• French art students Guillaume Chauvin and Rémi Huber won a photo contest organized by weekly magazine Paris Match and then revealed at the award ceremony that they’d staged the photos. Not surprisingly, there’s been some heated discussion going on, including at Lightstalkers. Full report at The Independent.

• Andrew Hetherington a.k.a. What’s the Jackanory? posted a brilliant video this week, “Inside the Photographer’s Studio” with Philip Toledano, including a sneak peek at the witty British photographer’s latest project.

• Starting July 25, the Annenberg Space for Photography will be offering free weekly lectures by renowned photographers from around the world. Steve McCurry will kick things off, followed by heavyweights such as Carolyn Cole, David Burnett, Dan Winters, and Colin Finlay.

• Flickr rolled out the beta Flickr2Twitter this week, a new option to easily tweet photos. You can now create a short http://flic.kr link back to a photo on Flickr via the “upload to email” function.

Duane Michals, photographed by Paul Waldman for the Living American Masters Photography Project. Courtesy LAMPP

Miki Johnson: Tell me about how this project started.

Paul Waldman: After I left my position as managing editor of Zone Magazine, I wanted to do something that hadn’t been done, and that had both global and intimate scope. The Living American Master Photographers Project (LAMPP) grew out of this. At the time, far more emphasis was placed on photographic content as opposed to the individual artist. Nobody was studying the personal content of individual photographers. Portraits of these men and women, whose images were shaping society at a basic level, were not available.

I was appalled that as a society we weren’t in touch with what I considered a living national treasure: our photographic community. I began doing portraits, interviews, and occasionally both, with photographers starting in 1991. Back then, the idea of committing to an ongoing “living study” was somewhat foreign. At times, it is still difficult to convince people of LAMPP’s value as a social tool and document.

Many of the photographers resisted initially. Some had been “hunted” by fans who wanted a shot of them. But after the first ten or so portraits, a body of work began to emerge that was well received. Although my hopes for editorial assignments and assistant jobs from these encounters never materialized, what I ended up with had a greater value: some of the most rewarding personal relationships of my life.

MJ: What does a typical interview and portrait session look like?

PW: An interview is now a prerequisite for participation but in the beginning, it was an either-or proposition. I opted for the portraits, thinking I could always go back for a phone interview. There was never a template I followed; I think this enhanced the experience for both myself and the participant. Whenever possible, I tried to sit down and talk, not as an interview, but as two people sharing a beginning. Participants saw I wasn’t trying to coerce something out of them other than their love, experiences, and accumulated wisdom garnered from an eye within the craft.

Andreas Feininger by Paul Waldman. Courtesy LAMPP

I became close with Andreas Feininger and his wife Wysse. I’d often go up to their flat on 22nd and Broadway in Manhattan for tea. Jacques Lowe and I would talk about his time with JFK, his love of jazz, and his experiences photographing its legends. I did a portrait and interview on the road to and from Seligman, Arizona, with Allen Dutton and we remain close to this day.

When I photographed Sally Mann, Patrick Demarchelier was doing a street shoot as we were approaching our portrait location. I asked Sally if she wanted to meet Patrick and introduced them for the first time. There were other strange moments, like finally photographing Duane Michals in his basement laundry room after trying to meet with him for three years.

The first session I scheduled with Gordon Parks, a big Nor-Easter hit Manhattan. I realized there was no way it could happen as planned. When we finally met, there was a blizzard tearing through Manhattan. Snow appeared to fall parallel to the ground, as if it were orbiting the city.

MJ: Do you have a favorite image or story from a portrait session?

PW: That’s a challenge. Working with Bob McNeely at the White House under President Clinton was a privilege. After we’d met and he’d taken me down to the photo office, he needed to go and pick up his daughter from school. I told him not to worry, I’d be happy to hang out. Later, Bob snapped an image of the president and I as we talked about Bob’s daughter, who was quite young at the time. He had President Clinton sign the photo for me. Since then our friendship has blossomed. I recently spent a night out at his farm upstate from Manhattan, re-photographing him with his daughter — she was graduating high school!

