Clients From Hell

“Can you please remove the iStockPhoto watermark on the photos? I don’t think it adds anything visually.”

Picture 8

Funny website where designers submit client horror stories (here). Found it on SwissMiss. Where’s the photographer version?

nothing has fundamentally changed

People have two eyes, ears and one mouth, ten fingers and two feet. What different? The methods they use to express themselves and the calls on their attention. I urge you to run the other way if someone tries to tell you ‘people like free stuff’ is news. Did we not know this? Is this a shock? Surprising? Has this recently changed in some way?

via PR, Public Relations & communications news and features.

Perception Is Everything – For Photo Editors

One of the mistakes I made as a photo editor early on was copping a “can do” attitude when it came to finding photography or making assignments. I figured I would just work as hard as I could and the end result was what it was. The problem with this is nobody factors in the limitations of the job they handed you after you’re done. A Creative Director I worked for once said “we need to manage the expectations” which basically means we need to discuss the limitations before heading off to try and solve the problem. When making assignments this means knowing beforehand what the subject looks like; what the environment in which they will be shot looks like; how much time you will have to make a picture; will there be a budget for wardrobe, hair & makeup, props; is the subject even aware thry’re to be photographed. There is nothing worse than discovering upon arrival of the shoot in the office that what was pitched doesn’t not match what exists.

When it comes to stock, a little investigation into whether there is good coverage of a subject matter is always a good strategy before a meeting. That way you can tell them “stock doesn’t exist so we need to shoot a picture and I’ve not turned up any photographers I like in the area so we need to fly someone in.”

The sooner you have these conversations in the editorial process the better it is for everyone. That way if the stock is crap and there’s no time/budget for a shoot making the decision to still run a story means they don’t care if the magazine looks horrible. At least they know they’re the one’s making that decision.

And here’s the dirty secret: it was easy

“Muhammad Ali made a hero out of every single journalist,” Leifer said. “Whether you were a writer, a photographer, a television commentator, you got to cover Ali and your boss thought you were a genius. The genius was really Ali.” Jordan was an equally photogenic subject for Iooss. “It was like traveling with a Biblical character with Michael because everyone in the world, at his peak, wanted to be with Michael and meet him in shake his hand,” Iooss said. “And he had everything, you know, for a photographer. It was like photographing a male model. I always compared him to Elle MacPherson” whom Iooss has also photographed for the S.I. swimsuit issue.

via Lens Blog – NYTimes.com.

Perception Is Everything

I had several conversations last week with photographers about perception. The people doing the hiring arrive at an initial decision about you by factoring in something they think will happen based on their perception of you. I have no real insights into creating a perception about yourself other than there are many factors that go into it and the traditional marketing methods exist not only to reach potential clients but also to build the perception of who you are. The reason I’m bringing it up is because 3 examples of perception were brought to my attention suddenly and I wanted to share them.

Seth Goodin has a new name and forward to an old book of his now called, “All Marketers Are Liars Tell Stories” (here). In the new forward he states:

“You believe things that aren’t true.
Let me say that a different way: many things that are true are true because you believe them.

[…]We believe what we want to believe, and once we believe something, it becomes a self-fulfilling truth.”

Last month a bombshell dropped in the wine world (here) when taste maker (and vineyard maker or breaker) Robert Parker blind tasted a group of wines he had previously ranked and said the lowest ranked wine was his favorite (before finding out what it was).

Jonah Lehrer, a contributing editor at Wired and author of “How We Decide” weighs in on this remarkable turn of events:

When we take a sip of wine, we don’t taste the wine first, and the cheapness or redness second. We taste everything all at once, in a single gulp of thiswineisred, or thiswineisexpensive. As a result, the wine “experts” sincerely believed that the white wine was red, or that Lafite was actually Troplong-Mondot. Such mistakes are inevitable: Our brain has been designed to believe itself, wired so that our prejudices feel like facts, our opinions indistinguishable from the actual sensation. If we think a wine is cheap, it will taste cheap. And if we think we are tasting a grand cru, then we will taste a grand cru.

