Posts by: A Photo Editor

Sometimes You Get The Feeling That A Lot Of People Involved In Photography Don’t Really Like Photography

- - Blog News

The emphasis is on looking, on touching and taking pleasure in photography and I wonder if this is not part of a shift in photography into something a little more pleasurable than some of the hairshirt attitudes alive and kicking in photography.

Sometimes you get the feeling that a lot of people involved in photography don’t really like photography or even looking at pictures (Susie Linfield wrote a book on this). To make a cooking analogy, it would be as if a food critic was only interested in the nutritional values or the source of the ingredients and was not at all interested in the taste, the smell or the texture of the food.

via Colin Pantall’s blog: Escape from the Taliban and the World Press Photo.

John Stanmeyer Found His World Press Winning Image By Getting Lost In A Place He’d Never Been Before

- - Blog News

after a month traveling overland from a small village in Ethiopia, I arrived in Djibouti City. On my second day in the capital, I did what I often do when in a place I’ve never been before — walk about in the natural process of getting lost. While meandering along the beach, I came upon a group of people at dusk, all standing at different spots along the shoreline holding up their phones, some talking on them, others waving them in the air or just standing motionless.

via PROOF.

If You Push Your Artifice Further And Further There’s No Escaping The Dead End

- - Blog News

Crewdson, just like Andreas Gursky, eventually pushed his artifice to the ultimate extreme, where in the end there was only artifice left. There isn’t much left to admire in his last massive Hollywood-style productions other than the very production itself, and the artist might have realized as much, going off to Italy to photograph cinema sets. In much the same way, Gursky pushed his God-like views of contemporary life further and further out, until he presented us with images of oceans, photographed from outer space, a pointless artifice that had me cringe when I saw it in person…

via Conscientious Photography Magazine.

Art Producers Speak: Greg Funnell

- - 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 Greg Funnell, who I think has great skill in keeping things looking fresh and enticing, be it through his commercial or journalistic work.

This was shot as part of a travel commission I did for a UK airline – it involved shooting a story on local surf spots in Morocco.

This was shot as part of a travel commission I did for a UK airline – it involved shooting a story on local surf spots in Morocco.

Havana, Cuba. This was from a personal story I did in Cuba a few years ago on the 50th anniversary of the revolution.

Havana, Cuba. This was from a personal story I did in Cuba a few years ago on the 50th anniversary of the revolution.

This was an outtake from an assignment I had following round the US punk band Cerebral Ballzy as they terrorized central London with their skateboards.

This was an outtake from an assignment I had following round the US punk band Cerebral Ballzy as they terrorized central London with their skateboards.

Shot again for an airline magazine – this time in Turkey, it was a fantastic assignment with enough time to really get stuck in and create a great set of images for the client.

Shot again for an airline magazine – this time in Turkey, it was a fantastic assignment with enough time to really get stuck in and create a great set of images for the client.

This was an editorial assignment documenting a surfer who was taking part in a cold water surfing competition in Thurso, Scotland.

This was an editorial assignment documenting a surfer who was taking part in a cold water surfing competition in Thurso, Scotland.

This was shot for the Red Bulletin, the magazine published by Red Bull. I photographed the BMX rider Kris Kyle up in Glasgow. This was an instant where I shot something for myself (the Polaroid shots) alongside what the client wanted, and ended up loving it and running it themselves.

This was shot for the Red Bulletin, the magazine published by Red Bull. I photographed the BMX rider Kris Kyle up in Glasgow. This was an instant where I shot something for myself (the Polaroid shots) alongside what the client wanted, and ended up loving it and running it themselves.

This a portrait of the rapper Nas. One of those situations where you’ve got 2 minutes to get the shot and subject who doesn’t want to play ball. I shot it in available light back stage – amazingly it was good enough quality to run on the cover of the magazine.

This a portrait of the rapper Nas. One of those situations where you’ve got 2 minutes to get the shot and subject who doesn’t want to play ball. I shot it in available light back stage – amazingly it was good enough quality to run on the cover of the magazine.

