livebooks blog

Jason Arthurs
www.jasonarthurs.com
If you combine my 2 years of internships with 4 years as a full-time staffer, then it’s a total of 6 years I was in newspapers. I don’t think I could ever see myself doing it forever. It was an amazing time in my life but it was so much of a roller-coaster ride I never really felt totally in control of what I chose to focus my energy on.

This summer I have been given several opportunities to teach that I would not have had if I were still at the newspaper. I taught a week-long workshop for North Carolina high school journalism students, and helped coach two documentary projects through the University of North Carolina. For one class I spent one month in the Galapagos Islands helping edit a multimedia project shot by students and it was an amazing experience and I would not have been able to get the time off work to do something like that at the newspaper.

Kendrick Brinson
kendrickbrinson.com
I had two internship and two jobs at newspapers from 2005 to 2009. Once I discovered my love for photojournalism toward the end of college, I thought I would work at a newspaper for life. My mother worked as a writer at The State newspaper for more than 20 years so it seemed like an exciting yet solid career. After about a year and a half working for newspapers, my attitude toward them slowly shifted as I watched friends lose their jobs and their enthusiasm.

I am very busy now. I work with some of my favorite photographers in Luceo Images, doing personal projects and editorial work for major newspapers and magazines. I also photograph weddings with my partner David Walter Banks under Our Labor of Love. Now I am spending more time working on marketing and researching stories that I want to tell, and less time looking for heat features to fill holes in an-ever thinning newspaper.

Pouya Dianat
www.pouyadianat.com
These days my work schedule is whenever the Braves play. I had a great working relationship with the team while I was at the Atlanta Journal-Constitution, and they’ve allowed me a lot of creative freedom thus far. The night’s they’re out of town, I’m firmly planted behind my MacPro, editing away.

I don’t think my photography has changed, but I am enjoying my photography a lot more since going freelance. I’m exploring every outlet that I’m interested in, while still applying the same vision I have to the work I did at newspapers. A lot of the ideas I have won’t work, maybe my idea falls apart in the studio, but I learn from the experience.

Not everyone affected by the newspaper decline is in their mid-40’s with a family to support. For those of us fortunate enough to be free from those more important responsibilities, this is a prime opportunity to do whatever we want. I’ve told a lot of students that I’ve spoken to that the next phase of photography is finding something you LOVE and applying photography to it. More »

Running your own business

• Best Business Practices for Photographers – John Harrington’s wildly popular book, plus more info and industry updates at his Photo Business Forum blog

• The Photographer’s Survival Guide: How to Build and Grow a Successful Business – A helpful book from photography consultants Amanda Sosa Stone and Suzanne Sease

• Freelance Switch – A slightly cheeky but highly informative online resource for all kinds of freelancers

• PhotoJournalism Blog – Mark Hancock, a former Dallas Morning News staffer, explains a wide variety of issues photojournalists face, including finances and how to transition from staff to freelance

• Seeing Money – Column from RESOLVE contributor Doug Menuez outlining basic business principles for photographers

Time management

• Mark McGuinness – A bountiful source of advice about time management for creative professionals, on his Lateral Action blog (a collaboration with Tony and Brian Clark), or posts elsewhere, like this seven-part series

• Behance Magazine – “Insights and tips from creatives on making ideas happen,” including packaged solutions like “The Action Method,” and a think tank called “The 99%“

Building a website

• What Photo Buyers Want – Photoshelter’s survey of 550 art buyers, determining what they like and don’t in photographers’ websites.

• Do You Need More Than One Website? – For photographers moving into several different markets at once, it’s often a good idea to keep specialties separate. RESOLVE contributor Luke Edmonson explains how.

• What Video Can Do For You – Video can enhance a website in several ways, as liveBooks founder Matt Bailey explains.

Professional organizations

• APA – Advertising Photographers of America

• ASMP – American Society of Media Photographers

• EP – Editorial Photographers

• NPPA – National Press Photographers Association

• PPA -Professional Photographers of America

• SAA – Stock Arts Alliance

• WPJA – Wedding Photojournalist Association

• WPPI – Wedding & Portrait Photographers International

• We recognize an emphasis on US organizations here, so please check out this nicely annotated, more international list too.

Our sources informed us of Vincent Laforet’s new film – “a narrative short filmed exclusively with the Canon 5D Mark II” – a while ago, so we’re glad to be able to share it with you finally. The unofficial website will only tell you that it’s named “Betrayed“, and is directed by Joshua Grossberg with cinematography by Vincent Laforet and photographer Robert Caplin. Stay tuned to RESOLVE for more details.

According to an opinion piece in The Wall Street Journal, London’s National Portrait Gallery is furious about images of paintings from the museum’s web site showing up on Wikipedia. The core of the argument is whether these photographic images of the masterpieces are considered in the public domain or if they are creative work. The Gallery Hopper has details and links to related stories.

