“I don’t think most young photographers know the risk,” he said. “But you can’t deny them their chance. Jim Nachtwey and Don McCullin had a first time. Patrick Chauvel had a first time. You don’t get experience until you are under fire. You don’t understand how to protect yourself until you stand behind a wall being shot at.” As a photographer at Black Star in his mid-20s, Mr. Morris chafed at the bit, trying to get assignments in El Salvador and Beirut. His boss, Howard Chapnick, told him he wasn’t ready. So Mr. Morris set out for the Philippines on his own.
( click images to make bigger )
Creative Director, Print and Digital Media: John Korpics
Senior Director, Design: Jason Lancaster
Art Directors: Mike Leister, Marne Mayer, John Yun
Senior Deputy Photo Editor: Nancy Weisman
Deputy Photo Editor: Jim Surber
(1-3) Photographer: Francesco Carrozzini
(3 spread) Photographer: Jeff Reidel
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.
“How many of you expect to make your living from creating or providing content?”
Close to half of the audience responded by raising their hands up.
When I asked the same audience:
“How many of you believe that you should pay for content?”
Less than a dozen people kept their hands up…
The Lucie Awards were held last night. Always an exciting event because the honorees, presenters and nominees are the luminaries of the photography industry and the winners get to walk up on stage and accept a statue. Here are the winners:
International Photographer of the Year went to Majid Saeedi
Discovery of the Year Award went to Anna di Prospero
International Photographer of the Year – Deeper Perspective Award went to Daniel Beltrá
Picture Editor of the year went to Kira Pollack, Time Magazine
Photography Magazine of the Year went to ZOOM
Fashion Layout of the Year went to W Magazine for Tilda Swinton, photographed by Tim Walker
Book Publisher of the Year went to Chris Boot, Ltd for Infidel by Tim Hetherington
Photography Curator/Exhibition of the Year – Kohle Yohannan for Beauty Culture at the Annenberg Space for Photography, Los Angeles
The 2011 honorees were:
Dawoud Bey for Achievement in Portraiture
Bill Eppridge for Achievement in Photojournalism
Rich Clarkson for Achievement in Sports
Nobuyoshi Araki for Achievement in Fine Art
Nancy McGirr and Fotokids for Humanitarian Award
Eli Reed for Achievement in Documentary Photography Award
The International Center of Photography received The 2011 Spotlight Award
Congratulations to everyone.
If, like me, you have a kid, you’re likely to have re-discovered your adoration for Dr. Seuss. That man, crazy as he must have been, could most definitely spin a yarn. And I just love the way his stories and sentences always seem to find a balance. (On the fifteenth of May, in the Jungle of Nool, in the heat of the day, in the cool of the pool…) Not too messy, not too clean, not to cutesy, not to tough. Just right. So with that in mind, I thought I’d follow up last week’s selection of big, cloth-bound, heavy monographs with a couple of small, taut, poetic little books. (And of course, they’re by female photographers to balance out all the previous guys. As promised.)
Just in time for Halloween, “Dondoro,” is a soft cover, perfect bound, slim little booklet by Estelle Hanania, published by Kaugummi Books. It’s a creepy, trippy set of images of Japanese masks, dolls and dancers that has the feel of a ancient funeral procession. A head stone image and the general melancholic tone hint that the color photos metaphorically depict lament and sorrow. As the French-only text offers up “En mémoire d’Hoichi Okamato 1947-2010,” I feel pretty comfortable with that guess. I’m not a scary movie guy, to be frank, and when I saw that Japanese horror flick with Sarah Michelle Gellar a few years ago, I almost crapped my pants. But this book is cool, and I’ve found myself opening it and closing it a lot since I picked it up from photo-eye. It must be the time of year, because everyone likes getting the heebie-geebies in late October, but this is a book that I think will stand the test of time.
Bottom Line: Disturbing, but in a good way.
