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Business

Avoiding Donor Burnout

ASMP's Strictly Business - Mon, 03/10/2014 - 12:03am

[by Colleen Wainwright]

In my previous life as an actor, I was graphic designer of record for my theater company, handling every printed piece and web update for the four to eight shows per year that we produced. While I found the experience enormously gratifying in many ways (not least of which that it got me out of a lot of broom-pushing duty), its greatest gift to me was learning the chief criteria for taking on pro bono work.

Will I have adequate creative freedom? When you work for free, don’t work for committee. I had one person who signed off on my designs, and he was a man of great taste, keen insight, and professional demeanor. I got to have fun and do good work for my portfolio.

Will I have adequate resources? In a 99-seat theater, you work on shoestring budgets, but there’s plenty of cheerful, free labor available. I never had to fold my own programs! On the other hand, I did one ill-advised turn as a costumer, tasked with outfitting a large cast in period wear with a comically small budget. The show ended up looking great; I looked like hell warmed over.

Am I doing this out of love or duty? The occasional “duty” gig is almost unavoidable, but if I don’t either love the cause itself or know it will sharpen my skills in some needed area, I try to find some other way to be supportive. Sometimes it’s a less time-consuming, personally-involving kind of donation (broom-pushing!).

And sometimes it’s a loving referral to someone else. After all, the gig you decline may be someone else’s foothold.

Colleen Wainwright will be donating her expertise as a speaker at the upcoming CASE conference for higher education, a cause she very much believes in, on March 20th in Los Angeles.

Categories: Business, Photo Industry

Giving Back

ASMP's Strictly Business - Mon, 03/10/2014 - 12:01am

Paying it forward is a strong motivator for many of us. I’d be hard-pressed to find a photographer who has never been asked to donate their services and from what I can tell, more of us agree than say no.  This week, our contributors share their thoughts on giving back.

Categories: Business, Photo Industry

Monetizing Getty's 35M Image Archive via FREE Editorial Uses

Photo Business Forum - Fri, 03/07/2014 - 11:12pm
Much has been said about the decision by Getty Images to make available to editorial online outlets, over 35,000,000 images, for free. Well, free in the sense that you're not spending any money to use the images. However, in exchange for this, you agree to allow Getty to track all the visitors to your website. How many come, their IP addresses, how long they stay, and so on and so forth. Make no mistake about it either, this isn't "free forever", Getty is looking to get into the big-data business, connecting image viewer data with data analytics from other sources. Once they reach a critical mass of users, they will essentially be able to sell advertising alongside and beneath their images (note the big white space between their name and the social media links in all the samples everyone is sharing) and they can also sell animations, where before the image appears, an ad is displayed for a few seconds, just like the lead-in advertising on videos just like YouTube. The revenue from repeated views here is far and away greater than the few cents Getty makes from web page usage. Getty's big splash is akin to Steve Jobs keeping secret the iPhone and then getting hundreds of millions of dollars in free advertising to promote it when it launches.

Getty has made clear that their current contributor contracts allow for this, and that no compensation is due the rights holders of those images. These images are put forth as a part of a marketing effort, and so to that end, those who created the images are out of luck.

Getty has said that they are tired of suing their userbase, and creating angry factions of the online community like those at organizations like "Extortion Letter Info" where lawyers gather together to fight off Getty's demand letters.

Could there be something else that's a problem for Getty? In 2010 we reported on a copyright problem where the methodology used by Corbis, on the advice of lawyers, was found to be flawed, and countless registrations were deemed invalid (see: Corbis' Copyright Registrations - Images "Not Registered" Court Finds). Could it be that Getty does not want to face this same house of cards that could be stirring within their registrations? Could it be that all (or almost all) of their registrations are invalid? Or, perhaps Getty just doesn't bother to register their work, and as such, the teeth that people think they have are actually toothless and decaying gums that have no bite to follow up their bark?

A search of the US Copyright Office shows for a search of their database under "Getty Images" shows their last registration as 2008, specifically images related to the images of Brad Pitt and Angelina Jolie's twins. Here's a listing from the Copyright Office as of March 7, 2014:



They have a total of 172 registrations. On the other hand, we here at Photo Business News register regularly, and a search of the Voyager database shows 229 records for our registrations alone. Consider the tens of thousands (or even hundreds of thousands) of images Getty produces worldwide each day, and receives from contributors, and unless there's some secret registration system they are employing, or they are doing it under a different name, then there's a bit of a problem for Getty in that they're not registering their work. That's a problem if that's the case. Oh, and the notion of a "database registration" doesn't really hold much water either when it comes to photographic registrations.

(Continued after the Jump)
So, if your copyright registrations have no teeth and thus you are not getting your day in court, and you're engaging in toothless fights with hundreds of infringements, why not allow people to use them and get analytics out of them?

The fact is that there are millions of images sitting dormant and otherwise generating no money on web pages, even when they're rights-managed images at a web resolution, someone forgets the image is there, forgets to renew, and so on and so forth. A royalty-free images, of which many many rights-managed images are competing against, generates a one-time fee of about $1.00. Then, that image sits there for months and years. Now, most every blogger wants good SEO, and they work hard to link-bait people into driving traffic, whether to sell ads, or generate noteriety. Now, you have thousands and even hundreds-of-thousands of bloggers generating millions and millions of pages using free Getty content. Once a critical mass is created, Getty will begin selling ads.

In addition, because it may well be that Getty doesn't have registrations for all the images that are being infringed, the removal of the iframe and copyright management information ("CMA") is a DMCA violation of upwards of $2,500 per infraction, that, wait for it, does not require a copyright registration to be awarded. So if someone strips out the iframe or copyright information from an image Getty can easily collect $2,500 or so per image. Have a look at this: 17 U.S. Code § 1202 - Integrity of copyright management information (a) False Copyright Management Information.— No person shall knowingly and with the intent to induce, enable, facilitate, or conceal infringement—

(1) provide copyright management information that is false, or (2) distribute or import for distribution copyright management information that is false.(b) Removal or Alteration of Copyright Management Information.— No person shall, without the authority of the copyright owner or the law— (1) intentionally remove or alter any copyright management information,

(2) distribute or import for distribution copyright management information knowing that the copyright management information has been removed or altered without authority of the copyright owner or the law, or

