Techcrunch reported on Monday that Shutterstock filed its plans for an IPO on the NYSE from which it hopes to raise $115 million (story here). IPO’s are interesting because you get to look at the financials of a privately held company that thinks it’s the next big thing. From the story:

According to its S-1 filing, Shutterstock currently offers one of the largest content libraries in the commercial digital imagery industry with over 19 million photographs and illustrations and about 500,000 videos from more than 35,000 contributors. In 2011, the company delivered more than 58 million paid downloads. The average cost per image on the site in 2011 was around $3. Shutterstock says that it had more than 550,000 paying customers in 2011.

Shutterstock is the infamous long tail in action, generating $3 here and there for its 35,000 contributors and according to the S-1 filing (read it here), reaping $120 million in revenue for the company in 2011.

Perhaps there’s a hedging strategy for photographers who see a continued decline in their own stock sales and a continued rise in micro stock?

In a report published in October 2008, BCC Research estimated that the market for pre-shot commercial imagery was $2.7 billion in 2008 and was projected to grow to $5.1 billion by 2013. Within this market, BCC Research defines two segments: the “traditional stock photography” segment and the online marketplace segment. The traditional segment is characterized by higher-touch customer relationships, negotiated image prices, and stables of professional photographers who shoot content exclusively for one agency, some on a salaried basis. The online marketplace segment, in which Shutterstock has historically participated, is characterized by self-serve ecommerce with simple, inexpensive licensing options and a large number of contributors from around the world. BCC Research estimated that the online marketplace segment would grow 51% annually between 2008 and 2013 to a total of $2.0 billion in 2013. In the same time period, the traditional pre-shot image market was estimated to grow 5% annually to a total of $3.1 billion in 2013. As the quality, quantity and awareness of pre-shot image licensing options continue to increase over time, we believe that pre-shot images will satisfy an increasing portion of the demand for commissioned photography, which BCC Research estimates to be a $12 billion market in 2013.

Since imagery is often a component of an advertising campaign or media production, the demand for commercial digital imagery is largely driven by the global marketing and publishing industries. In 2011, more than $466 billion was spent in the global advertising industry and $379 billion in the global publishing industry (including books, newspapers and magazines), according to Zenith Optimedia and IBISWorld, respectively. We believe that disruptive technological trends are expanding the role of commercial digital imagery within these industries and driving growth in the demand and supply of images.

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I’m a fan, personally, of art that sucks at marketing itself, that doesn’t have a cute backstory or a built-in ‘platform,’ that is not cuddly or ‘adorkable’ and doesn’t immediately lend itself to a hierarchy of ‘rewards’ for ‘backers,’ that is antisocial and prickly and deeply strange.

via photographsonthebrain.com.

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Wired

Creative Director: Brandon Kavulla
Design Director: Leo Jung
Director of Photography: Zana Woods
Deputy Photo Editor: Sarah Filippi
Art Directors: Alice Cho, Bradley R. Hughes, Tim Leong
Senior Photo Editor: Carrie Levy

Photographer: Bryce Duffy

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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Last summer I was having dinner with an Art Director who was fielding emails from a client who wanted to pull stills from the commercial video shoot to drop into the background of the commercial stills shoot he was on. He bemoaned the fact that he would probably have to show them how horrible that would look to convince them it could not be done.

Several weeks ago I was at Shoot LA talking to a ski photographer who was on a ski movie shoot in Alaska where the crews all shot with the Red camera. I asked him if he felt his job was in jeopardy since they could probably pull stills straight from the footage. He said they shot at too low of a shutter speed to pull stills for the action shots but he was surprised at how easy it was to scrub though all the footage and find images you liked. The editing process, that I had surmised might keep photographers busy, was simple and fast.

When photographer Kevin Arnold showed me his blog post about his own testing with the RED camera and pulling stills I asked him if I could reprint it in full here. It’s a topic we should all be watching closely. Here’s Kevin’s full blog post reprinted with permission from (here):

Stills, Meet Motion

Ever since the advent of HD video, we’ve all been hearing how the need for pure still photography will disappear since we’ll be able to just pull stills from video. I’ve never felt threatened by this line of thinking; I believe that there will always be a place for still photography because it has its own aesthetic. I also like embracing new technology.

This winter, I decided it was time find out for myself how close we are to that reality. I’d read about fashion photographers shooting magazine covers with the RED camera, so I called up the company to see if I could test their latest high-resolution camera, the RED EPIC in the kind of environment where I shoot. They sent me a lightweight $65,000 rig set up for handheld shooting. I was excited to get my hands on this cutting-edge gear, but I also had a commercial interest in this experiment; most of my advertising clients are asking for motion and still assets. Combining the two mediums on the same set has always been cumbersome. If I could capture both simultaneously, it could be a great solution.