“Hurricane Story,” offered by Broken Levee Books, (via Chin Music Press,) is a colorful little hard cover by Jennifer Shaw. I confess that I really haven’t seen anything like this, and neither have you. Ms. Shaw, a New Orleans resident, was one week from giving birth when Hurricane Katrina hit in 2005. She tells the story of her and her husbands’ evacuation and subsequent displacement, which I admit is a tale we’ve heard before. And of course, there have been a hundred natural disasters since, each of which pushes Katrina a bit further into the background. In this book, however, the story is re-created using toy props, shot dreamily and lusciously with a Holga. Each page uses a single sentence to illuminate the narrative, and the technique enables the viewer to read the story both in words and pictures simultaneously. It’s lovely, witty, poignant and original. Definitely a book you want to have in your collection.
Bottom Line: Just right
Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.
The proliferation and acceptance of iPads as photographer portfolios is a great thing. Not only is it inexpensive compared to printed books, you can include motion and depth on subjects that your client may be interested in. That being said, the printed book is still a source of familiarity for those in the hiring position and a great way to start a meeting off on the right foot. I was on a panel recently where photo editors said “if you can’t make nice prints don’t bother with a printed book” and I have to agree that while the selection and sequencing of images are super important the quality of the prints can make or break the whole presentation.
Photographer Zack Arias describes the process of updating and printing a new portfolio and it’s a good read for anyone who hasn’t done one yet:
A printed book is a thing to take pride in. There’s something tangible about it that holding an iPad doesn’t compare to. Note that I’m a big believer in electronic forms of showing your work. I walk into every meeting with a print book AND an iPad. The book is the best representation I have of the work I do. The iPad holds expanded galleries of work that support the book and hold other galleries of work that don’t find their way into the main book. Things like personal projects, travel photography, video, etc. Eventually I want to have a series of print books that show a range of the work I do.
Yaakov Israel’s The Quest for the Man on the White Donkey, complex, multi-faceted project, featuring portraits and landscapes, was my personal pick as a winner of this year’s Conscientious Portfolio Competition. For me, the project captures seemingly disjointed moments in time, offering many hints and as many red herrings. The viewer is invited to come back and re-look at these photographs, to find a slightly different world each time. New details reveal themselves, while old details change their meaning ever so slightly. Instead of pointing at something and saying “This is the way it is” the photographs ask their viewers to discover what is to be found and to ultimately come to their own conclusions.
You can trace the decline of the Camera Operator job back to the days when being a photographer meant you were actually a chemist. Steady technological advances in film, lenses, cameras and software have turned operating a camera into something a monkey can do. You don’t have to look any further than Craigslist to see postings for camera operators listed at $0.25 per object and $10/hr, to realize operating cameras is not a good way to make a living. I don’t think I’m stating anything new here, just working my way to several points I want to make in response to this email I received:
As a benchmark, I am interested in PDN’s 30 under 30, but I can’t help feeling, that it’s about being connected to the right channels, presenting to the right audience and in the right manner. I wrestle with the notion of, “It’s who you know, not what you can do.” And a lot of times, it all feels like a networking popularity contest, or how one presents/markets his or herself.
How does a photographer best position his or her work to a photo editor to be considered at that level? What draws their intrigue? Is it a look, a ton of skill, getting published in the places, being unique in a world when everyone is trying to be unique and therefore mimics one another?
Photography as a business is not about operating cameras. It’s about operating a business and applying the rules that govern successful businesses: advertising, marketing, networking, professionalism, instilling confidence, igniting word of mouth, leadership, standing out, evolving, defining your offering, building a team of talented people… etc. While it may be horrific to see jobs that once paid well go for McDonalds wages, those people are only looking for someone to operate a camera.
The other point I want to make, is that hitching your wagon to something like the PDN 30 is not a good idea. Professional photographers have multiple points of contact with their clients before getting hired. If the first time anyone sees your work or has heard of you is in the PDN 30 you will disappointed by the lack of response. As a benchmark your appearance in the PDN 30 should be accompanied by your 3rd year of direct marketing, a spread in a great magazine, successful portfolio meetings and the completion of an intense personal project.