(3) distribute, import for distribution, or publicly perform works, copies of works, or phonorecords, knowing that copyright management information has been removed or altered without authority of the copyright owner or the law,knowing, or, with respect to civil remedies under section 1203, having reasonable grounds to know, that it will induce, enable, facilitate, or conceal an infringement of any right under this title. Now, that means that the removal of CMA allows the copyright owner access to civil court, and does not compel them to enter federal court, which, in turn, requires a valid registration certificate before you can have your day in court. Now, on to section 1203: 17 U.S. Code § 1203 - Civil remedies (a) Civil Actions.— Any person injured by a violation of section 1201 or 1202 may bring a civil action in an appropriate United States district court for such violation.(b) Powers of the Court.— In an action brought under subsection (a), the court—

(1) may grant temporary and permanent injunctions on such terms as it deems reasonable to prevent or restrain a violation, but in no event shall impose a prior restraint on free speech or the press protected under the 1st amendment to the Constitution;

(2) at any time while an action is pending, may order the impounding, on such terms as it deems reasonable, of any device or product that is in the custody or control of the alleged violator and that the court has reasonable cause to believe was involved in a violation;

(3) may award damages under subsection (c);

(4) in its discretion may allow the recovery of costs by or against any party other than the United States or an officer thereof;

(5) in its discretion may award reasonable attorney’s fees to the prevailing party; and

(6) may, as part of a final judgment or decree finding a violation, order the remedial modification or the destruction of any device or product involved in the violation that is in the custody or control of the violator or has been impounded under paragraph (2).(c) Award of Damages.— (1) In general.— Except as otherwise provided in this title, a person committing a violation of section 1201 or 1202 is liable for either—

(A) the actual damages and any additional profits of the violator, as provided in paragraph (2), or

(B) statutory damages, as provided in paragraph (3).

(2) Actual damages.— The court shall award to the complaining party the actual damages suffered by the party as a result of the violation, and any profits of the violator that are attributable to the violation and are not taken into account in computing the actual damages, if the complaining party elects such damages at any time before final judgment is entered.

(3) Statutory damages.—

(A) At any time before final judgment is entered, a complaining party may elect to recover an award of statutory damages for each violation of section 1201 in the sum of not less than $200 or more than $2,500 per act of circumvention, device, product, component, offer, or performance of service, as the court considers just.

(B) At any time before final judgment is entered, a complaining party may elect to recover an award of statutory damages for each violation of section 1202 in the sum of not less than $2,500 or more than $25,000.

(4) Repeated violations.— In any case in which the injured party sustains the burden of proving, and the court finds, that a person has violated section 1201 or 1202 within 3 years after a final judgment was entered against the person for another such violation, the court may increase the award of damages up to triple the amount that would otherwise be awarded, as the court considers just. Well, Getty's 2011 contract outlines how they get to handle intellectual property claims: 1.11 Right to Control Claims. Getty Images shall have the right to determine, using its best commercial judgment, whether and to what extent to proceed against any third party for any unauthorized use of Accepted Content. You authorize Getty Images and Distributors at their expense the exclusive right to make, control, settle and defend any claims related to infringement of copyright in the Accepted Content and any associated intellectual property rights (“Claims”). You agree to provide reasonable cooperation to Getty Images and Distributors and not to unreasonably withhold or delay your cooperation in these Claims. Getty Images will not enter into any settlement that will compromise your ownership of the copyright in Accepted Content or that prohibits your future conduct with respect to Accepted Content without your prior written consent. Getty Images will pay you Royalties on any settlements it receives from Claims. If Getty Images elects not to pursue a Claim, you will have the right to pursue it. So now Getty gets to go after people who remove copyright management information, and collect on each of those in civil court. Faster and easier than federal court, and much cheaper.

Now, enter object recognition. A company like Stipple monetizes images with their own embedder that means that if I as a photographer take a photo of a celebrity wearing Prada boots, using a Gucci purse, and an Old Navy dress, provided I include that information as tagged in the image, I can generate revenue if someone clicks through from that image to a site like Amazon that would sell them, and I collect a few percentage points in revenue from each sale. A $400 purse could garner $4 - $8 in income from a single click/sale, so it encourages photographers to manually tag them. A company like Samsamia tags images using fashions semi-automatically. Other software automates object recognition so that no one needs to manually tag them - it's done automatically. If Getty controls the iframe where all this is happening, on hundreds of millions of images around the world, they could generate tenfold amounts of income.

As such, Getty has just co-opted the entire blogosphere as free distributors of their advertising vehicles. Getty's minions are now doing their bidding like the Wicked Witch of the West sent out her flying monkeys, yet the monkeys had to be fed. Getty's minions are doing all the work for less than peanuts. Consider that a magazine produces editorial content in order to generate readers who will view the paid advertising adjacent to it. It spends a great deal of money producing that content, and then charges advertisers. This upends that model, where the editorial content is being produced for free, in every known niche of interest globally, and Getty gets all the income from the ads and also a much broader audience for commercially viable images to consider.

This is why they're allowing the New York Times to use their content online for free, which at first blush seemed like a bad idea. But, in the end, they are essentially taking over the advertising that appears in the newspaper. They are not satisfied to take over the ads adjacent to the editorial content, they will now own the ads within the editorial content. You can't pay to get monetizable links within a New York Times editorial story - that's as sacrosanct as the space inside a baseball diamond to sports fans, even moreso. However, Getty, provided the NYT opts to use the images for free, has now given up control of the visual part of their editorial content, ceding it to Getty.

Imagine you're a Getty ad sales rep - and you can say "we can offer you an ad inside the New York Times' editorial space. In fact, it's even reasonable to assume that, say, the pharmaceutical CEO who testifies before Congress on a particularly polarizing point, and who could never dream of being able to immediately place adjacent to the article about his testimony, a rebuttal or company link for more information on the company's perspective, could now, within seconds of the story appearing, buy an ad that would appear below his photo, or as a 5 second preview before his photo appears, providing a rebuttal to the article. In fact, a company could buy such a rebuttal ad space wherever images from that testimony appears, worldwide. I even see a point where the Getty sales team sees news events of this nature on a schedule and makes initial outreach to the marketing departments for those companies, pre-selling ads to appear beneath or over the photos just like magazines put out a schedule of topics in the comping year so when the big travel issue comes out all the travel companies have already bought space in those issues. As such, I suspect, respected news outlets will not cede this space to Getty's free offering, unless they're getting a piece of it that equals or exceeds what they would get for the ads adjacent to the editorial content. The NYT may well continue to pay for their uses so as to keep their editorial pages within their control.