The Gear

Even if this kind of shooting isn’t mainstream yet, a recent convergence of technologies has certainly made the idea more attainable. For starters, the resolution of the cameras continues to increase. The EPIC, for example, can output 5K raw video and 14-megapixel stills. It can also shoot 120 frames-a-second at full resolution – key for achieving the high enough shutter speeds for sharp stills. And because it’s a modular system, it can be set up for fast moving handheld shooting. Being chained to a tripod just isn’t my style.

Of course, the drawback of handheld shooting is shaky footage. There’s a reason why most serious cinematographers use heavy tripods, shoulder mounts, and steadycam rigs. But recent advances in post-processing stabilization software have changed the game. With new plug-ins that allow for correcting shake in post without much loss in quality, a whole realm of possibilities for fast-and-light shooting has opened up.

The timing seemed perfect for my little experiment.

The Plan

Besides shooting handheld, I also wanted to shoot with a small crew: two assistants and myself.  No focus pullers, grips, or lighting specialists that would be on a typical video shoot. I wanted the production level to match a typical still action or lifestyle shoot.

Power and storage are definitely an issue with shooting with the EPIC and we had to develop systems for both. We would be using RED’s small batteries to keep the camera light. Each battery last 20 minutes and takes 2 hours to recharge. We packed 8 batteries each day, and worked out ways to recharge on the go. We also packed hundreds of GBs of memory cards, and made sure we had the resources to upload and back up files each night.

Since we were shooting in the mountains, we had to consider how to keep the camera intact. I had no intentions of calling up my insurance company to tell them I’d just toasted a camera worth more than my car that didn’t even belong to me. While not weather sealed like my Nikons, the EPIC is built tougher than most video cameras. We got away with using a light rain cover when it was snowing heavily. Admittedly, the camera got a pretty wet a few times, but it kept working without missing a beat.

The Shoot

After testing the system for a couple of days and figuring out the best settings to attain smooth video and sharp stills, we started shooting on Whistler Mountain. I had originally budgeted for five days of shooting, but the weather didn’t agree. As seemingly endless cycle of snowstorms pounded the region that week quickly shrunk to one and a half days.

The advantage of being a fast and light crew was that we were able to adapt quickly and take advantage of the weather window without losing a lot of time or money. In the end, we easily came out with enough footage for what we needed. Working with incredible talent didn’t hurt. Matt Elliott and Austin Ross are great skiers who knew the mountain and were able to nail most shots in one take.

With the footage in the bag, we would now find out how things looked.

The Results

The video files were amazing; a no-brainer. This is what the EPIC does best, and it didn’t disappoint. Stunning resolution, accurate color, and smooth slow motion. Watching the clips at full resolution is actually a bit mesmerizing.

When it came to pulling stills, things weren’t quite as perfect.

First the good. What I thought would be the most daunting task – editing through 120 frames per second– turned out to be relatively painless. Scrubbing through the footage using RED’s REDCINE X Pro software is pretty snappy on a decent Mac, and honing in on the right frame is actually easier than scrolling through a pile of still images in Lightroom or Aperture.

Adjusting saturation, color, and exposure was also pretty easy, and can be done at the raw stage, which is key because video files by nature are pretty flat. We still had to do a quite a bit of color-correction and retouching in Photoshop to bring the stills up to speed. A lot more than we normally would on still files from a DSLR.

What I hadn’t anticipated going into this was the advantages this style of shooting would offer in terms of capturing natural expressions and key moments. Obviously, when you’re shooting 120 frames-per-second, it’s almost impossible to miss a moment. But there’s more to it. Shooting video is comparably silent and, without the constant clicking of the shutter reminding them that their every movement was being recorded, the athletes were able to forget I was there. This is huge when you’re striving for authentic, candid images, a hallmark of my work.

The Challenges

Like I said, it wasn’t all rosy. The EPIC’s sensor, while amazing for video, just isn’t on par with top end DSLRs and certainly not even close to medium format digital cameras when it comes to still images.

