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©Lisa Wiseman (2)

Name: Lisa Wiseman
Website: lisawiseman.com
Age: 27
Location: San Francisco
Full-time job: Photographer

Personal project name and short description
The New Polaroid — This project is shot completely with my iPhone and is an exploration of iPhone as the new Polaroid. As the iPhone is becoming a ubiquitous and trendy accessory, on-the-go picture taking is now the norm. I see people using their iPhones to take spontaneous photos in the same carefree way that cheap Polaroid has been used in the past. In concept and ideology, the iPhone mimics Polaroid; however, it pushes the aesthetic forward by utilizing a new non-film (but technologically infantile) medium. Just like traditional Polaroids had a specific size and unique look, iPhone photos are unmistakable because the technology limits them to a fixed size and resolution and imbues them with a unique chromatic aberration that says “iPhone” and nothing else.

©Lisa Wiseman (2)

When and why did you start it?
I have been shooting with my iPhone since I got it approximately two years ago. I started showing The New Polaroid alongside my portraiture portfolios on my website and in my book in June, 2008, along with other personal work including a project shot on traditional Polaroid film. It was important to me to show my potential clients another side of my shooting personality — I wanted creatives to have a feel for what the world looks like to me and what I photograph when I’m not shooting portraits. With a wider breadth of work encompassing still lifes and interiors, I wanted to show that my vision carries through everything I shoot. Showing personal work has directly led to jobs, and when I show my work in person my work seems to resonate more with the viewer because it includes the iPhone images and traditional Polaroids.

©Lisa Wiseman (2)

Do you have a particular image you are especially drawn to so far? 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 »

©Jeffrey Thayer

My name is Jeffrey Thayer and I am a photographer. I am early in my career, but I have been using the camera as a medium for expression as long as I can remember. I can’t paint or maybe I’d be a painter.

At the moment I am trying to push my career up a notch. I have great clients, from boutique designers to smaller editorial, but I want more. I want the clients with huge visions that are a challenge to create and who want to make them with me. I want clients that embody the laughter in life and fun lifestyle that I enjoy.

So how does one go from being an assist to a photog? That was the question I asked myself — and to be honest, I needed some help. I have worked with a lot of great photographers in the Los Angeles area, as well as some of the ones who came to town for shoots. I have shot pre-production stuff for one of today’s most in-demand photographers … and all of this means nothing in the end.

So I started asking these guys and gals I work with what I should do to move forward. I also started attending every possible APA event on these topics. I went to portfolio reviews and was told I seemed to have multiple personality problems. I narrowed my vision and started to do some e-mail blasts, which got a good reception, and then did a postcard.

But budgets are tight due to this awesome economic climate, and I still wasn’t getting the calls I wanted. So I hired Leslie Burns-Dell’Acqua at Burns Auto Parts, who told me I was using too much of a “shotgun” marketing technique. I was sending things to people who probably wouldn’t hire me and I probably wouldn’t want to shoot for. What I needed to be was a self-promotion sniper. So Leslie helped me fine-tune my contact list and market only to the clients who use images like mine and the companies/magazines I want. We also trimmed a couple more images out of portfolio.

More »

Ray Kelly, New York City Police Commissioner, atop a building that overlooks Ground Zero. Marc Asnin/Redux

Miki Johnson: How many editors would a participant in the NYCFotoWorks Portfolio Review potentially get to see?

Marc Asnin: You’ll see 14 if you sign up for two sessions. Our thing right now is that it’s an incredible list of editorial people. Last time we had one of these sessions, most of the people came from out of town, which I thought was very interesting. I think they realized that if you’re paying $399 and you’re getting to meet with seven editors — you can’t FedEx your portfolio for that. And how many people are going to look at your portfolio online? Does it get through the spam filter? All the editors are really into it. It’s refreshing to see that you can get 50 editors to participate. Even in this difficult time, they still want to see new work.

This year, meetings are during the day and into the evening. So let’s say you come in the morning and you have three sessions out of your seven, you’ll be able to hang out. So maybe you only got seven minutes with someone from Vanity Fair, but then you could also talk to them during the intermission. We will also have a wrap party so that the participants can all get to know each other. It’s good to hang out with your peers, too. When I taught at SVA, I always told the students, you can learn much more from each other than you can ever learn from me; you’re the same age, you’re in the same world.

