Category "Working"

Black Photographers Matter

- - The Future, Working

Guest post by Amy V. Cooper

This past week has provided a huge swell of excitement about the potential for change not just in our country, but in the photography community. It has been amazing to see so many
businesses not only supporting Black Lives Matter, but also pledging to review their own
practices and biases, launching internal reviews and initiatives, and, for a few, publicly
announcing the steps that they will be taking to address racism and the lack of diversity within their companies.

We have seen white photographers create a database for finding Black photographers; photo editors, designers, consultants and agents offering pro bono services and mentorships to Black photographers.Β Resources for finding Black photographers like Authority Collective, Diversify Photo, Color Positive and others are being amplified.

Photo courtesy ofΒ Alexis Hunley

It’s not breaking news that the photography, media and advertising industries in the U.S.have a great deal of work ahead to further diversify. β€œI can’t find them” is no longer an excuse for not hiring and representing Black creatives.

It’s time to get to work.

With input from Black photographers, I’m offering these suggestions toward becoming a more inclusive and diverse industry. WeΒ are not suggesting that photographers be hired solely on the basis of race – nobody is asking for or wanting this. But Black photographers need to be seen and feel seen.

This is not about handouts. It’s about opportunity.

I am proposing that we work harder to include Black perspectives in our spaces and offer more opportunities for them to be seen, supported, educated, mentored, empowered, amplified, celebrated and paid.

I am proposing that we hire Black photographers to shoot more than race-related reportage and subjects or experiences that we think are germane to theirs.

I am challenging us to consider more Black photographers for shoots and triple bids, give them more of our time and invite them into our networks.

As a former editor and art buyer, I know that it feels risky to take a chance on someone when their current portfolio might fall short of our explicit expectations, but now is the time to start taking some risks so that more Black photographers have the opportunity to gain the experience that they need in order to compete with non-Black photographers.

Here are actions we can all take:

  • Offer scholarships, mentorships and/or paid internships to Black people.
  • Intentionally network and ask for meetings with Black creatives.
  • Accept meetings and respond to emails and DMs from Black people.
  • Do our homework to research and discover more Black creatives within our industry.
  • Hold others accountable for inclusion, ask questions and take inventory of diversity
    within our spaces. This is going to be uncomfortable and hardβ€”do it anyway.
  • Create policies and diversity initiatives with practices to maintain momentum and
    responsibility beyond periods of protest.
  • Ask your friends and colleagues what they are doing to expand the diversity in their
    networks.
  • Amplify Black voices and issues in ways that are not self-serving.
  • Reach out to schools and colleges that have more, or majority Black students, or areΒ in more diverse neighborhoods. Volunteer your time, expertise or money.
  • Listen to Black people. Make them feel welcome.Β 

Photo courtesy ofΒ Cedric Terrell

More Specifically:

Photographers:

  • Find, hire and/or mentor Black assistants, producers and stylists.
  • Cast Black talent, including those with darker skin and natural hair.
  • Find hairstylists who can properly style natural hair.
  • When joining organizations or directories and signing up for festivals, competitions and conferences, ask about diversity policies and pay attention to diversity in panels and reviews. If diversity is missing, speak up and invest your money elsewhere if not addressed.
  • Offer your services to Black-owned businesses and amplify their products, over-
    delivering to those clients when possible.
  • Take stock of the diversity in your own portfolio. Explore more diverse subjects,
    locations, cuisines, etc.

Photo Editors, Creative Directors & Art Buyers:

  • Add more Black photographers to your bookmarks and personal directories then utilize those directories.
  • Follow Black creatives on social media; invite them to your office or virtual office for portfolio reviews. Teach them about the process of working with your company and in your industry.
  • Initiate conversations and standards for reviewing and hiring more Black photographers and vendors within your company.
  • Feature Black creatives on the contributor’s page or bold the bylines. Advocate for them and amplify their work to other editors and buyers. If they are not ready, help them grow, introduce them to other photographers, crew and resources.
  • Mentor Blacks who want to be photo editors, creative directors and art buyers.
    We need a lot more of those.Β 

Photography Producers:

  • Add more Black people to your crew and vendor list.
  • Mentor or provide paid internships to Black creatives.
  • If you haven’t already, start building more diverse crews – before your clients start asking for them.
  • Find hair stylists who can work well with natural hair styles.
  • Talk to your vendors, casting and location scouts about their diversity initiatives.
  • Create production guidelines to address discrimination on set.
  • Ensure equal pay for Black crew and talent.
  • Offer to produce test shoots for Black photographers.

Stylists:

  • Find, hire and/or mentor Black assistants and stylists.
  • Source products from Black-owned businesses and designers.
  • Educate yourselves on Black hair, skin care, and products. Refer a more experiencedΒ stylist for a job if you are not qualified.
  • Offer your services for test shoots with Black photographers.

Photography Reps & Agents:

  • Understanding that less than 10% of major agency rosters are made up of BIPOC, work harder to diversify who you represent.
  • Mentor and introduce less experienced photographers to more experienced photographers, producers, stylists and consultants who can help them elevate their portfolios.
  • Offer portfolio reviews and more thorough responses to Black photographers’ inquiries.
  • Take Black photographers with you on agency visits and consider offering paid internships.
  • Consider creating an informative auto-reply or FAQ page to educate younger photographers or refer them to consultants.

Consultants:Β 

  • Introduce Black photographers to editors and art buyers. Amplify their work.
  • Encourage your white clients to diversify their portfolios and networks.
  • Connect with schools and colleges that are more predominately Black.
  • When you are asked to teach, review or be on a panel, evaluate the diversity of that panel or event. Speak up and ask for accountability if diversity is missing. Offer suggestions to include more Black creatives in the event or program. If diversity is not addressed, decline to collaborate until it is.

Photography Associations & Clubs:Β 

  • Diversify your boards, teachers, members, speakers and mission statements.
  • Amplify Black creatives on your platforms and in your newsletters, webinars and podcasts.

Directories & Sourcebooks: Pay to play directly affects diversity in all industries.

  • Amplify Black photographers and offer scholarships.
  • Diversify the decision makers who accept or reject applicants.
  • Diversify your webinars, podcasts and newsletters, and ensure the initiative
    continues after periods of protest
    .
  • Promote Black photographers to your network of art buyers.

Photography Festivals & Competitions:

  • Diversify your panels, judges, instructors, speakers and featured photographers.
  • Offer more attendee scholarships and ask sponsors to be a part of that.
  • Question the diversity of your sponsors’ ambassadorships, representatives and
    mission statements.

Technical Equipment Companies (Cameras, Lighting, etc.):

  • Diversify your ambassadorships and branding.
  • Sponsor Black photographers, offer scholarships and mentorships, provide teaching and training opportunities.
  • Donate equipment to, and volunteer in schools with majority Black students.

Schools/Colleges/Teachers:

  • Invite more diverse guests and Black creatives into your classrooms.
  • Hire more diverse instructors.
  • Invite Black students to audit your classes.
  • Teach about Black photographers and give your students assignments to report on more diverse photographers. Show them that not all successful photographers are white men.

Galleries & Museums:

  • Diversify your collections and amplify Black artists.
  • Offer mentorships, reviews and other access to Black photographers and
    communities.

Advertising Agencies:Β 

  • Update and clarify your diversity policies to your employees as well as your
    clients.
  • Advocate for better representation in front of and behind the camera.
  • Hire more Black employees, creative directors, art buyers, producers and writers,
    please.

Photo courtesy ofΒ Martine Severin

I understand that hiring, charging and offering discounts on the basis of race or ethnicity will require attention to legal guidelines. I am aware that we are going to have to uncomfortably navigate the complicated waters of tokenism and exploitation. And I realize that some of these suggestions may sound discriminatory in the exclusion of non-Blacks. That is certainly not my intention.

I am asking all of us, including myself, to work harder to empower and amplify Black artists so that we may have more balanced, consistent and truthful visual representations in our media and lives.

Let us remember that it was in fact an image, a video of George Perry Floyd Jr., that woke up so many people in our country to finally call for change. The photography industry will no doubt be a powerful agent in this revolution. It’s up to us to make it happen. Let’s get to work.

Amy V. Cooper is a Photography Consultant and Editor offering mentorships to Black photographers and to BIPOC interested in becoming photo editors or art buyers.

This Week in Photography: Sitting for a Virtual Portrait

- - Working

 

All ________ people look alike.

We’ve all heard the racist expression before, which has been applied to a host of ethnicities, and is clearly untrue.

So it’s ironic that my doppelgΓ€nger in the photo world doesn’t resemble me at all.

Like, we could not look much more different, while still being similarly sized humans.

To whom am I referring?

Jon Feinstein, my fellow Jewish Jonathan, who’s also a photographer, writer and educator.

We have EXACTLY the same job, though we’ve shown our work in different spaces, and written for different publications. (How he managed to keep a relationship going with the assholes at Vice, I’ll never know.)

Coincidence or not, I met Jon at my very first portfolio review, in Santa Fe in 2009, and we’ve stayed in touch casually ever since.

Me and Jon, Santa Fe, 2009

Last year, he was kind enough to do a story on “Extinction Party” for the Humble Arts Blog, and I think it was the first time we officially worked together. (10 years people. Relationship building is a long-term endeavor.)