Need more Martin Parr in your life? Don’t we all? iGoogle has released a new Martin Parr theme with images by the Magnum photographer. Click here to see it for yourself.

Some people are still trying to figure out what “free” really means, Rupert Murdoch is just saying no. According to the Guardian, the media mogul “has lost patience with giving away his expensively produced journalism on the internet for nothing.” By June 2010, you’ll have to pay to read any News Corp content.

NPPA publicly objected to a recent comment by Homeland Security Secretary Janet Napolitano asking people to tell the police if they see someone “continually taking photographs of a piece of critical infrastructure that doesn’t seem to make any sense.” “Photography by itself should not be considered suspicious activity, and it is protected by the First Amendment,” the NPPA reiterated.

A bald eagle over the mountains in Homer, Alaska. ©Art Morris/BIRDS AS ART

I was to a friend recently why I am writing these posts for RESOLVE. She said, “You’re doing this for free?”  I replied that she was missing the point of social networking. Every bit of exposure has value. Every email, every crosslink, every mention of your name. In that vein, I recently started a blog to complement our hugely popular (and free) BIRDS AS ART Bulletins, which are emailed to more than 10,500 folks several times a month.

Several times while leading a tour at a popular spot like the Venice Rookery in Florida I’ve had a member of my group ask me at lunch, “Artie, that guy asked you a question about exposure. Why did you answer him? He didn’t pay for the tour.” I usually answer by saying, “I’m a nice guy” (and that is true). But folks need to understand that every tiny encounter like that counts.

When I think back to the first slideshow that I ever did (I got paid a whole $10), somebody who saw it said, “Hey, my nephew works for Natural History magazine, why don’t you send him some pictures?” Add up two decades of things like that, all those folks you’re nice to at a workshop, all of those e-mails, and the result is success.

Long-billed Curlews squabbling in Morro Bay, California. ©Art Morris/BIRDS AS ART

When I was doing lots of articles for Bird Watcher’s Digest, I took a rare assignment to do an interview with John Kenneth Terres, the editor of the Audubon Encyclopedia of North American Birds. He told a story about how it was raining in New York and he had an umbrella and went out in front of this building to get a cab. A guy without an umbrella came running towards the cab, and John said, “Go ahead, you take it.” And the guy said, “Oh thanks,” and got in the cab.

A week later, John went in for an interview; he was hoping to get hired as editor of Audubon magazine. Who was sitting behind the desk? The guy that he gave the cab to. John Kenneth Terres was a very literary person and he eventually found an anonymous quote in Barlett’s Book of Quotations: “Be kind to strangers, you may be entertaining an angel unawares.” That quote has pretty much dictated one of them major philosophies my adult life: Why not be nice? The more love you put out, the more love is going to come back at you. One of the most rewarding things for me is that every day I get emails saying, “Oh, Artie, thanks; you helped me so much.” And e-mails like that are quite rejuvenating — they keep me going.

If you’re open to chance encounters, encounters that seem innocuous at best, they can turn out to be life changing. My friend John Shaw had done a great book for Amphoto, The Nature Photographer’s Complete Guide to Professional Field Techniques. For years I dreamed of doing a similar book for Amphoto on bird photography. I called Robin Simmen and left a phone message: “I’d really love to do a bird photography book for you.” I never heard from her.

Then about six week later, at a North American Nature Photography Association summit, I was standing in line to make a phone call. I turned around and there’s a short woman standing there. Her name tag says “Robin Simmen, Amphoto.” I said, “Hi Robin, I left you a phone message in December and never heard from you.”  She came to my booth, looked at my work, and said, “OK, we’re going to do this.”

That led to the original publication of The Art of Bird Photography. It wound up selling more than 30,000 for Amphoto and becoming the linchpin of my career. When the book went out of print, it was still in huge demand, selling for as much as $500 on e-Bay, so we recently bought the rights from Amphoto and reprinted 5,000 copies in Hong Kong.

Roseate Spoonbill in Alafia Banks, Tampa Bay, Florida ©Arthur Morris/BIRDS AS ART

I often give people who are interested in the business of photography a quiz: “Say I print 10,000 copies of a little booklet on bird photography that costs me $20,000. Does it make any sense for me to sell them for $2?” Everybody says, “No, you just broke even.” I respond, “Not exactly.”

If you sell all 10,000, that’s 10,000 people out there who think you know what you’re doing when it comes to bird photography. We actually went that route (although we sold the booklets for $10 not $2 — *smile*). That little book became a calling card and the pedestal of what’s turned out for me to be an amazing career. I could never have dreamed of the huge success that I’ve had, could never have envisioned being where I am today.  As I say often, “You gotta love it.”