At Stevie Wonder’s concert at Madison Square Garden on Saturday night, photographers were told they could shoot only the first 5 to 10 seconds of Mr. Wonder’s entrance and the first 60 seconds of his first song. Then they had to leave.
Alright people, it’s almost Thanksgiving and I want to make sure you’re prepared to meet your aunt’s sister in law’s son who is also a photographer because you know how it is these days saying you’re a photographer is like saying you breathe air.
But, here’s the deal, you need a shit load of talent to become a “working photographer.” A shiiiiiiiiiit load. There is such a massive gulf between amateur and professional photography it’s really quite improbable how people can make the jump. I guess that’s the good news for pros. The bad? Enduring your new amateur photographer friend’s endless string of questions about camera type and file treatment and technique then the viewing of vacation photos on the ipod or blog or photo sharing site and then in my case the inevitable “if you ever need photos from the
Vesna Festival in Saskatoon Saskatchewan Canada, I was there last year and have a thousand shots.”
I’ve got nothing against amateur photographers and I’m more than happy to engage them in conversation about the business but this website is for working photographers, people who aspire to become working photographers, photo editors and art directors. I don’t give a crap if you hang out on flickr or myspace or zooomr because there’s plenty of good stuff happening there as well. But, if you come here to hang with us it’s to engage in conversation about working as a photographer at the highest level.
See you after the break.
One of my readers who works at PDN thought the recent discussion about doing time in NYC or LA, for 2 or 3 years, then moving where you want and mopping up would make a good magazine story. I agree. Based on the comments I’d say it’s the hottest topic we’ve covered so far.
So, let’s do PDN and ourselves a favor, so we can see a real reported and fact checked story on this. If you’re one of these photographers or happen to know one you can rat out send an email to: dwalker100 (at) comcast (dotz) net.
The Agent at AVS (here) weighs in on the important issue of portfolios (So did Jackanory (here) but his is more about your style of photography) and I couldn’t agree more with all the points made. He mentions a massive heavy portfolio that was making the rounds awhile back that everyone remembers but no one seems to recall what was on the inside plus it always makes me think when a book is really over the top that someone is compensating for something.
Black, leather bound (possibly the wax), not too big and not too small with 25-35 pages (guessing since I never counted), embossed with your name. Find it here (link).
I seriously doubt having an incredibly original book would ever get you a job but not having a decent one will certainly be a mark against you. In the end all that matters is the photography.
I’m more of a website person–clearly–so I don’t really need to see a book but the oddest thing happened to me a couple weeks ago. Two photographers in a row came in and their books were quite a bit better than their websites. Must be because they tailored the book specifically for me and now I’m suddenly seeing some problems with the website portfolio.
Before sending the book back I always make sure and huck a promo in the trash. Photographers seem to like that better than my previous practice of not grabbing one.
Don’t know how I missed this comment from the “Crapshoot” post but It’s really good and worth bringing up front.
It’s admirable to think it could all be about the images, and it’s inspiring to think of the art world as a model. But this is about business, and business doesn’t work that way. Look at most of the content that goes into these stories or ads or whatever the assignments are: it’s silly crap to begin with. How can the hullaballoo that surrounds it not contain a degree of silly crap?
It’s pretty easy to sit outside the big markets and complain about how incestuous they are. Then you step into those big markets and you realize they contain whole universes. The competition is fierce. No, talent does not always rise to the top. But professionalism often does. A temperament and a capacity for managing the business environment, the clients and their often wacked out notions, peers, reps and agents, editors, the egos of all concerned, so on and so forth — and then on top of it to get shots: that’s what will get honed in those contexts. You don’t have to like it; hell, many of the people who go through it don’t *like* it. But most of those who manage to negotiate it one way or another will acknowledge they got something out of it, and that it made them “better” in some sense of the word.
Art, or voice, or vision, or whatever you want to call it, happens as an accident in this world. Everybody in the business is interested in it to some degree, but it’s rare that any of them get the chance to foreground it. Someone else’s expectations are always driving the car, and someone else’s credit card is always putting gas in the tank. Getting the job done — whatever the job is perceived to be by the ones who are paying for it — becomes priority one. Time matters; familiarity with the game matters; proximity matters; track record matters. You can’t blame people for minimizing risk when that’s part of what they’ve been explicitly charged with doing by the guys who put bread on their tables.
