Posts by: A Photo Editor

DSLR’s Are Going To Be Replaced By Mobile Phone Cameras

- - Blog News

Everyone is now fully aware that professional Dslr are going to be replaced by mobile phone cameras. It is just a question of time. Already, this year, there has been more phone cameras sold than point and shoots. One main reason: Phone cameras can now do pretty much what any point and shoot delivers but are less bulky to carry, have multiple other useful functions and we carry them all the time. While Dslr cameras offer much more than point and shoots, they are already threaten by the high quality files delivered by phones.

via Why mobile stock is the future of the industry. | Thoughts of a Bohemian.

Photographers Are Increasingly Drawn From The Haute Bourgeoisie

- - Blog News

…photography is becoming a career for rich kids – who can endure the droughts with a hand-out from Daddy. Anyone from a needier background need not bother. And this, I think, is rather sad, because photography used to be a great social ladder – look at the brilliant careers of working class ‘60s snappers like Bailey and McCullin. Now that social ladder has been kicked away.

via Why are today’s columnists and photographers so posh? – Telegraph Blogs.

Live 2 EST – Professional Photographers Webcast On Consultants

Topic: Working with a consultant
When: Wednesday, November 6th at 2:00 EST
Where: Here on aphotoeditor.com and Google + (here)

Suzanne Sease and I will be joined by Colleen Vreeland. Suzanne as you may know comes from the Art Buying side of the business with many years of experience working at Advertising Agencies. Colleen has worked in the past as an agent for Sharpe & Associates, Friend & Johnson and Elizabeth Poje. Both now advise and consult with photographers, so we’ll discuss working with a consultant and what the entails, plus any pointed questions you have about the consulting business. If you’re thinking about working with a consultant or have in the past and want to know how to get the most out of the experience this will be a great show to watch.

Email me any questions you have to rob@aphotoeditor.com. You will remain anonymous on the webcast and I will not share your identity with our experts so feel free to ask your most pressing questions.

You can see our previous episode (here).

Show Notes
Rob Haggart’s Websites: http://aPhotoFolio.com
Suzanne Sease: http://suzannesease.com
Colleen Vreeland: http://www.linkedin.com/pub/colleen-vreeland-hedleston/9/687/15
cbvreeland@mac.com

Staying up on tech
techcrunch.com
mashable.com

Austin Photographer with special project:
http://www.jaimemoorephotography.com/2013/05/09/not-just-a-girl/
DC Photographer with special project:
http://www.mcphotog.com/#/portfolio-books/crowns-(doubleday-2000)/Crownsnewcover2

My list of photography consultants:
http://www.aphotoeditor.com/2008/02/04/list-of-photography-consultants/

Photography consultants mentioned by Suzanne
Bobbi Wendt stellarart@earthlink.net
Andrea Maurico and Lynn Klye www.agencyacess.com
Neil Binkley http://www.neilbinkley.com
Jasmine DeFoore http://www.jasminedefoore.com

Patti Silverstein was mentioned by Colleen as a Photo Editor she works with:
http://www.linkedin.com/pub/patti-silverstein/1/416/98a

Social Media Marketing – Put The Internet To Work For You

Social Media, when used regularly, has become a great new marketing tool for photographers. It’s rare that we talk to a photographer who isn’t using Tumblr or Instagram to update clients and fans on their latest work. And what could be better than showing potential clients a stream of new work that you’re producing. For your clients, social media has the advantage over traditional methods in that it’s entirely opt-in. The client decides if they want to see updates from you. And unlike traditional media, where you’re competing for their attention in mail, email, phone and facetime directly with important day-to-day operations of the business; with social media they’re able to set aside time just to catch up with photographers they’re following.

All great except for one thing. This has not eliminated traditional marketing methods, so we’ve really just added one more thing to do to the pile. And lets not forget the most important part of the equation: you’ve got to have something to post. Spending all your time on marketing and running a business leaves little time for creativity and producing new work.