Even though we look different from one another, (and I’m the Gen-X’er to his elder Millennial,) there have been multiple times during my career when someone thanked me for curating their work into a show, or publishing it online, but it wasn’t me.

Of course when I tell them that, they always look at me funny, at first, as if I’m fucking with them.

“Sorry,” I’ll say. “That’s Jon Feinstein. My last name is Blaustein. We’re not the same person.”

It’s gotten to the point that Jon and I joke about doing a project together called Jonathan Something-stein, or Jonathan ______stein, because there must be more of us out there.

He even planned a prank where we’d swap tables at Filter Photo last September, and we were all set to do it, but he had to miss the festival due to a death in the family.

Needless to say, I respect and appreciate his taste, so when I got an email from him last month, suggesting I look into a friend’s project, I said sure, and then promptly forgot about it for a month or so.

Jon was recommending Robert Canali, a San Francisco-based, Toronto-born artist who’d started up a pandemic response project, and did it in just the right way. (I now know.)

All details I’ll share, henceforth, I learned yesterday, when I became a portrait sitter for the first time, (maybe ever,) and the process was fascinating enough that I’m writing about it here. (For the record, Manjari Sharma asked me to be a subject for her shower series, back in 2010, but I politely declined, being too insecure about my body at that point.)

So, where were we?

I followed up with Rob a month later, and booked a slot on an efficient digital calendar system, but for what, I was not sure.

I only knew he was using Zoom.

The gist is, a sitter reaches out to Rob, and in many cases, based on the social media buzz he generated, he has no idea who the person will be.

Though I normally do research on everyone I work with, Jon’s vouch, plus my own desire to be creatively curious, meant I knew nothing about him either. (Which surprised him.)

The scheduled 45 minute appointment begins with an introductory chat, and because I’m a curious journalist, (and like trying to entertain people,) our appointment ended up going long.

Straight off, he explained what would transpire, and why he created his anthropological project to begin with.

Like many of us, Rob was trapped in his home early, and was limited to the materials he had on hand. So he got working, (as I’ve encouraged you all to do many times,) and also got out of his comfort zone, as he had not done portraiture previously.

He realized he could use his iPad screen to expose photo paper, (much like Robert Heinecken did on TV screens in the 80’s to mock Reagan,) and then played with the process.

 

by Robert Heinecken

 

By inverting the image on the iPad screen, the resulting print becomes a paper positive, as if he left the image alone, he’d get a paper negative instead. (He called the iPad his enlarger.)

After that, it’s into the fixer, and you’re done.

In order to get the image to render, though, the technology needs a lot of time to soak up the person’s visage, which is being beamed along fiber-optic cables around the country, or the world.

But how do you do this with with complete strangers?

That’s where the interview process comes in.

Writing everything by hand, with a pencil in a notebook, he asks his sitters a few questions to create rapport, and also gather data.

I believe I was his 173rd subject, so at that sort of scale, it allows for a collection of personal information, and stories, that relate directly to our upended lives in #2020, due to the fucking virus who shall not be named. (The Voldemort virus?)

I found Rob to be charming and thoughtful, so the chat was an enjoyable experience as he explained the process to me, prior to the official interview.

Basically, he asks people to sit still, and play a specifically chosen set of music for 15 minutes, so that the image will render, and the environment will be curated.

Music is meant to be shared, he told me, and I said, “So is art.”

Once I knew what I was getting into, he hit me with the questions. (I’m paraphrasing the exact words, but not the meat of his questions.)

1. How has the pandemic changed your life for the worse?

I responded that at 46, I’d spent years building up a self-care regimen to support my mental health. It worked, as I am a relatively healthy, successful person with a loving family.

Martial arts, watching sports on TV, visiting friends at festivals, and having alone time in my house were at the top of my list.

Now I’d lost them all, and finding new ways to stay healthy, while also mourning those I’d lost, was a challenge.

2. Has anything in your life improved?

I admitted that for most of #2019, my wife and I would regularly say, “I wish I could press a pause button on life. I need a break so badly!” Again and again, we wished we could get off the ride, so as to visualize what the next phase in life might be.

And then our dreams became an actual nightmare, as a pause happened under the worst case scenario. (Outside of nuclear war, I suppose.)

Sure enough, after 10 weeks of enforced isolation, we have finally begun to figure out what we wanted next out of life, and how to go about restructuring things once a “new normal” returns.

3. Is there anything about life, when it returns to a “new normal” that you think will be changed permanently?

I told him the truth, which is that no one on Earth knows what comes next, at this point.

I don’t know what will change, and neither do you.

The only thing I’m certain of is that things will be permanently different in ways we can’t visualize yet.

I said, “When the planes hit the Twin towers, who would have thought that everyone would have to take off their shoes and belts at the airport forever?”

After that, I cued up my music, which was the middle portion of Bill Withers’ brilliant debut album, “Just As I Am,” from 1971.

RIP Bill Withers

He told me I could only blink, and not move at all, so I settled into a lotus position in a good chair, with a pillow behind me for lumbar support, and then asked where to look?

I realize that staring at the green light on my webcam would hurt my eyes, so I chose a spot just outside my bedroom window, where some Aspen leaves were shimmering in the breeze.

In Rob’s process, at that point, he turns off his webcam and his speaker.

He disappears, and I was left with my music, my trees, and my stillness.

Obviously, it felt like meditating, and because the songs were both powerful and emotional, a serious tone was set.

It was amazing.

I don’t remember the last time I sat that still, without my mind wandering.

You can only blink.

By the time he came back, and said we were done, I wasn’t cramped, or bored, and probably could have gone longer.

I felt refreshed from the meditation, and energized by being a part of someone else’s creative process.

“This should probably be this week’s column,” I said, and Rob quickly agreed to share his images with us.

My only caveat was, I needed to see the photographs first.

Given the process, they look like ghostly 19th Century pictures, which is a great visual connection to the past, given that photographers also required still sitters then too.

The truth is, the prints are soft and pasty in the best way, I imagine, but the reproductions of the prints are a bit flat for our purposes.

Rob was kind enough to agree to boost the contrast just this once, for us, as it will help you appreciate the project more, in my opinion. (And this is an opinion column, after all.)

I asked if he’d be willing to answer his own questions for us too, and he blushed for a second, admitting no one had asked him to do that yet.

So behold his thoughts on Covid-life, and then we’ll share a set of images too. (Including portraits of Jonathan Feinstein and Jonathan Blaustein, who look nothing alike.)

See you next week!

Rob’s Answers:

1. What is something you’ve lost since shelter in place was mandated and the world went into quarantine?

I’ve lost the sense of urgency with which I used to navigate my life, and have since found the time to slow down and appreciate the subtleties that its made of.

2. What is something you have gained through this experience?

I’ve gained this project and through it a great sense of purpose and countless meaningful connections to people around the world.

3. What is something that you think will never be the same after this?

It’s difficult to say that something will never be the same – forever is a very long time after all. I fear our memories only last so long and perhaps not long enough for us to realize the positive changes that can come of this. The sentiments that have been echoed throughout the making of this project make me hopeful that enough people believe that things will be different. I’m not sure what that different looks but I’m curious to see where we land. It’s just a matter of time.

Jon F

Jonathan B

 

The Daily Edit – Caitie McCabe Face Time Portraits

- - Working

Facetime for charity


Photographer: Caitie McCabe

Heidi: How did this idea come about?
Kaite: I was extremely bored and missing production life and FaceTiming my family when I figured out you could take photos using the phone. I posted on social media that I was looking to do a few shoots for charity and it EXPLODED from there. Over 100 sessions and counting!

How do you direction the kids, they seem receptive, what do they think of this situation?
Not all, but many of the kids are from the model community which generally means they are super outgoing and LOVE to be in front of the camera which helps the shoots tremendously. We spend the early part of the session finding the best light and discussing what they want to do and then it’s all about collaborating and playing for the best shots.

What are the challenges?
Technology has been the hardest part- if the kids don’t have good service or are using an iPad/older phone it tends to be harder to get everything in focus. Much of my time is spent making sure they’re in the best environment for the tech to work and explaining what I need in order to get the shot.

How do you decide which charity?
The charities I’ve chosen to put on my site are 3 that I volunteer with often. I prefer for my subjects to donate to those charities but have left it open and on the honor system for them to donate to any charity they choose.

How are you getting the outside shots?
The outside shots are actually the easiest! Often I ask to have a parent or older sibling present for the shoot to make sure I have someone holding the phone and able to take direction so the child can focus on playing. Once we’re in the right environment, everything just falls into place honestly.

102 portrait is stout, which was your first session and what have you learned about your work?
My first session was the 1st of May and has been nonstop since. I was feeling in a real creative rut before COVID-19 so this project has actually been amazingly helpful for me to push my ideas and collaborate with the kids on really authentic portraiture. I always love to work with the kids on set when setting up a shot, they have the best insight on how to make something real and fun, there’s no reason for me to not involve them. I’ve reignited that style in this project and am really looking forward to bringing these fresh ideas to my client work.

Fostering Creativity and Personal Health- MJ68 Productions

New Production Protocols

I received an email from agent, Cynthia Held with a brochure producer, Michael Horta created about how to create safer working environments on photoshoots during this pandemic.Β  I was thrilled to be informed that this brochure is to be shared with other photographers and crew.

Thank you so much Cynthia Held and Michael Horta and showing us that we are all in this together.