Also, the fact is that there are so many people working in those big markets that you often don’t *have* to go outside them. I guarantee you there are 20 young photographers in Brooklyn who don’t just know Nebraska (or wherever) but actually grew up there, and are willing to fly there tomorrow and work for a song. They are as hungry as anyone else, and a few of them might prove to be as talented. It may be vicious, but it’s also real.
Someone earlier nailed what may be one of the best strategies: do your time in a big market, endure it, get your game on, then take it to a smaller market and clean house. I have a good friend who did exactly that last year, leaving NYC after several tough but productive years and going to a smaller market, where he’s not just surviving but thriving, in part due to all he picked up.
I received an email from a fellow Director of Photography looking for a photographer who shoots like “so and so” but is less commercial and does smaller productions (you know, 1 assistant instead of 3, that kind of stuff). So I send her a list of people I like and we get on the phone to discuss.
We’re both going down the list clicking on websites and she’s telling me why each one won’t work for this. “Last shoot he did didn’t turn out” and “too static” and “too quirky” and “way to static” and “we use him all the time” and finally heeeeeeeey, who’s this guy he’s perfect.
Well, I tell her he’s been on my list for a year now but I’ve never hired him. And, she literally does the following: Clicks the client list, “good clients, lots of people I respect” and clicks the contact link “great agent, love the agent, solid reputation and tons of great photographers on their roster.”
I’m going to hire him, thanks.
Finally found a wordpress theme I like.
Sure, they’re all free but there’s a ton of crap to wade through… hey that sounds just like… oh, nevermind.
You know what I love about working with Brigitte Lacombe (here) besides dropping her impressive (lovely sounding too) name in meetings.
That’s right. No one is allowed in the room with Brigitte and the subject. No client hovering, no hair person attending to errant hairs, no makup person blotting the brow, no stylist fussing the collar, no caterer tapping emails on the blackberry, no producer yapping on the cell phone, no agent cleaning fingernails… no goddam distractions.
Can you tell?
… and they all… not going to say *it*.
TechCrunch reported a couple days ago that Flickr reached 2 Billion photos (here) and the lucky winning photo is:
Taken by Yukesmooks, who’s flickr page can be found (here). This photo evokes the famous cliché that I am sworn as a member of the professional photo community to never utter (unless I am dying). I think as a randomly selected image it perfectly represents the average of what you will find in the collection.
They are also reporting that Facebook has 4.1 Billion photos on their site. Blap.
What does it all mean? I just decided 5 seconds ago (really, I changed my mind as I was writing this) this is a good sign for professional photographers. It means people love photography and it means the photography business will be booming soon and talented professionals will be needed to shoot advertising and editorial for all the magazines (or websites) these photo lovers will buy. And, all the companies that sell cameras and photography equipment will need endorsements from pros and need multi-million dollar campaigns shot to support the boom. And, people will buy books and visit websites and click on ads that have great photography. How can it not?
Don’t you think Yukesmooks wants to become a better photographer? I think old Yukie does and would now be willing to put some money behind that quest. What if the 2 billionth photo had been something great and not just a photo of wood against sky. He’d be selling tons of merchandise and making money.
If you’ve ever submitted a photo and spent $45 or more on a photography contest and never heard back from them and thought to yourself “what the hell is wrong with those people” and “just who are these cranks they hired to judge it anyway?” Well, now you can submit a photo, your portfolio or a body of work to be voted on for free and see exactly, who all the cranks are and maybe you’ll get a comment or two back and maybe photo buyers will stop by and cherry pick photographers the same way I do when I visit contest sites.
Feel free to do whatever you want there, ask a question, submit something for constructive criticism, point out something in the news, whatever works lets just keep it in the realm of professional photography. If you put something up you’re not happy about just send me an email with remove in the subject line and I’ll delete it. I’m also going to delete any content that’s not related to photography along with the spam. Let’s see if this leads anywhere.
I thought it might be interesting if I created a place where people could submit a story or their website or a photograph and let their peers vote and add a comment. I’m calling it photo rank and it’s in the sidebar and (here).
