MISSION STATEMENT - This site is dedicated to professional music photographers. Our mission is to advocate sound business practices, warn against predatory client practices, provide helpful and educational resources, and foster a sense of community. All discussions related to capturing, processing, cataloging and licensing music photographs are welcome.
Getty Images will no longer be searching and browsing through Flickr photostreams to invite users to submit their photos — instead Flickr users have to use the same procedure as the other Getty and iStock contributors and send in full-sized, captioned and released images to them for review and selection.
via The Next Web.
What inspired you to develop this body of work, is ballet in your background?
I trained until I was about 20 but was never professionally serious about it. Since I live nearby, I’d see the dancers everyday. At the deli, coffee shop, drug store. I wanted to photograph them in their environment, but that was all I knew. So one day I sat down and wrote a letter to the director of the Joffrey.
Included was a project statement for pictures which didn’t exist yet. It was called it: Built on Toil, which likened the trainees to soldiers doing a job under command of a general. I saw it clearly: TriX and a 6×9 punched up with the bare bulb of a Lumedyne. All I needed was for him to say yes. Later that day he wrote back (I almost fell off chair.)
He explained that as he is bombarded with requests from photographers he customarily says no. However, he was so struck by the clarity of the proposal, he offered complete access for as long as I wanted. The next day I started, and continued for two years.
Is your intent an art book or self published piece?
At first, I just wanted to photograph, but now that its been a few years, I’ve roughed up the prints in my darkroom and have a better idea of how the pictures should look.
The current promotional piece, designed by Liron Kormas of Kormas Studio, for now, is the bridge between this and a future book, which I’ll work on next. This iteration of the project was entirely Liron’s idea. She asked me if she could design it and I jumped at the chance. She’s brilliant.
How do you think your images express discipline before maturity, as that is normal practice in ballet to start at such a young age?
Discipline is something that has to be cultivated very early in order to shape any athlete. In that regard, it’s a very adult series of decisions to be physically and mentally challenged so seriously. Then, the dancers grow into the discipline, and they decide what their aspirations are. Some continue training, others start auditioning. One of the trainees from the Joffrey got a job in the touring cast of Cats right out of conservatory, another dances with a company full time. They aren’t all that lucky but I don’t think that matters to them.
Were the dancers self conscious around you?
I’ll admit there was a lot of me trying not to get kicked in the head. But these are consummate professionals. That’s part of their training. An elephant could drop in the center of that studio and they wouldn’t break focus. On the floor in the middle of their routines with my gear in their faces, they’d glide around me.
What tools did you use to break into their inner circle?
The dancers were incredibly gracious. They welcomed me. I’m still in touch with them. I even cast one as a model for an upcoming editorial.
How long has this this body of work taken you to shoot?
It was a two year shooting project and another year of printing. But it percolated years before that.
What did you learn about drive and determination from these dancers?
I’m interested in photographing the fundamental basis of life as it is meaningful to that particular journey. The takeaway from every project is different. This one was a parallel to my own daily discipline to live an artist’s life. You’re in it or you aren’t. If you’re not completely, totally 100% there, then you shouldn’t even bother.
Seeing the dancers working together reminded me that having a community of respectable colleagues is important at any stage of development. Some of them would show up at night, go into an empty studio, push play, and hit their routines hard, just to do it. It was beautiful to watch.
When I was in my darkroom. I’d see that determination in the tray and something would amp up inside of me and I’d readdress how the print looked or what I wanted from it. It was infectious. I’d look at my feet, which were in fifth position.
Sigma's 18-200mm F3.5-6.3 DC Macro OS HSM | C is the latest version of its popular stabilized superzoom lens for APS-C / DX format SLRs. It's smaller and lighter than the previous model (the 18-200mm F3.5-6.3 II DC OS HSM from 2011), but offers an updated optical design with improved close-focusing abilities. Sigma shipped us a sample a few days ago so we could try it out and we've been running around (in typically unpredictable Seattle weather) getting some real-world samples. Click through to see the shots.
We've revamped two of our most popular site tools - our camera and lens feature search pages. We didn't want to completely reinvent the wheel, and changes mostly relate to design and user experience. The tools now look friendlier (we think), search options should be a little more logical and the process of narrowing down searches should be less confusing. We've also added a few new fields here and there while removing some outdated ones. Click through for links.