The bigger challenge – especially when shooting fast moving lifestyle or sports action – is achieving fast shutter speeds. The great majority of the frames we shot were soft due to either camera movement, or subject motion blur. This is the single biggest issue with pulling stills from video. The fact is that video looks best when shot with a shutter angle of 180 degrees, or double the frame rate. Shooting at 120 frames per second, means you’re really limited to about 1/250 of a second– not nearly fast enough to achieve 100 percent sharpness on every frame. In theory, you can crank up the shutter speed on the EPIC to freeze motion, but the video will suffer as a result. Moreover, motion blur is actually what  makes video look smooth and pleasing to watch.

You could crank up the frame rate on the EPIC to 300 fps, which we considered, but to do so, you have to sacrifice even more resolution. Ultimately, until RED or someone else creates a handheld camera that can shoot full resolution on a 35mm-size sensor at 300 frames-per-second, this will be a major limitation to taking the leap.

Were there other issues? Yes, but they are mostly easily overcome. The massive amounts of power and storage, for example, were manageable in this situation, but would become a major obstacle on a more remote shoot. Achieve critical focus is also another major challenge. The EPIC’s autofocus doesn’t hold a candle to modern DLSRs. Manual focus gets easier with practice.

In the end, the dream of simultaneously grabbing stills and video for what I shoot is not quite there. It’s certainly close, and I’m convinced that it won’t be long until the dream is a reality.

In the meantime, this shoot was not a total failure. I created a few great stills that I really like. And on the video front, shooting with the EPIC was an eye opener that will change how I shoot for clients. Using a small crew, we were able to produce cinematic-quality motion in a challenging location on a very small budget. This creates whole new possibilities for my lifestyle and sports clients.

Here are some final stills from the test:

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journalism is not being disrupted by better journalism but by things that are hardly recognizable as journalism at all. Stepping up your game is always a good idea, but it won’t save you.

via stdout.be | Fungible.

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W

Creative Director: Alex Gonzales
Design Director: Anton Ioukhnovets
Art Director: Anna C. Davidson-Evans
Photography Director: Caroline Wolff
Photo Editor: Jacqeline Bates

Photographer: Emma Summerton

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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For a quick Monday laugh here’s a political fundraising email that went out last month for Al Franken:

via, Mother Jones

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We never discovered how to avoid the necessity of designing both landscape and portrait versions of the magazine for the app. We wasted $124,000 on outsourced software development. We fought amongst ourselves, and people left the company. There was untold expense of spirit. I hated every moment of our experiment with apps, because it tried to impose something closed, old, and printlike on something open, new, and digital.

via Why Publishers Don’t Like Apps – Technology Review.

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Food&Wine

Creative Director: Stephen Scoble
Director of Photography: Fredrika Stjarne
Art Director: Courtney Waddell Eckersley
Deputy Photo Editor: Anthony LaSala

Photographer: Lisa Linder

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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by Jonathan Blaustein

I re-watched “Taxi Driver” the other day. My god, was New York a hell-hole back in the 70′s. Seriously. It’s no surprise Travis Bickle went bonkers. (But that happy ending…I smell studio meddling. Marty must have known he had the chops to go mainstream.)

Have you seen it? Or what about “My Dinner with Andre?” Some great mise-en-scene there as well. Brings you right back to that time. I was safely ensconced in a nearby suburb, so that crazy, graffiti-covered era offers me a touch of nostalgia, instead of a belly full of fear. Watching those films recharges my memories, which is one of the great benefits of Art. (A nod to Bruce Davidson’s 2011 “Subway” show at Aperture seems appropriate here as well.)

I mentioned the other day, in a short article, that Art is like time travel. I meant it in the sense that as artists, we embed ourselves in our work, and if the work survives, so do we. But a much more obvious example is the way a photograph locks light in time. We all do it every day, and most often take it for granted. Stopping time, and letting a fraction of a second age at a different rate. Now with digital files, one wonders whether a reproduction will age at all?

This aspect of manipulating time, I think it’s what ultimately hooks us as photographers. Wander back to the first time you saw a contact sheet of your first set of negatives. Magic, right? Not just that it actually worked, (which is now a lost sensation for many in a digital world,) but that it brought you back to a place where you had been. And a time that, in all other ways, no longer existed. Addictive.

That’s why Instagram and its ilk are taking over the world. It’s a compulsion over which people have little control. Because a camera can bank our memories much better than our brains can. Or more accurately, at least. Iphone photos are to photography what McDonalds is to hamburgers. Hopped up, cheap and tasty. Not that I’m complaining. Unlike some bloggers, I couldn’t care less.

I’m far more interested in the underlying desires. How we save our memories. How we crave to be remembered. How we desperately want to leave a mark. How we care so much what our relatives and friends think of us, even in a reproduction.