Jill Enfield by Paul Waldman. Courtesy LAMPP

Most recently I photographed Barbara Bordnick at home. She was so moved by the experience, she asked if I’d record an extra track at the end of our interview. To my surprise she shared some moving words about my presence as a portraitist and her love for the LAMPP body of work. Barbara’s an amazing editorial portraitist; her unsolicited kindness was especially inspiring.

Jill Enfield was incredibly generous. She and husband Richard Rabinowitz let me stay in their home in Manhattan for an LAMPP trip. I was a stranger, having only spoken with her and Richard by phone. I arrived at 6am! Her two teenage daughters were sleeping as I quietly settled in. That kind of love and appreciation for the project’s mission has been particularly touching.

MJ: What about a good story about recording an interview with a photographer?

PW: A favorite audio recording is of AP legend Marty Lederhandler. His “Pigeon Story” from WWII’s D-Day is well known among many of the AP people, but few know it outside that circle.

Marty Lederhandler - “The Pigeon Story”

One of my favorite moments involved Sylvia Pericon, a student who volunteered to interview Steve McCurry for LAMPP. After the interview, we sat at a cafe in New York’s West Village and did a post-interview about her experience. She was so moved and energized. When Sylvia told her teachers about her LAMPP interview, they were amazed she had such an opportunity.

MJ: Where does all the content live? Where would you ideally like to see it?

PW: I am committed to the idea that this content should “live.” Because the project has been almost entirely my creation, the negatives, prints, audio, media kits, FAQs, quote selections, contributed letters, kudos, and rejections remain with me. One of my highest hopes is that LAMPP escapes my personal gravity, that other people get involved. In retrospect, I feel LAMPP has suffered in part from its perception as “my” project. I’d like to see it expand, for others to experience what I’ve been blessed with.

There’s so much undiscovered country, so many older masters and emerging masters who haven’t been tapped yet. For the past few years I’ve been trying to establish foreign satellites that would explore global perspectives through the LAMPP paradigm, the LMPP: International. As our planet becomes smaller through faster, richer, deeper communication and media distribution, methods of common experience will be instrumental in forging more meaningful international, intercultural relationships.

Gordon Parks by Paul Waldman. Courtesy LAMPP

I’d like to see LAMPP integrated into a higher education institution or museum with robust photographic programs if it does not attain its own self-sustaining presence as a foundation. The project needs space to expand, and the opportunity for participants and luminaries to visit for “micro residencies.” I’d like to see an interactive textbook created that students can collect and have signed by masters featured for that year.

MJ: What is the biggest challenge you face moving forward?

PW: Recently I’ve approached the Annenberg Space for Photography, The Smithsonian, and the Duke Center For Documentary Studies without so much as a commitment to an open dialogue. I find it ironic and disturbing that these institutions will feature an individual artist, but neglect the impact of the photographic community as a whole. It’s like trying to understand an orchestral piece by listening to one or two musicians individually.

The deaths of many 20th century masters was a wake up call to the community. Creating an active interest in LAMPP before participants pass has also been particularly daunting. Getting contact information for possible candidates is fraught with obstacles. With each master’s passing we loose the collected wisdom of a life and the synergy of that information within the context of an individual, gifted and trained in the art of seeing, perceiving, touching. My hope is that this will become an additional source of income for photographers, as well as a boon for our emotional, social, cultural, and political evolution.

MJ: How can photographers help?

PW: The best way to help is to get involved. Become an LAMPP evangelist. I’d love to build a proactive board that embraces fundraising initiatives. It doesn’t have to be just photographers. LAMPP was designed for the American public trust. I’ve been in a photo lab so many times when the people working there didn’t know the seminal living or past master photographers.

We’re changing. The photographic image is omnipresent. I tell people there’s probably a photograph ten feet from them; they’re probably sitting or staring at one as we speak. That’s powerful stuff.

