sets to create these scenarios? And if not from a commercial prop house, where did you get a lot of these props?
Shawn: This campaign was created to raise awareness for a special King Tut sponsored by National Geographic and exhibiting at the Science Museum in Minnesota. Ultimately it was meant to be two-fold and gain the interest of other museums around the country for additional exhibits too. We shot in Los Angeles, in conjunction with TV spots. The sets were used from the TV spots but are all real places. The props came with the our very real talent — as in the tool guy, Johnny Long, that was his actual garage and those were his tools. Same for Lord Andrew Fairfax, the Medieval Re-enactor, he attends festivals and with the exception of the Damsel in Distress, he had all those props. And Dr. Ruehl, we photographed him in his house too, some additional propping of the dinosaurs required there.

Suzanne: This campaign seems to have your funny quirk to it- were you able to add a lot of your creative input to this campaign?
Shawn: As is sometimes the case, there were no layouts, just an idea so I did pitch some of my thoughts to the creative director and we took it from there. In this process that is the fun part. I love portraits of people with their stuff and for these, there were many ways to execute but we went with the idea that I had envisioned of having them laying down, real-people as modern-day King Tut’s, in their environment, with their collections.

Suzanne: It is really refreshing to see a hometown agency using the talents of the local photographer. Do you have a long working relationship with Carmichael-Lynch?
Shawn: Yes, I do. Was happy to do this for their budget because of my long-term relationship with the creative director. Even though print is not currently produced as frequently as it was once was, I have been fortunate to work with them at least once a year. Though I don’t ever count on the theory of repeat business coming from an Agency, after all these year’s we enjoy working together and I believe we produce some great ads, and now it feels less formal too. I get what art directors are doing, I understand it’s a process and it doesn’t bother me creatively that you have to shoot for the gutter. I just want to make beautiful images that work hard, no ego. I think if you are not working with the right people then your work is only as good as the people who hire you. The majority of the work that is risk-taking is typically not US-based so when this came in the door and it was clear we could take some risks, I was in, and it was worth it to make it happen, call in favors as needed. Along the way and because of the relationship, I was also commissioned to direct the TV spot with The Conspiracy Theorist. And I like that I am doing more and more commercial TV work. I feel this is reflective of the folks I have relationships with that are also doing more commercial/motion work. The younger creatives don’t have that much craft beyond print yet – so motion is where I see myself headed to provide value to the relationships. I have always believed you have to stay true to who you are, be passionate about what you do, find the joy in it. Be inspired. Making ads is a great day job- and I love it.

Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.

Shawn Michienzi is an award-winning photographer whose work has been featured in everything from Cannes to Communication Art. He maintains residences in LA and Minneapolis, is represented on the West Coast by Kate Chase of Brite Productions and on the East Coast by JK AND Artist Management

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.

 

Chances Are, You Suck

- - Blog News

There’s nothing wrong with not being any good at photography. Everybody started out bad and none of us does all aspects of it well. But it’s a crying shame to want to be good at it, to spend time and money trying to be good at it, and not getting any better.

This isn’t like teaching a child to read. Positive reinforcement is your enemy. Your Facebook friends, your Twitter followers… hate you.  Instead of taking ten seconds to say. “This doesn’t work. You need to do better”. They readily push that “like” button, because it’s easy and they hope to get the same from you, but also because they’re cowards.

via Mostly True.

The Daily Edit – Tuesday
2.7.12

- - The Daily Edit


(click images to make bigger)

The New York Times Magazine

Design Director: Arem Duplessis
Director of Photography: Kathy Ryan
Art Director: Gail Bichler
Deputy Art Director: Caleb Bennett

Photographer: Joel van Houdt

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

The Impact Of Conservation Photography – Garth Lenz

- - Photographers

by Grayson Schaffer

On January 18 the Obama administration blocked the proposed Keystone XL pipeline, which would’ve moved bitumen and crude oil from the tar sands region of northern Alberta to refineries in Illinois, Nebraska, and eventually the Texas Gulf Coast. The pipeline’s advocates claim that it would create 20,000 new jobs and decrease America’s dependence on foreign oil. Its critics claim that employment figure is closer to 3,000 temporary workers and that the pipeline would represent a serious environmental disaster even if it never ruptured or caused a spill; getting the oil out of the ground, they argue, is already tearing up Canada’s boreal forest and would massively contribute to climate change. One thing that’s not discussed in the debate is the role photography has played in shaping the battle lines. Chances are, if you’ve seen photos of the mining operations in the tar sands region, they were shot by Canadian photographer Garth Lenz. Grayson Schaffer recently spoke with the 54-year-old Victoria, British Columbia–based shooter about his work.

Grayson: You get to chalk up last month’s decision as a win, right?
Garth: It was a great win. Of course, the Republicans can and will reapply at a later date, but one has to think that this is a very positive step. The same reasons that make the pipeline a bad idea now are going to make it a bad idea in the future—even if it goes around the Ogallala Aquifer [under America’s heartland]. There will always be a real risk of a breach in that pipeline. The bitumen contained in the tar sands crude pumped through these pipelines is far more corrosive than petroleum, so the chance of a leak is even worse. Plus, the pipeline would completely undercut initiatives for Americans to be pursuing their own sustainable energy sources.