Speaking of family memories, I ran across a fantastic new book at photo-eye the other week. It’s called “American Portraits 1979-89″, by Leon Borensztein, recently published by Nazraeli Press. Oddly enough, the artist’s name doesn’t appear on the cover or the spine. I’d never heard of him before, and perhaps that’s part of the point. From the beginning, this book is about the pictures, far more than the picture maker.

In fact, you have to dive into the essay at the back, by Sandra Philips of SFMOMA, just to get a bit of the history of the project. Todd Hido got the book up and running, so implies the editor’s credit, and the artist was tight with Larry Sultan as well, so implies the benediction. But as to what the hell is going on in the pictures? You’ve got to figure it out for yourself, or read.

So I’ll make it easy on you. Mr. Borensztein, Polish by birth, somehow ended up a traveling portrait photographer in California, and the West. (Back in the aforementioned time period, naturally.) He went around to people’s homes, and at one point to conventions as well, and made memories for paying customers. Apparently, he shot a lot, and must have made a conventional image or two at some point, just to keep his job. But everything we see in the book is fresh and wild and crazy. Probably not the prints that the clients ordered.

The plates are all in black and white, and the backdrops are visible in many of the images. People are not smiling, and sometimes don’t engage the camera. These are, to a person, anonymous, average Americans, long before such Americans thought it necessary to live in a McMansion on credit. (And we saw how well that worked out.)

Some are noble, some are funny, many are surreal, and a few downright disturbing. (How did he get the guy with the Nazi tat to pose with his shirt off? And the dude who looks like the Kramer impostor from Seinfeld, dressed in Native American garb? Priceless.)

This will not be one of the reviews in which I give away all the best secrets. Though I will make a few extra snaps below, just so you can get the vibe, Man. Arbus, Bill Owens, Disfarmer, that’s the mood of the pictures. They’re powerful, and somehow manage to respect the subjects, while also slightly mocking at the same time. It’s a tough balance, and I expect that some of you might find too much of the latter. I though it was just right.

Bottom line: A time capsule, for good and bad

To purchase “American Portraits 1979-89″ visit Photo-Eye

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

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“Truth be told—I like seeing photographs that I don’t like. It makes me question why I don’t like them, which in turn makes me question why I like the pictures I do like!

Comment by Simon Robinson on The Online Photographer.

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The Big Black Book  ( Esquire )

Design Director: David Curcurito
Director of Photography: Michael Norseng
Art Director: Michael Pangilinan
Photo Editor: Alison Unterreiner
Designer: Tito Jones

Photographer: Barnaby Roper

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.

When I was researching great still images in advertising, I ran across the SJ “Smarter way to Travel” outdoor campaign.  While I assumed and later confirmed SJ is a Swedish airline, the campaign hits home in any language.  We can all relate and I think that is the success of this campaign.  I reached out to Susanne Bransch, the agent of record for Petrus Olsson, the photographer for this campaign.





Suzanne:  When I was researching Petrus, I see he has been featured in Ads of the World over a dozen times.  Has this been helpful in getting his work seen around the World?

Susanne Bransch: Petrus recently returned to Bransch’s representation after parting ways with his Swedish agency Adamsky.  Bransch has more connections with advertising agencies and art buyers around the world with our offices in Europe and New York that have an established connection to advertising markets in Paris, as well as Europe as a whole, and North America.

We hope that advertising showcase websites like “Ads of the World” will expose Petrus Olsson’s work to international art buyers looking to work with a photographer who has been involved in awardwinning advertising campaigns like SJ Rail.  That particular campaign won the Gold in the 2011 Epica Awards in the category of Transport and Tourism (http://results.epica-awards.com/07-01882-POS.html)

Suzanne: The concepts are universal for travelers, how much input did Petrus have in the execution of these scenarios?

Susanne Bransch: Petrus knows that the key to being a good photographer is being able to work with agency creatives, giving his input about the choice of car, casting and styling, as well as collaborating with them, like a creative director. When the agency sketches showed people doing anything else but actually driving the car, he proposed the idea of the kissing couple, which ended up being one of the final ads.

Suzanne: Having worked in automotive and watches, windshields can be a beast, what did Petrus do to get the perspective from the windshield but still be realistic as an actual vehicle?

Susanne Bransch: The solution was to remove the windshield all together!  Petrus shot the car (sans windshield) and people in studio with lighting setup to look like it would from outside.  He took the surrounding background shots from a car driving around on a separate occasion.

Suzanne:  Did he have a blast with casting and propping?  Both make the concepts.

