livebooks blog

I’m writing this from a small hotel in Dhaka, Bangladesh, where duckrabbit and the Bangladeshi photographer Sheikh Rajibul Islam have been working on a documentary about the effects of climate change on this beautiful country.

If the scientists’ predictions are right, up to 20 million Bangladeshi’s will become environmental refugees in the next 50 years. There is no bigger long-term story than the havoc man is wreaking on nature.

It would be easy for us at duckrabbit to reduce our stories about Bangladesh to the most brutal, the most shocking. This is always a temptation for photojournalists looking for the money shot, for their World Press award, but it’s a cheap and ultimately destructive way to capture the world because it reduces people to the status of victims.

At the BBC I used to produce Costing The Earth, their flagship environmental documentary programme. We always strived to tell a balanced story, beyond emotion, because understanding is more important than shock, and debate is more powerful than bashing someone over the head with a message.

Adam Westbrook, a multimedia journalist and blogger, expressed this point brilliantly in a post about a controversial video advertisement by the medical charity Médecins Sans Frontieres:

“We want true stories, and we want them as gritty as the real world is. But we also want balance — and we recognize a third-world-cliché when we see it.”

There are plenty of weak multimedia pieces about the environment out there that suffer from the same clichéd black-and-white photography and lack of balance in their storytelling, but let’s not blow any more CO2 on their two-dimensional approach. Instead I want to point you to a visually stunning and deeply thoughtful piece of work by Toronto Star photographer Lucas Oleniuk.

Airsick: An Industrial Devolution is designed to persuade us that the earth is slowly drowning in CO2. Part of why it works so well is that, instead of focusing on apocalyptic images of the developing world, the piece is rooted in the familiar, in the industrialized world. I can’t watch this and not feel part of the problem. That is powerful multimedia.

(duckrabbit would like to thank the CBA for funding their recent Bangladesh trip.)

One of the best parts of my job is hanging out and talking with photographers — about photography, but also about the shifting media landscape, companies that are trying cool new things, technology that makes our life more efficient yet more complicated, and, of course, art of all kinds that inspires us.

That’s what I was doing yesterday (Sunday) in Union Square Park near our liveBooks office in San Francisco. If you don’t know Mark, check out his popular site, blog, and Facebook and Twitter streams. If you do know Mark, you’re probably not surprised that he asked to do a quick iPhone video while we were talking. I thought I should Flip video him at the same time — hope you enjoy the result as much as we did.

After that we headed to the office to talk some more and Mark made a video of me talking about RESOLVE a little more in depth. At lunch we were discussing how hard (but necessary) it is for photographers to stop focusing solely on the value of their images — today much more value is placed on education, audience engagement, and especially storytelling, as Mark explained and I asked him to rehash for the Flip.

Mark and I had not met before yesterday, so it was a pleasure to find out he is just as kind, helpful, and well-informed as his online presence suggests.

I also hung out with two innovators I’ve known for a bit longer on Saturday: David Alan Harvey, who has very exciting things in store for burn, his online photography magazine; and Phil Toledano, who I was ecstatic to hear has found a publisher for his Days With My Father project. Finally, here are few of the funner things Mark and I chatted about:

• The Photographer: A graphic novel that tells the story of photojournalist Didier Lefévre entering Afghanistan in 1986 and incorporating hundreds of his black-and-white photographs from the trip.
• Closer: Elinor Carucci’s stunning book, which was recently re-released (and happens to be sitting in my cubicle.)
• Thousand Journals: A project that sent 1,000 blank journals out into the world, asking people to add to them and then pass them along. They are tracked at this website.
• Time Code: A 2000 film directed by Mike Figgis that consists of four simultaneous movies played in a grid.
• Radio Lab – Moments: An attempt by WNYC’s brilliant science-based radio show to visually capture the idea of a “moment.“

Gene Higa is a destination wedding photographer based in San Francisco, but he’s got great tips for all kinds of photographers. In today’s Tip of the Week, Gene reminds photographers how important it is to meet new people and that helping others always pays off in the long run.

“How do you get someone’s attention and keep it?”

Photographer Chase Jarvis, a long-time proponent of iPhone photography, this week announced the launch of his iPhone application, Best Camera. The simple, elegant photo editing app also allows you to share images to Facebook and Twitter, as well as TheBestCamera.com, the app’s new community photo sharing site. A master of cross promotion, Chase has also simultaneously released a new book of his iPhone photos, The Best Camera Is The One That’s With You.

In a bizarre twist on the celebrity-photographer love-hate paradigm, PDN reports that Agence France Presse staffer Yuri Cortez and freelancer Rolando Aviles are bringing a suite against Tom Brady and his supermodel wife Gisele Bundchen for an incident where their bodyguards demanded the photographers’ memory cards and then shot at them when they refused to comply and fled in their SUV.

