livebooks blog

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.

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 »

Maren Levinson

www.redeyereps.com

Photo by Amanda Marsalis

I founded Redeye in 2005 as a photo agency that supports photographers with both fine-art and commercial careers. I have always believed a photographer benefits from a multifaceted career, and I am interested in inspired work of any kind. Redeye currently represents six photographers, each with their own distinct photographic voice.

Before starting Redeye, I was a photo editor at Dwell and Mother Jones magazines, and consulted at various publications including Big, Chow, and GOOD magazines. I have also consulted with design firms and emerging photographers.

I love to edit and match up a photographer with their perfect job, path, or next project. Feel free to ask me anything and, if I don’t know the answer, I will make up something really good.

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

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.