Susanne Bransch: For someone as creative as Petrus, he loves to get involved in the details, and putting his energy into the storytelling.  He’s known for images with a special focus on intricate scenarios and interesting situations and SJ Rail is a wonderful example of how the photographer’s input on casting and propping can enhance a campaign.

Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.

Petrus Olsson lives in Stockholm, Sweden. Since 1998 he has been working as a freelance photographer for international customers that include metro, Pfizer, DKV, Reebok and Renault, and for advertising agencies like Scholz & Fiends, ANR. BBDO, Lowebrindfors, Ogilvy & Mather and Mccann-Eriksson. Petrus Olsson has a special instinct for photographic scenarios that present people in complex situations. an illustration of this is to be seen in the puma campaign for which he provided the photographs. a certain overdrawing of the figures, an exaggeration of expression and gesture, is another of Olsson’s unmistakable trademarks.

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.

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There is a universal truth about creatives: At some point in his or her career, he or she will have an ego that far outweighs the depth of their experience and the quality of their work. It may last for decades or it could shrink the minute that person walks out of art school.

via CLREPS.

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GQ

Creative Director: Jim Moore
Design Director: Fred Woodward
Director of Photography: Dora Somosi
Senior Photo Editor: Krista Prestek
Art Director: Chelsea Cardinal

Photographer: Chris McPherson

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American Photography is still the most prestigious annual award for photographers, so it’s nice to see an improved website to show off this years winners.

Check it out: http://www.ai-ap.com/slideshow/

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I would put the value back on to certain creative. It’s not about money, but it is about value. You can have it good, fast or cheap, but you can only have two. And people are leaving ‘good’ out of it and want it fast and cheap. I would like everyone to slow it down just a little bit to bring back the quality a bit. To have the appreciation for things that are of quality. Just want job done well and with passion. Nothing is free, the fact that seems to be lost lately.

–Cindy Hicks of The Martin Agency

Read more: Heather Elder Represents Blog.

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New York Magazine

Design Director: Thomas Alberty
Photography Director: Jody Quon
Art Director: Randy Minor
Senior Photo Editor: Lea Golis

Photographer: Andreas Laszlo Konrath

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On the heels of our interview with Howard Bernstein about photographers landing agents I have a question from a reader about contracts with agents. I asked APE contributor Suzanne Sease since she’s seen it all to weigh in on what percentage is reasonable and what to look for when signing a contract with an agent. Here’s her answer:

So many times folks think just because they have an agent, the phone is going to ring and the bank account is going to be full. STOP! Make sure you do your research before you sign any contract. A contract is a legal binding agreement that costs some photographers 6 figures to get out of. Before you sign, you must have it reviewed by a lawyer who understands this business.

The standard is 25-30% of the fees, but you need to be really careful with house accounts – you have to decide if you are going to be in charge of your house accounts with no compensation or a reduced compensation. You have to make a detailed list of who are on those accounts from the beginning since you usually can’t add someone in later. You have to discuss up front the expenses for travel, portfolio showings and marketing.

I believe it is crucial that you handle all financial expenses through your business and not the agents. When you receive payment, then you send your agent their cut. All estimates should be sent to you and the client on the same e-mail so you know what they received. That way there’s never a problem with missing fees, underreported income or timely payment.

Severance should have a limit of time for the payment of the accounts they either have established a solid relationship with or brought in as an account. I have seen clients who can’t switch agents because the severance is too lengthy and would cost them too much money. There are a lot of great agents but at the same time, there are some really bad ones. If your agent has a good reputation, they will be great for your business but if they don’t then they can kill your career. It is important for you to talk to photographers in their roster and ones who have left. If you can reach out to a consultant, art buyer or art director.

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What is the key to producing constant, memorable work over a number of years?

A healthy fear of failure. You’ve got to get behind the mule every morning and plow.

via – Grids – SPD.ORG.

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Organic Gardening

Art Director: Gavin Robinson
Photo Editor: Jackie L. Ney  

Photographer: Ellen Hoverkamp

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The publishing world has been continuously startled by the announcements of Amazon’s new print publishing imprints, and this has been going on for a good year.  It’s quite funny that Amazon was able to sneak up on everyone, since this has been part of a chain of events dating back to at least 2005 and probably earlier than that.

via Startup Grind.