As photographers struggle with the slumping economy and an ever-increasingly competitive landscape, wedding photography seems to be one of the industry’s steadier income streams. People continue to get married and most hire photographers to capture their special day. And there are a handful of helpful mobile tools to help you run your business more effectively. Learn more
This Wednesday March 12th, at Music City Roots - Live from Loveless Cafe Barn, the featured artists will include Rhonda Vincent & The Rage, Wild Ponies, Cabinet, Don duprie and Teea Goans. The program is hosted by Jim Lauderdale. The last time Rhonda Vincent played Roots, it was on her run of duo shows with the mighty-voiced legend Gene Watson. It was great. Soaring and blue. Deeply country. But it did leave me craving a set of her audaciously clear and powerful bluegrass music. She is, after all, a seven-time IBMA Female Vocalist of the Year and one of the most beloved artists in the world of classic bluegrass. But this Wednesday, after years of waiting, we'll feature Rhonda and her band The Rage amid a diverse night at Roots. The season is winding down, but there's nothing wound down about Vincent's approach to roots music.
She was the quintessential family band kid, growing up in small town Missouri as a precocious singer and performer in The Sally Mountain Show, playing a variety of instruments and getting steeped in the life. Her solo career kicked off with a win on a TNN talent show and touring with Grand Ole Opry star Jim Ed Brown. Her first albums were in the bluegrass vein, but she got noticed by Music Row and she was able to release a couple of country discs in the mid 1990s. By 2000 she was, as her Rounder Records album debut declared, Back Home Again in bluegrass music, where she quickly became a leading artist, releasing a string of superb albums. Rhonda's voice is one of our music's treasures. It's translucent and illuminated and almost unnaturally strong. She turns a phrase with grace and emotion, whether its 'grass or torchy traditional country.
Vincent's new album nods in both directions at once with an interesting approach: two six-song CDs, comprising a country "side" and a bluegrass "side." We get to hear her crack band tackle some classic songs like "Once A Day," and there's a duet with Willie Nelson. The project, called Only Me, is the 18th album of her solo career. But even as a seasoned veteran, the hosannas keep rolling in. Just last month Rhonda Vincent and The Rage were named Entertainers of the Year at the other big bluegrass music awards, an outfit acronymed SPBGMA that is more keyed to the timeless and traditional strains of the music. A brand new, bright blue Martha White tour bus appears to be the latest news from Rhonda Land, marking a renewal of a sponsor relationship that elevated bluegrass in the 1950s between Martha White Flour and Flatt & Scruggs. We'll ask her about it.
Since her debut, Rhonda has met with increasing acclaim for her dynamic, infectious take on bluegrass. Her gift for balancing classic bluegrass sounds with subtle contemporary touches is featured throughout music. Gleaming with hope, resilience, and gratitude, Rhonda presents a set of songs that range from timelessly straight-ahead bluegrass to classic country.
Emerging singer Teea Goans has a similarly titled album (albeit her second, not her 18th) called That's Just Me and a similar story to Vincent's. Small town Missouri. Check. Singing from five years old. Check. Teea has followed her muse to every place that would let her sing, but classic country is her touchstone. She took a job a few years ago working with our beloved announcer Keith Bilbrey on the Opry warm-up show, which put her in a wonderland of musical heroes. She's channeled what she's heard and learned into a beautiful and timeless sound that swings, two-steps and sometimes settles into a more luxurious setting with background vocals and countrypolitan touches. Steel and fiddle are constant companions. Her voice is velvety and sweet. This should fit in with past Roots sets by Amber Digby and Connie Smith.
The rest of the night touches many bases. We're excited to hear the latest iteration in the career of Nashville's Doug and Telisha Williams, who've tooled up as a power trio with drummer Jake Winebrenner under the name The Wild Ponies. The duo's album Ghost of the Knoxville Girl won me over with its country/folk acoustic textures and lonesome archetypal characters. Now things have more wire and hum and buzz. The songs on their new album When Things Used To Shine are tough-minded and rocking. We get more of Doug's fine electric guitar playing and Telisha's voice has never sounded more confident or stirring.