It’s nothing to be intimidated about; not knowing photographers by name or face. There’s so much out there to get excited about, to enjoy, to participate in. But in practical terms we need grant writers, legacy donors,  a LAMPP home, services, co-opt friends, associates, business partners, professional organizations, industry support, and interest from the government. That’s a wish list! Let everyone know we’re sharing vision; we’re growing sight through every man and woman’s contributed light.

Baghdad Suite by Andrew Phelps. ©Andrew Phelps

Miki Johnson: Why is this such an exciting time for photo books?

Darius Himes: Books are amazing vehicles that have been with humans for millennia and have a fascinating history as objects of beauty, as well as conveyors of ideas. Books are also physical objects with a rich history of scripts, fonts, inks, papers, bindings and photographic reproduction techniques. For centuries, however, these skills and literacy itself was held by “the few.” Only in the last century have we seen a marked increase in the amount of printed material available. And when it comes to photography books, the print-on-demand phenomenon has truly transformed the landscape. Literally anyone has the capacity and the access to publish a book of images.

MJ: Now that anyone can make a book, it seems even more important for a photographer to establish their goals for a book before they begin assembling it.

DH: Setting out with a clear purpose is crucial to any endeavor. Photographers are creating books for a wide range of uses, from leave-behind portfolio pieces intended solely to garner assignments, all the way to conceiving and creating mass market books on any number of subjects.

MJ: Is this why the Photography.Book.Now contest has three separate categories?

DH: Yes. The three categories of this years’ contest are designed to let photographers approach the idea of a “photography book” from three different angles. The fine-art category is extremely broad and the most subjective. Photographers and photo-based artists can do whatever they want to produce their book. Often, these books are made by practicing artists and have little regard for communicating a specific narrative to a large audience.

Editorial photography, the second category, is a different animal. But let me state something at the outset: I’m not interested in, or trying to stoke the debate about, what constitutes “art” photography. Anything done well is done artfully. If it serves the goals that one sets out with, then “art” has been employed. I don’t want anyone to think that any of the three categories don’t somehow employ art or doesn’t constitute artfully done work.

Bamboo Fences by Osamu Suzuki. ©Osamu Suzuki, courtesy Princeton Architectural Press

Editorial and commercial photographers often serve patrons other than themselves; this the a big distinction. So, an editorial photographer assigned to cover a story may find themselves with a much larger body of work than will ever get published in a magazine. Likewise, a commercial shooter might have photographic skills that can be translated into a “commercial” book project; publishers also conceive of book projects in-house and then commission commercial photographers for the book.

Perhaps some concrete examples would help. This new book from Princeton Architectural Press—Bamboo Fences, by Isao Yoshikawa and Osamu Suzuki — is a great example of a commercial book project. It’s about a very specific subject — bamboo fence building in Japan — and the photographs by Suzuki perfectly illustrate the work. It’s primarily a photobook, but is supplemented by the text. Here’s another example: Bird, by Andrew Zuckerman. It has a specific subject matter artfully photographed by a commercial photographer. The publisher, Chronicle Books, probably hopes the audience for this book — and by that I mean ultimate sales for the book — will be upwards of 50,000+.

Two examples of books that have a broad “trade” appeal, but which are not “commercial” books like the ones above, are Jonah Frank’s Right, Portraits from the Evangelical Ivy League (Chronicle Books), and Articles of Faith by Dave Jordano (Center for American Places). In my mind, both of these books probably stemmed from assignments that blossomed into the book-length projects we see in the stores. Both have more of a storytelling quality to them than either Bamboo Fences or Bird. In that sense,  they come out of a “documentary” tradition, but are presented in an appealing way to as broad an audience as possible.

MJ: What uses does a self-published book lend itself to? Do photographers use them to collect images that didn’t warrant prints? Or as an alternative for a portfolio? Or a leave-behind? Or a family gift?

DH: All of the things you mention, I’ve seen. I’ve also seen photographers use the self-publishing, print-on-demand technology to create “limited run” books. Photographer Andrew Phelps took a small body of work called Baghdad Suite and issued a self-published, print-on-demand book of only 100 copies, which sold out rather quickly. It’s a great idea to use this technology to disseminate a body of work that is either small, in terms of number of images, or limited, in terms of it’s appeal or audience.

