livebooks blog

Steve Jobs with the MacBook Air. ©David Paul Morris/Getty Images

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.

Vogue editor Anna Wintour. ©Getty Images

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.

Cory Doctorow, by Jonathan Worth

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?”

Joe McNally

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.

A few weeks ago I had the pleasure of giving a presentation to members of the conservation, media, and photography communities as part of the WildSpeak program at The WILD Foundation‘s World Wilderness Congress in Merida, Mexico. WildSpeak was created by the International League of Conservation Photographers, four days of presentations showing conservation organizations the power of visual storytelling and persuading them to make more room in their budgets for collaboration with conservation photographers.

The presentation I was part of, “New Media and Creating the Groundswell,” focused on using new online tools to disseminate conservation messages. The other speakers introduced me to several fascinating initiatives that I want to share with the RESOLVE community — by synthesizing photography, education, technology, and social action, they highlight trends that I believe will become increasingly important as the new media landscape evolves.

Collect and Contextualize
ARKive is an initiative by Wildscreen to create a digital library of text, photos, and video of a huge number of the world’s animal and plant species. In some ways, the vast number of images available online do not become truly useful and powerful until they are organized and searchable in a collection like this.

Organize Geographically
Frank Biasi, director of Conservation Projects for National Geographic Maps, demonstrated two projects he’s working on that are using maps as the main navigation tool for a site. The Global Action Atlas helps connect people with social action opportunities in specific areas of the world, and LandScope.org is a map-based resource for the land-protection community and the public. As geotagging becomes automatic and people interact more across all geographic barriers,  information organized around a map structure will undoubtedly increase.
Mash Up Media
WildCoast is the perfect example of a non-profit taking their message far beyond the common trap of “preaching to the choir.” By signing up a sexy model and a Lucha Libre celebrity, this organization focused on saving coastal ecosystems won major victories for sea creatures. They also disseminate much of their information as comics and animated videos, something that Médecins Sans Frontières has also explored with their beautiful graphic novel, The Photographer.

Create Endless Collaboration
Matt Peters, the founder of Pandemic Labs, which ran social media strategy for the entire Wild9 congress, wrapped up with a wonderful presentation about the way online information tools can help keep people who connect at events like Wild9 connected and moving forward with their ideas long after the sessions end.

The Wild9 Live page collected blog posts in three languages, tweets about Wild9, live streams of many presenters, and Qik videos streamed from delegates’ cell phones, letting people from around the world (they received hits from around 80 countries) feel like they were part of the congress. And, possibly more important, now all that information is archived and available online. You can see the presentation videos at the Wild9 USTREAM page and even check out my presentation about creating clean, easy-to-navigate websites that drive visitors to act, not just look.

One of Peter Lik's "destination" galleries showcasing his landscape photography.

As I explained in my first post, a brand is not a logo or a website or a design. A brand is a promise, what people trust, feel, and believe you or your product to be. Branding is how you express that promise to people. Here’s some tips to help you define your brand — only then can you express it through branding.

First, your brand will ultimately be defined by other people, mostly your customers and potential customers. They will make up their minds about you and you will usually have to live with it. Your job in building your brand is to try and influence them before their minds are made up. It is easier when they don’t yet know you and harder when they do.

Therefore, your brand can not be just anything you want it to be. It needs to be based on some truth about you, as well as client needs. Otherwise your brand will be rejected as not credible. Your brand also needs to be flexible so that it can evolve as you or the market change over time.

For example, while Polaroid’s brand was successfully built around innovation in instant imaging, its brand become too closely associated with chemical imaging in the minds of consumers and has struggled to stay connected with people in a digital world.

Second, be clear about what you need your brand to achieve at a strategic level. For most people this will be to set you apart from your competitors, to make you top of mind and memorable. By default, a brand should also say who you are not. A strong, healthy brand never tries to be all things to all people. Strategically your brand offers a way for clients and potential clients to quickly and easily categorize you. When they need what you’ve got, you want them to know exactly who to call. Ideally your brand should also make you look like the original or the best solution, making it hard for others to copy you.

Here are some great examples of photographers who have done this successfully.

