livebooks blog

Making the bride happy, not an editor

• Tips – RESOLVE weekly contributor and destination wedding photographer Gene Higa shares his approach and inspiration

• Etiquette and Optimization – When and when not to shoot, WPJA’s posts on manners and communication
• Preparation – Leaving nothing to chance, Jeff Ascough blogs to be “fully prepared and focused to give 110% to every wedding”

• Scenes, mistakes and tips – Wedding photojournalist Roman Zolin’s gives lessons about what’s “In the Bag of Wedding Photographer”

• Help your clients – Standing out from the crowd, Suzanne Sease offers ideas to provide add-on services

• From weekend-wedding shooter to full-time pro – How to make the transition 1, 2, 3, 4, and 5 from SAS Becker

Strength in numbers

• One wedding photographer and 4,500 twitter followers – How social-networking tools connect and drive business, RESOLVE contributor and wedding photographer Becker explains

• Pillars of social media site success – Seth Godin’s five cues to use in the digital world

• Conversation with the pros – Rangefinder features LaCour, an award-winning international photography group – download the PDF

• Edit your wedding website – Recommendations for putting together a website of your wedding photography, “Dos and Don’ts” by Amanda Sosa Stone

• Diversify and multiply – Ann Hamilton’s complementary brand strategy: how to diversify, multiply revenue streams, and balance a thriving wedding photography business

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.

An image from Wéyo illustrating a program in the Dominican Republic that teaches young mothers pre-natal and infant care.

Chris Tyree

In the beginning, Wéyo co-founder Stephen Katz and I started talking about how we could turn our photojournalistic skills and passion for working with nonprofits into a full-time career. We researched the nonprofit sector, talked to numerous organizations, and started to assemble like-minded journalists from a variety of disciplines (photography, film, writing, editing, designing), as well as marketing specialists.

Our goal has been to build a team that produces award-winning stories about nonprofits and then uses (markets) them in a way that can make a difference. Sometimes that is through designing websites and blogs around the content and sometimes it is crafting unique marketing projects utilizing our narrative-based material. Our fundamental principle is that, for people to act they must truly believe, and that comes from showing/telling them in compelling ways what it is exactly that our clients are doing to make this world a better place.

Starting a business in the middle of the greatest recession since the great depression may seem like a crazy move, and maybe we are a bit crazy, but it also presents a lot of opportunities. Nonprofits need us more than ever to tell their stories, and we have been able to attract people with not only great talent, but also great souls. We’ve grown (slowly) without taking loans or reaching too deeply into our personal finances, in part by appealing to nonprofits that we’d worked with when we were on staff at daily newspapers. Until now we’ve existed almost entirely by word of mouth, but we are currently in the early stages of a larger marketing campaign. So, we are growing at a comfortable pace,getting calls on a national level daily,but are ready for a larger role as organizations realize the potential we can tap into through our compelling work.

A Wéyo image of George Washington University students who set up clinic care in an unserviced Rwandan village.

We decided on a model for the business that brings together different disciplines in large part after looking at thousands of nonrprofit websites — we realized 90% or more have a hard time telling people what they actually do with the donations they receive. The images on these sites are often of smiling kids, if there are images at all, and the videos and words leave people more confused. Our group understands the importance of showing and telling the story. It has been an amazing experience working with all these talented individuals, whose hearts are as big as their ideas. It’s not the hustle and bustle of the newsroom, much of what we do is in the virtual office online, but when those kind of talented people collaborate for a great cause, there is an excitement and creative buzz that is unmatched.

There are two main concerns working in this sector. First, these organizations have generally relied on donated content. And now everybody with a digital camera considers themselves a photographer, so and there is a ton of really awful, but free, imagery available. Most of the nonprofits we’ve worked with realize the power of strong documentary photography, but can’t come to grips with paying for it — even though these same groups will pay a decent amount of money to an PR agency or consulting group to utilize the donated images. There is only so much they can do with bad photography and most of these agencies really have no concept in how to use strong documentary material.

Second, you really aren’t your own boss. I don’t think any of us imagined at the start how long it would take to get a project started. In the newspaper business, you get an assignment, an hour later you’re shooting it, a few hours later you’re editing it, and a few hours after that it is in print and sitting on your doorstep. Not so in this new world. We have proposal meetings, then contract reviews, then board approvals, lawyer approvals … then perhaps you get the chance to work. Wéyo has proposals out that are over a year old and still in contract review, awaiting board approval. So, you have to have a lot of patience and take solace in the knowledge that what you are doing has the potential to change many lives for the better.

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

Stuart Thurlkill
I talked with everyone I knew and then went and talked to everyone I didn’t know. I found out what each person’s greatest need was and tried to find a way to fill that need. I made it a point to go everywhere with advertising and marketing material. I worked with some great photographers here in Arizona who gave me a chance to cut my teeth while I built a portfolio. I also built my own flash website. I don’t recommend this unless you have a lot of time on your hands. I also put together a print portfolio and started to shop it around to as many people in my community as I could get an appointment with.

Michael Mulvey
I instantly jumped on getting my website together and I happened to use liveBooks. I also started a blog. This allows me to routinely update a photo area with what I am immediately doing at the moment. I joined several associations and jumped into the business end of photography concerning branding, copyright law, marketing, etc. I also started networking and using the various social media sites to get the word out, build new relationships, and keep the ones I always had. More »