One thing we did last time and we’re doing again is making sure that there’s a certain quality of photography we’re showing. It’s not like I’m expecting everyone to be Annie Leibowitz. But we wouldn’t ask photo editors to give their time to look at work that’s not on a professional level.

We’re also not pigeon-holing people. So if you’re a reportage photographer, that doesn’t mean you can’t see Vanity Fair. That’s an important thing for photographers to understand. For instance, I’ve worked with Bruce Perez at Redbook. If you don’t understand the magazine world, you might wonder, what would Marc ever do for a woman’s magazine? Well, I did a story on breast cancer and another on a boy with brain caner. So you can get interesting reportage work at a woman’s magazine. I used to work a lot for Good Housekeeping and did some other incredible stories there.

A portrait of David Rockwell, design impresario, for Business Week. Marc Asnin/Redux

MJ: What tips do you give photographers about their meetings with editors? More »

Marita Holdaway

www.benhamgallery.com

I founded Benham Gallery in Seattle in 1987. Dedicated to emerging and mid-career fine art photographers, I have been consulting since 1998, and reviewing over 1,000 portfolios annually. I have presented workshops for artists nationally and internationally, helping them further their careers by developing their professional tools for finding and successfully approaching appropriate venues. As an invited reviewer and speaker, I have attended over a dozen photo festivals in the USA, Latin America and Europe.

My hope is that photographers will learn to follow their hearts and not the almighty dollar. There are so many other ways to become wealthy without selling your soul and time to corporate America. Perhaps the photo community can find a way to tell the important stories, instead of the sound bites the media puts out.

Click here for a list of all other “After Staff” posts.

Amy Yenkin

www.soros.org/initiatives/photography
I am the director of the Open Society Institute’s Documentary Photography Project, based in New York City. Through exhibits, workshops, grantmaking, and public programs, this project explores how photography can shape public perception and effect social change.

I joined OSI in 1994, helped establish the Moving Walls exhibition in 1998, and in 2004 developed and launched OSI’s Documentary Photography Project. Prior to OSI, I worked in Washington, D.C., as the director of government relations for NAFSA: Association of International Educators, where I represented U.S. colleges and universities in lobbying the U.S. Congress and government agencies on immigration policies affecting foreign students and the hiring of foreign faculty and researchers. I received a BA in history from the University of Michigan.

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I’ve spent a decade supporting documentary photographers who devote years to personal projects. These photographers are thinking beyond getting a few images published in a newspaper or magazine — they want to have real impact. This happens when they:

• are deeply connected to the communities they document
• are working closely with (although not necessarily for) the NGOs/advocates in the community
• know their target audience and develop an innovative distribution strategy (not just books and art gallery exhibitions) best suited for reaching that audience
• partner effectively with advocates to distribute the work

Working with advocates/NGOs can greatly enhance a project’s reach and provide a photographer with on-the-ground contacts and assistance, as well as financial support. But there are challenges as well.

NGOs are not media organizations and have a different relationship to photographers. They also have their own agendas, which may or may not dovetail with a photographer’s. Sometimes there is a match. Sometimes not –- in which case, it may just be an assignment, not a long term relationship.

Click here for a list of all other “After Staff” posts.

John Kaplan

www.johnkaplan.com
John Kaplan is one of America’s most accomplished narrative photographers, having been awarded the Pulitzer Prize for Feature Photography, POY National Newspaper Photographer of the Year, the Overseas Press Club Award, two Robert F. Kennedy Awards, and the Nikon Documentary Sabbatical Grant. He is also the author of Photo Portfolio Success, which helps photographers edit to their strengths and prepare stunning portfolios that eliminate doubt in the minds of editors, buyers and contest judges.

A full professor at the University of Florida and a Fulbright Scholar, John teaches throughout the world and has twice been named a juror for the Pulitzer Prizes. His work has appeared in LIFE, The New York Times, American Photo and numerous book annuals.

John’s work is exhibited at museums and galleries worldwide including solo exhibitions in the United States, Peru, Bolivia and Korea as well as shows in the United Kingdom, France, Japan, Korea, Canada, South Africa, Australia, and New Zealand. His project on survivors of torture in West Africa was awarded the Overseas Press Club Award for Feature Photography and the Harry Chapin Media Award; the United Nations used the work to help facilitate contact with the victims.