Everyone seems to see this as Getty's way to combat copyright abuse. This is a naive as a day old bambi. It makes Getty appear as if they are giving up, giving in, and supporting blogs and being helpful. They are not. They are positioning themselves as the world's largest advertising resource so that the Carlysle Group (NASDAQ:CG) , which owns Getty, can turn around and sell Getty to Google or Yahoo. The pitch is "this is the YouTube of still photography - free photos and revenue from wraparound and play-over ads...". Look at how Google snapped up YouTube for that reason. Free videos propagated globally and Getty just sits back and counts the validated eyeballs and collects all sorts of data about them. It's the same with still photos now. Further, As crazy as it sounds, when Carlysle bought Getty, they did it in fast-and-loose-80's-style leveraged-buyout fashion, using a loan secured by Getty's assets to buy Getty and made Getty responsible for paying the loan back. Getty doesn't have that kind of money sitting around, and they've got a $1,200,000,000 loan coming due in about 2 years.

So far, the contracts that Getty has with it's contributors allow them to do this as marketing, for free, without compensation to the contributors. And, just as with Getty monetizing the metadata of an image from Pinterest without being obligated to share that income with the photographers (because Getty's contracts don't require it because a metadata income stream isn't from an "image license") and from what I have heard, there are no plans for photographers to earn any part of the advertising that is adjacent to (or precedes the viewing of) their image. Getty's telling photographers "oh, this will drive people to our site and the commercial sales will give is a reach we haven't before." This sounds remarkably like "we'll loose a little on each use, buy make it up in volume."

The real losers will be the content producers - the photographers. Of course, Corbis and the rest of them will look at this and wait, and all the while Getty's images will get embedded deeper and deeper into the internet's archives and the rest of the stock agencies will be playing catchup. Considering that 20% of Getty's archives are generating about 80% of their income, this isn't a problem, monetizing the rest of the 80% sitting around, making them all a sort of homing pigeon. However, Getty's own internal valuations are at about $0.15 per image, so if a photographer with 100,000 images decided to pull out, the monetizers look at that and say "oh well, too bad for them, that's about a $1,500 loss for us. Moving on. Next."

Welcome to the new world order of stock photography.
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Categories: Business

Roger Fenton Crimean War

A Photo Editor's Blog - Fri, 03/07/2014 - 10:10am

In the sixth grade, we did a project on the cultural traditions of a foreign country. We had to write reports in our chicken-scratch-children’s penmanship, and some kids cooked food as well. One Korean student brought in some Bul Go Gi, and it was delicious.

I ended up with Yugoslavia, about which I knew next to nothing. Fortunately, a family friend had started importing Yugos to the US, so at least I could talk about that.

A less-than-educated young person might reasonably ask, “What is Yugoslavia?” Or, rather, “Where is Yugoslavia?” Because it doesn’t exist on the map, I can assure you.

Most of us know, of course, that Yugoslavia was a created 20th Century entity, a post-war land mush that brought together some version of Croatia, Bosnia, Serbia, Montenegro, Kosovo, and probably a few territories I’m neglecting. They’re still around, of course, as are the people who live there. But the country, the geo-political entity, is dead.

Similarly, I just read a piece in the New Yorker that was nominally about the television industry in Turkey. (Yes, I’ve officially become the kind of guy who references the New Yorker all the time.) I say nominally, because the real subject was the manner in which the Turkish leader, Recep Tayyip Erdogan, is highlighting historical connections to the vast and powerful Ottoman Empire, rather than the small and relatively weak Turkish republic that was built, again post-war, by Ataturk.

Closer to home, I can tell you that here in New Mexico, there are certain people, whose ancestors have been here for generations, who resent the mass culture of the United States. You can occasionally feel tension in the air. Why? I might point to the fact that the US essentially annexed New Mexico. Or stole it, if you will. And that was only shortly after the land was called Mexico, having recently freed itself from the country called Spain.

What I’m trying to say here, if you haven’t caught the gist, is that history is all about the long view. Names change, but dirt doesn’t. (Unless it’s being violated to reach its mineral goodies, but that’s another rant for a different day.)

The big news, in our age, is that we are all hyper-aware of what is going on everywhere, all the time. That is a radical change to the way we live our lives. So big, in fact, that no one has had the chance to really process the results of the shift.

But we see the effects every day. Take Crimea, for instance. A week ago, that word might have been meaningless to you. (I say might, as I’m aware that this audience is highly educated and up-to-date.) Now everyone knows it as a territory in the country called Ukraine that was just invaded by a country called Russia.

Russia? We’ve all heard of that place. Except when I was young, it was called the Soviet Union, and included the country now (and formerly) known as Ukraine. Names change, but greed and aggressive behavior do not. They are, and I’d venture to say will always be, a part of human nature.

When we look at a globe, or a map, it seems so permanent. Built or plotted, the objects refer to information with a sense of certainty. This is here, that is there. If you go too far in one direction, you might fall off the face of the Earth. (Sorry, forgot that one has been debunked already.)

Of course, we know that the information encoded in maps changes all the time. They’re no more accurate than a restaurant menu from 10 years ago. That’s just the way it is.

We live these dramas in real time, and the pain, misery, and tragedy they engender are not to be made light of. I feel for the people who die in wars, or who die from lack of clean water, or who have to watch their family members killed by horrible forces of darkness that will never face retribution. (Until they do, one, two or three generations down the line.)

The point is, (should I actually have one,) that we’re now judging the news on a minute to minute basis, but the root causes of said “news” go back decades, centuries, or millennia. And that is the kind of information least served by Social Media. You couldn’t possibly know about the Taos revolt that killed Governor Charles Bent in 1847, just like I don’t know who ruled Crimea before the Soviets.

Sure, we have access to so much information via Google, but that’s not the same thing as genuine, lived, history. It’s just not.

So while I could easily mock the monster Putin, and put this all on him, it seems too simplistic. He is the unchallenged leader of a country that has long lived with strongmen, and has a history of territorial aggression. Anyone who was surprised by his behavior wasn’t paying attention.

