livebooks blog

An image by wedding photographer SAS Becker. © SAS Becker

Q: What is the biggest mindset change that needs to happen in order to make a successful transition from part-time to full-time wedding photographer?

A: Making the switch from commercial photography to the private sector seemed like an easy transition.  At first, I thought private clients would be easier than photo editors and art buyers… somehow not as demanding. This is not the case. Just think about how much is riding on a wedding: all of the planning, money, anticipation. You can almost always reshoot a model — not a wedding. I think you should approach your families and couples like a commercial shoot. You should always have a concept or an idea you are trying to convey. Are your subjects free spirited, strong, inspiring, or traditional? How will you illustrate this visually? Having a concept brings depth to your images and brings them to life. In the end, whether it’s an art director, a bride, or a new mom, all you really want is for them to be happy with the end result.

This is also really a question about values. I would prefer to think of myself as more than simply a service provider or vendor. In the end I am providing my clients with a photographic product. But, I am not making widgets here; I am giving 110% of my time, talent, and heart as an artist. My values tell me to treat it like a business. Your customer always comes first. It is my job to make sure they are satisfied. So before, during, and after the creation of the photos I am a business professional, they just get a little piece of me in every sale ;-)

Shepard Fairey’s image below has achieved legendary status as one of the most recognizable icons of the now historic Barack Obama presidential campaign. The image above it may become as legendary for being the foundation of a successful copyright infringement suit against one of the most recognizable icons of the Barack Obama presidential campaign. The case for infringement is very strong, but that’s not why I’m pissed off at Shepard Fairey.

Analysis by stevesimula on Flickr of the image by AP photographer Mannie Garcia compared with Shepard Fairey's Obama HOPE poster.

Last year, at the Microsoft Pro Photography Summit, I advocated a policy of letting your online images get swiped for non-advertising use as long as they were accompanied by click-through attribution to your web site. I feel very strongly that there is more value using your images to get exposure on the web versus the money you would earn in selling your photos to blogs and other online entities. This assertion has been heard with differing degrees of shock and appreciation. I have been sure to put my photos where my mouth is with the following paragraph on the “about” page of my website:

“Copyright rules governing the material on this site: As long as you don’t use any of the copyrighted material on this site for advertising purposes or in association with anything illegal, AND you give me attribution in the form of a link back to this site, then grab the goods.”

Before the internet became a quotidian communication medium, Shepard Fairey was a significant figure in the underground art world. However, his huge popularity in the mainstream, especially the popularity of his Obama image, is a direct result of the internet. Acknowledging Mannie Garcia, the photographer who provided the image for his art piece, would have been an extraordinary example of online creative kinship.  The type of creative kinship that fuels the remixing of existing creative works found online, as well as some of the best applications that have ever existed via the open source software movement. (If you’re reading this in a Firefox browser you’re reaping the rewards of this ideal.) Mr. Fairey could have brought Mr. Garcia some significant attention without detracting from his own.

In failing to do so, Mr. Fairey let us all down. He violated the unspoken, inviolate rule of the internet community. Acknowledgment has been expected online community behavior since the pre-browser days of the internet. It is the one continuous thread that makes the evolving internet a successful democracy.

I’m sure Mr. Fairey was totally unaware that his piece was destined for such popularity. I’m also aware that Mr. Fairey is notorious for using his work to challenge established social norms. But the Obama campaign was different. It was one based on change. It offered real hope that the ideals of the rest of us, the public, would finally take precedence over the few with access to power. Mr. Fairey’s failure to recognize the importance of the celebrity of his Obama piece as an endorsement of the true democracy of the internet is a disservice to us all. Especially when one considers how easy it would have been to give credit where credit was due.