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Editors Note: I reached out to APE correspondant Jonathan Blaustein after seeing an old VICE article titled “I’m Sick Of Pretending: I Don’t ‘Get’ Art” making the rounds on social media. Here’s his reaction:

Rob asked me to respond to Glen Coco’s article, making the rounds 05.02 in VICE, trashing last year’s Tracey Emin retrospective at the Hayward Gallery in London. I’m sure it’s because he knows I’m not afraid to speak my mind, but it could also be that I just raved about the current slate of exhibitions presented there. It’s certainly a juicy bit of text, and has gotten a lot of people talking about Art, which is hard to do.

Mr. Coco, beyond pointedly hating the show, basically suggested that perhaps he doesn’t get Art. His credentials and opinion imply otherwise, but let’s take him at face value. What he doesn’t get about Art is not why people make it, or why they like to look at it, but rather why nobody ever has the stones to call bullshit. (Other than him, I imagine.)

I’m very, very fortunate that I’ve been able to see so many brilliant paintings, sculptures and photographs over the years. My travels have taken me to many of the World’s best museums, and I lived in major cities on both American coasts. If I haven’t said this enough, forgive me, but there are few experiences more joyous and educational than standing in front of a piece of brilliant Art. Particularly, but not necessarily, when the maker is already dead.

Art is like time travel, which is why people continue to make it, and have since we were standing upright. I figured this out while living in New York, and visiting the Metropolitan Museum on a regular basis. Take Rembrandt, for instance. Four hundred years or so ago, he made some paintings. True. But he also imbued those objects with his psychic energy. It’s in there still. When you feel your guts get all churny while standing in front of one of his self-portraits, you’re responding to the man himself. Like I said, time travel.

What, you might reasonably ask, does that have to do with Mr. Coco’s article? Well, everything. What he’s criticizing is Art the commodity. The word is out, in 2012, that the high art world exists to please the very, very rich. They’re the ones that buy super-expensive contemporary art, naturally, and they don’t like to lose money. Ever.

Brilliantly, they’ve figured out a way how to avoid it: never let the price of a work of Art, once it’s famous, go down. Ever. If that sounds a bit like a Ponzi scheme, perhaps it is. If no one ever admits that art is crap, or that a famous artist has long since lost the touch, then prices can’t and don’t fall. The same group of people trade objects, each helping prop up the market for his or her buddies. If that sounds a bit like an unregulated commodities market, that’s because it is.

And what is the result? Perhaps a world in which most people feel mystified, condescended to, and generally offended by much of what is considered “hot” or “special.” The idealistic notion that the best of what we make is meant to be preserved, left to future generations to sort out what life was like back then, (Now), is left to angry bloggers and Jed Perl to bitch about. Because normal people don’t care one bit. They’re too busy playing video games, or watching football, or buying lottery tickets.

I believe we need more Art, not less. More people out there making cool shit, pushing their brains sideways, and hopefully eliciting interesting questions from the people who look at it. More public support for the Arts will lead to more monkeys typing away, which of course will lead to a more intelligent society. Make it so.

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Esquire

Creative Director: David Curcurito
Director of Photography: Michael Norseng
Photo Editor: Alison Unterreiner
Art Director: Stravinski Pierre

Photographer: Nigel Parry

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by Jonathan Blaustein

When I was a teen-ager, my family used to go to the Taos Pueblo each Christmas Eve. Some years, it was below zero, but so what. We braved the cold and wind, and marched along with countless other Taos gringos, to see the yearly celebration. Seriously dramatic, I assure you.

How so? The Pueblo is set at the base of Taos Mountain, and the event takes place just as the sun goes down, bathing the peak in deep shades of purple. As the sky darkens, they light bonfires, built as towers, that can reach 30 feet into the sky. The smoke begins to cloud your vision, which adds to the surreality.

Suddenly, you hear the chants of the Pueblo residents, who emerge, without notice, walking slowly in a chain. At the center sits an effigy of the Virgin Mary, stock still on one of those shoulder carriers that they must have used in Ancient Egypt. The chanting, the fires and the smoke are punctuated by rifle shots. Bang. Bang. Cracking across the evening sky. As a youngster, I’d always wonder what would happen if a bullet descended back into the crowd, but I’m sure it’s never happened.

Like I said, it’s dramatic. I went each year for a decade or so, then stopped cold. Suddenly, it seemed too cliché. Too Post-Colonial. Hey, look at the strange red people. Watch them dance. Like poking a monkey with a stick. Or so I thought.

Now, I’m beginning to wonder. On the heels of last week’s review of the Viviane Sassen book, I got to talking with my friend Melanie at photo-eye. I told her that my first impression was something like, “Are you kidding me?” Really, how many photographers need to point their camera at the poor brown people. We get it. Enough.