I was looking for a program that would allow people to submit portfolios to me on this blog and came across this free software called pligg. I can’t believe how many features it has and I have no idea if it will prove useful or just more of a time suck. I loaded all the photographers I’ve written about to get things started. See what you think.
There is nothing better in this business than finding and hiring new talent and getting back an amazing shoot. Nothing. Conversely there’s nothing worse than a failed shoot from someone you just hired for the first time. Ahhhhhh the highs and the lows. I probably hire 2-8 new people every issue… whaaaaaaaaaa, 2-8 N.E.W.? That’s right people, a regular shooter gets 2-4 assignments a year, that’s just how I roll.
The process for finding someone new can get a little “CSI.”
The method that requires the least amount of effort is to poach someone from a magazine I respect. That’s too easy, so if I really want to earn my paycheck I put together a case based on available evidence that tells me if a photographer is able to deliver the results I’m looking for.
It all starts the first time I see a photograph I like taken by someone I’ve never heard of (this is actually somewhat rare). I write the name down on my list and begin collecting evidence. A name can go on the list and it could be years before I’ve built enough evidence or found the right project that triggers an assignment so there’s a lot of names in various stages of case building.
The evidence: Your book, website, tears, clients, awards (American Photography, PDN photo annual, SPD), personal work, promo card, story in PDN, blog, photo I saw published somewhere, a story I heard, our meeting, someone dropped your name, the Creative Director likes your work, the editor knows your name (possibly a negative), one of my jr. photo editors likes your work, the changes in your book since the last time I saw it, you have photos in my coffee shop, the phone message you left, the email you sent that was interesting and personal, another DOP told me you rock, your handshake is solid, the email with a new tear I think is cool, you care about my magazine (not just the cover and fashion), a gallery exhibit, and a photographer who is your peer recommended you.
That’s a ton of evidence to consider but in truth since I don’t write any of this down it really just adds up to an overall feeling about someone. There’s a trigger in there somewhere but for the life of me I couldn’t tell you what it was.
For someone like Kathy Ryan at the New York Times Magazine who keeps lists of fine art photographers (among other endless lists) the trigger is likely a combination of a solid subject-photographer match, growing acceptance in the fine art community and being relatively unknown in the editorial market. If any of those are way off the assignment doesn’t happen.
I will leave you with this as it pertains to how I see blogs fitting nicely into this picture here on out. It is so exceedingly rare that a photographer I respect and work with would recommend to me another lesser-known photographer that every time it’s happened I’ve gone and hired the recommended person and the results have been nothing but positive.
Into the annals of jackassery goes web startup gosee4me.com which proposes to have amateur photographers lowball each other for the chance to shoot an “object, structure, or physical location on the planet.” The press release is priceless as pure comedy. In a typical bloated web 2.0 style of over-hyped photo bullshit they provide a solution to a problem that doesn’t exist.
(openPR) – Inexpensive Digital Cameras Along with Innovations on the Web
Allow the Average Joe to Make Some Money on the Side –
Not long ago, the qualifications to be a freelance photographer were to own an expensive camera and possess the technical knowledge to manipulate shutter speeds and aperture settings in order to take good pictures. Although commercial quality images are still captured by professional photographers, the advent of inexpensive, sophisticated digital cameras along with new innovations on the web are allowing anyone who can push a button to earn a little extra cash.
These amateur photographers are snapping pictures of the multitude of objects and locales they encounter in their daily activities. The service they are providing as a whole is to photograph everything and every place on earth – a task so immense that all of the world’s professional photographers together could not possibly achieve.
The need for photos of almost everything imaginable is being driven by our fast paced society that has grown accustomed to obtaining information on-demand. Even the huge collection of photos available through Google’s image search function is not adequate when very specific images are required.
Where there is a need, there is a business opportunity. Innovative new web services are meeting the demand by harnessing a vast network of amateur photographers. For example, a service named GoSee4Me (www.GoSee4Me.com) provides photos of any object, structure, or physical location on the planet. The service is inexpensive because amateur photographers bid against each other to provide the photos, driving the price down to a level that is affordable in almost every situation.
If a picture is worth a thousand words, a digital image is worth a thousand Gigabytes in the Information Age. Amateur photographers are providing those digital images, and they are being paid for their efforts.