How many non-Americans might point to the US invasion of Iraq, and the subsequent removal of Saddam Hussein? How many people might suggest the situations parallel? I couldn’t say, but I’m sure they’re out there. (And some of them probably work for the Russian propaganda agency.)

I can’t tell you who ruled Crimea in the 19th Century, and I can’t tell you how this latest crisis will play itself out. If I could, I’d be working for Obama by now.

But I can tell you that sometime in 2013, I had a unique experience in which I got to see, first-hand, what a shitstorm looked like in Crimea in the aforementioned 19th Century. How was that possible? (I bet you’ll guess it’s through the wonder of photography…)

In September, I paid a brief visit to the Prints and Photographs division at the Library of Congress. The Library actually functions like one, which is a bit of a shock. It’s free, and anyone can come in and personally request to “check out” work from the collection.

So I did.

I was handed a stack of plastic-protected prints by the famed, and perhaps brilliant photographer Roger Fenton. I’ve written of him previously, as he stole the show at the “War/Photography” exhibition I saw last year in Houston.

It was a rare pleasure to get to look at the pictures, to hold them in my hands, and connect visually and viscerally to a strange place in a time that had passed away into non-existence. Rare only because I live far from Washington, DC. If you live on the East Coast of the US, you could go often, and look at work not on the wall, but in your immediate physical space.

What did I learn about Crimea, or at least about a slice of the Crimean War?

Look at the collection of rebels, rapscallions, roughnecks, and killers. They obviously come from all over the world, as the costumes will attest. There are a lot of dirty faces, scruffy beards, and hardened tough guys. My goodness.

We can see it’s a desolate place, or was. And we can guess that any conflict with that many warring parties must be messy, confusing, and dangerous. Why would they all be there, fighting? My first guess would be that there’s something of value? Natural resources, maybe? Oil?

Or just as likely, it probably has a geographical significance. Control of a major body of water? Access to a port, or a military high ground? Maybe some or all of these things, as you wouldn’t get a global crusade of treasure-loving-war mongers fighting against each other in a god-forsaken land for nothing.

That’s the lesson we can learn, when we engage with history. Our troubles and triumphs are not as unique as we’d like to believe. Occasionally, I admit I’ll get caught up in the moment. The Arab Spring was such a time.

The optimism blinded me to the reality: Men with guns rule the day. They always have, and they always will. The best we can achieve is a society where the rule of law dictates who gets to use the guns, and when. We have that here in America, and I get to live in peace. (For which I am extremely grateful.)

But we too have been an imperial power, and unspeakable evil has been committed in our name. In the name of Freedom.

So let’s all hope that this latest international crisis ends swiftly, and well. Let’s hope the people of Crimea can go back to a more peaceful existence, and that the Russian tanks roll back to Moscow.

But I won’t be holding my breath. That’s for sure.

Calvary camp, looking towards Kadikoi

Calvary camp, looking towards Kadikoi

Lieutenant-Colonel Lord Burghersh, C.B.

Lieutenant-Colonel Lord Burghersh, C.B.

General Cissé, chief of the staff to General Bosquet, & aide-de-camp

General Cissé, chief of the staff to General Bosquet, & aide-de-camp

Colonel Doherty, officers & men of the 13th Light Dragoons

Colonel Doherty, officers & men of the 13th Light Dragoons

Ismail Pacha on horseback, with Turkish officers

Ismail Pacha on horseback, with Turkish officers

Zoave and officer of the Saphis

Zoave and officer of the Saphis

Cornet Wilkin, 11th Hussars

Cornet Wilkin, 11th Hussars

Balaklava, from Guard's Hill

Balaklava, from Guard’s Hill

Lieutenant Yates, 11th Hussars

Lieutenant Yates, 11th Hussars

The valley of the shadow of death

The valley of the shadow of death

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Categories: Business

Worth Sharing

ASMP's Strictly Business - Fri, 03/07/2014 - 12:01am

As you dive deeper into Social Media mastery, be sure to hone your creativity and innovation skills by joining us for the March Business as unUsual webinar next Wednesday:

BaU_logo4blog

 

Your Creative Vision
Wednesday, March 12, 2014
1:00 – 2:00 pm eastern / 10:00 – 11:00 pacific

Plus additional Q&A on ASMP’s Facebook page

In a world where everyone has a camera, still and motion photographers have to offer clients something they can’t do themselves. Nurturing your creativity and your unique vision is a vital part of building a viable creative business today. For over 20 years, Sean Kernan has been studying and teaching creativity. Our conversation will focus on how to foster your creativity, develop your unique vision and help your clients buy into the value of truly creative work.

Register Today!

 

Categories: Business, Photo Industry

Nothing Can Substitute Hard Work And Caring About Your Subject

A Photo Editor's Blog - Thu, 03/06/2014 - 10:48am

Nothing can substitute for hard work or, even more importantly, caring about one’s subject. Also, and this becomes probably more difficult as one ages and perhaps experiences less energy to be called upon when needed, one wants to try to be just a little bit better today than yesterday or last week, or last year.  It’s not one’s peers one needs to think about in terms of improving, it’s simply trying to be a little better than one was or has been. It’s not easy and it’s not in anyway guaranteed to happen. But it’s a goal one needs to pursue. It’s really competing with one’s self and being honest, to know if the work is up to par or maybe not.

via reFramed: In conversation with photographer William Albert Allard – Framework – Los Angeles Times.

Categories: Business

Art Producers Speak: Topher Cox

A Photo Editor's Blog - Thu, 03/06/2014 - 10:23am

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Creative Director: I nominate Topher Cox. His book pretty much speaks for itself.

Mike Stoddard.  Rodeo series

Mike Stoddard. Rodeo series

Personal work

Personal work

Philips Healthcare.  All actors

Philips Healthcare. All actors

Alex S.

Alex S.

Cut Flowers

Cut Flowers

Black Angels Project

Black Angels Project

Charlie Vagabond, Skater, Travler

Charlie Vagabond, Skater, Travler

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Playball Foundation, MMB

Playball Foundation, MMB

Wilnor Tereau, Haitian Footballer

Wilnor Tereau, Haitian Footballer

Welder, Maine, Bangor Savings Bank

Welder, Maine, Bangor Savings Bank

Cybex International

Cybex International

Bombay Beach, CA.  Post shoot walkabout.  If you have not been there yet you must go now before it is gone!!!!