Luckily the internet is coming to the rescue with tools I discovered a while back that put the internet to work for you:

ifTTT (ifttt.com) stands for If This Then That and they have an incredible set of triggers that allow you to have one action (posting an image on Instagram) trigger a whole slew of other actions (reposting on facebook, twitter and your blog). That example of reposting is just the tip of the iceberg on this service and depending on your workflow you can automatically trigger all kinds of interesting things that will help you with your workload. The key here is automatic. I think we can mostly agree that the internet is a giant time suck for all of us, but once I discovered this service I saw the potential to put it back to work for me.

Be yourself. Follow both your good and your bad instincts.

- - Blog News

If you embrace your contradictions and work hard at being yourself, you will end up in a surprising place, one more authentic than if you just do what you are think you are supposed to do. And in these days of ubiquitous photography what we need, more than anything, is authenticity. People recognize it.

via Colin Pantall’s blog: Follow your Bad Instincts: Dos and Don’ts of Tony Fouhse.

Interview with MOPA curator Chantel Paul

- - Art

Jonathan Blaustein: Thanks so much for agreeing to chat. I was hoping you might be able to give our audience the inside scoop on how an exhibition takes shape, from idea to execution.

MOPA just had the big opening for its second triennial, on which you were the lead curator, called “Staking Claim.

American Lake, WA G3, 2011 Matthew Brandt Chromogenic print soaked in American Lake water ©Matthew Brandt, Courtesy of Gilad and Rachel Segal

Around the Bend, 2012 Susan Burnstine Archival pigment print Courtesy of the artist.

Dusk #57, 2010 Mark Ruwedel Gelatin silver print Courtesy of the artist and Gallery Luisotti

Luminaria: Midday Winter Solstice Barrow, AK. Electric, 2012 Christina Seely Archival pigment print Courtesy of the artist

#82.948842 Detroit, MI. 2009, 2011 Doug Rickard Archival pigment print Courtesy of the artist and Stephen Wirtz Gallery

Untitled #9238-e, 2011 Todd Hido Chromogenic print Courtesy of the artist and ROSEGALLERY

JB: Staking Claim is a California invitational, so you’re only showing work from artists who work in or are based in California?

Chantel Paul: Right. It’s artists who live in or are based in California. The work does not have to be created about the State or in the State.

JB: How did you go about choosing artists in a State filled with, what, 40 million people? Have you hit that number yet? It’s got to be close by now.

CP: I reached out to galleries and institutions I know who have a continued or sole focus on contemporary photography. As far reaching as Jackson Fine Art and Yossi Milo, to the Portland and Seattle Art Museums, and the Getty Center. Also, the galleries at 49 Geary Street in San Francisco, and all the main galleries you’d think of in California for contemporary photography.

I also talked with folks like the Museum of Latin American Art. I was trying to broaden the reach, so that we could get names that we hadn’t heard of. I also spoke to certain individuals and independent dealers who know what’s going on out there.

JB: But you didn’t ask me.

CP: I didn’t.

JB: No. But you probably should have, in retrospect. Right?

CP: I could have. Yes. I also started the process in April of 2012. That’s when I started concepting the list of nominators, and asked people to return it by July of that year.

JB: That was very suave. I love how I said you “should have,” and you replied with “could have.” That was really smooth.

CP: (laughing.)

JB: It was practiced. Even now, people can’t see the look on your face, but its saying “Come on, now. Move along. Give me a real question, not a fake question.”

CP: It’s a triennial. You’ll have another chance.

JB: Of course I’m just joking. But I wonder, if you’re dealing with galleries, isn’t there a real element of self-interest? Did most galleries nominate artists whom they represent?

CP: Some of them did, and some did not. There were very specific instructions. They could nominate three people, and the work was meant to be made in the last five years. I also suggested that they do not need to represent the artist, in the accompanying letter.

JB: This is the second triennial, so I have a two part question. How did you end up choosing a triennial schedule, instead of a biennial, which of course everyone else is doing? (Maybe that’s the answer right there.) And how did you come to be in charge of this one?