Click below to download your copy:

Β MJ68_Fostering Creativity + Personal Health

 

Michael Horta

MJ68 Productions is a highly efficient, friendly, budget conscious, action forward production company with an enthusiasm for bringing talented people together to make great images happen.Β  Our goal is to make every production feel effortless for the photographers, agencies, and client.Β  On-set, MJ68 Productions is proud to provide talented, professional, and friendly crews; healthful, foodie inspired catering; optimal organization and a savvy to gracefully handle almost everything that comes down the pike.Β  MJ68 is at your service for estimating, budgets, insurance, excellent crew recommendations, casting, location scouting, art department, travel coordination, etc.β€”We love our work and are ever-expanding.

Β Held & Associates

Since 1994 Held & Associates has represented advertising photographers and directors who have risen to the top of their profession thanks to their dedication and talent and our well-recognized track record of promoting successful relationships with advertising agencies. We pride ourselves on building lasting partnerships and striving to always create brilliant content that will surpasses client’s expectations.

 

APE contributorΒ Suzanne SeaseΒ 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.Β  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 decided to be a consultant in 1999.Β She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.Β  Follow her at @SuzanneSease.Β  Instagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it. Β And that is what I do with decades of agency and in-house experience.

The Daily Edit – Virtual Portraits: Jonas Jungblut

- - Working

 

virtual portraits photographed by Jonas Jungblut

 

Jonas Jungblut

Heidi: Is this satisfying your creative spirit?
Jonas: Overall I have to say I’ve had an incredible boost in creative thinking and sense of opportunity through this thing. I always preach that if you want to move forward you want to go down the rapids, less comfort but faster progress. This really feels like that. Just this morning, by 10 am, I had done a portrait session in Capetown, Lugano, Switzerland, Antigua and Los Angeles, pretty exhilarating.

Describe the project.
This project is all about everyday people during this crisis. There are no stylists, make up artists or prop stylists. The subjects are in full control of what I get to photograph and I just document. They aren’t models and mostly don’t know how to move for the camera so I have to pose them pretty diligently to get specific images.

What are the commonΒ themes in responses?
All of the subjects tell me about concerns with the situation or how the government is enforcing shut downs, we have a genuine conversation, exchange information, ideas and concerns. And then we laugh when we try get a certain shot and things are lost in communication or something. This project really has taken me away from worrying too much and I think most subjects enjoy the distraction and doing something creative. It’s good for the soul.

Do you direct the subjects?
The whole process is totally foreign and freeing at the same time. No technical control (exposure, lens, etc…) which, once you let go of it, makes the session become fully about communication. I have to move the camera with words not my hands. Years of building intuition and motor skills to get where you want to be are useless and you have to explain to someone who, often times, has no idea about composition how to position the camera. It’s not easy but at the same time entertaining. There are a lot of laughs. It is a little like directing but every shoot you have a different camera operator so you never get groovy with each other on that part.

What was your main takeaway?
My main takeaway would be that it is really nice connecting with people during this time and doing a fun project together even though you are, sometimes, on the other end of the globe. Sessions take anywhere from 10 minutes to a half hour, depending on how much chatting happens. Also, sometimes it takes a while to find the right background/light/composition.

Is the lo-fi quality freeing?
The quality of the final images is brutal but it is also kind of charming, like really early digital files or badly digitized film images. These will never be printed large but creating compilations or possibly doing collage type prints will help with that. But if you are strictly going for a phone screen, or any normal size screen for that matter, it is also kind of scary to realize that this is a valid option. With the right light, internet connection and some experience you can get pretty clear images that just have a vintage, romantic, artsy type look to them. I took one this morning of a teenager in Lugano, Switzerland and when I looked at the final image I was really surprised.

Tell us how this scaled for you.
Obviously these are not medium format super beauty portraits but being able to do shoots across the globe in a single day is nuts, probably a sign of things to come. Not sure if I like it but it is what it is. If they somehow figure out how to get a 20 megapixel file out of this and maybe add selective exposure and focus I would definitely keep doing this. Actually I already have one of my magazine clients voice interest in potentially doing these in the future. And again, I love to get on the road and experience new places, not to mention the energy that exists between subject and photographer when faced in real life. But the environmental as well as economic impact of flying around the world to take a portrait (or product, etc…) will surely be challenged after this crisis. Things will change. They always do anyways.

Joe Baraban – One exposure, one frame, one click… shot on Kodachrome 25

- - Working

Sometimes you think you’ve shot just about everything!!

I got a call from an Art Director I had worked with before, telling me that he’s now at a new agency. The agency he was at lost a big account, so everyone got the proverbial boot!

If you professionals out there ever thought that being a free-lance photographer was/is a precarious occupation, you should try being an Art Director back in the day. Your portfolio was always up to date and under your desk.

You went home on Friday after a successful meeting with the client (third in agency billing) who had just approved a new campaign, and over the weekend the client decides they no longer want to go in that direction and fires the agency. You come to work an hour late on Monday and twenty-five percent of the agency is gone; happened all the time.

I’ve seen it happen because I was going to be the photographer that was chosen to shoot an (eight day) new big campaign on a Friday for Bud Light and by Monday the agency had lost the account.
OUCH!!!!!

The creative team usually consists of a writer and Art Director. The writer usually comes up with a concept, and the Art Director makes it come to life; sometimes the other way around.

This client was fairly new to the agency, so it was important that the Art Director/writer team deliver β€œthe goods”, as they sometimes said. The reason I was called was that I had β€œdelivered the goods” once before.

The client was an insurance company whose customers were owners of expensive sailboats and motor yachts.

The approved concept, that also went into focus groups, was that you never knew when trouble was coming so you had to be ready for anything; even when you are about to be attacked by a giant crab. Whoever came up with this idea was probably stoned…everybody must have been stoned for this one!!

And that’s where I came in.  The Art director asked me if I thought I could make a giant claw attack a boat…” Hell yes!”

I learned a long time ago that the secret to the success I have had was/is because I always surround myself with the best (most talented) people possible, and I still believe it.

Having said that, I hired Danny Harries, a good friend and an amazing model maker/illustrator, to create a giant claw that we could position where it looked like it was about to attack both a sailboat and motor yacht.

Danny carved it out of a huge block of foam (to make it light), painted it, and from one end to the other it was eighteen feet long.

We took it down to a bay near Houston whose depth was only about four feet deep and tried to set it up…it wouldn’t stand upright, and as a result we missed a beautiful sunset!!!!!!

Since there wasn’t a plan β€˜B’, we had to keep working with what we had…the original β€˜A’ plan. We took it to a nearby garage so Danny could figure out what went wrong and what he needed to do. While he was scratching his head the Art Director and I were toasting to the Photo Gods with a few beers, thinking that it couldn’t hurt.

The next day we went out again to a great sky and this time it worked like a charm; Danny had worked his magic, much to the relief of the Art Director whose color had returned to his face…and of course, yours truly.

While my assistant and I were lying in a Zodiac, I had the sailboat and motor yacht follow directly behind one another, so I could take full advantage of the last rays before the sun hit the water…as in the sunset. I was very close to the claw with a 20mm lens on, so it would appear larger than life; the Art Director’s words, not mine!!

Those were great days where you could actually use your imagination and then create those ideas in the camera, and having a hell of a lot of fun doing it. Now, the claw would be about eight inches long, shot against a green screen, and with post-processing it would be added to the shot…computer art…UGH!!!

We finished the shoot and had a couple of celebration beers while loading up the claw. After about a mile I had to make a pit stop. Luckily, I pulled over on the shoulder next to a semi-dense forest to disappear into it.

As I was getting out I told the Art director that I had to see β€œa man about a horse”. When I got back everyone was laughing, especially the Art director.

It seems that while I was gone the account executive, a young woman named Beth (fake name to protect the innocent) said to the Art Director, β€œOh I want to go, I love horses”.

One exposure, one frame, one click…shot on Kodachrome 25

To read more of Joe’s stories visit his Facebook page: https://www.facebook.com/joe.baraban

This Week in Photography: A Coronavirus PSA

- - Working

 

I’m doing something different today.

(Like proper different.)

It’s an advice-only-column.
Maybe think of this as a public service announcement.

Now that I think about it, in all my years here, I did do this once before.

After a near death experience.
In Mexico.

(No, it had nothing to do with dodging cartel sicarios across the NorteΓ±o desert.)

Rather, my wife and I almost drowned in Playa del Carmen, during a rip current, with our young children back at the apartment with my folks.

We were so desperate to swim in the blue Caribbean, after a week of shit weather, that we ignored any and all warning signs, and swam out deep enough, in a brewing storm, when no one else was around. (“Hint, hint,” the Universe was saying.)

But we thought we knew better, and only through a lot of luck, some fancy swimming, (and not much else,) did we make it back to shore, exhausted, breathing heavy, arms trembling.

Jessie and I made a promise to wise up that day, and I wrote it into an New Year’s advice column for you, as it happened to coincide with the festivities.

I think I did wise up that day, and am proud of it. After a 4 year stint in therapy, a ton of travel around the US, building a new photo retreat program, publishing a book, and getting back to Europe twice now, I’m definitely a more capable, smarter, more nuanced, emotionally intelligent person than I was then.

Yes, I almost died in Amsterdam last month, (I promise to tell the story,) and I’m no “super-genius,” so all I’m really saying is that I try to learn lessons from life, and am happy to admit my fallibility.