We were excited to see the name of Istanbul-based photojournalist Lynsey Addario on the list of the 24 new MacArthur Fellows for 2009 announced this week. Each of recipient of the “genius award” will receive $500,000 in “no strings attached” support over the next five years.

Photographer and film director Richard Patterson released a new stop-motion music video for Iranian rock band Hypernova this week, which was created out of about 16,000 still photographs made with the Canon 1D Mark III and the new Profoto Pro-8 Air. Since releasing, along with a behind-the-scenes making-of video, it’s been viewed almost 40,000 times.

With the rapid change happening in the photography industry, we photographers are becoming part of a much larger, more competitive, more sophisticated global economy. Potential clients now have access to innumerable choices, and any photographer is now just one option in an overwhelming smorgasbord of photographic options. To compete in this economy, photographers need to have a new skill set that includes the ability to define, express, and manage their brand.

Why does everyone want this camera? The Hasselblad brand makes a promise - and keeps it.

A well defined brand strategy can improve your profits, your reputation, and the likelihood you’ll be considered for future jobs. It may even effect whether your business succeeds or fails.

But I’m not here to convince you that you need a brand strategy, nor to tell you what it should be (I’ll discuss those another day). Rather, I want to take a step back and help you understand what a brand is. Unless you understand that, it will be difficult to ever build the most effective brand possible.

If we asked most people what a brand is, their answers would likely be tangible things like logos (the Nike swoosh) or colours (the red of a coke can) or words (BMW’s “The Ultimate Driving Machine”). Likewise, when people set out to build their brand, they usually focus on the same tangible things. “I need a brand” translates to “I need to build a ‘look’ or ’style.’” While these are important elements or expressions of a brand, they are not the brand itself.

So what is a brand? A brand is a promise. It is whatever people think, feel, trust, and believe you, your business, or your product will give them if they buy from you. It exists inside people’s minds, out of your reach — yet it’s a big part of why they buy from you.

Logos, colours, fonts and words are simply how you try to convey your brand’s promise to people. Thus a “brand” is a promise and “branding” is all the tangible things you use to express that.

Confused? Let me give you an example. If you mention the name “Hasselblad” to photographers and ask them to describe the brand in a single word, you’ll get similar responses: expensive, quality, icon, fashionable, professional, reliable. Many photographers will express a deep desire to own one. That’s the sign of a great brand. But this deep desire to own a Hasselblad, and the positive way photographers describe the brand, does not come from a logo, website, or colour. It comes from a brand promise, which many photographers believe and which Hasselblad has spent decades cultivating.

What has helped make the Hasselblad brand so strong and effective? For starters, Hasselblad has clearly defined the promise it makes to customers. What’s more, it is a promise they make sure they keep. It is based on a truth about who Hasselblad is and what its customers need. More »

©Jeffrey Thayer

I arrived at JFK Sunday afternoon, got dropped off at my hotel, and went out to meet with some friends who were in charge of my nightlife while I was in the city. Six in the morning the next day my alarms went off and I looked over my list of things to do.

It wasn’t the best week to get meetings with everyone I wanted — blame it on Fashion Week — but I got some. I was familiar with the first two publications I was to meet with, so I hopped on the train and headed downtown with my portfolio and leave-behinds in hand.

The meetings were short and good. I was able to discuss the publications’ visions and to show where mine could complement it. They both enjoyed my work and, the greatest compliment, said that some of my images “are such (insert magazine title here) shots.”

I was close by some other people I wanted to meet with but could never get on the phone, so I called everyone in the photo department until I got a human voice. I explained what I was doing, “in the city to meet with some reps and other creatives,” and asked if they had time to meet. Most didn’t but wanted a copy of my mini-book. So I dropped them off at different offices this until my feet were angry with me.

5:30 headed back to my room to shower and get ready for a little party. 1 a.m. back at the hotel to review tomorrow’s to-do list and a little sleep. Tuesday got up bright and early again, re-reviewed my list, and hit the street.

Portfolios, mini-books, and camera can get pretty heavy, but luckily the city functions at the same fast pace as I do and it fueled me on. That day I had meetings with a couple reps to get some insight on what more I could do. They looked through my book, gave me some great ideas, and told me some things that are always hard for me to believe: “Your work is strong, you have a good eye,” things like that.  I get bored with my images and I’m always super critical of myself but I think that is what keeps you progressing and growing.

©Jeffrey Thayer

Next I got to spend some time with Gray Scott, a great fashion photographer who creates amazing fine-art and conceptual fashion stories. We talked about all sorts of things: photography, what inspires us as artists, the relationship between recent vampire mania and the economic climate. Even though our styles are very different, the driving force behind why we create is similar. It always makes me feel good to meet someone who I see as passionate and inspired, as I hope people see me.  Thank you again, Gray, it was truly a pleasure.

Then I wanted to take a little break so I left my book back at the hotel and went out to see what I could see, to shoot a little, and to drop off some minis for more people who simply couldn’t meet up. Life felt good sans the couple extra pounds.