Bombay Beach, CA. Post shoot walkabout. If you have not been there yet you must go now before it is gone!!!!

How many years have you been in business?

When did I start. Hmmm, hard to say. I would say it has been a good 7 years now. Before that I was a freelance photo assistant, which is a whole business in itself. Shooting for your self while helping others out. That got me ready to break out on my own. It taught me a thing or two… or three.

My folks told me I was helping at my dad’s studio before I could walk.

Are you self-taught or photography school taught?

I took a couple of classes (thank you Mr. Simon, TR and Doc), but I guess you could say I am mostly self-taught. I grew up in the photography business. My father was a photographer and my mother was the art director at Cosmopolitan Magazine. So my nursery was my father’s studio, and then when I got a bit older I would go to my mom’s office and play with my toys on the floor as my mother and Helen Gurley Brown would be looking at slides on the light box above me. I would go hang out on shoots all the time as a kid. I would watch and learn. That was my school. Not only how to shoot, but how to work with people.

I went to school and studied Psychology at Syracuse University. During the summers I would work as a photo assistant, studio aide, and stylist assistant. It was a great way to see the business from all sides. After graduation I busted my ass as a photo assistant for a long time. I went all over the world carrying camera bags and such. That’s an education!

One time I had a photo student ask me a bunch of things about the strobes and ratios, f stops etc. Sure, I know all that, but I told him, “brother, when it is too dark I turn them up, and when it is too bright I turn them down”. I think education is really important, but owning what you know and putting it to use is what is really important.

I did a short stint working at MTV. That taught me a lot about making budgets, the corporate life, and being in a cubicle for 8 hours a day.

Who was your greatest influence that inspired you to get into this business?

As I said previously, I grew up in it. It was kind of the family business it is the business I know. I still had to make my way up the ladder. No one handed anything to me.

So I wouldn’t say it was any one person, it was all the photographers I knew as a kid. I loved what they did.
Funny thing is that when I told a bunch of them that I was going to be a photographer they all suggested I do otherwise. They told me the photo days of the 80′s and 90′s were long gone. It is true, but it is whole new era….an exciting one.
I love to keep it simple. I have always loved the work of Richard Avedon, Paolo Roversi, Bruce Weber, and Irving Penn.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?

One thing I love is the opportunities of the digital era and how technology is constantly changing and improving things. I can shoot stills for a client and shoot video at the same time. That way their stills and video match in style and vision exactly. They love it, I love it. I get to see my photos come to life in video.

You have to look around you all the time, see what is out there, look online, look in magazines, see what you love and try to bring it to your vision. Make it your own. Growing up in NYC everything was constantly changing, I think you have to do that with yourself. Reinvent yourself all the time, but keep your true self in there.

One thing about photography is that it takes you to places that you would otherwise never go and meet people you would never meet. I find that to be so inspiring. Every model or subject has a story, every place has something new to offer. I find inspiration there.

Photography has taken me all over the world. It has shown me so many things and opened so many doors.
If I go somewhere on location for work I make sure to get up early and stay up late to wander around. I am lucky to be there, and I find inspiration from what is around me at all times.

Do you find that some creatives love your work but the client holds you back?

My job is to take what the client and creatives want, and translate that into my photography. I have to bring all that info and pull it down to a moment in time that may last 1/1000th of a second. That is my job. “Hold me back”, no, I want to give them what they want. I want to make them happy. Making them happy inspires me. If you feel they are holding you back I feel you have to rethink what you are doing. Sure, this is art, this is vision, this is a piece of you…..but this is also work and a job. And your (my) job is to give them what they want….and maybe show them something they didn’t know they wanted. You can always do it both ways, your way, and their way. Then they can look to see what they like best. I did that for a big client of mine. I would shoot the way they wanted and then I would shoot the way I wanted. In the end, they liked my vision more. Now when you look at all their photography it is in my style. That didn’t happen over night, but over time they changed and reinvented their image. If you really get frustrated, then do some work on the side for yourself….which you should be doing anyway.
I hear about photographers who are difficult to work with or get mad at everyone on set. What is that!? We are so lucky to do what we love for a living. We should get down and kiss the ground every day to be thankful. Hold me back, ha, I should be throwing rose petals at their feet as they walk into their office everyday for giving me the opportunity to live like I do. Right now I am sitting in my sun filled studio next to my sleeping dog while my kids are healthy and happy at school and my wife is at work….I have nothing to complain about. My work gave me this….and my clients gave me this.

What are you doing to get your vision out to the buying audience?

The internet is an amazing thing. You can show your work to folks all the time. You can show them things in bits and pieces. Over time they will remember you.
I hated carrying my portfolios around from place to place. I would pick them up and realize that no one had even opened them up. That sucks….BUT, you have to keep picking yourself up and keep going. Some will give up and some will make it.
AND….I have an agent:-) She is great at getting my work out there. It really helps to have someone give you a kick in the ass too when you are feeling down. She knows the ins and outs of how things work.

What is your advice for those who are showing what they think the buyers want to see?

OK, Here is where I am supposed to say “be true to yourself”, right?. Yes, be true to yourself. Make your style. Refine that style. Show that style.

BUT… remember there is A LOT of money riding on these shoots. There is so much time put into them before you even came into the project. Clients are quick to move on if they don’t like the work. There are a lot of other options out there. SO, they also have to see that you can do what THEY need.

I had a client tell me the other day that last year was their best year in sales ever and that it had a lot to do with my photos. Holy crap! How happy did that make me feel! That is also a lot of pressure. Better sales mean that they can keep all their workers and stay open. All those workers can keep their jobs and feed their families. Not only here where they make the product, but also all over the world where the parts are made or the metal is …wait…how do they make metal?
Anyway you get the idea. You have to show yourself in the work, but that work also has to work for them.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?

Of course. I love to shoot. The money is the bonus. With digital there should not be anything holding you back from shooting everyday. There was a time when I had my fridge stocked with film. I was limited by choosing to eat or processing my film. Now, you can shoot, shoot, shoot.
It doesn’t have to be a big production. You can keep your camera next to your bed and shoot before your feet hit the floor if that is your thing. But it is fun to put something all together and see it come to life.

How often are you shooting new work?

All the time. And even that isn’t enough. Shoot to live, Live to shoot.
If It is not on a CF card yet, it is in my head. Sleeping can be difficult at times because you are thinking about what you want to shoot and how you are going to make that happen.