Geared up for the weather in Amsterdam.

So what am I on about then?

Why no photo book?
Or art exhibition review?

Haven’t I seen enough in the last month to write ten articles about things on the wall right now?

Yes.
Yes, I have.

But for all the shit I gave #2019, for all its legendary absurdity and insanity, I didn’t feel compelled to do what I’m doing now.

Somehow, (though I’m not hating,) #2020 has managed to earn its hashtag in just over two months. Like I wrote about 2010 reminding me that 2009’s ass-whooping was not done, our new year has seen a full-blown global pandemic begin to arise.

Is that right?

My terminology?

I’m not sure, but what I am certain is that panic behavior has set in, with a major stock market sell off, and humans acted like flock birds by simultaneously voting for the “safe pair of hands” Joe Biden, as if connected telepathically.

I’ve heard stories from a friend of empty food shelves in New York, seen a photo of empty toilet paper shelves at a Target in San Diego, and a tweet about hoarding in Cincinnati.

San Diego

Cincinnati

My favorite soccer team, Arsenal, was supposed to play today, (I’m writing on Wednesday,) and the game was postponed because Arsenal players were exposed to the since-ill-with-the-coronavirus owner of the Olympiakos soccer club 13 days ago.

(ED note: Thursday evening the Arsenal head coach, Mikel Arteta, was diagnosed with the virus.)

South by Southwest has been cancelled.

Italy is in complete lockdown.

Old people are dying, regularly.

And China’s Orwellian, mind-boggling movement restrictions of earlier this year are now being held up as a (kind of) model for perhaps controlling the spread elsewhere.

(Oh yeah, this is probably a good time to mention the virus was likely started because some human beings just can’t seem to stop eating wild-jungle-creatures. Fucking assholes!)

It’s scary and crazy all at once, and as I have been dispensing advice here for years, and doing proper travel writing since last year, I wanted to share my two cents.

First of all, remain calm.
Secondly, remain calm.

Just because other people are buying up everything in sight doesn’t mean you have to.

(I took my kids to the grocery store yesterday, just to demonstrate that we could shop rationally, and ignore the panic instinct.)

Wash your hands well, and often, (I’ve always been a bit OCD in this one way,) but please don’t buy all the soap in your local supermarket.

Or all the TP, tissues, paper towels or hand sanitizer.

This type of hive-mind behavior perpetuates itself, as panic is as contagious as this nasty new virus.

With respect to travel, you all know I went to Amsterdam, and am glad I did. It made my book much better, and that was very important to me.

But I’m not sure how much non-essential travel I’d be doing now. (Ed note on Thursday: Travel from Europe has since been restricted.)

Last weekend, I was in Houston for a major domestic conference, SPE, happening right before a major international one, FotoFest.

I chose to hug and shake hands as normal at my book signing, but the new etiquette was to ask people what their preference was, before getting into personal space.

“Is it OK to touch you,” I’d ask?

Some people preferred fist bumps, or elbow bumps, or nothing at all. Most, though, kept it normal.

That was Saturday, and I’m guessing that at FotoFest, which began this week, far more people will revert to caution.

May I suggest we all culturally appropriate from the Japanese, and simply bow?

You can hug your family, but maybe we can all “honor” each other by staying hands off for a month or two?

I didn’t do it the other day, admittedly, but things change fast with new information, and if I had the signing now, I’d trade bows for hugs.

Also, it’s probably wise to check in on your elderly neighbors. (Assuming you know you’re virus-free.) At times like this, they need more help than ever.

I’m supposed to do a book signing at Paris Photo New York/AIPAD, (they need a more efficient name next year,) but now everyone’s wondering if it will be cancelled?

I’ve already heard rumors as such. (ED note: it was postponed several hours after I wrote this.)

Given all the health data about how helpful social distancing can be, should any of these international conferences go on, in major international cities? (ED note: now they’re not.)

Does the call get made piecemeal, one festival at a time, or all at once, in a wave?

Will this story, written on Wednesday, feel dated by the time I publish it on Friday? (ED note: the answer is yes. The NBA was cancelled later the same day, and the last session of FotoFest was postponed too. Now all sports are on hiatus, and the State of New Mexico closed all schools Thursday night.)

Here’s another piece of advice: do what you have to to keep your stress levels down. Beyond the hand washing, a healthy immune system is the best defense against getting really sick, so amp up your self-care regimen.

Exercise, make art, watch Netflix, cook good food, go for lots of walks.

Do what you can to stay calm and mentally grounded.

Given Capitalism’s efficiency, it’s unlikely, (beyond a guaranteed recession,) that this virus will interrupt global supply chains in a massive way, causing the kind of shortages that panic is currently making appear possible.

The only way that could even possibly happen is if all workers got a nasty case of coronavirus at once, and no one could work.

Erring on the side of caution, therefore, with where and when you travel, again makes a nasty exponential growth curve that much less likely.

So, in conclusion, as one who’s been in many public spaces in the last three weeks, in major international cities and airports, I’m now going to ease off, knowing what I know.

(ED note: as of Friday morning, the NM governor asked all people like me, who were out of state, to self-isolate for 14 calendar days. So I’m now stuck at home…)

Stay safe, stay smart, and please remember to remain calm.

It’s back to normal next week. (I hope.)

The Daily Edit – Modern Huntsman: Tyler Sharp

- - Working


Modern Huntsman

 

CEO and Editor-in-Chief: Tyler Sharp

Heidi: You’re a photographer, a writer and a CEO, how did all that braid together to launch this magazine?
Tyler: This may sound trite, but perhaps destiny and a bit of serendipity. I studied film and photography at USC, and in a random stroke of fate my first job out of college was in Tanzania working for a safari company. I went from Los Angeles to the middle of Africa and spent six months documenting fishing, Kilimanjaro trips and hunting. It changed my life completely. This led to that, I was whisked to over 35 countries in a few years, and exposed to a myriad of cultures, conservation issues and hunting traditions. I was photographing and writing about my adventures on the side, and eventually started to pitch to other magazines and brands, utilizing my access to remote locations as a way to get my foot in the door. It worked, and I was very fortunate to work with some great people over the years. But I was constantly frustrated by two main things regarding hunting: one, that hunters for the most part do a terrible job of communicating ethics and the majority role that hunting plays in conservation, and two, that many non-hunters are either not educated about this reality, or are mis-informed by false or sensationalized media. We started Modern Huntsman to bridge that communication gap, and have based a lot of the philosophy off the wisdom, beauty and respect for wildlife that I’ve been witness to, but is rarely highlighted. Our hope is to make the topic of hunting less taboo, and to showcase how it is still very much a part of the natural order. Then I lost a bet and got promoted to CEO.Β 

Your most recent theme was all about women (which is outstanding) how did that theme evolve?
From the very beginning, we’ve had women involved in this venture, and my dear friend Jillian Lukiwski (@thenoisyplume on IG) was actually the one who encouraged us to keep the more poetic β€œHuntsman” in the title, and to shirk any criticisms that we weren’t inclusive of both genders, in the same way that the word β€œhuman” refers to male and female. As we started to do research and collect more stories, it became very clear that not only was there a treasure trove of female creative talent in the hunting and conservation space, but that many of them were not being featured and celebrated the way they should be. So we decided to do an entire book about it, and rather than pretend like I know what the hell I’m talking about, I stepped aside and brought in four women editors to take the reins. What resulted was one of the most inspiring and rewarding experiences of my life, and to my knowledge is the first time it’s been done in this way for the genre. Feels like we barely scratched the surface with 272 pages, and while we could easily do another four books, we all feel proud of what we accomplished in showing a diverse range of women who hunt, fish, ranch and fight to save wild places. It’s really something special, whether you’re a hunter or not.Β Β 

Did you have any criticism from the female community?
Before we start on every issue, we lay out all of the possible pitfalls and potential criticisms, and do our best to be mindful and intentional as we move forward. We knew that people would say this was a β€œpublicity stunt,” or it was β€œmen talking about women,” and even that β€œthere should be no division between men and women in hunting and that it was patronizing to focus entirely on female hunters.” Our amazing team of tenacious women shot it all down, and forged ahead bravely with what they felt needed to be said to engage readers from diverse backgrounds, and hopefully generate more interest, despite the fact that women are the fastest growing demographic within the hunting industry. Surprisingly, our biggest criticism came from women within the hunting industry itself, claiming that our cover choice was not β€œhardcore enough to represent them as hunters.” Again, this was a deliberate choice. Yes there are many women who are just as tough, if not more tough, then men. There are photos of them with blood and dirt on their faces and animals on their backs as they hike out of the backcountry. We wanted a cover that showcased a more graceful and feminine side – that you can be both a hunter and a mother, killer and nurturer, angler and gatherer. The Salmon Sisters from Alaska are a perfect representation of that, and Dawn Huemann’s photo of them is so iconically idyllic, we knew right away that it was the cover. Being that our goal is to engage with non-hunters and hunters alike, we felt this image choice would help accomplish that, but no decision is without critics and this was no exception.Β 