Presently, John is directing and producing his first feature length film, the autobiographical Not As I Pictured: A Pulitzer Prize-winning Photographer’s Journey Through Lymphoma.

Click here for a list of all other “After Staff” posts.

An ad campaign for Target shot by Deanne Fitzmaurice, a Pultzer Prize-winning photographer who left the San Francisco Chronicle last year.

As we look around the photojournalism world today, it’s hard not to worry about one trend in particular: Newspapers, magazines, and wire services have been cutting pages, budgets, and staff positions, for years — and they’re not coming back. With fewer staff jobs to go around, more photographers than ever are deciding to work for themselves. Being the innovators that photographers are, they’re exploring new markets, new mediums, and new skill sets, especially those needed to run a business.

Some former staff photojournalists saw the writing on the wall long ago and now run their own thriving businesses. Many more have made strides in the last year or two, but still have a few questions — or they’re planning to make a move soon and have lots of questions.

Next week, August 10-14, RESOLVE will run five days of posts designed to answer these questions. Of course, no one person has the answer to all questions, especially the big ones about where the industry is going and how photography will continue to be profitable. But every photographer and editor and rep out there has the answer to one or two questions. That’s why we’ve asked as many as possible to share their experiences.

We’ve talked to dozens of former staff photographers working in a range of markets and will share their insights with you in daily posts next week. Each day we’ll also explore and explain an alternative market for photojournalists, including commercial assignments, wedding photojournalism, fine-art, and working with NGOs.

On top of that, an “expert of the day” will be available to answer questions in real-time as you ask them. They’re here to help, but we also need people will come together and help each other. We’ve heard about so much of this going on offline, we know you’ll have a lot to share here online as well.

If you are now or have ever been a staff photographer, please check in next week and join the discussion: ask a question, offer advice, and make some new contacts. If you’d like to contribute your thoughts about transitioning from a staff position, please email us this week: resolve [at] livebooks [dot] com. We’d love to hear from you and share your story (and website) with the community!

Emilie Sommer: Clear, concise navigation menus

www.emilieinc.com

If you spend a few minutes familiarizing yourself with Emilie’s website, you’ll see that it’s incredibly rich in content, yet it looks clean and simple and the main menu is easy to navigate.

The key here is the “information” menu item. Because the word “information” is both clear and broad, it enables Emilie to include a variety of content in the drop-down menu under it. Collecting most of her content under this one drop-down keeps the main navigation and the user’s overall impression of the site clean and orderly.

When you have a lot of items in a drop-down, be sure to name each one so that the user/client will know exactly what they’ll get when they click on it. Spend some time coming up with page names to make sure you have the best ones, and if you find a better one down the road, go in and change it.

Critiquing the names under Emilie’s “information” menu item, I have only two issues. The first is small: The link called “Emilie.”  Most people will guess correctly that this link is about Emilie, but it wouldn’t hurt to let visitors know for certain by changing the name to “About Emilie.”

My second critique — of the link called “Emilie Ink” — I feel more strongly about because choosing a better name could lead directly to more revenue. I did not catch that “Ink” was spelled with a “k” rather than a “c,” and I assumed that this link was about her photography business. I probably would have assumed the same thing even if I did notice the alternate spelling. Either way, I would be surprised to discover behind that link a whole new website offering custom printing services to her clients!

You want to make your revenue-generating items as easy to find as possible. Don’t hide them in a sub-menu unless that sub-menu name is something clear like, “Services.” A more effective name for Emilie’s link to her print services might be “Custom Cards.”

In summary, Emilie’s navigation logic and page names are nice and clear, with just a few possible improvements. I recommend that you review your navigation logic and naming, and see if you can find a way to make it even clearer. Your visitors will thank you.

The problem with this whole blog thing is that lots of great stories get pushed off the page every day and ends up in our growing archives. If you haven’t checked out the categories along the left side of RESOLVE, we think it will be worth your time.

We also know that sometimes you just want to click and not wander, so we’re going to pick some gems from our past posts and throw them back up for your enjoyment every week or so — starting today. This one is the first of several posts from Jasmine DeFoore at Redux Pictures about getting editorial representation and getting the most out of it. Click below to read the original story; her later posts are linked in the intro.