I wish I could scale back the amount of time I spend in front of a screen. It’s beginning to define what “being a photographer” is like these days.

via » 10 minutes with Wesley Mann this is the what.

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There’s nothing wrong with not being any good at photography. Everybody started out bad and none of us does all aspects of it well. But it’s a crying shame to want to be good at it, to spend time and money trying to be good at it, and not getting any better.

This isn’t like teaching a child to read. Positive reinforcement is your enemy. Your Facebook friends, your Twitter followers… hate you.  Instead of taking ten seconds to say. “This doesn’t work. You need to do better”. They readily push that “like” button, because it’s easy and they hope to get the same from you, but also because they’re cowards.

via Mostly True.

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One thing I can say is that having every photographer’s website at my fingertips is wonderful. We have many shoots all around the country in small towns. The Internet is the only hope I have in finding photographers in these areas of the country.  There’s also nothing that impresses me more than when I meet with a photographer to review his or her book and an iPad is pulled out. It just makes viewing a photographer’s work so much easier and it shows that the photographer likes to keep things simple.

– William Morel, Photo Editor at Country Living

via Wonderful Machine Photography Blog.

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…[newspapers'] race for added sales is reflected editorially in the production of journals which more and more represent, not an editor’s notion of a good paper, but a circulation manager’s notion of a good seller.”

via Brain Pickings.

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We now live under the hybrid tyranny of middlebrow. No serious person believes the Oscars are a list of the best films, or the Grammys the best music. Charitably one could say they represent a kind of averaging out, an index of the taste of a group of informed people. At worst, critics acting en masse, with one eye on what’s popular and one eye on what’s good, end up praising work that doesn’t upset them. That’s why there’s so much stuff that looks like art, smells like art, but when you bite into it, it just tastes of cardboard.

— Hari Kunzru, writing in The Observer, via The Great Leap Sideways.

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Over the last couple years, I have seen the number of photographers attempting to shoot liquids has exploded, some good, and some bad, but mostly very inspiring. I truly believe that there is room for everyone in the industry. The competition and creativity only inspire me to create better work.

via POP | Photographers on Photography.

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…she continues to identify as an amateur, or at least retains certain amateur tics. Her portrait subjects are centered in the frame and square to the camera. She shares details of her working process on her blog and eschews tightly edited, gallery-style installations.

[...] It’s fair to say that Ms. Strauss has accomplished more in the past decade than many artists do in a lifetime. With more gumption than wherewithal, she spun a single idea into a magnum opus.

via Review – NYTimes.com.

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People told me I wouldn’t find a true style for five or ten years, if not a lifetime. It’s held true. Just when I think I have it where I want it, I look back and think it’s crap. I would stress patience and not paying too much attention to other people’s work. Shoot because you love it; shoot the stuff that resonates with you.

I try to shoot in a way that pleases me and hope to connect with art directors and photo editors who resonate with the same things. Those are the relationships that will be fruitful and the jobs that will turn out well.

via The Great Discontent: Eric Ryan Anderson. thx, Charlie

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Part of an artists job is to edit during their lifetime. The fact that she made the decision not to allows full exposure. And the rarity of this collection is that it’s a complete archive: the good, the bad, the learning curve, the thematic themes that cropped up. So it’s actually very fortuitous she didn’t edit. Artists are known to be their own worst editors.

via Through the looking glass.

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One of these assignments was to photograph the Russian composer, Igor Stravinsky, which resulted in one of Newman’s most iconic images, although at the time it was rejected for publication.

via wayneford’s posterous.

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Almost any half-decent reproduction of the Game of Madness or Blind Woman conveys their power. A photograph by definition is a reproduction rather than an original, a reproduction that carries and confronts us directly with an actual chemical trace of a human being in a particular place at a particular time. If we pause to think about that for a moment, we must admit that this is awesome, but it is an awesomeness of a totally different order to the painterly wonders of a Holbein or a Rembrandt.

via The Great Leap Sideways.

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The day’s final presentation was eagerly awaited. David Lachapelle! Everyone was expecting slightly pretentious extravagance. We were going to show him, the King of Photoshop, what a “real” photo was. Every one was nicely surprised. Lachapelle was very much himself. Humble, funny, immensely cultivated, he shocked everyone! At the end of his interview, he showed us the making of his Pieta. When spectators realized there was NO photo manipulation involved, he triumphed!”

Jean-François Leroy via La Lettre de la Photographie.

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The opening-night film comes to Sundance with the kind of publicity for which Harvey Weinstein would pay dearly. However, Lauren Greenfield’s genius move lay not in PR strategy but in her choice of subject. David Siegel’s the kind of guy who not only thinks it’s sensible to build a 90,000-square-foot mansion (just before the real estate bubble burst, as it happens), but also thinks it’s a good idea to file a lawsuit threatening Greenfield and Sundance the week before the film premieres, complaining that the movie makes him look bad. (Never mind that the attendant press attention and public record about his $11 million foreclosure in May 2011, serves to make him look… well, bad.) All that aside, Greenfield also has an eye for candy-colored disaster that is never anything less than incisive and entertaining.

via indieWIRE.