Cabinet is an interesting band out of the Scranton, PA area that would fit on stages nicely with Yonder Mountain String Band, Railroad Earth or Keller Williams. And in fact this sextet has gigged with those very bands and more at festivals like Philly Folk and Floyd Fest. Their banjo and fiddle are prominent, giving them a grassy touch, but the swirling Dead-style freedom lets their music float and swirl. I'm looking forward to it. And we'll also feature Don "Doop" Duprie, who's been hailed as the finest songwriter going in Detroit. A laid off fire fighter who found his voice as an artist, he's got plenty of steel and grit in his approach to country music, whether under his own name or as part of his band The Inside Outlaws (why did nobody think of that name before?).
Knoxville, TN -- Blue Moon Rising is very proud to announce they have signed with Class Act Entertainment - a full service booking agency representing premier performing artists since 1993. The band is also proud to announce a brand new website at bluemoonrisingband.com - designed by Harold Nixon. Blue Moon Rising includes the talents of Chris West (Lead Vocals and Guitar); Brandon Bostic (Dobro & Guitar); David Mowell (Tenor Vocals and Mandolin), Rusty Ferrell (Banjo), and Travis Anderson (Bass).
Blue Side of the Moon is the 6th album from this critically acclaimed bluegrass band. It is a self-produced and self-released project on their own Blue Moon Records label. It was recorded at Brandon Bostic’s Root Note Studio and includes BMR’s trademark sound fans have loved for many years. The album is available iTunes, CD Baby, Amazon, County Sales and the band’s website. Blue Side of the Moon is available to radio stations worldwide at airplaydirect.com/music/bluemoonrisingbsotm.
Blue Side of The Moon includes the first radio single release, “Colder December,” that made its debut at #4 on Bluegrass Today’s Weekly Top 20 Songs chart just a few weeks after the album's release and is currently #16 on the chart. The album includes the talents of: Chris West, Brandon Bostic, Tony Mowell, David Mowell, and Rusty Ferrell. A mountain cabin in Stanley Valley, TN served as the recording studio with Bostic providing his engineering expertise and gear from his Root Note Studios.
Blue Moon Rising’s impressive career includes a long list of chart albums and hit singles that have reached #1 on a wide variety of radio charts and received many other honors throughout the years. They received a 2006 IBMA Emerging Artist of the Year nomination and were chosen twice as an official IBMA Showcase performer.
Fans can follow Blue Moon Rising on Twitter, Facebook and youtube site for news and tour information. The band is sponsored by: Blue Chip Picks, Chota Outfitters, D’Addario, and Peterson Strobe Tuners.
[by Chris Winton-Stahle]
A respected friend, and established director, once said to me, “I believe in the power of kindness. Pay it forward – keep the cycle going.” This is the mantra that my wife, Heidi, and I follow when giving back to the consumer and business communities.
Why Give Back?
Just think of the potential! When an entire community bands together to help each other, the sum of the whole is greater than its parts. We have all had mentors that have helped and inspired us. Having the chance to help another perpetuates this wonderful cycle. It is also a great way to interact with new social circles, expand your network and has the potential to lead to new referrals and clients.
At first, this may sound counter-productive. Why should a photographer give away something that he does to earn a living? Because of the Law of Attraction. The energy that you put out into the world is the energy that will come back to you. The trick is to feel good about the giving!
But Proceed with Caution
Don’t give your heart away! From time to time, you will be asked to do things for free or at a lowered price. You may be asked to shoot pro bono in exchange for a credit in a magazine that ends up not materializing. Or a client may want you to donate a photo for free (without any restrictions) for a promotion.
Remember that you cannot expect others to have the same intentions as you do. But don’t let these situations make you jaded. Trust your intuition, be selective about who you help and learn from each situation. Your heart knows better than your head.
What We’ve Learned
Giving to others has deepened our respect for them and has created a stronger bond with our community. We feel the joy that our work brings to others and have built strong relationships with those whom we respect and admire. Each time we give to others, we learn more about ourselves and we often get unimaginable gifts in return. Occasionally, we get to see someone else “pay it forward.” That is a great gift in itself.
Chris Winton-Stahle is an award-winning photographer and accomplished photo illustration artist who sees the camera as only half of his process in creating great imagery. Chris often pulls components from multiple images and CGI when creating his work for clients in advertising, magazines and entertainment.