livebooks blog

The deal with reps

• A Photo Editor – Rob provides lots of insights into the industry, including agency lists like this and this, as well as informative interviews like this one with L.A. rep Deborah Schwartz

• A Visual Society – A no-nonsense post with lots of tips for getting a rep – the first one is, decide if you actually need one

• Nick Onken – Nick shares the process he himself went through to find a rep

• AdBase – AdBase also has lots of industry insights on their blog, in particular “How to Decide if You Need a Rep”

• Advertising Photography: A straightforward guide a complex industry – An informative book by RESOLVE contributor Lou Lesko — the title says it all

• RESOLVE – Jasmine DeFoore at Redux Pictures wrote an informative series of posts answering common questions about reps, mostly on the editorial side

Boosting creativity

• Ivan Makarov – I almost “borrowed” a few links from this “Links to Boost Your Creativity” post, but then decided they are all pretty good and I should just give Ivan his due

• TED Talks – A few favorites are Tim Brown on the connection between play and creativity, Elizabeth Gilbert on a healthier approach to creativity, and Amy Tan on where creativity comes from

• Creativity Tools – This is a fun list of online tools that help spark creativity

Tools for (new) leaders

• Fast Company – Despite the fact it’s about a huge corporation, the tips in this “How To Lead Now” story would work equally well for, say, a photo crew

• Leadership is Creative – A great piece from Harvard Business that asserts, “It’s not that creative work gets set aside in order to lead an organization, leading is the creative work”

• Managing Creative People – This book’s title could refer to a freelance assistant, a business associate, or (just as important) yourself

I’m sure I don’t have to tell anyone that there are fewer staff jobs — at newspapers, magazines, and wire services — than there used to be. And in the face of even more cuts, we’ve been impressed to see former staffers adroitly shift gears to freelance editorial, commercial work, collaboration with NGOs, and the fine-art and wedding markets. Some, like David Leeson, capitalized on video skills. Lots, like Sol Neelman, are doing a little of everything, hustling to keep a personal project going.

Leaving a job is always scary. Being forced to give up a steady paycheck and health insurance for the insecurity of owning your own business can be especially hard. Yet we’ve heard many inspiring stories of people coming together to work through this transition, including the recent VJ Workshops, Pro Photo Network, and Wéyo.

We decided to do our part too, by developing this online home for resources, stories, and discussion about this sea change for photojournalism and photography in general.

Although no one has all the answers, together we can find them — which is why your participation in this “After Staff” project is so important. Our “Experts of the Day” are available to answer questions, but if you don’t ask, they won’t know how to help. Over 20 photographers have shared their experiences in our “Group Therapy” section; by adding your own to the comments, you’ll undoubtedly be helping someone else. And even with five days of posts, we know there are things we’re forgetting.

So please comment, ask, discuss, and reach out. We’re here to help you help each other.

Click here for descriptions and links to all “After Staff” posts.

John Kaplan

www.johnkaplan.com
John Kaplan is one of America’s most accomplished narrative photographers, having been awarded the Pulitzer Prize for Feature Photography, POY National Newspaper Photographer of the Year, the Overseas Press Club Award, two Robert F. Kennedy Awards, and the Nikon Documentary Sabbatical Grant. He is also the author of Photo Portfolio Success, which helps photographers edit to their strengths and prepare stunning portfolios that eliminate doubt in the minds of editors, buyers and contest judges.

A full professor at the University of Florida and a Fulbright Scholar, John teaches throughout the world and has twice been named a juror for the Pulitzer Prizes. His work has appeared in LIFE, The New York Times, American Photo and numerous book annuals.

John’s work is exhibited at museums and galleries worldwide including solo exhibitions in the United States, Peru, Bolivia and Korea as well as shows in the United Kingdom, France, Japan, Korea, Canada, South Africa, Australia, and New Zealand. His project on survivors of torture in West Africa was awarded the Overseas Press Club Award for Feature Photography and the Harry Chapin Media Award; the United Nations used the work to help facilitate contact with the victims.

Presently, John is directing and producing his first feature length film, the autobiographical Not As I Pictured: A Pulitzer Prize-winning Photographer’s Journey Through Lymphoma.

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

Jade Albert's website, which is branded to complement her "whimsical, airy" style.

Suzanne Sease

www.suzannesease.com

I have so many clients who have found themselves in this position — who were in another industry and realized they were not living their dream. The safety net of the bi-monthly paycheck is gone and now you must create your own identity. Luckily you won’t have to start from scratch.

Visit the websites of photographers you admire and see how they are presenting themselves. Now look at your images. Are there special topics you gravitate toward or are often assigned to? And how do your images convey information? What about them got people to read the stories next to them?

Become an astute observer of the images around you, too. Make mental notes of magazine ads, billboards, store signs, direct mail, even family portraits done for friends. A photographer was paid to make all of these — notice how they did it and decide if the photographer could be you next time.

Maybe most importantly, ask yourself what you really love about this business. Do you want to continue shooting what you have been, or is now the time to re-invent yourself and shoot what you love, not your former employer? You don’t have to build a brand on the photographer you are — this is your chance to build the brand of the photographer you want to be.

Louisa Curtis

www.chatterboxenterprises.com

First decide which markets to pursue and which images to present. Rather than showing work you think people want to see, I think you should show the images you love to shoot, since those are likely to be your best work. Then, once the image selection is clear, consider presentation. For instance, if I were to put your website alongside your business card, your postcard, your e-promo, and your print book — would I know that they all belong to the same photographer? More »