How do you compensate your contributors?
I tried to base the model off everything that I didn’t like about working with other magazines: a lack of camaraderie or community, a simple exchange of services with little shelf life beyond the print release, and the sometimes β€œthank you, bye” tone of assignments. So in addition to pay, we do ongoing social promotion of our contributors work, website features of their portfolios, films or products, and pull them into podcasts, speaking events and newsletters. Every volume I also give some contributors a percentage of sales, which helps them feel a bit more invested in the cause, and incentivises them to help us promote the finished work. We also connect many of them with our brand partners to do additional commercial assignments. Modern Huntsman wouldn’t be anything without the contributors, so I do my best to advocate for them and provide as many opportunities as I can. We push our photographers and writers hard and demand excellence, but it’s a very involved, collaborative process that is rewarding for all of us in the end. I’d like to think that we’re doing things a little differently, and so far it seems to be appreciated with those we bring into the fold.Β 

How did you get started and how many issues do you publish annually?
While the idea for the brand and the book was in development for a year prior, we launched a Kickstarter in the fall of 2017. Our instinct that this was a much needed fresh take on hunting traditions was proven true, and we successfully raised about $110k to produce the first book. It took about four months to gather all of the content from our faithful contributors, and Volume One shipped in early 2018. We’ve done three additional books since then, and I say books because they are 250+ pages with no ads. So call it a biannual publication, and while I don’t foresee a way to publish more than two a year, we’re going to be launching some smaller collaborative projects this year in addition to a lot more digital content, podcasts, and educational events for those who want to learn more about food sourcing and conservation.Β 

How can photographers contribute?
While our next two books have been mostly commissioned, we’re always publishing stories on the site and across our social channels, and are always trying to diversify the voices and backgrounds that we feature. As much as possible, we try to present a wide array of perspectives that bring about constructive conversations. It’s not just hunters and anglers who contribute, and in my opinion, therein lies one of our strengths. Given the amount of unsolicited submissions we’ve been getting, we haven’t really opened a formal process for that yet, but hope to in the near future. For now the best channel is the submission link through our site, and typically story ideas that adhere to current or upcoming themes are the most relevant.


CEO and Editor-in-Chief, Tyler Sharp on assignment in Africa

The Daily Edit – The New York Times Sunday Magazine: Dina Litovsky

- - The Daily Edit, Working


The New York Times Sunday Magazine

Director of Photography: Kathy Ryan
Former Art Director now Partner at Pentagram: Matt Willey
Photographer:
Dina Litovsky

Heidi: How much time did you spend with each athlete before taking their portraits, was it before or after Mavericks?
Dina: I did two trips for the story, to Maui, Hawaii and Mavericks, San Francisco. Traveling to catch the waves is tricky, there is only a 24-42 hour notice of when the waves will swell. I had to be packed and ready
, waiting for the last minute green light. When I got to Maui, the weather was too dangerous for me to get on a boat for the shoot so I concentrated on making portraits of the athletes.

Tell us how you got the cover image, where were you in the water?
This was taken at Mavericks. I had 3 days to shoot the waves before the swell was over. The shoot was done on a small boat, aboard with both of the surfers, Bianca Valenti and Paige Alms (cover). Each day trip took from 3-5 hours. The boat had to keep circling around the waves to avoid being overthrown. That, with the combination of looking through a 400 lens trying to pick out Bianca or Paige among the 30 other surfers, contributed to my first ever seasickness. The cover image was taken on the second day when I came more prepared with anti-nausea pills. Physically this was probably the most difficult shoot I’ve done. In the end, I came out with less than 30 images of the women surfing, and one of them ended up on the cover.

Was the photo direction in Black and white?
Mavericks is one of the most dangerous places in the world to surf the big waves and I wanted to translate that into a mood that was a bit threatening and ominous. Once I took away the bright blues and greens of the sky and sea, the waves seemed to turn into stone, both overwhelming the surfers and freezing them into a moment of stillness. Right away I knew that the images had to be black and white. I sent Kathy Ryan both options of each image, color and black and white, and was thrilled to learn that she chose the monochrome versions for the whole story.

Photo Directories & Sourcebook Review

- - Working

Guest Post by Amy V. Cooper

Sourcebooks, Photography Directories, Listings… What areΒ the differences betweenΒ them, and which one will give me the highestΒ return on investment?Β You asked, so I did the research.

I interviewed dozens of photographers and directory agents andΒ concludeΒ that there areΒ no best or worst. Β Your genre of photography, location, target market, how you preferΒ to interact, and of course your marketing budget will collectively determine which one (or more) of these resourcesΒ is rightΒ for you.Β This review will help you decide which resources are best for your business.

The most important thing to knowΒ is, the more you put into it, the more you get out of it. As with all of your marketing efforts,Β you have to be consistent, you have to be the squeaky wheel, and you have to be patient.

The majority of these source books and directories are by invitation or selective review, and I do not recommend them for photographers whoΒ do not yet have commercialΒ or editorial experience.

Below you will find an abbreviated version of my full report which is available to my clients orΒ subscribe to my newsletterΒ to receive a download. Numbers and costs are based on research completed in October 2019.

THEΒ ESTABLISHMENT

WORKBOOKΒ is one of the oldest and perhaps most well-knownΒ bi-annual print directories for photographers and illustrators. Their hefty books are ubiquitousΒ at most ad agencies and Workbook is known forΒ great customer service andΒ ROI. ”We are still relevant to creative buyers after 41 years. The Workbook is the most recognizable direct mail pieces in the world.” BORN:Β 1978Β COST: BetweenΒ $2000Β (website)Β –$7500Β (Pro tierΒ includes a 2-page spread in spring and fall books as well as online and free portfolio presentations). Current numberΒ of photographers:Β 321

Best forΒ (IMO/In My Opinion): Advertising photographers interested in print and online marketing support willing to update their work regularly.

LEΒ BOOKΒ is another one of the print originals,Β born in Paris in 1982, expanding to New York (1995) and further in Europe (1999) to include film, photography and other production and eventΒ resources. I actually purchased my one and only source book listing in Le Book as a photographer in 2007. Le Book still publishes directories annually in four markets but their business model seems to be more focusedΒ onΒ eventsΒ and production.Β BORN:Β 1982Β COST:Β $110/mo. Current number of photographers:Β 126Β in theΒ U.S.Β (more internationally).

Best forΒ (IMO): Fashion Photographers in larger markets.

ATEDGEΒ is a series of print publications (5 books/year)Β sent to agencies and major brands in theΒ U.S.Β  By invitation only, AtEdge limits their roster to 150 artists so that they can promote and provide their members with individual attention.Β β€œWe focus on the most innovative photographers, directors andΒ CGI/post-production studios and always make your image the hero. The AtEdge marketing program sets the bar for talent on our digital platforms, in our books, and at our exclusive industry events. Creatives know and love us for that reason.” BORN:Β 2003Β COST:Β $8340/yearΒ (includes a spread in all 5 sourcebooks, a webΒ portfolio, consulting, and one face-to-face portfolio event with 4-6 senior-level creatives.) Number of photographers/directors:Β 150.

Best forΒ (IMO): Advertising photographers wanting a more personalized collaboration.

THEΒ DISRUPTORS

WONDERFULΒ MACHINEΒ began as a photography collective and has expanded into a global online-only directory of photographers in more than 40 countries. In my opinion, Wonderful Machine is one of the few directories that has an intentionalΒ footΒ in theΒ editorial and reportage space (not solely focused on advertising agencies and direct-to-brand.) They also do a lot of production. ”We take a personalized approach when marketing, estimating, and producing for our photographers. We have a lot of photographers that have been with us for many years, lasting relationships. We enjoy seeing their careers grow.” BORN:Β 2010Β (as a directory)Β COST:Β $192-$240/monthΒ (listing only.) Number of artists:Β 595.

Best forΒ (IMO): Photographers wanting more global and editorial reach with the availability of a full suite of services like bidding and production.

FOUNDΒ ARTISTSΒ is an online and print directory known as one of the best in design and user experience. It’s also one of the more affordable options. Found is unique in that it hosts portfolios showings without the artists in attendance. If you are an introvert, this might be your jam. Found Artists printΒ curated sourcebooks twice per year (100 artists per book) and β€œDecks” (unbound) six times per year (50 artists per deck).Β  ”We’reΒ unique in our team and passion as well as our price point. We know what it takes to market our artists and we’ve built rapport with clients over time and in doing so many portfolio reviews.” BORN:Β 2016Β COST:Β $40/monthΒ (does not include portfolio reviews nor placement in print books)Β up to $3995/year. Current numberΒ of photographers: ~700.

Best forΒ (IMO): Advertising photographers needing flexibility with their marketing budgets, wanting help with bids, less interested in or unable to attend in-person reviews.

BOULEVARDΒ ArtistsΒ is (more than) an online directory of photographersΒ created by the founders ofΒ Fotoworks. They host in-person portfolio reviews severalΒ times per year in multiple cities.Β Although you do not have to be aΒ BLVDΒ Artist to attend some of these reviews, their members receive priority and discounts. ”We see ourselves more as a roster than a directory, we host portfolio reviews and focus on personal relationships.” BORN:Β 2014Β COST:Β $1399/yearΒ orΒ $4200/yearΒ for Select members, buyΒ up to $6950Β to include 3 portfolio review events. Number of photographers:Β ~40.

Best forΒ (IMO): Advertising photographers & directors willing to hustle their physical portfolios, travel to meetings, and make face-to-face connections.