CP: We really wanted to make it different from the 2010 exhibition. With the invitational process, we were hoping to not duplicate the first one, with a lot of the same names. We wanted to give the medium a chance to shift and change, to give some new names a chance to come to the forefront.

The extra year helps allow for that to happen organically. This time, there were names I’d never heard of, and photographers who are just now becoming very prominent in the art world that were just starting to bud at the time they were nominated. So it proved to be successful in that way.

With respect to the second part of your question, in 2011 I solo-curated my first show for MOPA. As this exhibition was coming onto the calendar, I asked to be the project lead. I thought it would be a great way to grow, and to see what the medium is like right now.

JB: You choose the nominators, they nominate people, and then you end up with a list of one hundred photographers? Or more?

CP: There were actually eighty-seven nominations total. I reached out to fifty-four nominators. Not everyone nominated three people, and there were duplicate and triplicate nominations for particular photographers.

JB: Of course. And that was a pretty good guess. Eight-seven is not that far away from a hundred.

CP: No, it’s not. I was expecting there to be more, but there were a lot of duplicate nominations. Which was interesting.

JB: Probably the names we would expect. I’ve got to imagine Todd Hido was nominated by a heap of people. Not that “heap” is a specific numerical term.

CP: I think he had two nominations. There was one particular individual who had three, which was the most.

JB: Fair enough. I’ll jump ahead in logic and assume you then did studio visits? You got in there, rolled up your sleeves and started looking at work?

CP: When the nominations were coming in, I started compiling a whole visual spreadsheet. So by the time I got all the nominations in by early August, I’d divvied them up into the yes, no and maybe piles.

I made the initial selections and shared them with our Director, Deborah Klochko, and our Director of Exhibitions and Design, Scott B. Davis. Just to make sure I was on the right track. When you’re very close to a project, you sometimes want to get that outside perspective, to make sure you’re seeing everything right.

JB: Sure. No matter what you do. And I have to say, the fact that we’re talking about spreadsheets should dispel any illusions that people have about the glamorous nature of the curatorial career.

People visualize you as hopping onto planes to Istanbul and such. But really you’re working with Microsoft Excel. So I’m glad that came to the forefront.

CP: Well, the travel and studio and gallery visits are definitely the ‘pinch me’ part of the job. But, it was a great way to see everything in one place. I’m really a visual person, so I literally cut out images, lined them up and put them together. I started to see it take shape, where I could see relationships between certain artists or bodies of work. And then I did narrow the 87 down to about 30 photographers, followed by phone calls and studio visits with those individuals.

Then I slowly whittled it down to the final list of 16.

JB: So there are occasions now where you go to openings, and you have to see people who didn’t make the cut, and you have to do that awkward conversation thing?

CP: Well, (long pause,) it’s not that their work wasn’t good, it’s that it didn’t fit with this particular exhibition. So the photographers that didn’t make the show, but I really enjoyed their work, I absolutely want to stay in touch with. Maybe it wasn’t right for this opportunity, but it could be right for something in the future.

JB: I’m coming up with tongue in cheek questions, and you’re answering in a really classy way. Forgive me. We’ve got to keep it real here at A Photo Editor.

CP: It was very interesting with some photographers. In a couple of cases, once they knew they weren’t in the show? That was it. No response to the email.

JB: There we go. Thank you for sharing a little bit of the reality, and not just the classy answer.

But I’ll be serious for a minute. In America, a lot of ideas seem to drift east from California. You took the pulse through art, so what do you see that’s going on right now?

CP: Photographers are going inward, creating work meant for outward display. The work is coming from a very personal place. It’s a meditation on what they do, but it’s also a very tactile process. I don’t know if it reflects what’s happening on a geo-political scale per se. It’s more what’s happening globally with the perception of the medium.

About ten to twelve years ago, there was this whole question around digital, and how it was going to change the medium. Now, some papers and chemicals are no longer being made. Today, these photographers are able to be creative by doing the wrong things with photography to create new work that people haven’t done before.

JB: A lot of the work appears to be very process oriented, and visual. You job was to cull ideas from the ether, through different artists and different works. The curator makes the statement by the choices that he or she makes.