Ed Kashi and his family on vacation, in Jaipur, India. © Ed Kashi

1/3/09

Being on the road half the year away from my family is probably the hardest part of being a photojournalist at this point in my life. The challenge of balancing these two vitally important parts of my whole being is essential, because without one or the other, my life would dissolve into an abyss I prefer to avoid. I’m constantly in dialogue with myself to keep in check my compulsion to create and push my boundaries, while maintaining my family’s tight bonds, making sure my children feel loved, continuing to be a vital participant in their lives, and providing my wife with enough support and love. At times, when I’m far away for long stretches, I wonder how I can continue to make it all work.  My wife and kids are tremendously supportive and understanding, yet it’s my sense of loss and longing for their companionship that causes my heartache. What I find so interesting is how both elements of this weird life feed into one another.

It used to be, when the kids were younger, that I couldn’t wait to leave again, within days of getting home. Now I battle with the need and desire to be home and not miss all the amazing things my children are up to, while I also feed off of the engagement with the world my work and travels provide. I couldn’t do this without the unconditional support of my wife, Julie Winokur. She is an incredible woman: a great mother, a talented writer and multimedia producer, and an excellent storyteller. She has that rare quality of the common touch, the artist’s sense of how to put a story together and the writer’s ability to construct narratives. We are so fortunate to have one another. It is rare to be able to combine work, family, and friendship. Not that it’s always easy or fun or loving, but, at the end of the day, we recognize our good fortune. Finding a teammate or collaborator in life is not easy.

Of course, Julie and I constantly imagine how much easier our work life could be without the responsibilities of the children, being able to travel freely, have her join me on my more dangerous and risky projects. But what I’ve come to realize is the vital importance our children have in our work lives. The daily minutiae — making a school lunch, eating a home cooked meal, giving love and support to a sad child, sharing a movie together — help buffer us from our obsessive ambitions. And such simple family pleasures, which make us human and reaffirm our love and commitment to one another, remind us of the most important aspects of our work: new-found sensitivities to other people’s lives and a deeper understanding of what it means to come through for another person who is depending on you.

And what is even more exciting now, as the kids mature and grow up, is that we’re increasingly able to include them in our work. Last year my son Eli, who is 14, assisted Julie and I on two shoots, which gives him a better understanding of what we do, as well as boosting his income dramatically :-)  And at the moment we’re working with Isabel to produce a musical score for an upcoming multimedia piece to accompany my next book, THREE, due out in April.

The Field Museum in Chicago is one of eight museums Chris partners with for the "Live From the Poles" projects. Photo by Chris Linder, WHOI

One of the biggest hurdles you face as a photographer when writing an education and outreach grant is: How do you get your message out there? Who is the audience and how do you reach them? You may have the best idea in the world for communicating science, but if your audience is your 58 Facebook friends, chances are you’re going to end up with a “Proposal Declined.”

To increase the audience for our “Live from the Poles” proposal, we teamed up with eight science and natural history museums across the country: the Museum of Science, Boston; Liberty Science Center, Jersey City; Carnegie Museum of Natural History, Pittsburgh; the Smithsonian National Museum of Natural History, Washington, DC; the Houston Museum of Natural Science; The Field Museum, Chicago; Birch Aquarium at Scripps, La Jolla, Calif.; and the Pacific Science Center, Seattle.

This collaboration has been one of the highlights of the “Live from the Poles project. It’s very symbiotic—the museums deliver kids and adults that are eager to learn about science and we provide the content: cutting-edge polar science, explained in an easy-to-digest format (daily photo essays from the field and live question-and-answer talks via satellite phone). It’s very satisfying to me, as a native Midwesterner, to teach kids in Chicago about polar oceanography through a public program at the Field Museum.

In addition to the live talks while we are in the field, museums use my still images for exhibits and slideshow presentations. Working closely with the Field Museum, I created a photography exhibition titled “Exploring the Arctic Seafloor” that is currently touring natural history and science museums across the country (at The Field Museum in Chicago from Feb. 22 to July 6).

There’s no question that effective partnerships make you more attractive to proposal reviewers, especially if each partner brings a strong component to the proposed work. Analyze your proposal for weaknesses and then find a partner that specializes in those weak areas. It takes a lot of phone calls, e-mails, and meetings to keep the team organized, but the rewards are substantial.