Right by Jona Frank. ©Jona Frank, courtesy Chronicle Books.

MJ: In your eyes, what makes a photo book great?

DH: From John Gossage, as quoted in The Photobook: A History, Volume 1 (Phaidon, 2004): “Firstly, it should contain great work. Secondly, it should make that work function as a concise world within the book itself. Thirdly, it should have a design that complements what is being dealt with. And finally, it should deal with content that sustains an ongoing interest.”

When you’re making a book for a broader audience, think like a publisher. Visit publisher websites, read the catalog copy, and craft your book the way they craft their books. Every publisher approaches things differently. If you consistently like books from one publisher, really study how they put together a book. A book from Princeton Architectural Press is quite different from a book by Radius Books. In other words, learn from those already in the field.

Often photographers, naturally so, get wrapped up in the individual images and either lose sight of the overall picture and purpose of the book, or they simply never arrive at an overall picture, and the book lacks focus.

And don’t forget that a book is not just a bunch of CMYK printed images sandwiched between two boards. Text and titles, fonts and captions, of course editing and sequencing, as well as how the image sits on the page-spread and what it is placed next to — all of these little elements can make or break a book.

MJ: Do you have an example of a self-published book that has been very successful?

DH: The most famous example is Alec Soth. In 2003, Alec came to Review Santa Fe, an annual portfolio review event, looking for exposure and a publisher for a body of work titled Sleeping by the Mississippi. What we all know is that, after the exposure he received there — he won the Santa Fe Prize that year — his small print-on-demand book made it into the hands of Steidl, where it has now entered it’s third printing. Alec received huge recognition for his work in the intervening years and is now part of the prestigious Magnum agency. Martin Parr and Gerry Badger included Alec’s handmade book in Volume 2 of their seminal survey of photography books, The Photobook: A History (Phaidon).

Images from a search for "woman + scale" on iStockPhoto.com

As a photo editor for a weekly women’s lifestyle magazine, I frequently had to find the same kind of image over and over again. One of the common ones was what we termed “woman on scale.” There is a weight-loss story in just about every issue of every women’s lifestyle magazine on the stands, so the need for this particular image (and ones like it), is almost endless.

Unfortunately, there never seems to be enough in the various stock coffers to keep up with demand. Especially considering that magazines will avoid using the same image twice or using the same image as another lifestyle magazine. For photographers this means — even though it’s counterintuitive — you should be shooting more of what you see the most of.

Do Your Research

As a photo editor, I would have loved to see more variety of these recurring images (like “woman on scale”). Photographers should first look through multiple issues of the magazines they expect will buy their images and notice which images are repeated. That will give you a few kinds of photos to focus on. Then get to know the editorial styles of each magazine and create different versions of those photos to cater to each style. Some magazines will want a very young woman, some a woman who looks more like a mother. Conservative magazines will want her legs and arms to be covered; others might want her to have the latest, tightest workout clothes.

Change Everything

Photographers often offer several images of the same model in the same clothes, changing only her the tilt of her head or the position of her hands. If you were an editor, would you use two of these as if they were “different” photos? Didn’t think so. If you are using the same model, change her clothes between photos, especially the color palette. Change her hairstyle, make-up, and expressions. Make her look like a different woman. Change the background and include a white background. Most importantly, shoot the same image with different models, especially ones from different ethnic backgrounds (although two from of the same ethnicity is still better than one). Think of it almost mathematically. Try to come up with as many permutations as possible for the same image.

Think Like an Editor

If you’re working in the women’s lifestyle genre, there are several other pictures that you’ll notice recur frequently: woman at a computer, woman performing various kitchen duties, woman in the car, woman with money, woman shopping. Remember, in addition to shooting each scenario in different locations, also shoot them on a white background to make a clean background for text. When possible, consider not only the content of the photograph but also the way the graphic designer may need to work around it when laying out a page. If you can do that, and keep supplying the images that editors have to keep going back to look for, you’ll quickly move to the top of their go-to list.