PRODUCTIONΒ PARADISEΒ is one of the most internationally recognized online resources for findingΒ photographers, stylists, producers and almost every category of production service you could hope to discover in 55 directories around the globe.Β  ”We are unique in our reach and have the highest number of email subscribers out of all of the online photo directories (overΒ 200K).” BORN:Β 2002Β COST:Β $2-$5K/yearΒ for photographers (less for stylists and other production resources, prices are determined by profession and location.) Number of photographers:Β ~500Β in North America & the Caribbean (more internationally, supporting over 2500 creative businesses worldwide.)

Best forΒ (IMO): Photographers wanting broader online reach and promotion.

THEΒ NEWΒ PIONEERS

KOMYOONΒ is a digital directory offering services and tools for professional artists & the people who hire them. The app and soon to be desktop version allow artists to customize a searchable digital profile. Paid membership includes profile curation, portfolio/website reviews, spotlights on social media and access to varied in-person events. ”Our commitment to better unify our industry is aimed at addressing current pay for play models and making it easier for decision makers to find and track artists. We provide an affordable, useful solution that works fairly for qualified commercial artists of all levels.” BORN:Β 2019Β COST:Β FreeΒ up toΒ $3450Β (4 tiers). Current number of artists:Β 265

Best forΒ (IMO): Advertising photographers with zeroΒ to large marketing budgetsΒ who enjoy the social media model/experience of sharing their work, and are willing to stay active and update their content.

PHOTOPOLITICΒ began as a production services company in 2012 and expanded into its current online directory model in 2017. More than a photographer directory, PhotoPolitic is rapidly forming asΒ an all-in-one stop for promotion, production, consulting, marketing, design, and soon to be direct casting model. PhotoPolitic is unique in many ways but notably in its mission to connect photographers to each otherΒ with a members-only discussion group and fireside chat style events. ”Our website is state of the art in functionality and speed. We make it easy for art buyers to find new photographers. Artists who join PhotoPolitic are side by side with some of the top photographers in the world.” BORN:Β 2017Β (as a directory)Β COST:Β $900/yearΒ (going up toΒ $1200Β in 2020). Current number of photographers:Β 272Β (limited to 25 photographers per category per major market)

Best forΒ (IMO): Advertising photographers interested in community and more direct support.

The companies that I researched for this blog are the most well known in the space of promoting commercial/advertising photographers. I’ve discovered numerous other artist directories and listings in addition to the ones included here. There are manyΒ resources that blur or dilate the lines of what might be considered a directory, some that are free and many that areΒ niche. So as not to overwhelm here, I will be posting future blogs to share what I have learned about theseΒ additional resources. Please sign up for myΒ newsletterΒ to be notified.

***

Pro-tips before spending your money:

1.Β Prepare and ask lots of questions.Β This is not a vending machine. Make sure to get a phone call or face to face meeting with a rep or salesperson before deciding to commit toΒ a listing. Consider the professional background, experience, and vibe of the people you speak with. Some of these agents may be representing you and your work to potential clients in the future or advising you on your career and portfolio, make sure it’s a great fit.Β Take your time.

2.Β Look at the caliber of other artistsΒ in each directory that you are considering. They should be as good as or better than you. Call or email several artists using the same directories you are considering who are in your same genre and/or location and ask about their experience. Ask yourself if there are a lot of competing artists in the same directory, that can be a good or bad thing.

3.Β Define your goals and expectations.Β Different directories have different resources available to photographers. Some are more hands-on than others. Decide if you want to drop and runΒ or if you are the type of artist who prefers a bit of handholding. Know if you are willing to attend reviews and if it’s realistic in your schedule and budget to travel and also update/submit/print newΒ work regularly.

4.Β Know your budget.Β Some directories might start cheap, butΒ ROIΒ usually growsΒ with β€œbuy-ups” (buying in to email or print promotions, portfolio reviews, editing services, etc.) A sourcebook or directory should never consume your entire marketing budget.

5.Β Ask for a discountΒ (politely). Most of these directories have discounts available, it can’t hurt to ask!

Still confused about which directories to choose? Shoot me anΒ emailΒ or jump on my calendarΒ here.

Hey, #ImRootingForYou!

Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β  Β V.

Never miss a blog or event, sign up for my newsletterΒ here.

Get inspired, keep up with my pro-tips, and meet some of my favorite clients and artists: follow me on InstagramΒ @amyvcooper.

The Daily Promo – Jennifer Causey

- - Working

Jennifer Causey

Who printed it?
Print West in Woodinville, Washington

Who designed it?
Kaela Rawson
We worked together to create something that showcased the photos but also had a sense of design and aesthetic. I worked with some prop stylist friends to get feedback and help me choose and pace the imagery.

Tell me about the images?
The images are a combination of test shoots and assignments. I wanted to showcase some shots that don’t really get a chance to be seen. I started looking at some of my recent work to see what I was drawn to. The images that stood out seemed to have a similar color story and feel. The cover image was actually a last-minute addition. It came from a test shoot I did with prop stylist, Audrey Davis. I was looking at a final draft of the promo while I was editing this shoot and I liked how it looked with the yellow font we had chosen to use, so I went with it.

How many did you make?
I printed 1000

How many times a year do you send out promos?
1 to 2

Do you think printed promos are effective for marketing your work?
Yes, I think it is nice to have something tangible to catch people’s eye and to hold on to, and to hopefully make them remember you for future assignments.

The Art of the Personal Project: Shawn Hubbard

- - Working

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. Β I am drawn to personal projects that have an interesting vision or that show something I have never seen before. Β In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Β Please DO NOT send me your work. Β I do not take submissions.

Today’s featured artist: Shawn Hubbard

My friend, mentor and fellow Baltimore native Tim Tadder brought the story of the St. Frances Academy football team to my attention a few years ago. St. Frances Academy, located in an impoverished neighborhood in East BaltimoreΒ is the first and oldest continually operating African American Catholic educational facility in the United States. For years, the school’s underfunded football program struggled mightily. However, after investment fund manager and philanthropist Biff Poggi and his staff adopted the team, they went undefeated and have since turned into one of the nation’s top programs. Aside from providing substantial financial support, Poggi’s primary mission was and is to provide a foundation for the players and guide them to be young men of character.

I met the team during their first undefeated season and pursued the story in hopes of shedding some positive light on a city that had only been a year removed from the death of Freddie Gray and the uprising to follow. At the time the Panthers had no home field, no practice field and no blocking sleds amongst many other deficiencies not shared by the wealthy and predominantly white prep schools they competed against. It was a story of a group of players, most of whom faced tragic upbringings and heartbreaking personal loss, which rallied together for the love of football and a chance to turn their lives around. After a year of unheralded success the team traveled to Florida to take on national powerhouse IMG Academy. The kids from Baltimore were humbled that day but that only added to their strength and resiliency and propelled them to the tremendous success that would follow.

 

To see more of this project, click here.

APE contributorΒ Suzanne SeaseΒ 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.Β  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 decided to be a consultant in 1999.Β She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.Β  Follow her at @SuzanneSease.Β  Instagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it. Β And that is what I do with decades of agency and in-house experience.

 

The Art of the Personal Project: Kris Davidson (reposted for July 4th)

- - Working

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. Β I am drawn to personal projects that have an interesting vision or that show something I have never seen before. Β In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Β Please DO NOT send me your work. Β I do not take submissions.

Today’s featured artist:Β  Kris Davidson

As an immigrant, Kris Davidson’s personal work considers the American experience. She’s recently embarked on a new project that will touch ever state in the union. The American Imagination: Myths, Tall Tales and Legends in the United States is a writing and photographyΒ project that seeks to contextualize stories from each of the American states as an entry point toΒ looking at modern American culture. Stories β€” in particular, myths, tall tales and legends thatΒ incorporate elements of the fantastical and surreal β€” all contain fragments of truth, holding the history, fears, hopes and aspirations of a people. The fantastical elements of a culturally held story allows for heady hyperbole in celebrating triumphs, while also providing a buffering analgesic effect in making sense of dark tragedies.

 

To see more of this project, click here.

APE contributorΒ Suzanne SeaseΒ 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.Β  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 decided to be a consultant in 1999.Β She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.Β  Follow her at @SuzanneSease.Β  Instagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it. Β And that is what I do with decades of agency and in-house experience.

 

The Daily Edit – Colston Julian: Various Publications, Various Markets

- - Working



 

 

Colston Julian


Heidi: Tell us how the Kalki images came about? Was this a personal project?

Colston: I have worked with Kalki in the past; we have a close working relationship. She gives me a lot of space when we work together. She wanted to be photographed with her short hair and I was in town so we set up a shoot. She is someone that always gives to the project fearlessly. Yes, I would term it a personal project .

How do you know when a personal project is worth pursuing? do you have a journal of ideas?Β 
I find inspiration in cinema and travel.Β  Yes, I do maintain a journal with thoughts or images from my iphoneΒ  (for light I might see reflections or locations. Even thoughts in note formatΒ  andΒ  sometimes in the form of embarrassing sketches.