The job of camera operator has been in decline for many decades, don’t follow it into the ground.
More and more I get assignments with very open ended parameters. My clients are very often asking me to come up with the solution. This is challenging as there are sometimes no limits. I have to ask a lot of questions to get to what’s important to them. I believe I’m most creative with some parameters, so I decide on a mini story that all my ideas must fall into. The story usually aligns with something in my gut that I want to try visually.
— Saverio Truglia
via » this is the what.
While the debate has raged over whether or not film is dead, ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras. That’s right: someone, somewhere in the world is now holding the last film camera ever to roll off the line.
via Creative COW.
Heidi: With the CC52 Project did you start out with a grocery list of photography fundamentals that you wanted to explore in unique and challenging ways? For instance: The foil triptychs seem to be a pure light and shape study.
Craig: I’ve always worked on my own, the difference now is the seven day deadline to complete a project and move to a new idea within the next seven days. Whether I like it or not, it’s mood driven.
What has been the most surprising to you about this project and what have you learned about yourself as a photographer?
I tried not to fall into a routine and allow myself to have an open mind and find inspiration from different things. The most surprising aspect has been that I thought it was going to be easier. We are in week 30 and it’s a bit harder, but the images are getting better. Plus I enjoy the freedom. When shooting editorial, the amount of freedom or lack of, can be suffocating. By time the image flows through all the channels, it can get watered down. With this project I don’t answer to anyone, I’m doing it for myself, like or it not.
I enjoyed the distillation of the everyday experiences of a melting popsicle and a burning marshmallow. How challenging was that to achieve, and make it so simple and artful?
This is where the industry is going and we need things with movement. People have a hard time taking something abstract and making something of it. How do you take a marshmallow and make it interesting? Make things move and they become something more interesting. It also helps to have Victoria Granoff as your food stylist.
Have you always sketched out you ideas first?
When I sketch I mentally go through the photo shoot in my head. It’s here I decide to move forward or shut it down.
For CC12:Duct Tape: How long did each image take, and did you apply one piece at a time and then take a shot? How many rolls did you use, and whose car is that?
20 cases of duct tape. I had interns and lots of people to help. I spent 6 hours doing a very elaborate lighting for the car. In the very end, it was too fussy, the idea didn’t need lighting. I pulled it all off and ended up shooting it with one direct light. Two days of applying tape, 15 minutes to light it. The car took one full day. And it’s my car. No one would rent me a car like that allow it to be covered in duct tape.
In CC1:Ice Cubes Are those real ice cubes? How can you achieve that with no melt if they are?
Absolutely all of them are real ice cubes. Shooting quickly with 4×5, I simply made a pencil mark on the set and then built the columns. I had my assistant bring out 3 industrial sized racks of cubes, we used 30-40 cubes per take and had about 30 seconds for each take. Can’t even tell you how many times it collapsed. Unless its motion everything is shot on film, and at the end of this project I am having a opening with the prints.
Do you think there will be some sense of gravity for your last segment?
I don’t know that’s a great question, it’s so far down the road!
Do you know what that last piece will be yet, or are you inspired weekly and spontaneously?
Spontaneity is the number one important thing to me.
Tell me about this latest piece: The Vase.
Steve Meierdin, was my first assistant/ manager full time, now he freelances for me on special projects. It’s one of my favorites right now. I like it because its so simple. The base of the idea is just a white vase and white box, everything else happens around it. High tech meets low tech here, The editing had the biggest impact on that project. We adjusted the speed of the “cycles” for the editing and the audio was a stock waterfall that we manipulated. I wanted it to be unrecognizable, but paced with the video so it’s in your head but you are not quite able to place it.
I know that these type of things need to be covered and it’s important for journalists to be there to tell these stories, but I just don’t know if I have the type of stomach, or courage, or brass (or whatever you want to call it) to make pictures of people when they’re going through such rough times.