GoSee4Me is a privately-held web service located in Irvine, California. The company provides the first and only service that connects people who need photos of remote objects with other people who can provide those images inexpensively.
An established photographer tells me that hiring a first assistant who can teach you new lighting techniques and then employing that new lighting on shoots along with your well established lighting gives clients the option to go with shots they didn’t expect from you and when they publish it… you’ve got a new look.
Thanks for the insight.
There’s no better way to get started in this business than assisting a photographer and if you can get on with one of the big shots you are guaranteed an Ivy League Education and possibly… tons of verbal abuse. There is an art to barking out orders and whipping the assistants into a frenzy and when done properly it feels like something important is about to take place. Next to “napalm in the morning” I love the sight of an assistant in a fast trot coming over the horizon from the grip truck 5 miles away with 150 lbs. of gear and one of those ridiculous belts with shit hanging off everywhere hitting them in the legs and torso.
Every great photographer I’ve ever worked with has an amazing first assistant.
It seems like there’s a new wave of former first’s–there’s always a group roaming around but this one seems to be particularly large–who’ve recently made the leap from shooting like their old boss to defining their own body of work and they’re starting to get a lot of jobs. If you hire a photographer enough you get to know the first’s and when they finally make the break to go out on their own I always meet with them to look at their book. They deserve it.
I know, I know, I shouldn’t be giving “The Shot” on VH1 (here) any “press” but it was free on itunes and now I’m hooked (I have a secret love of really bad photography). I think it’s more of a disservice to the young impressionable photographers who read this blog to not point out the fallacies and I can at least highlight the important lessons that can be learned and… oh hell, it’s such an effing disaster I can’t turn away.
Here’s some of the takeaway:
- Russell James is a master at shooting swimwear with dappled sunset lighting so whoever’s gonna win this thing needs to get the assistants to light everything that way. Russell is the client here and has a certain taste in photography.
- As long as your photos are good it doesn’t matter if you follow instructions. One team shot a dress twice but their photos were better so they still won. Yeah, follow the art direction but don’t let it get in the way of making good pictures first.
- Talking about photography is really difficult so people tend to focus on shit they know something about. During the critique it was: Oh, that hair is horrible or that dress is awful or the position of her head is odd.
- Fashion people love graphically strong images. Russell was hinting at this when discussing the big beautiful ship that no one took advantage of to create strong elements in the background.
When you’re given a bad situation and very little time to make something out of it people rely on instinct and that’s where experience comes into play (this is why you only hire veterans to shoot covers, it’s virtually guaranteed something will go wrong). If you threw Russell James into either of the situations presented in the first episode I’ll bet a million bucks he would recreate something that could be found in his book. That’s just how it works; no one is going to reinvent themselves in 5 minutes.
Unfortunately, that meant the wedding photographer just had to go and recreate a wedding scene. Come on man, time to step up, I’m pulling for you.
I got the photo assistants out of the credits because these guys are probably the only reason any of those photos even came close to working out: Adam Franzino, Doyle Leading, Tim O’Malley and Ben Tietge.
From the comments in the Catalog Photographer post. Solid.
Old Geezer Says:
November 10th, 2007 at 9:39 pm Old Geezer here. I’m the older brother of Old Yeller. Funny how a post that started about a bad tv show ended up with a bunch of college students asking advice about their future. Well, pull up a chair, boys and girls, and let Old Geezer share some of his hard earned wisdom. I envision a list, of about a hundred items, and we’d have to stop at a hundred, because we’d never remember more than that. Anyone else over the age of forty can chime in too; I’m sure I won’t think of everything.
1. In college, learn as much tech stuff as you can. This will make you more valuable as an assistant. Don’t just be a navel gazer with a 5D.
2. In college, take business classes too. You don’t want to be one of those stoner kids that just reads and ponders life. You want to APPLY what you learned.
3. In college, take as many philosophy classes as you can. Try to think BIG. Try to care about the world. Try to get a grip on the big picture.
4. In college, take a year off and drive across the country, and camp along the way. Do it with good friends that are smart; not dumbasses that just want to get high. Bring some books. Bring some audio books if you can’t read.