From the project “Las Vegas: The underbelly of the American Dream” that I shot as a collaboration with the photographer Adam Patterson. This couple Ned and D, lived in the storm drains underneath the city itself.

From the project “Las Vegas: The underbelly of the American Dream” that I shot as a collaboration with the photographer Adam Patterson. This couple Ned and D, lived in the storm drains underneath the city itself.

This was photo accompanying a short film I shot and produced for an NGO in Malawi last year.

This was photo accompanying a short film I shot and produced for an NGO in Malawi last year.

Street scene, Rajasthan, India. This image is a one from my widelux project that I’m hoping to publish in the near future.

Street scene, Rajasthan, India. This image is a one from my widelux project that I’m hoping to publish in the near future.

How many years have you been in business?
I’ve been going now for about 8 years

Are you self-taught or photography school taught?
I’m self taught. At university I studied History and War Studies (Kings College London). But I think I knew from day one that when I finished I was going to try and make it in photography I just had no idea how. For a couple of years previous to going to university I’d been an avid user of my schools forgotten darkroom. My interest in drawing, painting and all things visual had led me naturally into photography when I was about 16. From the moment I saw my first image appear in the developer I think I was hooked.

Who was your greatest influence that inspired you to get into this business?
When I was in my teens I worked part-time in the local library. I came across Don McCullin’s work from Vietnam and it opened a whole new world to me. It matched two of my passions, history and photography, and I was blown away by how much the still image could effect and fascinate me. I started collecting photography books and devoured as much as I could. At this time my main influencers were photojournalists, people like Alex Webb, David Alan Harvey, Larry Towell etc. And even though my visual references have opened up I still think you can see the photojournalist influence in my work – the need to be close to the subject, to try and get the viewer really immersed in the subject. This has worked really well for my commercial work in the travel and lifestyle industries because I think it brings an intimacy and intensity to my images.

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’m a keen user of Instagram (@gregfunnell), I keep a blog (www.focus52.blogspot.com) and I use tumblr (www.gregfunnell.tumblr.com). These all help to encourage me to be continually shooting and generating content on a daily basis. But I’m constantly planning or thinking about longer terms projects or ideas. I’ve just secured my first studio and I’m quite excited about testing again more regularly and also just having a space to invite people into. I never grow tired of shooting portraits.

Do you find that some creatives love your work but the client holds you back?
It’s always a delicate balance on jobs. I find the creatives I’ve worked with for the longest generally trust me to do my thing and get the job done – I think I’m seen as a safe pair of hands and one that that client will easily be able to get along with. I feel sorry for the creatives when they get stuck in the middle with difficult clients. From my end I try and keep the client as sweet and (if it’s possible) shoot both what they want and my spin on it so that they have the choice. It’s always about trying to find the middle ground but without compromising too much.

What are you doing to get your vision out to the buying audience?
I tend to shoot editorial commissions mostly – there are a few magazines that I just love working for as they really allow me a lot of creative freedom. I’m also aiming to do more self-publishing this year – I’m just waiting to find the right designer to collaborate with.

What is your advice for those who are showing what they think the buyers want to see?
You have to shoot for yourself – don’t try and be what others want you to be. There’s obviously something to be said for being savvy about what’s popular, but ultimately you need to be producing work that you believe in and that shows your vision.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I try put aside time each year to go off and shoot my own thing. I think you have to be making time to you shoot solely for yourself, you have to believe in the work first in order for others to also believe in it. I’m currently shooting some personal work with a camera called a Widelux, which is swing lens film camera, I’m doing it purely for my own creative need but I hope to continue shooting this as long term project, and it’s slowly starting to generate interest which is nice.

All that being said I did work on a collaboration with another photographer a couple of years ago on a story in Las Vegas on the subject of the American Dream. That was really exciting, and it helped that he was a good mate of mine. We have a similar vision but we each bought something to the table. Some people didn’t get it – and kept asking ‘who took this picture’ – they couldn’t understand when we responded that we weren’t sure or couldn’t remember. Our vision was in such unison that the work held together really well – and I think that’s rare. I’d love to give that another go and shoot another series somewhere in the US.