——————-

Topher Cox grew up in New York and now lives outside of Boston. No longer a huge rock star in Japan, he lives in a house with a white picket fence with his wife, two kids, and a dog. No minivan yet.

They all get back to NYC often for work, friends, and family.

Topher is represented by Katherine Hennessy at www.kate-company.com.
His work can be seen there and on his website www.tophercox.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Categories: Business

My Go-To Social Media Resources

ASMP's Strictly Business - Thu, 03/06/2014 - 12:01am

[by Rosh Sillars]

How do the experts keep up-to-date on all the changes in social media and digital marketing? It seems like the industry changes on a weekly basis.  Below is a list of blogs and podcasts I depend on to keep me in the know:

Twist Image Blog and Podcast: Mitch Joel makes me think. Mitch asks valuable and insightful questions of his guests.  The blog is full of topics and ideas that make me look at the marketing world from new angles.

Marketing Over Coffee: Christopher S. Penn and John Wall are on top of what is going on in digital marketing and social media. Their weekly podcast keeps me in touch with what might be the next big thing. More importantly the conversations between Chris and John give context and offer new ways of looking at marketing ideas and concepts.

Copyblogger: If you are going to engage in social media, you need to know how to write.  Copyblogger is full of excellent information on blogging, how to be a better blogger and create great content.

Social Media Examiner: This blog has become a standard go-to blog for many people interested in social media.  With multiple authors and posts per day, the team is on top of industry news, ideas and information.

Don’t stop here. There are thousands of blogs and podcasts offering valuable information to the general public as well as for specific niche industries.  You will find an excellent updated list of marketing blogs on adage.com’s  power 150 list.

Rosh Sillars is a photographer, author, university instructor and marketing consultant. Listen to his podcast at www.roshsillars.com (or on iTunes).

Categories: Business, Photo Industry

Failure Must Become An Essential Part Of All Our Work

A Photo Editor's Blog - Wed, 03/05/2014 - 11:00am

there are very few photographers who are so securely established that they can afford not to experiment in order to adapt to the new rules

failure must become an essential part of all our work; if you’re not failing it means you’re working in a comfort zone and as the visual world changes at breakneck speed, to live in a comfort zone is itself a failure! However, don’t bet the ranch on any single experiment: try many things and be prepared to fail often but in little ways

via Photo Expert Stephen Mayes on the Changing Future of Photography.

Categories: Business

Pick Social Media Platforms that Fit Your Style and Goals

ASMP's Strictly Business - Wed, 03/05/2014 - 12:01am

[by Gail Mooney]

It’s a noisy world out there.  Lots of folks are talking…..everywhere.  So, what’s the best way to be heard?  Like any other form of communication you should first determine who you want to reach and what you want to say.

Social media platforms can be used strategically for business or for personal reasons like letting your family and friends know what you’ve been up to – or both. I have been primarily posting on Facebook and LinkedIn with a little time spent “tweeting”, but recently I became interested in Pinterest when I started following Melanie Duncan and purchased her course on “The Power of Pinning”.

Pinterest is a phenomenal social media platform, especially when used strategically for retail oriented businesses or when you want to reach the female gender.  When I carved out a niche of my photo/video business that focused less on business to business and more on consumer direct, I decided to learn more about Pinterest and use it to target that demographic.

Pinterest tips:

Make it visual.  Use photos, especially vertical photos because they will take up more column space and stand out.

Create ads.  Think of your posts on Pinterest as ads – in fact “ads” are more acceptable on Pinterest than they are on other social media platforms. You can even add pricing.

Add links.  Always add a link (to your website) on your Pinterest content – even when you comment on someone else’s pins.

Make it sticky – Inspire people.  Create a pin that others will want to re-pin and share. Make it go viral.

Create a Pinterest “business” account.  I have two Pinterest accounts – one is personal and one is for my business.  Just like on Facebook, where I have a personal account as well as a business “fan page”, I have two Pinterest accounts.   While I use them differently, I can also share pins across my accounts to build up my followers.

Create a “pin it” button.  Have a “pin it” button on your website as well as on your other social media pages.

Follow and engage with the right people.  If you cater to the wedding market, then follow folks who are interested in that demographic.  Research is key.

Gail Mooney is co-partner of Kelly/Mooney Productions, a media production company based in the NYC metro area.

Categories: Business, Photo Industry

The Selfie heard all around the world

A Photo Editor's Blog - Tue, 03/04/2014 - 10:54am

If any one needed a confirmation of where photography is heading, last night was a prime example. Relegated to taking full length fashion shots behind barricades, or shooting the stage from a balcony, pro photographers were by far outclassed by attendees taking and publishing their own images using their cell phones. They could only watch as publications worldwide went to twitter to find and publish the best images. If it wasn’t for the glamour aspect of having rows of Tuxedo dressed photographers continuously flashing the red carpet as celebrities bathe in the sweet flow of mass admiration, it is probable that the Academy would dismissed them all and let the participants photograph the event. After all, they make no money from the pictures taken and it does cost a lot to organize their presence.

via The Selfie heard all around the world | Thoughts of a Bohemian.

Categories: Business

The Daily Edit- Backstage Magazine: Stephanie Dani

A Photo Editor's Blog - Tue, 03/04/2014 - 10:10am

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Backstage

Creative Director: Robert Wilson
Art Director: William Scalia
Photographer: Stephanie Dani
Heidi: How often do you work with Backstage?
Stephanie: The creative director of Backstage, Rob Wilson, and I have worked together on a number of shoots in the last few months and he emailed me with several possible opportunities for cover projects in early January. Gillian’s cover was set for my first free day so we confirmed the shoot date a week or two before talking about concepts.
Rob is awesome in that he encourages me to do my thing, but gives me enough direction that I have a starting point or a vibe for the story. I will generally browse through my file of “I want to shoot this” images and send him a half dozen ideas and we’ll narrow it down from there.
I was pleased that of the three images I liked most, two were selected for print. Here’s the outtake:
-3
What sort of art direction did you get?
The first direction he suggested was bright and poppy so, after researching Gillian a bit and getting an idea of how she might photograph best, I sent him some high key portraits samples with bright wardrobe and soft light; a few were shot against vintage-y colorful patterned wallpaper. In all of the lookbook images, however, wardrobe played a vital role and, as there wasn’t budget for a stylist, he suggested we change direction and go for a simple George Hurrell/old Hollywood style that would be more dependent upon lighting and hair and makeup.
I’m a fan of noir films, and I’d been wanting to shoot something moody with one or two lights and a fresnel spot, so it was an easy yes for me. We traded photographs of Judy Garland, Katharine Hepburn and Marlene Dietrich and he ironed out the when and where (the Backstage magazine studio, aka conference room) with Ms. Jacob’s agent and publicist.
Did you know you were only going to have 10 minutes?
The week of the shoot Rob asked how long I’d need and if I could get some variations in twenty to thirty minutes. [ it was ten minutes for the cover, ten minutes for a second option.] I said sure no problem, but asked if I could arrive two hours ahead to set up in order to be totally ready for her. 
 