The Wall Street Journal takes the story further (here) with this article on the wine-rating system:

[Mr. Hodgson] obtained the complete records of wine competitions, listing not only which wines won medals, but which did not. Mr. Hodgson told me that when he started playing with the data he “noticed that the probability that a wine which won a gold medal in one competition would win nothing in others was high.” The medals seemed to be spread around at random, with each wine having about a 9% chance of winning a gold medal in any given competition.

[…]The distribution of medals, he wrote, “mirrors what might be expected should a gold medal be awarded by chance alone.”

Finally, Lise Varrette sent me this old story from the Washington Post:

On a cold January morning in a Washington, DC Metro Station, a man with a violin played six Bach pieces for about 45 minutes. During that time about two thousand people went through the station, most of them on their way to work.

[…]In the end, only 6 people stopped and listened for a short while. About 20 gave money, but continued to walk at their normal pace. The man collected a total of $32. When he finished playing, no one applauded, nor was there any recognition.

The violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before Joshua Bell had sold out a theater in Boston where the seats averaged $100.

[…]It’s an old epistemological debate, older, actually, than the koan about the tree in the forest. Plato weighed in on it, and philosophers for two millennia afterward: What is beauty? Is it a measurable fact (Gottfried Leibniz), or merely an opinion (David Hume), or is it a little of each, colored by the immediate state of mind of the observer (Immanuel Kant)?

We’ll go with Kant, because he’s obviously right, and because he brings us pretty directly to Joshua Bell, sitting there in a hotel restaurant, picking at his breakfast, wryly trying to figure out what the hell had just happened back there at the Metro.

“Let’s say I took one of our more abstract masterpieces, say an Ellsworth Kelly, and removed it from its frame, marched it down the 52 steps that people walk up to get to the National Gallery, past the giant columns, and brought it into a restaurant. It’s a $5 million painting. And it’s one of those restaurants where there are pieces of original art for sale, by some industrious kids from the Corcoran School, and I hang that Kelly on the wall with a price tag of $150. No one is going to notice it. An art curator might look up and say: ‘Hey, that looks a little like an Ellsworth Kelly. Please pass the salt.'”

Leithauser’s point is that we shouldn’t be too ready to label the Metro passersby unsophisticated boobs. Context matters.

Kant said the same thing. He took beauty seriously: In his Critique of Aesthetic Judgment, Kant argued that one’s ability to appreciate beauty is related to one’s ability to make moral judgments. But there was a caveat. Paul Guyer of the University of Pennsylvania, one of America’s most prominent Kantian scholars, says the 18th-century German philosopher felt that to properly appreciate beauty, the viewing conditions must be optimal.

Read the whole story (here).

Closing The Gap Between Online And Offline Advertising

Online video represents only a small piece of the total advertising pie, but the growth in streaming ad revenue is becoming more of a threat to the broadcast medium that supplies most of the high CPM content. Hulu is a case in point, as Mediaweek and paidContent sources point out the ways the site’s ad sales team often undercuts the network media buys for both streaming and broadcast. Sources tell paidContent that some of Hulu’s broadcaster backers, which include NBC Universal, ABC and Fox, are experiencing growing frustration after hearing from media buyers that the video site’s ad sales often offer discounts on ad sales. At this point at least, paidContent is told, the situation is more of an annoyance for networks, than serious damage, since the dollar amounts remain comparatively minuscule.

via Media | guardian.co.uk.

Newspapers aren’t doing as badly as you think

By the way, you can still make money publishing newspapers—even in a period when advertising has plummeted. Check out Gannett’s third-quarter earnings report. Its newspapers pulled in more than $100 million of operating income on revenues of $1.04 billion. In the first three quarters of 2009, advertising revenues were off 31.6 percent, but circulation revenues were off less than 5 percent, even though many of Gannett’s flagship papers lost subscribers.

via Daniel Gross – Slate Magazine.