Grayson: What exactly is the environmental movement fighting against? Is it the pipeline, specifically, or is the fact that this oil gets burned at all?
Garth: Well I think that depends on who’s doing the fighting. There are obviously a number of groups whose primary concern is the risk of a pipeline rupture. And then there are a lot of other people who look at these pipelines as the linchpin for expansion of the dirtiest most carbon-intensive fossil fuel on the planet. And the creation of that fossil fuel is predicated on the destruction of the boreal landscape under which it’s found. That part of Canada holds a significant portion of boreal forest, the most concentrated terrestrial carbon sink on the planet. In terms of climate change, it’s a double whammy. This is why NASA climatologist James Hansen feels that it is “essentially game over” in terms of maintaining a stable climate if the Tar Sands are developed, and environmental writer Bill McKibben refers to the Keystone pipeline as “a 1700 mile fuse to the biggest carbon bomb on the planet.”

Grayson: Explain how you think your photographs may have affected this process.
Garth: People hear so many arguments back and forth, and it can become extremely confusing. I think there is a real honesty in actually seeing the physical impact of what a development project like this means on the ground. When you’re actually there and you see the scale of impact, you really realize that we’re changing the earth in a way that has never been done on this kind of scale. I think the photography brings that home and will compel people to do their own research into the matter and form their own opinions. I think photography has the potential to convince people that this is, in fact, a huge issue and worthy of their attention.

Grayson: In writing, everybody has an opinion, even if they try to present an objective version of a set of events. When you shoot the tar sands, are you thinking about how to cast each photograph in a light that supports your point of view? Is photography inherently more honest than writing?
Garth: I don’t know that I’m going to say to a writer that photography is inherently more honest than writing, though I imagine you’re a photographer as well. Especially in the digital age the honesty of photography is being questioned, but I try to make my photographs as honest a representation of what’s really there as possible. Photographs are compelling, they get people’s attention. I think that honesty is important.

Grayson: So how do you stay honest but still advocate for your cause?
Garth: I am definitely not trying to photograph with any particular agenda, that usually results in bad photography and bad journalism. When I am photographing, I am not trying to advocate for any particular cause. Of course I care about these issues but my work is really driven by an interest in the issue and its potential for producing the kind of aesthetic imagery I respond to, and in trying to tell a story. When I am in the field, my aesthetic perspective really kicks in and is the overwhelming influence in the photographs I produce. When you’re shooting from a plane, everything is happening so fast that you’re working on instinct and intuition. I’m really just trying to make a strong, powerful, beautiful image. There are images in my exhibit for which I have been criticized for making the Tar Sands look too beautiful. Those are some of the images that I am most proud of. I like the idea of challenging peoples preconceived ideas about what these landscapes “ought to look like.” The same exhibit also has a large print of some of the work done on producing dry tailings, which has the potential to have a very positive impact on that aspect of the Tar Sands’ impacts. Some people might prefer that I not show an image that shows some of the efforts being made to try and reduce the impacts but I think it is an interesting image and an important part of the story. At the same time, some of the images are pretty graphic and challenging. The overriding influence in producing these images and including them in my exhibit was that I found them interesting and compelling visually. I’m not really thinking, “Oh, if I frame a picture this way, people are going to think that.” I am really not thinking about how other people are going to respond the them, it is really more about how I am responding to the subject matter in the moment. My overall approach is pretty intuitive. Whether I’m on the ground or in the air, my aesthetic desires take over. I care about these issues a lot and that’s one of the motivating factors in photographing these kinds of industrial landscapes. But the fact is, I find the subject matter incredibly arresting and powerful, just on its own merit. And I think even if it weren’t for the fact that these are important issues that I feel compelled to communicate, I would still find this subject matter fascinating.

Grayson: Explain what the International League of Conservation Photographers does.
GL: The ILCP was created in 2005 to bring together the best practitioners of this kind of photography. The idea is that if we work together as a network, the impact of our actions would be a lot stronger. The ILCP helps photographers more effectively use their work to support environmental causes and organizations. They’re trying to raise the credibility, the standards, and the public awareness for this kind of work.

Grayson: Awareness? You mean that Keystone isn’t just an abstract talking point for talk radio hosts to bat around?
GL: Yeah, that it’s real, and that the photographers who are covering these issues are doing so with a very high code of ethics and a sense of integrity to communicate an honest representation of the threats.

Grayson: How do you pay for these projects? Flight time is not cheap. Then there’s your time, your equipment… How does a photographer get funding to do what is essentially activism?
Garth: For me, it comes from a variety of sources: fine art print sales, editorial assignments, stock sales, etc. I’ve been doing commissions for NGOs, fundraising mostly through folks who have supported my work over the years. Sometimes you have to be creative. My first work on the tar sands was in 2005 as part of a very large project that I conceived and completed for a coalition of groups working on boreal issues. In 2010 I made three trips to the area, mostly shooting stills for the documentary The Tipping Point. The producers helped cover the cost and air time, but I retained all copyright, which allowed me to produce a huge amount of material. I think I’ve been fortunate in that I recognized early on what a big issue the tar sands development was going to become.

Grayson: What’s the takeaway here for a photographer who wants to get into advocacy? And what effect can you actually have?
Garth: I think photographers can have a huge effect. Photography is one of the most powerful ways we can communicate both the fragility of the environment and the threats that unchecked industrial development present to it. That’s one of the reasons why, in all of my projects, I never just show the industrial landscape. You also have to show what that landscape was like before it became industrialized. The hope is to make people realize how important it is to protect the places that haven’t yet been impacted. The takeaway for photographers is that you have to really care about these issues. There’s not a huge amount of compensation. You have to be doing it for the right reasons because it’s a long haul.