How often are you shooting new work?
I’m generally shooting a couple of times a week, mainly on assignments. My aim this year though is to force myself to step away from my desk more often and be shooting more side projects.

Greg studied History and War Studies at Kings College London before moving into photography. He’s since spent the last 8 years working for titles that include The Sunday Times Magazine, The Guardian, Financial Times Magazine and the Washington Post. Shooting everything from commissioned celebrity portraits, to travel assignments and in-depth documentary features. He also works with NGOs on development projects in Africa, Southeast Asia and Latin America for the likes of Save the Children, ActionAid and WWF. Alongside this he also works in the commercial and advertising sector producing content for clients on international campaigns, especially in the travel, lifestyle and adventure industries.

Although primarily known for his photography he also increasingly gets asked to work with moving imagery, having directed and produced work for NGOs, corporate and commercial clients.

When he’s not producing content he guest lectures at Universities across the UK.

You can find him on twitter and instagram @gregfunnell

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.

By analog standards, today’s Olympic photo agencies are plowing through nearly 28,000 rolls apiece

- - Blog News

The second a photographer fires the shutter on a camera, the resulting image—a high quality JPEG, not RAW—is transported by ethernet to Getty’s central editing office in about 1.5 seconds. There, a team of three editors processes the photo. The first selects the best image and crops it for composition; the second editor color corrects; and the third adds metadata. The whole editing process is done in 30-40 seconds. Once the last editor is done, the image is blasted to the world. It takes about 90 seconds for the images to travel over redundant 100 Mbit/s dedicated lines to Getty’s data servers in the the United States.

via Gizmodo.

John Stanmeyer, 2013 World Press Photo of the Year

- - Blog News

SIGNAL
26 February 2013

African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighboring Somalia—a tenuous link to relatives abroad. Djibouti is a common stop-off point for migrants in transit from such countries as Somalia, Ethiopia and Eritrea, seeking a better life in Europe and the Middle East.

via, World Press Photo

On Assignment: A Photo Op, More Like a Photo Hop

- - Blog News

The “pool,” a White House staffer once told me, is a “thing.” If the thing is sitting in the briefing room for hours or in vans outside a restaurant, it doesn’t matter. It’s a thing, like the Secret Service or the Truman balcony. Give the thing a picture or two each day, preferably scripted. If the president is meeting with a head of state, the pool is part of the ceremony.

via Lens Blog.

Tale of 2 Crispins: There Won’t Be Another Agency of Decade

- - Blog News

Burned by the recession, clients are loath to greenlight risky work and bottom-line pressures are driving them to wring costs from their shops. To grow, independents are selling to public holding companies and succumbing to the balance-sheet demands that can dull a free-spirited culture. Often, the result is chasing business they might once have scorned while private.

via Agency News – Advertising Age.

Professional Photographer Webcast Live: Sustaining A Career In Photography

Professional Photographer Webcast Episode 7
Topic: Sustaining A Career In Photography
When: Today at 2:00 EST
Where: Here on aphotoeditor.com and Google +

Suzanne Sease and I will be joined by Commercial and Editorial Photographer Andy Anderson. Suzanne as you may know comes from the Art Buying side of the business with many years of experience working at Advertising Agencies. Andy is a well known Commercial and Editorial photographer with a career that would make most of us green with envy. Andy claims it’s “not rocket science” so we’ll talk with him about how relationships, small towns, personal projects, passion, DNA and the fundamentals of business all combine to put him at the top of the game.

If you have any questions you can email me before the webcast rob@aphotoeditor.com (Note: you will remain anonymous on the webcast, I will not share your identity with anyone) or during the webcast you can ask them on Google+.

You can see our previous episodes over on the APE Google+ page (here).