“I call Twitter marketing in my pocket”

Follow Gene on Twitter: twitter.com/genehiga

Follow Gene’s Italy Workshop: twitter.com/italyworkshop

Follow liveBooks: twitter.com/livebooks

Ted Barron at the Boogie Woogie Flu blog posted two very cool MP3 tracks of Weegee and Henri Cartier-Bresson speaking about photography. The Online Photographer also pointed us to some other audio clips of radio interviews with Weegee from 1945, including an explanation of how he got his name.

Kodak announced on Monday that they will retire the 74-year old Kodachrome film because, quite simply, it’s not selling. Is it ironic or perfect timing that National Geographic Museum’s new exhibition, which runs through September 7, is “Kodachrome Culture: the American tourist in Europe“?

The best-remembered Charlie’s Angel Farrah Fawcett died of cancer on Thursday at the age of 62. The New York Times had a nice tribute, and Bruce McBroom, the photographer behind the actress’ iconic poster, shared the story of the serendipitous shoot.

With the recent Iran media ban, there is a growing concern for the lack of professional conflict coverage. Paul Melcher had a great piece on why war photographers are rarer than ever. A timely wake up call for anyone who really cares about photojournalism.

Ed Kashi - Ed has integrated video with his documentary photography for years, but recently shot his first video-only project.

1. How much do you shoot video compared with stills?

I have been working on a film in the Niger Delta, and although I’ve been shooting video for the past nine years, this is the first time I’ve shot a complete film without any stills.

2. What tools do you use to shoot video?

When I contemplated shooting this film in the Niger Delta, one of the toughest places I’ve worked, where most people don’t want to have any kind of camera pointed at them unless you explain yourself or you pay them, I was initially considering using the Canon 5D Mark II in video mode, thinking it would make me less conspicuous. That was a silly thought. In the end, I decided to work with a great standard definition video camera for excellent sound and none of the unresolved issues in video with the 5D.

3. What is the biggest difference for you between shooting video and stills?

Whereas still photography resides in the fractional moments, video lives in whole moments and complete segments. Keeping the editor’s needs in mind, you must provide sustained coverage with video, instead of pecking away at the fractional moments with your still camera. This can be a killer on your back, neck and/or wrist. The physical strain shooting video is definitely increased, at least for me since I work quite light, with one camera and one lens, when I shoot stills. With stills I am also slavishly dealing with the light, beholden to it’s patterns, moods and dictates. Light is important with video too, but I can still make a compelling video in almost any light. Then of course there is audio. I often ponder situations in terms of the audio it will render, what it will say and how it helps shape the narrative.

4. How do your still and video work influence each other?

Shooting stills is more torturous mentally but ultimately more deeply satisfying. I am a photographer at heart. Video is interesting, vital, challenging, relevant and captivating, but photographs are sacred to me in a way that video is not. It has something to do with my long relationship to photography, but more metaphysically, it relates to the stillness, the quiet and meditative quality of still images. No matter how enveloping and captivating video can be, there is an essential truth in still images for me. And I am finding that I miss working with my images — looking, editing, thinking about them, sending them to friends and family. They are much easier to move around, share and work with.

Bill Frakes - Bill has always mixed it up, but has been stepping it up lately with lots of great videos for Sports Illustrated and his many clients.

1. How much do you shoot video compared with stills?

It totally depends on what I’m working on. I’m just finishing a short documentary now that is entirely video. I’ve directed music videos and television spots for years. Usually I let the subject matter make the decision for me about the amount of video vs. stills that I’ll shoot.

2. What tools do you use to shoot video?

I shoot primarily with the Nikon D90, which allows me to switch between video and stills very easily. I have several professional-level video cameras, but the optics I can use with the D90 makes it a superior choice. I gather audio separately and I have had the D90s modified so they can accept outboard microphones.