5. Make sure and take some acid somewhere along the way. Preferably in Monument Valley or Canyonlands. I know that sounds dumb, but everybody needs to do that once or twice.
6. When you start assisting, consider putting away your cameras entirely for a few years, and concentrate on being a servant. Get into a servant mindspace. Be in a supportive role. Trust me, it helps. This is your time to be a giant sponge and learn as much as you can. It’s not your time to shoot. (Ok, maybe with your iphone, but nothing more serious than that).
7. Think how you can be most useful to a photographer. That will get you hired, and keep you getting hired.
8. Eliminate excess Drama from your life.
9. Live beneath your means. Keep things simple.
10. Be a good conversationalist. Be well read. No one wants to drive five hours with an assistant that doesn’t have anything to add to the conversation. And it better be better than how to make web galleries from Bridge, or something geeky like that.
11. Keep your mouth shut around clients. Just be a good energy, but sure as hell, don’t offer ideas. The photographer has his own agenda, and he needs to work that out with the client.
12. Don’t be late for work. And if you are, call ahead and let the photographer know. Don’t just show up thirty minutes late, especially if it’s on the way to LaGuardia.
13. Be loyal.
14. Go beyond the call of duty.
15. Don’t order expensive drinks after the job, especially if it’s editorial. Be aware of the budget.
16. Turn off your fucking cell phone during the job. Fine to check messages during lunch, when it’s your time, but don’t be sending text messages to your girlfriend, even if nothing is going on in the job. Trust me, even though you’re not aware of it, there is something ALWAYS going on in the job.
17. Reread 16.
18. Be prompt when submitting Invoices. Don’t bitch about photographers always paying late, if you wait twenty days before you Invoice a job.
19. Be a sponge. Notice everything. Notice the way the photographer deals with the client. Notice the issues that the clients have, and be sensitive to these. You, as an assistant, are privy to a ton of valuable unspoken information; make the best use of it. Learn from it.
20. Travel out of the country as much as possible. Learn how other people live. Learn that America is not the center of the universe, and learn that you don’t need your cell phone 24 hours a day. Again, be a sponge, about how other people live.
21. Don’t show up hung over to a job. It’s just not cool. No matter how hard you worked the day before.
22. Dress well. Doesn’t have to be Prada, but try to look competent.
23. Learn your job. Learn the subtleties of a Profoto pack. Learn about the fuses in a Pro 7b. Try to learn CaptureOne, even just the basics of it. You are Support; try to know your craft. Even the geeky details. It’s the geeky details that’ll sometimes save a job. That’s when you’ll be the hero, and you’ll get an extra beer that night at dinner. (But don’t show up the next day hung over).
24. Go to the Times today, and read the Norman Mailer Obit. Try to create your life to be half as interesting as his life. If you do that, you’ll be fine.
25. Always order good Catering. That’s all the client really cares about. And make sure they get put up in a nice hotel.
26. Learn as much technical stuff as you can, because Rule Number One is, the client doesn’t really care about your vision of the world. They care about their vision. If you show one thing in your book, chances are, you’ll be called for something else. So have a good grab bag of tricks, for those days when you walk into a beige conference room, and have to shoot a fat guy on the corner of a desk.
That’s all that Old Geezer knows for now. Maybe someone older can write up another twenty-six.
Good luck with your careers, young people. God knows the world needs another photographer. With SVA and Art Center and the like cranking them out by the hundreds, soon we’ll have enough photographers to handle all those big budget jobs that we all turn down.
Handle your rent; handle your car. Handle your parking tickets. Nobody wants the Sheriff to show up in the middle of a job, with a bunch of parking tickets in his hand, asking to see the assistant. Don’t ask to leave early, “cause you gotta go pay your rent or your phone bill”. Handle all that stuff outside of work. Again, you are Support; you are not the star.
And I forgot the worst one, #27: Don’t approach the client to “show him your work sometime”. It’s the cardinal rule. If you’re there on the job as an assistant, then be in the assistant role. Every client will ask you if you shoot, because they don’t know what else to talk to you about at lunch, but trust me, they really don’t care. They might care a little bit, but they don’t want to see your book. The right way to do it is — Stop Assisting, then become a photographer. Don’t approach a client when you’re on somebody else’s job.