CP: Right.

JB: With some of the work, like Susan Burnstine and Klea McKenna, there’s a sense that there are processes going on that aren’t visually represented. Susan builds her cameras from scrap parts and plastic lenses. Klea McKenna was making paper airplanes that reference spotters on the Pacific beaches in WWII. Both make beautiful images.

What’s your take on work that doesn’t necessarily make it’s bones evident to a viewer?

CP: I feel like we’re at a crux. Artists are very much interested in the object of a photograph as much as the image they’re creating. Like Klea’s installation, in which the inverted triangle is important to her work. It’s also an opportunity to create conversation. And there’s also text in the exhibition that explains things, of course.

Another great example is Matthew Brandt. If you just walk up to those pictures, you have no idea what just happened.

Or look at Eric Willam Carrol, who takes images from Flickr and then makes physical installations out of them.

JB: That one looked really fantastic in the book. I can’t wait to see it.

From what I could see, he’s punched a hole in each of these photographs. But then you guys installed these tall, striking poles, on which stacks of hole-punched photographs have then been impaled. I guess that’s the proper word here.

CP: Right. And for his site specific installation at MOPA, Eric came out for a weekend and worked with a team of volunteers to create a mosaic and stack of images, which he culled from the public commons of Flickr of images that were geo-tagged San Diego.

JB: That’s what I was seeing. Does he discuss the whole sexual innuendo?

CP: Huh?

JB: It’s a most powerful visual reference, but it hard to see what it has to do with his concept.

CP: That is funny. (pause.) I am actually shocked that I never even went there.

JB: Never.

CP: I’m shocked.

JB: I’ll verify that. We’re skyping now, and her eyes are wider than the Pacific Ocean. Oh my god. You didn’t see that?

CP: (laughing.) No. I actually didn’t.

JB: OK. Well, you’ll have to ask him next time.

CP: For this installation, it’s only one spike though. It doesn’t look like it, but there are over 7000 images in our installation.

JB: Does he have an assistant punch the holes, or does he do it himself?

CP: He does it. He has a mitre.

JB: Just checking. In 10 years, he’ll hire someone to do it for him.

CP: He does them 100 at a time.

JB: Efficient. I like that. We Gen-X’ers and Millennials love our recycling and efficiency.

CP: This time, he saved all the holes.

JB: Well, I’m sure you’re exhausted and proud of your accomplishments. We’ll wrap this up, so you can get on with your day. Don’t have a heart attack, but what’s coming next?

CP: One of the things I’m working on is that we’re bringing the Prix Pictet “Power” exhibition here to San Diego. It’s opening in February. We’ll be the last venue, at the end of the tour. And we’re the sole American location for the show.

SPD Presents: Video In Publishing On Monday, November 4th

- - Blog News

A panel discussion featuring:
Kira Pollack Photo Director, Time Magazine
Dora Somosi Photo Director, GQ Magazine
Danielle Levitt Photographer
Shaul Schwarz Photographer

Monday, November 4th
SVA Theatre(Beatrice) 333 W 23rd St, New York, NY 10001
Doors open at 6:30 pm, Presentation begins at 7:00 pm

Tickets here: Eventbrite – Video in Publishing

RSVP Now! All tickets, and seating, are first come, first served. When tickets sell out, they’re gone!

Next Professional Photographer Webcast Is Wednesday November 6th at 2:00 EST

- - Working

Professional Photographer Webcast Episode 3
Topic: Working with a consultant
When: Wednesday, November 6th at 2:00 EST
Where: Here on aphotoeditor.com and Google + (here)

Suzanne Sease and I will be joined by Colleen Vreeland. Suzanne as you may know comes from the Art Buying side of the business with many years of experience working at Advertising Agencies. Colleen has worked in the past as an agent for Sharpe & Associates, Friend & Johnson and Elizabeth Poje. Both now advise and consult with photographers, so we’ll discuss working with a consultant and what the entails, plus any pointed questions you have about the consulting business. If you’re thinking about working with a consultant or have in the past and want to know how to get the most out of the experience this will be a great show to watch.