3. What is the biggest difference for you between shooting video and stills?

From a physical standpoint, shooting video requires a tripod — otherwise it’s just not going to look good. From a photographic standpoint, composition still rules, but what works for each is totally different.

4. How do your still and video work influence each other?

My video and still work is totally in sync. Each is meant to enhance the other.

Guy Rhodes - Steeped in lighting and film techniques, Guy shoots a lot of independent films plus still images to keep his eyes fresh.

1. How much do you shoot video compared with stills?

The majority of my work over the past five years has been video-related, much of it in the independent film market. I shoot stills in my downtime to supplement my income and to keep my creative eye fresh. Over the past month, I’ve been out on three independent short film shoots, two as the director of photography and one as a Steadicam operator. I also had a handful of still shoots. Shooting video and stills at the same time is not generally required by my clients. Most hire me for one or the other, as they understand that trying to do video and stills at the same time often results in both suffering to some degree. The two mediums require different thought processes, and it’s very challenging to go between the two and do it well, especially in a deadline situation.

2. What tools do you use to shoot video?

I shoot on a Panasonic SDX900 for much of my independent film work. I’ve also shot several indie films on the Panasonic DVX100, which records in 24p, but on the more affordable MiniDV format. The short film I ran Steadicam on last month shot with Canon’s new 5D Mark II cameras. It was pretty exciting shooting HD video on a full-frame SLR, being able to use very wide aperture lenses to emulate the shallow depth of field of the 35mm motion picture format. For the rare instances that 24p is not required, I shoot on my Sony VX2000 MiniDV.

3. What is the biggest difference for you between shooting video and stills?

One large difference between shooting video and stills for me is lighting. Still images are pretty easy to manipulate after the fact, but you really can’t dodge and burn video. That’s why I try to nail my video lighting setups so I can hand the client a DVD of my camera raw video without color correction and not be embarrassed by it. I studied lighting in college so it’s not uncommon for me to spend an hour or two lighting a scene for film shoot, with only the last five minutes of that time devoted to setting up the camera and framing the shot. I think a lot of new video shooters and photographers get so wrapped up in the camera technology that they forget how important lighting really is.

4. How do your still and video work influence each other?

My video and still disciplines keep each other in check. I find that after shooting stills for a few weeks, the next time I pick up a video camera, the shots come easier. Sometimes I’ll try things with the video camera that I tried earlier with a still image, such as radically underexposing for a dramatic highlight or colorful costume. I have an equal love-hate relationship with each medium. Video editing is more tedious than editing a still photo shoot, but I do like the camaraderie of video shoots. First and foremost, though, I consider myself a lighting designer. Even when I’m shooting video all day, the majority of my time is spent lighting the scenes. The same goes for setting up a portrait shoot. When shooting on location with available light, lighting is still at the forefront of my mind.

Robert Caplin - Robert has been experimenting with the video capabilities of his Canon 5D, figuring out how to translate it into paying gigs.

1. How much do you shoot video compared with stills?

I shoot about 80% stills. Often I’ll capture video on interesting assignments, but more for memory’s sake. I’ve started working on video projects with my family and friends, but I have yet to capitalize on actually making a living with video. The transition is underway, but I don’t expect to ever give up still photography.

2. What tools do you use to shoot video?

I’ve exclusively used the Canon 5D Mark II for capturing video. For general audio I have a hot-shoe-mount mic made by Sennheiser (MKE 400). For music videos we record the music in a studio and lay it as the main audio track. For my latest project I used a separate sound crew who used professional booms, shotguns, and LAV mics.

3. What is the biggest difference for you between shooting video and stills?

The biggest difference during the shooting process is motion. Moving the camera while recording makes all the difference whether it’s a pan, dolly, crane, or steady-cam shot. I’ve found that keeping the camera motionless makes video more stagnant and less appealing. On the editing end, it’s a much more laborious process due to the file-sizes of the videos. It’s also more difficult to tone and edit 30 pictures per second.

4. How do your still and video work influence each other?

I feel that I’m a photographer at heart. Since I’ve started toying with video, I consider myself more and more a filmmaker as well. I think I have a lot to learn, but the ease of the 5D II makes it enjoyable to teach myself.

