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Kristina Feliciano: How do you find photographers? Through referrals?
Maureen Martel: Always. We’ve never solicited photographers. Except for Timothy Greenfield-Sanders, who we approached after viewing his work at Mary Boone Gallery. I think it was 1986. And Nadav Kander — I had met his studio manager at the time [in 1984]. And when I saw his studio, met him, saw his work on the walls, I had said very casually, “If you’re ever looking for a rep in the States, we would absolutely be interested in talking with you.” He was very methodical about how he was rolling out his career, and he contacted us nine months later.
BS: We’ve been in this industry so long that even if they didn’t come by referral, there’s some association through art directors or other people. We got John Midgley through Liz Von Hoene and Jeff Lipsky through Kwaku Alston.
MM: And Matthias Clamer also knew Jeff.
BS: But I knew of Jeff myself. You could see Jeff in all the editorials.
KF: How do you know a photographer is right for you?
BS: Personality is huge.
MM: A huge, huge part. Application for the marketplace is also key. Key key, key key, key. If you can’t apply it, you can’t satisfy the client. You also have to be dedicated to the medium. Some photographers want to love them and leave them. They want to come in and make a lot of money, and leave. More »
First up is Dan Lyons’ Newsweek post about Apple’s new tablet computer. The news is a few weeks old, but Dan’s reaction to it is a breath of fresh air. “Veteran editor Tina Brown, who now runs The Daily Beast, says we are about to enter ‘a golden age of journalism.’ I agree, and I think tablet devices will hurry that along.” Compare that to recent pieces like The Digital Journalist‘s “Revisiting The Death of Journalism: Ten Years Later,” or “Lament for a Dying Field: Photojournalism” from The Times and you’ll see why I’m excited.
Then I spotted this story about Vogue hiring Obama’s web strategists to help them “analyze the Conde Nast publication’s audience as part of a broader, revenue-generating push that ultimately will involve implementing paid subscriptions on Vogue.com.” Sentences like this make me so happy — “Vogue executives, keenly aware that the monthly magazine is just one of many ways people connect with the publication, had been looking for ways to capitalize on its influence” — because it means publications are finally starting to understand that it’s their name, their cache, the respect people have for them that is valuable in the online world, not just the content itself. This is a lesson many photographers could benefit from. And, of course, if magazines like Vogue actually figure out how to make money online, we can only hope that will trickle down to the photographers they employ.
Leave it to Fred Ritchin to put his finger right on the crux of this issue on his After Photography blog. He starts off by calling out Jonathan Worth, a photographer I’ve been following closely as he blogs about his endeavor to make money off of his photography by giving away the photograph itself (in this case a portrait of science fiction writer Cory Doctorow). Fred then moves on to the innovative approach the VII photo agency is taking to photo distribution, and wraps up with this little gem: “In a Boston Consulting Group poll published last week people in nine countries were surveyed asking if they would pay for online news: from 48 to 60 percent said they would, ranging from US$3 per month (Americans and Australians) to US$7 (Italians). Maybe we should take them at their word?”
And I’d like to leave you with this gem from Joe McNally, a letter he wrote to a young photographer trying to find their way. It’s an inspirational, well-written, wandering piece, as Joe’s usually are, that I think is brilliant advice not only for young creatives, but also for the media industry in general: “You are just beginning to write your pages, and the thing to remember about this early rough draft is that it hardly matters what you do exactly, as long as you continue to become something close to what you might imagine you want or need to become.”
I encourage anyone in any kind of decision-making position in the industry — from individual photographers to multi-national publishers — to embrace that notion and keep experimenting, keep innovating, keep striving for something better. You’ll know it when you find it.
Newsweek‘s cover image of Sarah Palin in running shorts awkwardly holding her PDAs caused a huge stir this week, especially when Daily Finance uncovered that the resale of the image, originally made for Runner’s World by Brian Adams, constituted a breach of the original contract. In a side saga, photojournalist Nina Berman took considerable heat for her incisive comments about the cover on the BAGnewsNotes blog when a YahooNews link flooded the blog with new readers.