Email me any questions you have to rob@aphotoeditor.com. You will remain anonymous on the webcast and I will not share your identity with our experts so feel free to ask your most pressing questions.

You can see our previous episode (here).

I packed away my camera and put it in the closet… It’s been a year.

- - Blog News

I was asked to write about what it’s like to “go viral.” Well, this was my experience – an emotionally and physically draining roller-coaster. I wasn’t prepared and it ate me alive. Do I regret it? Not a bit. While I would have maybe done things a bit differently, what I have experienced has really helped me to focus on what is truly important in life (and perhaps to also have a bit of compassion for those who choose to live their lives in the lime light.)

via Going, Going, Going Viral Part 2 | LENSCRATCH.

The Reason Professional Photographers Will Never Be Out Of Work

- - Blog News

There’s always a need to interpret a scene in an elevated manner. The more photographers that I work with, the more the difference between an amateur “Instagrammer” and a professional photographer becomes clear. What a professional photographer does is see beauty where no one else can see it. That’s what a brand can leverage. Oftentimes a brand will say, “I want a similar thing to what so and so is doing,” and a lot of this is regurgitative. It takes great minds to build a unique way of a brand speaking through pure imagery.

via Social@Ogilvy’s ACD: Pro Photogs Are Key to Mobile Ads, Branded Content.

This Week In Photography Books: ECAL

- - Photography Books

by Jonathan Blaustein

I don’t buy a lot of books. Perhaps that makes me a bad book reviewer, but there it is. I live in a minimalist house, with little storage, and I do get to look at more books than just about anyone. (I just have to give them back.)

So when I found myself at the New York Art Book Fair at MoMAPS1 last month, I definitely didn’t expect to buy anything, even though the fair was more a packed marketplace than an engaging exhibition space. It’s hard to say how much money changed hands, because I was too busy trying to figure out how to navigate the crowds. (Of obnoxious hipsters. Is anything more uncomfortable than watching a bunch of artsy types lined up ten deep outside a schoolhouse bathroom? Talk about a stink vibe. Sorry. Couldn’t resist.)

I’ve been called a hipster before, and it will likely happen again. Having lived in San Francisco’s Mission District, and Greenpoint, Brooklyn, I suppose the moniker was inevitable. But I’m the last guy to walk around with an ironic mustache and a sour look on my face, so there are limits.

Needless to say, I was pleasantly surprised to find myself obsessing about a super-cool black hard-cover book I found on a simply adorned table. It sat there, alone, topped with a yellow post-it note that read: last copy, $10. $10? Are you kidding me?

Whether it was the ridiculous price that made me reach for the book, or the fact that the air surrounding this particular booth didn’t reek of insecurity, I cannot properly say. But reach I did, and I soon fell in love. What was it, you ask? A typography book put out by a Swiss art school. (ECAL/ University of Art & Design Lausanne, Switzerland.)

Does anything sound less sexy than a book about typography made by a country famous for watches and banking? I doubt it. (But it might be a fun game to try. What could be less sexy? How about a sweater knit from wet dog hair? Or a six-day-old hamburger?)

Right. The book. It does contain interspersed photographic images, which often come from magazine covers or exhibition posters. But the photos are there as supporting examples of high-end typography. Page after page of just the alphabet, rendered differently. It might take an expert to suss out the expectations of intended impact, but any layperson can see that when shown together, the effect is a bit hypnotic.

Must. Have. This. Book.

That’s what I thought. Unfortunately, I was faced with a day of running around NYC, and the kind-of-large object would not fit into my green, Brooklyn Industries manbag. (Yes, I bought it in Williamsburg. Make of that what you will.)

What was I to do? Believe it or not, our friends at photo-eye had a booth in the fair, and they kindly agreed to ship it back to New Mexico for me. (Thanks, Mel and Vicky.) Therefore, I’m writing this review of a book only nominally pertaining to photography, and we’ll see what you think.

I’m not entirely sure why I love this book so much, but the ineffable beauty is part of what I enjoy. If you find that typography can be fascinating, what else is there to learn from this big, spinning planet?