What sort of prep did you do and what did you learn from this job?
The night before the photoshoot I picked up a Profoto fresnel head and a roller stand at Samy’s and set it all up in the living room of our apartment to run some tests. 
 
Lesson #1: It’s difficult to focus a fresnel spotlight on yourself while also shooting the tests because it’s such a precise light source. 
Lesson #2: It’s not just the fresnel that creates narrow shafts of light, it’s also a matter of flagging the hell out of a set. Even at its most focused, with the attached barn doors shut pretty tight, the spread of light was greater than what I wanted.
The test session, though I was wetly glowing from running back and forth between the camera, the fresnel and the subject’s chair, was invaluable and my assistant and I had everything set up in under an hour the next day. Rob and I had discussed using the images in black and white, but I decided to bring the mocha seamless because if they decided to use the shot in color it would provide a neutral but warm-toned palette for her fair skin.
How did you approach the subject, I’d imagine it was a greet and then right down to business with little time to settle in with talent.
She arrived right on time with her publicist, and hair and make up artists, pretty much camera-ready. We decided on bare arms and shoulders because the wardrobe she was wearing was a tad perkier than the look of the shot. She was prepared and focused and immediately channeled old Hollywood.
I was shooting tethered so Rob and Gillian’s people could get a sense of what we were getting, and my assistant tweaked the spot and held a reflector as needed. Halfway through I asked her to lounge back onto a chaise to give Rob a similar but slightly different second option. He asked to see everything afterwards, and ended up using three shots in the article, one in black and white. He also designed the graphics for the cover and the article.
Categories: Business

How to master social media: Read a book

ASMP's Strictly Business - Tue, 03/04/2014 - 12:01am

[by Pascal Depuhl]

Bet you’re thinking: ‘In the ever changing landscape of Social Media, why would anyone want to read a book about it? Don’t those become outdated, before they’re even printed?”

© Pascal Depuhl

© Pascal Depuhl

Absolutely. However, I for one, will use Gary Vaynerchuck’s “Jab, Jab, Jab, right hook” as my fightclub manual for social media marketing in 2014. Gary (@GaryVee) teaches how to tell your story in a noisy social world, by creating native content for facebook, twitter, pintrest, instagram, tumblr.

He explains what the context of these social media platforms is, but more importantly he drives home the point, that our jabs, i.E. the free content, the helpful hints, the interactions with our followers … should far outweigh our right hooks, or sales pitches in social media. He gives dozens of individual examples of good and not so good content and deconstructs them for us, explaining why they’re great or how they could have done better. (He’s also written 2 other books on social media The Thank You Economy and Crush It).

If you’re going to get one only book on social media, get this one. Wanna read some more? Here are two more books to check out – one is a little older and one is not yet released:

The Linked Photographer’s Guide by Rosh Sillars (@RoshSillars), a regular contributor to Strictly Business, together with Lindsay Adler (@lindsayadler). Although it was published in 2010, it’s got great information – especially since it’s written for specifically for photographers, who (want to) use social media. BTW besides reading books, blogs, ect. a great way to master social media is to build relationships with people who have more experience than you do. I’ve been on Rosh’s podcast a few times, have written guest posts on his blog and because of our friendship have had the chance to run some questions regarding my social media efforts by him.

Social Media Design For dummies by Janine Warner (@janinewarner), a web design consultant and instructor on Creative Live, if you don’t know what Creative Live (@creativeLIVE) is, it’s another awesome learning resource started by another ASMP photographer, Chase Jarvis (@chasejarvis). Janine’s book will be published in early February 2014 – looking at how to design for social media by looking at good examples of social media pages.

Yes books become outdated – especially when they speak about a subject that changes as rapidly as social media, but they’re great resources to have and to be able to refer back to, especially on those days when you want to unplug from your over-connected world, grab a good book and read.

Pascal Depuhl is a Miami based advertising photographer and corporate documentary filmmaker, who uses social media extensively in his photo and film business. He uses his blog … catching the light! to write about social media, his last twitter campaign was inspired by Gary’s The Thank You Ecomomy. You can contact Pascal directly through his website at www.depuhl.com and follow him on twitter @photosbydepuhl and @moviesbydepuhl. Retweet this blog post (or any of his other articles and he’ll shoot you a Thank You on twitter).

 

Categories: Business, Photo Industry

I Like The Composition Of A Picture More Than I Like The Subject

A Photo Editor's Blog - Mon, 03/03/2014 - 10:21am

“I would take a street photograph if I happened to have the right camera at the right moment but I almost never do. I have nothing against reportage. People have accused me of being afraid of doing it. And, I figure, that’s probably true.“But it’s also to do with composition. I like the composition of a picture, the dance of colours and shapes across it, more than I like the subject. I love whatever subject I’m working on at the time because it’s taking me into the picture. When I’m done with the picture, I’m probably done with the subject. Some might say that’s a bit hostile and bit detached. But I go with my impulses and it seems that the art of composition is a great art.”

via New artistic directions for photographer Jeff Wall in Amsterdam – FT.com.

Categories: Business

Follow the #content

ASMP's Strictly Business - Mon, 03/03/2014 - 3:05am

[by Colleen Wainwright]

Chalk it up to burnout, complacency, or lessons learned, but in today’s mature networked-media landscape, I find my time is better spent creating and sharing exceptional content than in seeking out the newest—and, most likely, transient—methods for pushing it out there.