Martin Sundberg - Fielding frequent questions from clients about video, Martin recently produced a video shoot to test the waters.

1. How much do you shoot video compared with stills?

I’m still shooting nearly 100% stills for my professional and personal work, but nearly all of my clients are no inquiring if I can also produce video in addition to stills. On my last large shoot I started out thinking I would shoot a little video to show my clients how the activities might translate when we began our video productions. Yet, over 10 shoots at 10 locations, I only shot stills. Right now my mind set is, one or the other — video OR still. I think there have to be two different shoots or I have to have a video camera operator on set who I could direct while I shoot the stills.

2. What tools do you use to shoot video?

I am exclusively using the Canon 5D Mark II. We are capturing audio separately using a Marantz digital recorder.

3. What is the biggest difference for you between shooting video and stills?

When shooting photos I am really focused on perfecting the single moment. One perfect image. Video is about the flow through the frame and linking moments. Not all the moments in a sequence are perfect, but you only spend a fleeting moment looking at any one frame.

4. How do your still and video work influence each other?

I’m a photographer who is exploring video. I definitely think like a photographer… but I LOVE applying that to my new work in video!

With a clear goal and strong business plan, you can get paid to shoot what you love -- like this dream campaign Menuez shot in Dubai for Emirates Airlines. He was commissioned to document the culture and people of Dubai for a month and the creative team pulled the ads from the edit. Dubai for Emirates Airlines, ©2009 Doug Menuez/StocklandMartel

When most photographers set up shop, they focus on becoming better photographers, naturally. Few photographers, however, develop even the most basic skills they need to run their own business. They hope to hang on long enough to be discovered before they sink under their own lack of knowledge. That’s like building an intricate jeweled house atop quicksand. (Look in the mirror, repeat after me: “You want fries with that?”)

The “get discovered” strategy implies that someone else will take responsibility for your own financial well-being. Ideally, we’d all be born independently wealthy, have our spouse deal with the money, or find the perfect business manager or agent who can do this for us. I’m here to tell you — snap out of that lovely fantasy! Not. Gonna. Happen. And even if, by the grace of the angels, it did, you would still need to learn the basics in order to participate in the decisions being made about your money. Even the best business managers need your help to help you succeed. You really don’t want to be one of those poor schmucks who got super successful but are now penniless because you trusted someone else to handle all your business decisions.

In my new column for RESOLVE, “Seeing Money,” I’ll be sharing what I learned the hard way about the business side of photography during nearly 30 years in the industry. I started as a fine-art student, moved into photojournalism, built a multimillion-dollar advertising studio with a staff of 15, then closed that monster and reconfigured with a minimal crew and low overhead. Along the way I made and lost fortunes.

I never understood money; money was not my goal. I was — and am — all about making great images. But I learned to respect and understand that money has the power to support my most important work. I hope to help you realize the same thing by explaining what works, what mistakes to avoid, and how to recognize the ways our creative brains sometimes sabotage our own success — especially whenever it comes to managing money.

I am constantly trying to answer the difficult question, “How do you reconcile the conflict between art and commerce?” I give the long answer in my workshops. The short answer is, “Get paid to shoot what you love to shoot.” To achieve that, you have to build a solid foundation, step by step, to financial security.

Many photographers have a lot of fear around money; they think it will dilute their talent and corrupt their values, or they just can’t handle the math. I’ll provide pain-free financial management tips you can apply right away. OK, that statement was a lie — there is no such thing as pain-free financial management. But rest assured that my lessons will be less painful than if you did not learn these skills at all. Plus, you are benefiting from all the pain I’ve already gone through to get where I am today. Best of all, as you begin to learn and apply fundamental business lessons, you will find that you gain confidence and actually begin to enjoy the business part of your photography business.