We really do take this facet of communication for granted. As photographers, we always think about the quality of the pictures. As writers, we worry about the words we conjure, whether they’ll be good enough to get the job done. (Or whether they’ll be edited outside of our control.) But how often do we consider the structure of the letters themselves?

It’s obviously a lesson we can apply to the wider world. If typography is more interesting than previously thought, what else is out there? Bird watching? Particle physics? Soduku?

Bottom Line: Super-cool book about an esoteric subject


How does working directly with architects differ from other types of clients?

- - Blog News

I find architects to be a fairly laid back bunch as a whole, unlike advertising shoots which tend to involve more people and sometimes a very compressed time frame. It’s harder to develop an affection for an abstract concept like a brand, but an architect is real person and often has a lot riding on the success of the building so it becomes more personal.

via Architectural Photographer Friday: Andrew Prokos | Photography and Architecture.

Art Producers Speak: Johann Wall

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Johann Wall. We use him all the time. He takes amazing photos of people and I love the way he always captures a person’s essence.

This is a portrait of the author Esi Edugyan. I like windows, cars, mirrors. Peaceful introspective moments.

I felt I needed to get some fishing pictures one day so I went salmon fishing with Patrick very early one morning. This is when the fog is burning off.

This was in Berlin. Again my love of mirrors and quiet moments.

This is Leeroy Stagger. We were photographing his press and record pictures. You sometimes have to go all over the province in your van just to get a great picture in your van.

A story about students at a particular school. I felt like this was the way to bring out this scene with vibrant colour and contrast.

This was the first campaign that I felt really utilized my way of seeing things and directing groups

Family landscape in Bulgaria. I rented an apartment there for a few months one year as I had fenced with a Bulgarian from Sofia in university.

The Hotel Vancouver. I often take people somewhere and just wander around seeing what we can come up with.

A cyclist in Sugoi.

One of my old favourites while working on a documentary film about exotic dancers.

West Coast of Vancouver Island, Okanagan Spring Beer!!

How many years have you been in business?

It must be coming up around 15 years now since I was consciously taking photographs that I wanted to show. More like 10 in a sort of commercial/editorial professional sense though.

Are you self-taught or photography school taught?

Both. I learned how to develop in the darkroom at the University of Victoria where I was enrolled in the writing program. A friend slipped me into the photojournalism lab and showed me the process.

When I moved to Liverpool, I was supposed to photograph the Manic Street Preachers for a little magazine so I went to the library to learn how to take photographs in the dark. Push processing! We set up a darkroom in the closet to develop.

The following year I received a grant to attend photo school for a year. I loved it, being able to learn, make friends and try out things without any concern other than photography. I assisted in London for a while as well as in Vancouver on gallery shoots. I liked London the best as I worked with a woman who shot country Vogue style advertising stories so we’d stay in castles and remote estates. She used almost exclusively modified natural light so there were a lot of massive reflectors and diffusers.

I’m glad I studied and assisted because I gained a real technical knowledge and understanding of creating and modifying light. I don’t usually use much equipment but I’m glad I know how to use it if necessary.

Who was your greatest influence that inspired you to get into this business?

I think my greatest influence was Wolfgang Tillmans’ first book. It’s a wonderful collection of photographs.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?

I don’t know if I’m pushing the envelope! I just like making as beautiful a photograph as I can.

I like to think of all my work as one multilayered story which I keep adding to. I have a consistent aesthetic to my imagery and I am very happy that I’ve found that. I guess by creating new photographs I am keeping my work fresh. I don’t really like terms like pushing the envelope.

Do you find that some creatives love your work but the client holds you back?

I think people all respond to the storyline aspect of my photography. So they would expect me to create a story and usually that means I am instructed to do whatever it is I do to make that happen. I’ve been on tripods tethered a few times photographing group scenes where I’d normally be moving around amongst the talent whispering the odd instruction in their ears. So that was sort of limiting, as I couldn’t be right in the scene. I think that was the creative’s tethering me though, not the client.