So most of my research time is spent reading content that’s either been shared directly by one of my favorite curators, or found down some subsequent rabbit hole. I then share as the spirit moves me on the very mainstream Facebook, or, to a far lesser degree, Pinterest, Twitter, or Tumblr.

What’s been interesting to note is how much I’ve kept abreast of critical developments in tech and social media simply by following the content “feeds” of people I dig. (And “feeds” is in quotes because many of these are actually good, old-fashioned email newsletters!) A few current favorites:

Dave Pell covers tech, culture, and news-news from an opinion angle, usually sharing a few related links on a particular topic.

Sean Bonner writes my most-read newsletter. It may veer too far into social/digital issues like net neutrality and privacy for some, but I love his eclectic mix of tech and human relationship stuff, and his very pointed opinions.

Bob Lefsetz writes about media and marketing trends from a music perspective. There’s a lot of inside-baseball stuff, but he’s really plugged into what’s happening, and has very smart takes on what’s worth paying attention to and what you can skip. (And you might pick up a few music gems into the bargain.)

Colleen Wainwright has been sharing what she’s learned about social media out loud and on the web since the Wild-West days of 2008. She’ll be sharing some more on March 4 at WPPI in Las Vegas, if you want to catch some of it the old-fashioned way.

Categories: Business, Photo Industry

Social Media Resources

ASMP's Strictly Business - Mon, 03/03/2014 - 3:00am

With so many books, blogs, YouTube videos and tutorials out there, figuring out how to utilize the increasingly crowded social media landscape can be tough. This week, our contributors share their favorite resources and approaches to mastering social media.

Categories: Business, Photo Industry

This Week In Photography Books: John Divola

A Photo Editor's Blog - Fri, 02/28/2014 - 10:00am

I gave a whopper of a lecture the other week. I tied together the Bering Straight land bridge, the Big Bang, the Lascaux cave paintings, and Mayan creation mythology. Unfortunately, I was too distracted to bring the tape recorder.

C’est la vie.

I like to dive into the idealism of art making, early in the semester, as my high-school-aged students are suckers for the big picture. Teenagers and idealism go together like teenagers and drinking. Or sex.

High School kids love a good rebel. It’s why James Dean and Kurt Cobain will continue to age well; their attic portraits never falling behind the real thing. I’d further venture that America is just one big rebellion factory.

Don’t tread on me. No trespassing. Violators will be shot. Fight the power. (Seriously, though, has anyone made the connection to black leather gloves and major events in African-American history?)

Our program at UNM-Taos, in which I teach college level fine art to younger students, goes over well in general. We talk about how the spirit of rebellion inhabits art practice. What is the conventional way of doing things, and how can we subvert it?

If eye-level dominates reality, why not put the camera on the ground? Or in a mail-box? Or how about photographing your Uncle behind his back, because you’re not supposed to have your phone while herding cattle?

It was fun to talk with them last week about the latest Ai Weiwei controversy. Have you seen the story? Some dude in Miami that no one ever heard of smashed one of Ai Weiwei’s re-purposed Han Dynasty urns, in the middle of an art museum. Right in front of the photos of Ai Weiwei smashing a different Han Dynasty urn.

The meta-worm ate its tail that day. Without a doubt.

How would the great Chinese artist react? What would he say?

Apparently, he differentiated the acts by the fact that he owned what he crashed, while the public smasher destroyed someone else’s property. He found flaw in the logic, but he seemed sanguine about the whole thing, saying “I’m O.K. with it, if a work is destroyed. A work is a work. It’s a physical thing. What can you do? It’s already over.” (Vulture, 02.18.14)

Where were we? I think I’ve even lost myself for the first time. Right. The perfectly-snarled-Elvis-Pressley-lip curl, or the dead-eyed-Eastwood-crows-feet squint that is the ultimate brand of American rebellion. What are YOU looking at?

I just got that sense out of a photo book, and am excited to share tales of its innards with you now: “As Far as I Could Get,” a new book by John Divola, published by Prestel, and organized by the Santa Barbara Museum of Art.

Boy, did I not have a sense of this guy. In my head, I thought of the lone house series. Single structures surrounded by our under-appreciated Western natural resource: empty desert space. Cool, but nothing I hadn’t seen with my own eyes many times, out here.

This book is of the career-arc sort, to go along with an exhibition, so you get to see a range of interesting divergences. Or maybe a set of randomly chaotic and irreverent dalliances with the California style? It’s funny and surreal and literal all at the same time.

It seems Mr. Divola was a contemporary of Ed Ruscha, John Baldessari and those guys, and studied under Robert Heinecken at UCLA. So there is a similar progressive spirit embodying these pictures. They’re genuinely excellent, so leafing through the pages was like discovering that it was Mike Nesmith who was the creative heart of the Monkees all along. (Or that Bon Scott originally fronted ACDC. If that’s out there, what else might be out there?)

In one series, from which the book gets it title, the artist put the camera on timer and sprinted as fast as he could into the landscape. What? Hilarious and poignant. Rare double double.

My favorite, should I care to choose, was definitely “Zuma.” These odd, discomfiting interiors in a shit-box abandoned house on the California Coast are juxtaposed against the perfection of the Pacific. Wow.

I’ve never done a lick of graffiti in my life, so these pictures made me feel a bit of the joy in destruction. Was there any urination involved? What would you wager?

In a smart interview with the Tate’s Simon Baker, Mr. Divola admits his black orb graffiti paintings descend from Kazmir Malevich. It’s a fantastic and appropriate connection, the California vandal and the Russian Suprematist.

OK. It was a long one this week. I’ll wrap it up tight. Excellent book. Great work. And another lesson that no matter how much art we’ve seen, there will always be something new to discover. You just need to keep your eyes open.

Bottom Line: Excellent exhibition catalogue, very cool work

To Purchase “As Far as I Could Get” Visit Photo-Eye

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

Books are found in the bookstore and submissions are not accepted.

Categories: Business

Mining The Trash For Goodies To Photograph

A Photo Editor's Blog - Fri, 02/28/2014 - 9:29am

The studio was filled with crap. Piles and piles of waste paper, and worthless objects that I’d accrued over 8 years time. Facing it all, it seemed so daunting.

Then it struck me that I could photograph my junk, and imbue it with value through the artistic process.

via L'Oeil de la Photographie – Jonathan Blaustein Talks To Elizabeth Avedon.

Categories: Business

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