A recent study conducted by psychologists at the University of California, Los Angeles, found evidence that merely looking at a photo of a loved one can decrease a person’s perception of pain, the New York Times Well blog reported this week. Although the study was very small, focusing only on 25 women’s reactions to images of their boyfriends, it found that their pain perception was lower looking at a photo than even holding their boyfriend’s hand.
The winners of the 64th Annual College Photographer of the Year were announced over the weekend. Ryan C. Henriksen was named College Photographer of the Year and Maisie Crow, the runner-up (both are students at Ohio University). Check out the extensive gallery of winning images, as well as archived screencasts of the judging process, which lend incredible insight into how the judges’ decisions were made. UPDATE: There’s a great interview with Documentary Gold winner Alex Welsh over at The Visual Student.
The Telegraph launched a new section this week called Telephoto that compiles an impressive array of stories focusing on art and documentary photography. After being tipped off by 1854, the blog of the British Journal of Photography, we had a great time perusing gems like Alec Soth’s video diary of trying to photograph the most beautiful woman in Georgia (the country).
After two years of research by members Richard Anderson and Peter Krogh, ASMP announced the launch of its dpBestflow.org website at FotoWeekDC earlier this week. Shorthand for “Digital Photography Best Practices and Workflow,” the website, part of the three-tier project that includes a book and a traveling seminar series, aims to offer definitive guidelines for digital photography best practices and workflow.
Forbes Media announced yesterday that it has acquired digital magazine FlipGloss and its Digital Glossy Insert photo publishing platform. Launched about 8 months ago, FlipGloss combines search engine capabilities with the experience of flipping through photo content of a magazine, and users can click on objects in the photos to find out where to purchase an item or even be led to an advertiser’s website.
Wes Anderson’s new movie, Fantastic Mr. Fox, which opens in selected theaters today, is a stop-motion picture shot entirely using a Nikon D3 – over 600,000 stills that generate 18.5 terrabytes of data. According to movie review website IMDb, the beautifully art-directed adaptation of the Roald Dahl classic used Nikon D3 because it “offers a significantly higher resolution than even that of full High Definition.” Wired.com has a great “Making of” the movie here.
Google has cut the price for extra storage on its photo sharing site Picasa to about one eighth of what it used to cost. For $5 a year, now you can have 20GB photo storage on the site. “Since most people have less than 10GB of photos, chances are you can now save all your memories online for a year for the cost of a triple mocha,” according to the official Google Photos Blog.
Name: Lisa Wiseman
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.
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.
Do you have a particular image you are especially drawn to so far? More »
World Press Photo just launched an archive of 10,000+ photos by the 1,372 photographers from 79 nations who have been honored by the contest since its inception in 1955. Images are searchable by year, photographer, nationality, organization, category, or award.
Victoria Espinel, who President Obama appointed the the first U.S. intellectual property enforcement coordinator, is winning praise from several groups, including the Copyright Alliance, which includes a number of photographer organizations. PDN has more on the story.
The Guardian reports that Richard Prince’s Spiritual America exhibition, due to open yesterday at London’s Tate Modern, was withdrawn Wednesday after the organizer received a warning from Scotland Yard that a nude photograph of a 10-year-old Brooke Shields could violate obscenity laws. The work caused no major controversy when it was shown in 2007 at the Guggenheim Museum in New York.
The folks behind the DLK Collection blog informed us that Bono gave a big shout out to photographer Hiroshi Sugimoto, whose photo was used as the cover art for U2’s latest album during a concert at Giants Stadium. “When was the last time the biggest rock star on the planet interrupted one of his signature songs in a stadium full of screaming people to give a shout out to a fine art photographer?”
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:
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.
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.
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.
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 »