Todd Ruthven, AD, JWT Detroit, on automobile advertising

CGI has definitely found its place in advertising but has not and WILL NOT replace actual photography. I believe that nothing can replace the spontaneity and “happy accidents” that can occur while actually shooting something.

[…] When you make something too perfect you run the risk of making it look fake. Using CGI requires the creative person to actually create flaws in the image. Therefore making it look believable.

via Greg Ceo Blog.

Photographer iPhone Marketing Apps- Cutting Edge Promotion or Money Hole With A Fresh Coat of Paint?

I’m not surprised that the king of promotions (Monte Isom) was the first to come out with an iPhone app as a marketing piece (here). It usually pays to be the first so I’m sure it worked for him in the way that a well made mailer might and as a method for cutting through the email clutter it must have been solid gold.

Not long after Monte’s came out I saw another from Caesar Lima (here).

According to this story on the WSJ Blogs (here), companies like Net Solutions in Chandigarh, Inda build apps for clients at $3,000 to $15,000 a pop.

It will be interesting to see where this ends up. I can certainly see an app from someone like Howard Bernstein being quite valuable but how many individual photographer apps can you download before your phone is clogged.

caesariphone

An Interview with Gerhard Steidl

In the past, I had to take my own humble photography to printers, and I was always shocked to see that the printers ruined the images. Originally, I wanted to simply see my own photos printed well, instead of being angry about bad reproductions all the time – for which I then also had to pay.

via Conscientious.

Photographer Rights Activist Tests LA County Sheriff’s On Their Understanding Of The Law

Discarted a blog written by “photographers & concerned citizens living in Los Angeles. / With the goal to shoot photographs freely in public spaces wherever, whenever, of whoever. / And a desire to get the word out, educate and engage,” has video posted of an encounter with two LA County Sheriff deputies inside the Hollywood and Western Metro Station. MSNBC is reporting (here) that Shawn, the man who took the video says his constitutional rights were violated and he’s posted phone numbers and emails on the Discarted site to rally complaints against the deputies (here).

I love the idea that a group of photographer rights activists will go out and make sure the police understand the law. These Sheriff Deputies not only fail they try to intimidate the photographer by threatening to make his life miserable if they were to place him on a FBI watch list. They also try to review the images he’s taken but can’t because he’s shooting film.

The Sheriff initially tells the photographer what he is doing is against MTA rules (here).

Photography Guidelines

* Only permissible in public areas, proof of fare required in marked fare required areas (station platforms of all rail stations and the Metro Orange Line)
* No commercial photography without prior authorization and consent from Metro
* Hand held equipment only, no tripods are permitted
* No photography inside moving trains for privacy and safety reasons
* No flash photography, especially into oncoming transit vehicles (rail or bus)
* Photography must not interfere with passenger safety or movement at any time

thx for the tip, wmanthony.com

Foto Week DC Starts Tomorrow

Foto Week DC starts tomorrow and it looks like there’s plenty to do for people in attendance (here).

fotoweekdc

This screening (here) of a movie on Yousuf Karsh caught my eye because I’m a huge fan.

Film Screening – Yousuf Karsh and Portrait Photography
DATE: 11/10/2009 – 11/10/2009
WHEN: 12:30 PM – 1:30 PM
WHERE: Embassy of Canada

501 Pennsylvania Avenue, NW
Washington, DC 20001

To be “Karshed” was a synonym for having attained the summit of worldy achievement. During his 60 year career, the 15,312 sittings he had, resulted in arguably a portrait gallery of the most famous figures of the 20th century. This film is the celebration of his centennial year of birth.

Produced by Ian McLaren / Production Grand Nord
Written by Harold Crooks and Joseph Hillel
Directed by Joseph Hillel

2009 / 51:30 min.
COST: Free