In this “Seeing Money” column, I will discuss the steps you need to take right now to start (or save) your business. Check back soon if you wish you knew more (or didn’t realize you needed to know more) about:

• basic bookkeeping
• writing a business plan
• getting an SBA loan and line of credit
• working with an accountant
• managing cash flow through accounts receivable/payable reports
• insurance
• legal issues
• important business tools

Ningxia Hui Autonomous Region. Tourists enjoy themselves on the 100-meter-high sand dunes. ©Sean Gallagher. Courtesy Pulitzer Center for Crisis Reporting

Before I was awarded the grant from Pulitzer, I had to have it clear in my mind what I wanted to achieve with this project and how exactly I wanted to achieve it. I had already been working on the subject of desertification on-and-off for over a year, so I already had a good idea of most of the main issues.

In drawing up my application for the grant, I had to lay out a detailed plan of where I would go during my proposed trip, which forced me to clearly identify the key issues that were important to the big topic. Beginning this planning process was no easy task. China is a vast place and desertification is an equally vast issue. I knew that I was going to have to lay a careful plan if I was to achieve everything I wanted to.

The first thing I did was revisit all the old articles that I had bookmarked online over the months. I have a habit of bookmarking interesting articles in case I ever need them or decide to follow-up on them for potential photo-essays. This helped me quickly review what I was already familiar with. Through my research, I then started to make a list of separate issues that were all linked to desertification. These included things like environmental refugees, degraded grasslands, abandoned cities, threatened water, tourism, science vs. the desert, etc.

The next step was to head to my office wall, where a large, detailed map of China became my logistical planning station. With articles in hand, I started to circle locations that seemed to represent each issue I wanted to cover. Quite soon, I had circles and scribbles all over the map. My proposal was going to be for a 6-week trip, so I knew I didn’t want to attempt too much — but I also needed to cover all the key issues. I decided to tackle six issues, one per week, giving me seven days with each location and issue.

One of my main goals for this project was to show that desertification was affecting vast swathes of China. I therefore planned to travel from “coast to coast,” 4,000 km from one side of China to the other, and picked locations that would move me progressively across the country. Most of my locations fell along China’s northern rail network, so I decided to ride these trains as a way to link my locations and give me a better feel for the land I was traveling through.

Once I had decided on locations and how I was going to travel to them, I needed to identify how I would cover the issue in each location. Again, this came down to research. I trawled the web looking for information on each location to give me a an idea of what images I could potentially make there. For some of the locations, however, the information was limited, so I knew it was going to take some investigative work once there to tell the story. Also, you can never plan completely what pictures you will take because it is often the serendipitous ones that eventually turn out to be the best.

Even after all my research was done and the plan was laid out, though, I just knew that everything would not transpire as smoothly as I hoped. “This is China — things are never straightforward,” I though to myself. I had prepared as best I could, but I also had to be ready to adapt quickly to the changes I would inevitably have to make to my plan.

Jennifer Pottheiser
www.pottheiser.com

“One of my favorites is shooting without looking through the lens - thanks to Joanne Dugan for that one! Its a great way to shoot pets and kids and still actually see whats going on around you. I have gotten some tremendous shots this way, and it really takes the pressure off.”

Mark Wallace
www.markwallacephotography.com

“About a year ago my friend Craig was telling me how uninspired he was about his photography. He had his new 1D Mark III and was telling me that there wasn’t much to shoot. I challenged him to a friendly duel. I told him there’s always something to shoot and told him to grab his camera. We walked outside to a dreary drainage area and I proposed the challenge: 5 minutes in the pile of rocks, my iPhone vs. his fancy camera, may the best man win. Here is the complete story and results.”

Peggy Morsch
www.peggymorsch.com

“Lately, I’ve started going through Freeman Patterson’s book: Photography and the Art of Seeing. There are MANY exercises in there to get your judge off your shoulder and just start playing with the camera like a 9-year-old again. For instance: Walk 50 steps, click, 50 steps, click. Or while I’m walking the dogs, I make multi-exposure images of anything, just to see what it looks like. My judge stays home in the kennel! It’s given me a sense of freedom to know that I don’t HAVE to produce anything.”