Show Notes:

Visit our show sponsor:
http://aphotofolio.com/

Suzanne Sease can be reached at:
http://suzannesease.com/
https://twitter.com/SuzanneSease

Our special guest, Andy Anderson can be reached at:
http://andyandersonphoto.com
http://www.andyandersonstock.com

We will both be in conversation at:

http://www.texasphotoroundup.com

Photographers mentioned by Andy:

http://hunterfreeman.com/
http://www.larryfinkphotography.com/
http://www.erikalmas.com/
http://kevintwomey.com/

Former assistants:

http://www.matthewturley.com/
http://shaunfenn.com/

More links:

http://ianspanier.com/Personal-Work/Long-Beach-Heroes/1/
http://lookbook.adage.com

Looking Good Doesn’t Mean It’s A Good Picture

- - Blog News

Most actors are hard to take good portraits of. You have access to the biggest actors and think, great, a chance to do an intimate portrait. Then you look at the contact sheet and you realize that they totally played you. They are aware of the camera in each single frame. They raise an eyebrow just so. They are very good at making it look natural, but then you look back and nothing is off-guard.

via Martin Schoeller’s Tips on How to Take the Perfect Portrait – WSJ.com.

The Difference Between Photographers And Photo Editors

- - Blog News

Editor’s have to think beyond themselves. Their primary motivation has to be to help others grow, to tell stories and make systems work – outside of their egos. Editors have to be able to conceive of and communicate ideas that are about things outside themselves. Photographers, on the other hand, for the most part have to be so self involved that they can envelop what they photograph from a completely personal perspective. The more dimensional a person who makes pictures is, the more dimensional her photographs will be, the more they will connect with a subject. We are the photographs we make, they are us.

via APAD blog.

Instagram Made Us All Huge Fucking Liars

- - Blog News

While it’s a magnificent outlet for all of us to share the way we see the world and all that, Instagram is mostly a gigantic contest to see who’s the best at being a lying liar pants. If you can make a dog look good in Mayfair, if you can make a sunset look like a Picasso when it’s doused in Brannan, all of a sudden, you’re a professional fucking photographer. And that’s really, really insulting to photographers.

via The Reality Behind Instagram Feeds – The Bold Italic.

Texas Photo Roundup – Interview With Andy Anderson

- - Working

I’m excited to be attending the Texas Photo Roundup this year to interview Andy Anderson about his career and moderate a panel on social media for photographers. Andy’s also leading a workshop if you want to get even more insight from him. Information below:

In Conversation: Andy Anderson and Rob Haggart

Saturday, March 1 / 10:30am – 12:00pm Location: Long Center Kodosky Donor Lounge Join Rob Haggart, award-winning photo editor and founder of popular photography blog APhotoEditor.com, and Andy Anderson, acclaimed commercial and editorial photographer, for a frank one-on-one conversation. Andy and Rob will talk about Andy’s career, how he got his start, the challenges he’s faced, how he stays true to his vision and more. Q&A to follow. REGISTER HERE   Or purchase an All Access Pass to all the morning talks and presentations

Andy Anderson Workshop: Keeping your Personal Vision Under the Demands of a Commercial Market

  Thursday, February 27 / 9-6pm Friday, February 28 / 9-5pm Location: Whitebox Studio REGISTER HERE Join commercial and editorial photographer Andy Anderson for a unique 2-day workshop. One of the hardest situations a photographer can experience is staying true to one’s own personal style in the face of a commercial assignment where photo editors, art directors or account planners are all focusing on their objectives for a shoot. Making sure you are not just taking orders from these people — but instead bringing your own personal style and vision to life in the context of the assignment — is the ultimate goal. This is what we will work together to achieve over the course of this workshop.

Suddenly everyone is fluent in the language of photography

- - Blog News

Social media is impacting our work in so many ways it’s hard to know how to pinpoint any single aspect of the changes that we’re experiencing. But fundamentally, everything has changed with the emergence of a visually sophisticated population that uses imagery as easily as conversation to exchange ideas and to express themselves.

via Photo Expert Stephen Mayes on the Changing Future of Photography.