I’ve been sent out on my own a lot, even on commercial jobs, to just bring back great pictures.

What are you doing to get your vision out to the buying audience?

I send out some postcards now and then. If I’m in the right mood I’ll make up unique packages for people I like at magazines or agencies. I’ve always loved post and letters.

I do some email newsletters but I haven’t quite gotten used to that so they are not on much of a schedule. I get good interest when I do send them though!

Magazines are great.

Work with people who love Instagramming so you don’t have to spread the news yourself.

I sometimes have no idea how people hear about me though. I’ll get a call from a Zurich newspaper out of nowhere to shoot a story and wonder how that happened.

What is your advice for those who are showing what they think the buyers want to see?

I think everyone shows work they think people want to see. Whether a buyer wants to see it, you will never know until you show it to them. I don’t know what people want to see, and how can you?

My first website had 14 pictures on it and almost all of them were blurred because I really liked that look then. I got a national magazine cover and the photo editor said, “ Johann, we really love your pictures but would you mind not blurring this portrait?”

Are you shooting for yourself and creating new work to keep your artistic talent true to you?

Of course.

How often are you shooting new work?

I do try and photograph people as much as I can but I’m not someone that photographs everything they see. I like to have moments to think and then I do other things and then I’ll decide to make some new pictures. I like limiting my image making. I am creating new work in my mind a lot though.

Johann Wall is a Canadian photographer based in Vancouver.
Phone: 604 725 8865
Email : johann@johannwall.com
www.johannwall.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The most valuable capital a writer has is time

- - Blog News

When I was teaching myself to write, in my twenties and thirties, here’s what I used to do. I’d work at a real job (usually in advertising in New York) and save my money till I had enough to last me about two years. Then I’d quit, move someplace really cheap, rent a place, and write full-time. I did this three times between 1967 and 1980.

I never sold anything. Never got anything published. Never made a penny.

via Writing Wednesdays: Writing and Money, Part 2.

I just kind of put my camera above my head and even didn’t look and clicked a picture

- - Blog News

I just kind of put my camera above my head and even didn’t look and clicked a picture when he moved over the trench and that was all,” he said. “I never looked at my pictures there. And I sent my pictures back with lots of other pictures that I took. I stayed in Spain for three months and when I came back, I was a very famous photographer because that camera which I hold above my head just caught a man at the moment when he was shot.“

via Robert Capa: Finding a Fearless Photographer’s Voice – NYTimes.com.

World Press Photo Looks To Change Contest Rules For Retouching

- - Working

The controversy that erupted this summer over the World Press Photo award winning image taken by Paul Hansen has forced the organization to examine their contest rules. In a press release on October 2nd announcing contest chair Gary Knight, Managing Director Michiel Munneke explained: “We have evaluated the contest rules and protocols and examined how to create more transparency, and we have changed the procedures for examining the files during the judging. We will announce further details when the 2014 Photo Contest opens for entries later this year, but the bottom line is that we will need to be able to rely on the integrity and professionalism of the participating photographers.”

Relying on the integrity of photographers is fine when it comes to the level of manipulation where things are added and removed from images, but the larger issue is that World Press Photo in the past has allowed the jury to decide what it deems “currently accepted standards in the industry” for retouching. And this opaque rule is what allowed a mob to form and go after Paul Hansen in the first place. Here are their rules for retouching at the time:

The contest entry rules state that the content of the images must not be altered. Only retouching which conforms to currently accepted standards in the industry is allowed. The jury will consider what they deem acceptable in each category during the judging

I hope that an organization with the reputation of World Press Photo will tell the world what these “currently accepted standards” are and set an example for newspapers, magazines and other contests. Despite the finger wagging of publications like PDN (ironically pushing over a dozen photo contests of their own) at the mob’s accusations towards Paul, the problem lies not with the blogger’s headlines, but rules that leave photographers hanging out to dry when questions arise.

The darkroom is long gone and a RAW image can have many different interpretations as it’s brought to life on the computer screen. Expecting photographers to not produce contest winning interpretations when entering World Press Photo is folly.