The essay eventually won me over, and of course the pictures are edgy and well done. But Melanie didn’t have the same disdain for the process, nor do many, so I began to wonder. Am I the only one with this bias? And furthermore, is the bias valid?

I ask, because, in Taos, you’re not from here unless you were born here. A lot of places are like that. So is Post-Modern theory, ironically. It was branded in any good student’s subconscious that what you have to say is inherently limited by your gender, race, class, and sexual orientation. Rebutting the vision of many a wandering shutterbug, it imposed upon a generation of artists the notion that you ought to stick to what you know. (For example, if I ever met Chuck D, I probably wouldn’t smack his palm and exclaim, “Power to the people, my brother.” You dig?)

So now I’ve begun to wonder if it isn’t time to challenge that notion entirely. Maybe artists ought not to be limited to their continent, or class, or sexual orientation? Maybe photographers keep going to the Third World because of an insatiable human curiosity to learn about different things, and tell unfamiliar stories? Maybe there’s nothing wrong with that, as long as the pictures are distinctive, and, in some way, new?

And what of Africa? Maybe the fascination stems from the fact that it’s the homeland to all humans? And its wild creatures dominate our dreams and deep fears, despite the probable urbanity of our surroundings. (Yes, I did get scared by a tiger at the Denver zoo. The bullet-proof glass did little to quell the shivers creeping up my neck. Big, scary monster. Run, dammit, run.)

With that in mind, I thought it might be healthy to head back to Africa again this week. Now, Pieter Hugo was born in South Africa, so of course my argument is already weakened. He’s from there, so his opinion matters more, according to my original line of thinking. But let’s just judge the book and photos, and then see what we think. OK?

His new book, “This Must Be the Place,” also published by Prestel, is one of the best I’ve seen since I started this column. Given that I made you read all the above, I thought I’d cut to the chase. It’s amazing. If you like his work at all, this is one to buy. Why?

To begin with, unlike last week’s book, this volume needs no introduction. No backstory necessary. (If you’re looking for some on the “Parasomnia” book, photo-eye posted a more in-depth review.) In Hugo’s book, each set of pictures is titled by image, project, place and date. It’s not hard to piece things together, especially as all the images come in groups. It gives a nice bit of context, and allows the photographs to suck you in. (FYI, I continue to assert that if an artist does not include certain information, then they don’t care that we know it.)

The first set of portraits, from South Africa, establish straight away that Mr. Hugo, like the folks at the Taos Pueblo, has a flair for the dramatic. (Not news to anyone who saw that photo of a big Naked African guy wearing a Darth Vader mask.) They are shot close up against a neutral background, not unlike Thomas Ruff, but these reek of emotion. Intense stares, albino Africans, and a blind guy with silver eyes.

Then, a set of portraits of judges from Botswana, all decked out in the garb of the British realm. Next, we’re on to portraits of dead people, wrapped in burial shrouds. Also from South Africa. No, Mr. Hugo is not shying away from the legacy that brought lots of gun-toting white people to Africa’s shores.

On to boy scouts, shirtless taxi washers, and wild honey collectors from Ghana. All well-made, but they’re just place holders for what comes next. A chilling look at the “Vestiges of Genocide” from Rwanda. Lime-covered shrieking skeletons, and bones rotting in the dust. Brilliant.

The next photo, after that run, is of a pile of rotting tomatoes on the ground, from 2006. If you read last week, you know that I wondered what Ms. Sassen was on about with her version of rotting tomatoes on the ground. Now we know. It was a shout out. Pretty cool.

The book continues on longer than I can. So let’s condense. The “Nollywood” work, which drew so much praise and criticism a couple of years ago, shines in the context of this book. (And no, Vader is not included.) The guys hanging out with Baboons and Hyenas are fascinating. (From “The Hyena & Other Men”) For all the reasons I listed above. Primal fear and our insatiable thirst for visions of the “Other.” It doesn’t get more “Other” than people who pal around with Hyenas and Baboons, IMHO.

In the end, Mr. Hugo has the guts to expose his own world, along with the others. His relatives: naked and pregnant, topless after a breast reduction operation, and his little daughter, standing in the middle of the road, pushing a pink stroller, vulnerable to any car or bus that screams around the bend just behind her. (The last picture, of course.)

This book made me rethink my own experiences. It made me question bed-rock assumptions. It even made me re-write history a bit. (I saw a show of his last Fall at Yossi Milo, and thought the work boring. Perhaps I was impatient.) Unlike many of you, I was unaware that Mr. Hugo is a genuinely important artist, walking among us. There’s a lot we can learn from a great book. This is one of them.