Terry Richardson has one of the strongest brands I have ever seen. He has no logo and no real design to his website. Yet he stands out. He is unique, highly memorable. He shoots some of the world’s most famous people with a small, inexpensive digital camera. Why is his brand so strong? In a world full of smartly presented photographers who all look, shoot, and feel similar, Terry is distinctly different. (Check out the video, where Terry talks about his approach and his new Belvedere Vodka campaign.)

Another example is Australian landscape photographer Peter Lik. In a market saturated with great landscape photography, much of which never sells, Peter’s business generates more than $30,000,000 per year (US!!). Peter’s photography, while brilliant, is hardly the sole reason for his success. The essence of Peter Lik’s brand is the creation of a photographic experience. In particular, his galleries are must-see destinations. What you buy is not just a beautiful picture but a small part of everything that you experience in Peter’s world.

The critical third stage in defining your brand is determining what the attributes are that make up your brand. Attributes are like brand DNA. These are the tangible and intangible, emotional and functional characteristics that you and your business, product, or service are — or could credibly become. If expressed and managed correctly, these attributes become the reasons for people to trust and do business with you.

Here’s an example. I asked 10 people who know of Peter Lik to give me 20 words that describe what they believe him to be. I put every word, including those repeated, into Wordle, which creates a prioritized word cloud showing most-used bigger and least-used smaller. This this is a visual representation of Peter Lik’s brand attributes, according to these 10 people.

You’ll notice that the functional description of him as a “landscape photographer” is rated low. From a brand perspective, this is excellent because being a landscape photographer is just the cost of entry, it is not enough to define him as unique. Peter has purposefully built his brand around the attributes that help set him apart. That is how a strong brand works.

So, how do you determine your attributes? Here are eight questions that will help you find them. More »

Rebecca Norris Webb, Havana, Cuba, 2007

Alex Webb, Havana, Cuba, 2001

MIKI JOHNSON: What initially drew you both to Cuba? It has been photographed so much already…did you try to approach it in a new way that you hadn’t seen before?

ALEX WEBB: Like many projects, this one began somewhat serendipitously. We certainly did not plan it. I first went in to Cuba 1993 for Life magazine, and Rebecca traveled there around the same time separately. We were both intrigued by the island, but somehow didn’t manage to return until 2000, when we visited together to teach a workshop.

Returning to the country inspired both of us, and we embarked on two separate projects: my exploration of the streets of Cuba and Rebecca’s discovery of unique and sometimes mysterious collections of animals there –– from tiny zoos and pigeon societies to hand-painted natural history displays and quirky personal menageries. It was only eight years later, in 2008, that we hit upon the notion of putting our two very distinct bodies of work together to create a multi-layered portrait of Cuba.

Alex Webb, Cienfuegos, Cuba, 2007

Rebecca Norris Webb, Havana, Cuba, 2008

MJ: How many trips to Cuba did you take while making photos for this book, and what places and parts of the culture were you specifically trying to capture?

AW: We made 11 trips to Cuba. Besides our first trips that we took separately, we made six trips together from 2000 to 2005 and then four long trips in 2007 and 2008, when I was fortunate enough to have a Guggenheim Fellowship to continue photographing the island. I initially called my project Esperando because in Spanish the term means both “waiting” and “hoping,” a title that starts to get at my impression of the streets of Cuba.

REBECCA NORRIS WEBB: I originally called my project Three Rooms after the following quote by a Habanero whom I met, a gentle and soft-spoken man who raises cockatiels, love birds, and parakeets: “I have three rooms in my house –– two are for my birds, and one is for my wife and me.”

For the past decade, I’ve been exploring the complicated relationship between people and the natural world. In the 25 cities I visited for my first book The Glass Between Us, I never witnessed anything quite like what I’ve seen on “the violet isle,” a little known nickname for Cuba inspired by the rich color of its soil. Nearly 700 miles across, Cuba is easily the largest island in the Caribbean and has its own endemic species, including the world’s smallest bat and the world’s smallest bird. Alex and I traveled nearly the entire length of the island in pursuit of our separate obsessions.

MJ: Why did it appeal to you to combine your two bodies of work into one book about Cuba? How are the images grouped in the book? More »