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A lot of what you do at National Geographic is you’re an arbiter or taste. And of course what we want to do, I don’t want to be elitist, unapproachable, inaccessible, but I want this to be an experience of high taste. That you can’t get any place else, and of course when you tap into that gut reaction knowing that there are times you’re going to be wrong, admit your wrong, move on, learn. It’s very analogous to being a photographer in a field, and everyday making decisions.

via Interview: Chris Johns, Editor, National Geographic Magazine | burn magazine.

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It may take several years for a beginner to earn a living as a performer. You must have a substantial cushion of savings to fund your quest and/or secure consistent alternate work to support you during the early stages of your career.Even the most talented performers may do everything right and still not end up with acting jobs. Success in this business is an unpredictable combination of talent, training, residence, “look”, energy, attitude, and the completely uncontrollable factor — luck!You must not take rejection personally! Even a working professional may not earn their income performing in just one medium.

via Getting Started as an Actor FAQ | Screen Actors Guild.

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I don’t like to hurt people. I go after something and I start pointing the camera at somebody, looking for those hard, edgy things I know I am going to find. My pictures will be out of bounds in terms of the convention of how this person wants to be represented. It gives me pause. I don’t feel I have the right to do that. But I do it nevertheless. After all, a picture is not a murder. It is simply a moment which suggests so many things.

via A Moment With Larry Fink – NYTimes.com.

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So rather than complain about the introspective nature of photobooks or the endless discussions on the nature of work, we should not follow others but should instead go out into the world and find work that interests and inspires us on its own account, not the account of others. And if we can’t see that work, or find that work, if it’s not available to us except through the word of others, then perhaps we should just let it pass us by. If you can’t touch it, it’s not really there.

via Colin Pantall’s blog

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More than any other USPS customers, publishers are feeling under the gun because USPS claims it loses money on the Periodicals class. Its latest numbers show that Periodicals revenue covered only 74.9% of the class’s costs in Fiscal Year 2011, down slightly from 75.4% in FY2010.

via Dead Tree Edition.

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I’ve found the last couple of years the most difficult since I started out – but not fatal. Can the new opportunities replace the fading print market and collapsing library sales? Probably not for everyone. However, many of the old rules still apply. Quality and originality still have value. Niche specialisms are always in demand. Surviving as a freelance in the digital age requires new skills and an openness to new markets, but it is possible – and at least the scrabbling around should feel familiar

via BBC News.

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1. Please understand that book publishing is an organized hobby, not a business.

The return on equity and return on time for authors and for publishers is horrendous. If you’re doing it for the money, you’re going to be disappointed.

via The Domino Project.

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most big businesses do not allow the time, resources or culture to benefit from the failures necessary to develop an innovative, entrepreneurial streak. He claims: “To get anywhere near achieving a culture of creativity that can make your business stand out, you need people who are more excited by what is possible than they are scared of looking foolish if they are wrong.”

via Marketing Week.

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When people are being true and honest, even if they don’t obey the rules, people respond to it. There’s no replacing A, talent, and B, fully inhabiting that talent and doing what you think is a fucking good idea. There’s no replacing that.

via PDN.

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You don’t need to give up what you love in order to be commercial. The trick is to take what you love and make it commercial.

via Screenwriting Tips… You Hack.

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I will often leave many versions of an image up on my studio wall for days or weeks and the ones that get “tired” get taken down. Those that keep speaking, keep surprising, are the ones I select. Really strong photographs can never be owned or fully understood formally, narratively, or intellectually. They resonate outside the edges of the frame, and continue to speak over time.”

— Jocelyn Lee, in an interview with ahorn magazine, via The Great Leap Sideways.

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Homeland Security issued a directive that confirmed it is legal to video record or photograph federal buildings.

Police in New Hampshire continued to use their state’s wiretapping laws to arrest people recording them, even though the charges never stick.

A Miami man was told he was guilty of a felony for photographing a whale.

Police in Long Beach, California admitted that they are trained to harass citizens who are not taking photos of “esthetic value.”

A little-known law in Washington D.C. was exposed, which allowed police to arrest people for standing in one area for more than five minutes taking photos.

Pennsylvania cops continued to hold on to the myth that they could lawfully arrest people on wiretapping charges who record them in public.

And many many more on pixiq.com

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No…anything is game these days. Recently National Geographic ran a series from my Echolilia project and, due to their standards, they wanted to use the raw files, unretouched. We agreed and ran them unretouched, and I don’t think anyone noticed the difference. It’s so easy to get wed to perfection and sometimes, in the end, no one notices.

via Commarts.com.

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While the digital age has brought a nearly insatiable demand for entertainment news, that hasn’t translated into a bonanza for paparazzi, Woody says. Major media companies are increasingly involved in the celebrity news business, building up their own paparazzi outfits, buying up smaller ones or paying less for independent images.

via CNN.com, thx Jeff.

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Rejection as a whole is not a great reason to run out and self-publish. I mean, think about it: “Everyone else hates it, so why not punish readers with it? To the Resentmentmobile!” But — but! — sometimes, the overall pattern of rejection does indicate value in self-publishing. Getting a lot of those “it’s good, but I can’t do anything with it” rejections tells you that the risk-averse industry isn’t willing to, duh, take a risk. So, you can absorb the risk and self-publish.

via terribleminds.com.

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…when people tell you they don’t have the money, they’re lying–they just don’t think it’s worth the money.

Your job is to show them that it is.

via Now This is Cool….

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