Bottom Line: Fantastic. A keeper.

To purchase “This Must Be the Place” visit Photo-Eye

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

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Pinterest puts all legal risk squarely in the lap of its users, while reaping the rewards of their free labor, the free content they upload and their growing appeal to potential advertisers

via PDN Online.

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Dwell

Creative Director: Alejandro Chavetta
Photo Director: Anna Goldwater Alexander
Assistant Photo Editor: Julia Sabot
Designer: Cortney Cassidy

Photographer: Linny Morris

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.

I was on the B&A Blog when I saw the ad you did for Mercedes C63 AMG Black Series and was drawn to the drama of the image.  I worked on the Mercedes-Benz campaign in the 1990′s for many years so this campaign is especially of interest.  I reached out to Carol Alda, whom I have known for years to ask her some questions about the campaign.  She kindly had Emir Haveric answer them while he was traveling and shooting another campaign. I truly appreciate him taking the time to answer the questions so in depth. Thank you Carol and Emir!



Suzanne:  I see on your bio that you thought you wanted to get in to fashion photography and I see that influence in your automotive work.  I think this campaign needed that fashionable flare to set it a part from other car ads.  Do you think that is why you were chosen for this campaign?

Emir:  This was one of those dream jobs when the Art Director comes to you and says what do YOU want to shoot.  The agency presented me with a rough idea and a working title for the project and then enlisted me to build on the concept and make it bigger and better.  We had the luxury of shooting a car that was so popular it was almost sold out before we started the campaign.  This meant there was not the usual pressure from the client to define this campaign as being successful only if it directly resulted in the sale of more cars.  Back to your question, I think that I was ultimately chosen for this job based on the ideas that I suggested to the art director during our initial creative discussion while bidding on the job.  Originally, the campaign had a black and white feel, and I suggested adding in the pops of color in the locations to compliment the car.  I did reference iconic fashion shoots that integrated the model, clothes, location and color mood to tell a story.

Suzanne:  The black crows make the campaign more powerful and more layered.  I do not see them in the other images in this campaign.  Was that your addition to the concept?  And did you shoot the crows or created them in CGI?

Emir:  We tried to get that layered feeling in each shot by using different elements:  fence, fog, rain or crows.  We looked for the maximum drama and did not force every element into each image we were consciously trying to avoid repetition.  And yes, I shot the trained crows – beautiful birds!

Suzanne:  I noticed that you shoot consistently for Mercedes-Benz as well as other automotive accounts. You must be very buttoned up in the production end.  There are many talented photographers but their production or personality on set results in only one assignment.  What is your philosophy on set and with clients?

Emir::  My clients always comment on how professional my production team is, especially my photo assistants.  I think they keep coming back because they know the quality of work that I will deliver; they know exactly what they will be getting from me.  They notice how hard my team is working on their behalf, and they know I am going to push the creative to the limits every time.  When the agency sees you as a partner and someone who tries to be part of the creative solution they are motivated to come back to you.

Suzanne:  I noticed in your portfolio, you have shot some fashion photography so how was you able to convince a client that you could make a model look as sexy as you could an automobile?

Emir:  For the fashion work that you see in my portfolio I was in the lucky situation that the client specifically wanted me to shoot their images.  They came to me because of my lighting style and color work, and wanted me to bring that same feeling to their fashion concepts.

Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.

Emir Haveric is one of today’s top automotive shooters and an expert at shooting and composing with CGI. He has shot on every single continent several times over, including the North Pole. Emir Haveric was born in Sarajevo, Bosnia before moving to Germany at the age of 18.
 
His numerous awards include a Gold at The One Show, Effie Awards, and the Art Directors Club. He was also on the shortlist at Cannes and was a finalist in the 2009 New York Photo Festival.

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.

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Assignment photography is a hot-dog factory where the end results are images rather than sausages. If people saw what went into some of this stuff there’s no way they’d want anything to do with it. The sad reality is that there are all kinds of reasons you’re brought in on projects, some of them more edifying than others. Sometimes you’re exactly the right person for the job, other times you’re just a camera monkey. My favourite is the “wouldn’t-it-be-cool-if” call, where everyone gets all excited about an idea that turns out to be completely impractical.

Read more on planet shapton.

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Oprah

Creative Director: Adam  Glassman
Photo Director: Katherine Schad
Art Director: Jaspal Riyait
Deputy Photo Director: Christina Weber

Photographer: Kevin Cremens

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

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