 

You have a category called The Boys are Alright. tell us about that category and specifically theΒ BappiΒ LaheriΒ images.Β 
Since I shoot a lot of commercial and fashion work it can be predictable or part of a season trend, so I’m always looking for something I could photograph that is outside of that. This for me turned in to the “Boys are Alright”Β  specificallyΒ  men I have met with strong personalities or unique sense of style.Β  Bappi Laheri for example, I had the opportunity to shoot a portrait of him for RollingStone INDIA.Β  I wasΒ  so amazed by his warmth and humor that I requested that we shoot a few more portraits for which he obliged he even let me into his recording studio which was in a time warp of sorts in the 80’s. It’s not often that I have the opportunity to get such close access,Β  when I do,Β  I make it a point to shoot a series for myself as a personal project, that could potentially be part of a book.

I know you’ve photographedΒ GauravΒ before, what was the most interesting or different about this shoot?
Gaurav is dynamic and interesting as a person , he has a unique dress sense and personality, he also loves to be photograph so it s always fun andΒ  exciting working with him. However, this shootΒ  was with you and Vogue India acknowledging his commitment to sustainability as well as his new fragrance launch; I knew it would get us differentΒ  images from theΒ  other images I have made of him, as we had a strong narrative and direction.

Are you always shooting several different formats, if so why?
About the formats, I’m mostly a medium format person. I love what the large sensor can do to my image in terms of color texture and depth in an image, however that said, I love the flexibility a 35mm format gives me so I almost always shoot both formats, start with the medium format (Phase one IQ3 101 Trichromatic on P1XfΒ  platform w / Schneider optics)Β  I work around a few structured images, then shift to 35 mm and give my subject a bit of freedom to move because the 35 mm is faster Β to work with (I work on the Sony alpha A7R3 with g master opticsΒ  & Zeiss optics), I also try and shoot some film when time permits that purely for the love of the medium and the intimacy the emulsion can have on the image.

How you straddle the Indian and the US market?Β Β 
India the US and European markets are different and diverse marketsΒ  I find keeping a focus on my people work has helped. In India I shoot a lot of fashion and celebrity /actors / cricketers / sportsperson the US market and Europe I normally get the calls for celebrity or location work. I find keep a balance on the kind of work is important. I think the key differences between the Indian and US market is that in India the agencies want the photographer to have a diverse style of work in his book, in the US I think it is critical to have a focused style and direction.

Do you have two different books that you share for those two markets?
Yes, I have two different presentations for Indian and international clients as they are two very different markets. In India the trend is for commercial large scale projects, with experience and a diversity in photographic style. While I think international markets want a defined voice and grammar in the visual direction. I am now looking strongly for an agent / agency in the US market to help bridge the markets.

You shoot both ad and editorial, what do you enjoy the most about your editorial work?
Yes I shoot Both commercial projects and Editorial , howeverΒ  Editorial is what drives me and keeps me alive creatively I enjoy it the most , I love shooting fashion stories more than anything. I find it to be creatively more satisfying , it is important to find a Creative Director and a fashion Director that understand your style and sensibility so that they can use your talent and
that in turn makes for an amazing fashion story or Editorial ,Β  its the freedom to visualize , imagine and create is what excites me the most about editorials .

How do you promote yourself?
I find the most effective way is to showcase your work in the right manner , I prefer to always print a book of my work to show creative directors , I also have my social media channels active showing my new work.Β I also followΒ  interesting talent to work with on social media , Fashion directors , Creative Directors , stylistΒ  , Make up artiste , I see their perspectiveΒ  and mail them for a meeting , share with them my book and look at possibilities on upcoming projects .

Art Producers Tell All

- - Working

AP 1: I never look at mailers.
AP 2: I look at every single mailer.
AP 3: I got a bottle of tequila!

All joking aside, Heather Elder has an awesome podcast you should be checking out called β€œDear Art Producer” where she’s asking the questions all professional photographers and reps want to hear the answer to. If you’ve been in this business long enough most of it is pretty reassuring stuff that we already know: some read every email, some look at every promo, some don’t. There is no magic bullet and you keep all channels open and active to reach them. There are a few surprises too like a mixed bag on use of instagram and that motion is not coming out of the broadcast department as much as in the past and they are looking for photographers who can do it all fast and loose (cheap).

Give it a listen and drop a comment if you find anything surprising. Looking forward to more of these.

The Best Work I Saw at the Denver Portfolio Walk

 

Tick tock, goes the clock.

Tick tock.

It’s counting down the minutes until I need to pull out of my driveway tomorrow.

(Tick tock.)

It’s an early departure to drive 5 hours to Denver, fly to Charlotte, change planes, and then end up in London on Thursday morning.

(If everything goes as it should.)

I’d by lying if I said I was back to normal after the NYC/NJ and Portland double-double.

I’m not normal at all.

But, (and this is a big BUT,) every now and again, being jet-lagged can be a good thing. Like my wife said, right now, for me, it’s the equivalent of hair of the dog.

Since I already feel like that, I should be able to get a lot more accomplished. (If I don’t sleep, so what? I’ll sleep for a week when I get home.)

If I get hungover, so what?

I won’t drink again for months.

London and more await, but first I have to get through SO MANY THINGS on my To-Do list, then pack, and then wake up before dawn too drive over the Rocky Mountains.

The likelihood of the sun being in my eyes as I drive East over La Veta Pass tomorrow? 100%!

All that hustle to get to Denver, because the flights were 1/3 the price of flying out of Albuquerque, which is two hours closer to my house.

$500 vs $1500?

One is doable, the other is not. (Editor’s note: I did pay to upgrade my seats later today, as they were going to put me in the middle, near the toilet, with no overhead bin space.)

So Denver International Airport it was.

The Mile High city.
Home of the Broncos and the Denver Nuggets.

A boom-town for sure, but are they all, these days? The good ones, I mean?

It is one thing I’ve begun to notice, as I’ve traveled around the past year or two. It seems like Denver, San Diego, LA, San Francisco, Oakland, Portland and NYC are all booming.

Cranes everywhere.

Perhaps it’s time to extrapolate all those numbers about the rapid urbanization of America? I mean, I can’t speak to Des Moines, or Little Rock, or Baltimore, but I just read that they’re expecting 50% of America living in 8 states in the coming years.

That’s nuts.

People flock to places like Denver because of the confluence of economic opportunity, world class leisure activities, high-end-bougie-lifestyle, like-minded politics, clean air, (for now,) and (at this point) we have to mention legal marijuana too.

Denver just grows and grows. (Higher and Higher.)

Ask anyone who’s been around the Rocky Mountain West the last 25 years, and miles of what were once open prairie or farms, all along the I-25 corridor, have become suburbs to the point that distinct cities have nearly merged.

The Colorado Springs-Denver-Boulder-Ft.Collins metropolitan area is massive, with a serious population, and it’s nearly seamless in 2019.

(Nearly. There are still a few pockets in between, and even in places like Boulder, farms still maintain micro-pockets, like Gunbarrel.)

I was last up in Denver in late March, as you may know, because I wrote about my exploits here. It was a travel piece, sure, but it also set up the premise of today’s article.

In order to visit a few friends, I drove up to Denver to attend the open portfolio night at the Month of Photography 2019, which took place in downtown Denver on a Saturday night.

I parked in a spot that while convenient to the hotel bars, seemed like it would feel sketchy by the end of the night, and sure enough, I was griping my pocket knife like it was a Hattori Hanzu sword.

But that was the end of the night.

I turned up at the space, and after heading up the stairs, I met a very large crowd. The event was definitely well attended, but there was little of the pushing and shoving that you get in other cities. (Maybe none? I’m not sure anyone pushed or shoved at all.)

Almost immediately, after saying hi to a lot of people, I decided to look at the work seriously, and I met Stephanie Burchett, who reminded me we’d hung out at an after party at Medium in San Diego last October.

(For the record, as I learned the other week in Portland, I always remember a person’s name, work, face, or the circumstances under which we met. Sometimes some of the above, but always one.)

Stephanie had recently graduated from an MFA program in Tucson, and was displaying a small fabrication of images on both sides of the border wall.

I asked if it was a mockup, and she seemed surprised, even though she admitted she made large scale installation in grad school.

It was only meant to be what it was, she said. And I kind of like that, as its intent makes it weird and a little sad. Throw in the video-still she showed me from a grad school show, in which she facial recognition tagged white people in lynching photos, and I knew there was material in Denver to publish.

I told Stephanie that if I could find even a few more people to feature, I’d do an article. Then it became a game and a race, because my friends had worked all day, and wanted to leave to party.

Needless to say, there were enough people, or there would be no article.

 

So rather than go in order, which we never do anyway, I’ll tell you about Ellen Friedlander.

Ellen was one of those few people who stick in my mind, because these days, I try to publish as much work as I can. Very rarely, I’ll say no to someone, and then think about it afterwards, because I feel like perhaps I should have given them the benefit of the doubt.

Ellen qualifies, as I met her at Medium in October as well, (small circuit, the portfolio reviews,) and we spent the entire 20 minutes, or most of it, doing critical feedback. I spent so much time telling her how to improve that I didn’t really get to evaluate her work properly.

Well, here Ellen was, and with her daughter and sister to boot! I got to tell all three that I regretted not helping her, and then I offered to publish her work on the spot.

There was a very happy woman before me, it’s true, but she also said that the critique had been very helpful, and that her new work had grown as a result.

A win win for sure. As to the pictures, they’re street photography horizontal composites, as Ellen spent years living in Hong Kong, and traveling the world.

Chris Sessions was a good sport about my smash-and-grab approach. My friend and colleague, Jennifer Murray, the Executive Director of Filter Photo told me I needed to see his stuff, and within ONE photograph, I knew we were good to go.