Wednesday I met with another rep that pointed me in the direction of a freelance editor I should meet because she works with a lot of people. All the reps I met and spoke with were great and helped me immensely — one even said she would pick me up in a heartbeat if I was living in NYC.

Hit the phone a little more. Met with another editor and we chatted and had fun. The general consensus from everyone I got face time with was that I have the right attitude, some definite talent, and they could work with me.

More »

Ikpokiri is a poor community in the oil rich Niger Delta. The only school in this small community lay in ruins due to flooding and lack of care. ©Ed Kashi

It’s not enough anymore to create work for one media platform, especially if you intend to raise awareness about issues or are trying to effect change. Now when I create a new project as a photojournalist or with Talking Eyes Media, the non-profit production company I founded with my wife, Julie Winokur, we have our eyes on expanded opportunities for distribution: the web, social media, books, exhibitions, T.V., lectures, workshops, academic applications, and NGO collaborations. There are undoubtedly even more I haven’t thought, of and we’re always looking for new options.

To work in this multi-platform landscape, you must develop skills beyond still photography. You should at least be proficient at gathering and editing audio, and preferably you’d also understand video and be able to handle post production to produce a finished piece.

Since Julie and I founded Talking Eyes seven years ago, we have developed a process that fluidly moves from proposal, field work, and post production to outreach and followup. With the Niger Delta work, we’re learning as we go. As usual, we’re applying for grants, but now they are in areas I’ve never ventured into before, attempting to receive funding support for educational outreach programs.

One small example of this can be seen on my blog where we posted papers written by history students at the University of Michigan, Ann Arbor, where my book was required reading. They were asked to pick three images and write about them, and we posted a handful of their papers with the students’ consent.

Unemployed local youths hang out around the Etelebou Flow Station in the Niger Delta. ©Ed Kashi

This is an important aspect of multi-platform storytelling: It can easily be disseminated to a wide variety of audiences. It also provides the means for those audiences to talk back with the photographer/producer about the work. It is exciting to being able to create a groundswell of interest in this way, by building a feedback loop between the documentarian, their subject, and the audience.

I am currently writing grants to fund a broader implementation of this feedback loop idea (really it’s a wiki, but I wanted to avoid that term). My vision is to create a new website, or augment the existing one from liveBooks, so that students in the U.S. and Nigeria (or anywhere for that matter), who are using teaching materials I’ve created around oil and environmental issues, can contribute their own comments, information, pictures, and videos to the site. So a student in Port Harcourt, in the Niger Delta, would study these issues using the texts, stills, and video from my work there (along with expanded teaching materials we plan to include in a teaching DVD) and then do his or her own reporting or just contribute personal materials to the site. In this way, they can correct, augment, and develop my work to broaden, deepen, and personalize it. More »

“It helps our business basically come out of nonexistence.”

Kira Pollack, former deputy photo director at the New York Times Magazine, has been named the new director of photography for both the print and web versions of Time magazine, starting on October 5th. The New York Times Lens blog has an article highlighting Pollack’s career and a slide show showcasing some of her most memorable projects for the magazine.

Former Getty director of entertainment Frank Micelotta this week announced the launch PictureGroup, a new entertainment stock agency. The company has also created a strategic alliance with the Associated Press whereby they each will distribute content through the others platform.

Daryl Lang at PDNPulse raised a good point about the shifting style of news magazine photo editing in response to David Hume Kennerly’s reaction to his cropped photo of Dick Cheney in Newsweek magazine. There’s some good discussion on the PDN post as well.

Starting this week, iStockphoto will offer legal protection of up to $10,000 to any customers who buy images from the company. Customers looking for additional protection can purchase up to $250,000. Other stock companies, including Getty Images, who owns iStockphoto, offer similar protection, but it seems particularly pertinent in a space with less oversight and downloads by more media-law novices.

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I returned from my six weeks of travel with about 2,500 images; I have never been a prolific shooter, probably because I started out shooting slide film and knowing the cost of each frame. Throughout my trip, I made a point of downloading and categorizing my images as I made them. To keep all the files in order, I created folders for each location I visited with RAW and JPEG sub-folders.

Since I was traveling for such a long time, I knew it was imperative to keep on top of my images so I didn’t face a nightmare editing session when I returned home. My organizational efforts also allowed me to keep track of where I was with the story, making edits in the evenings, following how my narrative was developing.

The Pulitzer Center on Crisis Reporting, which funded this project, asked me to write weekly blog posts about my travel experiences. This discipline helped me enormously because it made me stop and think about the importance of each stage of my trip. This further helped me keep track of my narrative and helped me stay focused on the main themes I wanted to explore through the work.

On my return to my home in Beijing, I found that my meticulous filing in the field meant my editing was half done already. I could go straight to post-processing the images and then seriously think about edits for publishing outlets. More »