Chris is doing a long-term personal project on Charros, Mexican horse riders in the greater Denver area. The image of the dude hovering in air may be one of the best individual photographs I’ve ever seen at a review.

A lot of what I saw that night was not to my taste, which is not uncommon in non-juried reviews. The community spirit and vitality are as important as anything. But it does mean that the good work jumps right out.

Especially when the light/color/sky leap off of an indoor table, at night, under artificial lighting conditions.

That’s what happened with Kevin Hoth.

I saw the images, told him who I was, and said I’d likeΒ to show them just for how beautiful they were.

Aren’t they?

Speaking of beauty, I thought Angela Faris Belt poetic landscapes were also gorgeous. Exquisite.

But then I learned they depict ancient, endangered Bristlecone Pines, and she photographed with expired Polaroid film.

Normally I’d write more, but sometimes it isn’t necessary.

It’s funny how sometimes you need to travel to see people from back home. (Not far, in this case.) I went up to Philip V. Augustin’s table like a shark, as he’s a Santa Fe guy, and I’ve seen his work many times over the years.

I wanted to look at some of his perfect gelatin silver prints, made of real light shapes in the studio. Coincidentally, I saw a few on the wall, framed, at Obscura Gallery in Santa Fe last Thursday, and they were really sharp.

Last, but not least, (as I often say,) we have Carl Bower, who I met on the portfolio review circuit 9 years ago, and probably hadn’t seen in 6 or 7 years.

I’d known Carl for his work about beauty pageants in Colombia, but this work was very different. The images were presented with text on the white background, as Carl was asking people to discuss their Private Fears, as he used his art to combat the same.

 

NYC in the 21st Century, Part 1

 

I’m just back from New York, and am off to Portland tomorrow, where I’ll be when this article drops.

(Yes, I have a headache.)

I’ve been traveling a lot lately, and there’s plenty more to come, so today it’s time to tell you what I observed, as a journalist, in New York and New Jersey earlier this month.

It’s important to date it, because in 2019, these places I know so well have finally stood up tall and joined the 21st Century.

Proudly.

They’ve developed, or grown, in ways that feel authentic, and at times exciting. (As someone who grew up and lived there.) It’s a funny word to use, development, because among a certain political class, it’s almost always seen as a bad thing.

Gentrification –> Development = Low-income residents getting pushed out.

That’s normally the equation, and I get it. (My MFA thesis project in 2004 was about corn fields in my suburban hometown getting turned into McMansions.)

Sure, it was a Dutch farming village for 300 years before my parents got there, but I didn’t want those farms to become more suburbs.

No more people like me moving in to spoil it!

I gentrified the Southern end of the Mission District in San Francisco in 1999, and then Greenpoint, Brooklyn in 2002, and left both places as they were getting too trendy.

Hell, Jessie and I moved back to Taos in 2005 expecting hordes of Gen Xers to follow us, but instead it’s been the Millennials who’ve gotten in on the action in the last three or four years.

All of which is to say, I’ve been a gentrifier, and one who took pains at each new farm that was plowed under for another house like my own.

In general, over the course of my life, I’d say I tended towards the condemnation of massive real estate developments, and appreciated when things stayed the same, as they did in San Francisco for 10 years after I left.

But now, the San Francisco skyline has been ruined by Salesforce, the local culture is supposedly all about tech bros, and I’d have to think hard about how many people I know who live in the city these days, rather than in the surrounding area.

New York City, though, is something different. (As is New Jersey, which we’ll get to in Part 2.)

Yes, it’s my home turf, and I’m biased. I’ve written before that I grew up able to see the Twin Towers from my hometown, gleaming across the bay.

I took it personally when the towers were destroyed in 2001, but I think something of New York’s soul was taken too. Not that it’s people were cowed, because that will never happen.

(Not in my lifetime, anyway.)

Old New York near Herald Square

Rather, the skyline was ruptured so badly, and then the local politicking, which is always dirty in New York, kept the Freedom tower from getting built FOREVER.

Really, you can look it up.

When did the Freedom Tower open to the public?

(Rare Google break…)

OK.Β I’m back.Β 2014.

That’s when the first tenant moved in.

It took New York City 13 years to replace it’s iconic Southern anchor to the skyline.

And even then, the building is just OK.

In the interim, there was a phase where some very average looking, minimalistic residential super-towers were built, which made the city lean wrong, and all that visual weight went towards the super-rich, with their part time crash pads. (I accidentally wrote cash pads, which is a good Freudian slip.)

Looking South from the mouth of the Lincoln Tunnel

Nowadays, in 2019, finally, I’m thrilled to report that New York City has grown in exciting and beautiful ways. (Revitalizing growth that sometimes gets a bad rap, I think.)

In my experience, New York City has become a global tourism Mecca. In the sense that, like Paris, it now belongs to everyone.

And sometimes that comes at the expense of the locals.

Certainly, Manhattan, Brooklyn and now probably Queens are not affordable for “regular” people. Not unless you live “all-the-fuck-out-there” by the ocean.

And even where I’m from, in New Jersey, or in other outlying areas like Long Island or Westchester, the cost of living is high across the board. (Food, rent/home prices, transportation…)

Manhattan just adopted congestion pricing for the first time, to charge people for driving in the heart of the city, and the cost of tolls at bridges is nearly $20 as is.

In particular, though, I’d like to discuss Hudson Yards, the new mega-development by Stephen Ross, which recently opened in what used to be called Hell’s Kitchen on Manhattan’s in Midtown’s Far West Side.

Approaching Hudson Yards from the North

It was supposedly built on a $1 Billion platform over a railyard, and I’ve seen that tactic used in public parks in Chicago and Dallas to good effect. (In Dallas it was over highway, but still…)

Hudson Yards has gotten panned, from what I’ve heard, because it really was built for rich people, and tourists. (I guess I’m kind of the latter, these days.)

 

Looking East towards Old New York

Looking West to Hudson Yards

Looking up at the Hudson Yards skyscrapers

There are something like six new blue-glass skyscrapers by Starchitects, and they surround a big public courtyard with the the Shed, a public art space, and the massively expensive “Vessel,” a glowing bronze public art project for which you have to get a free ticket.

The Vessel

Getting the shot for Instagram

View from inside the Vessel

Looking down off the platform


It is literally a stairway that goes nowhere, built to be an Instagram backdrop, and it does that job well. I was little confused by the physical placement within the city skyline, if it’s meant to be iconic, but then I noticed this ad in The New Yorker, which about sums up the demographic.

The Vessel is apparently visible from New Jersey

On the lower levels of one of the buildings is a huge shopping mall and food court featuring very expensive and/or trendy brands. (Muji is not fancy, but it is cool.)

I understand my point may be somewhat controversial, but I’ve been to that part of town, over the years, and it was a bit of a wasteland.

I can also attest, at 45, that New York has always been about money.

It’s the heart of Capitalism, for crying out loud.

So as a former resident, and now regular visitor, I accept that it was always going to become too expensive for people like me to actually live there.

Hell, I don’t want to live there.

The air quality and weather suck, and it’s too busy for every day.

But seeing such beautiful, gleaming buildings in Hudson Yards, it inspired me.

They’re gorgeous.

And everywhere you look, including in odd places like the Lower East Side, there are new-looking skyscrapers that balance the Empire State and Chrysler buildings, and support the Freedom Tower, which was never meant to carry downtown alone.

(Brooklyn has tons of new hi-rise buildings too, so many that when my father-in-law last visited in 2004, there were none, he confirmed.)

Sticking with Manhattan, though, Hudson Yards blends right into the northern end of the High Line through Chelsea, which is itself a phenomenal piece of design and public space.

Whereas in the past, right at the junction between the two, there might have been a locally owned pizza place, now, it’s a restaurant by Jose Andres and the Adria Brothers. That’s a massive change, and I can see how some people might hate it. (I still miss the ubiquity of a great slice.)

Between the architecture that’s grown around the High Line, like the Zaha Hadid masterpiece, to the nature planted within it, the High Line is always popular, and rightly so.

(We went twice, and each time it was wall-to-wall people, speaking countless languages.)

The High Line ends in the new Whitney, which conveniently flows into Hudson River park, which goes south along the waterfront along the city.

Looking North from the beginning of the High Line

Zaha Hadid building along the High Line

It’s fantastic, frankly.

And none of it was there when I moved back to town in 2002.

I haven’t mentioned Hurricane Sandy, yet, which hit in 2012, but that was a real punch in the nose for the Tri-State Area.

Given that New York is a money town, between 9/11, the following market crash, the 2008 crash, and then Sandy, the city was properly down on its knees.

Maybe not like the big bad 70s, but New York looked stale, visually, and I’d argue maybe it was.

As cities like Shanghai and Dubai raced towards the future, New York seemed stuck in the past.

But no longer.

On a Pier looking South towards the Freedom Tower

These days, I think it’s pretty badass that New York has opened itself proudly to the world.

It’s thriving, and looks pretty great too. (Except for the garbage on the streets, because New York is always gonna New York.)

There’s so much more to tell, (including a few anecdotes about AIPAD,) but we’re nearing 1500 words, and I’ve got photos this time!

There’s no need to over-do it, so I’ll run it back with Part 2 next week.

Have a good one.