VII adds a handful of of new photographers (here) who are not members but associated and distributed by the agency calling them “network photographers.” I’d say that’s a pretty awesome association to be in. Three of my favorite PJ’s were added: Ben Lowy, Stephanie Sinclair and Balazs Gardi.
Via, PDN Newswire (here).
I have always been in awe of Nadav Kander. Repped by Bill Stockland at Stockland-Martel, Kander was always a name that crept-up when you wanted to take a subject everyone was familiar with and make an unexpected picture: “If I see another picture of Tom Cruise with tousled hair, white shirt and a megawatt grin I will stab my eyes out with a pica pole, effing hell, someone call Kandar”—if you actually got Nadav past the publicist of an A-List celebrity I would give you gold in the Photo Editor Olympics.
It all started for me with the book entitled, Beauty’s Nothing (read about it here) where his photographic style was so distinct and arresting I figured I had to try and land him for an assignment. After the book he continued to surprise me with his creative directional use of gels (normally I can’t stand gels) and dark, moody, unsettled portraiture and landscapes for which he is now known.
After many attempts to try and land him I finally did to shoot an athlete portfolio in London that combined lots of creativity and plenty of room to run the results in the magazine. When the assignments unexpectedly turned into a cover and time with the subject plus space in the magazine suddenly shrunk I knew I had lost my opportunity and needed to change to a more conventional photographer. The last thing I wanted was a shoot with Nadav loaded with art direction intended to strip away his distinct style (“can you make it bright and tack sharp focus?”) and no pages to run any photos.
So, I walked away.
I don’t want to hire a great photographer and then hack the shit out of their work in the magazine… at least not on the first encounter.
Second one to be fired in 14 months for refusing to implement budget cuts and the third since 2005.
Via, Washington Post (here).
A little late (stock market imploded already) but I guess they see something on the horizon they don’t like.
Via, NY Times (here). Thanks James.
After attempting to spark newsstand sales with a noose on the cover (here) in reference to a Golf channel anchor comment about lynching Tiger Woods.
Editors do all kinds of shit to sell magazines on the newsstand but I can’t imagine what this guy was thinking.
Rick Schwartz just sold CNN the domain iReport.com for $750,000. Schwartz bought the domain in 1997 for “$70 to $100,” he told Silicon Alley Insider. CNN likely bought the domain for its I-Report program. You know, the one where You The Viewer get to do all the work.
Via, ValleyWag (here).
Oh boy, a debate over copyright and fair use in the NY Times bits blog (here) between Rick Cotton, the general counsel at NBC and Tim Wu, a professor at Columbia Law School.
RC: Fair use in the digital age is the same as fair use in the non-digital age. The fact that digital tools make it easier to use other people’s work doesn’t affect the analysis of whether that use is fair. Generally speaking, if you are making fun of, criticizing or commenting on a work (and not just reproducing or copying it), courts have found that you can use the work only to the degree necessary to make your point about that work.
[…] fair use is not a “right,” a misconception and misstatement frequently made these days. Rather it is an exception to the copyright owners’ exclusive rights to determine how their expression is used in new works.
TW: …it is time to recognize a simpler principle for fair use: work that adds to the value of the original, as opposed to substituting for the original, is fair use.
[…] We must never forget that copyright is about authorship; and secondary authors, while never as famous as the original authors, deserve some respect.
Here’s what I think, all these people, who wish for copyright reform, so they can practice their “art” will be begging for forgiveness when all the corporations get tired of trying to protect the works they paid to create and instead decide to step into the online world and stomp the living shit out of everyone by employing thousands of salaried creative people to repurpose every uncopyrighted piece of material into some entirely forgettable eyeball splitting video.
It’s beyond my comprehension why people wouldn’t want original material they created protected under copyright law. Maybe readers can show me a reuse of someone’s work that adds value to this planet?
So, I’m curious how photography consultation works. I’m always giving my opinion and advice to photographers and I’d like to hear how a professional consultant handles similar situations. I’ll bet some of you would like to hear that too.
I asked Leslie Burns-Dell’Acqua who runs a business called “Burns Auto Part” which is actually photo consultation not car repair (whatever, is there a difference?) to join me in a live consultation with a photographer. It’s not actually going to be “live” because that would be like watching one of those photo shoot videos… only while covered in fire ants. I’m going to reprint an edited version of the IM chat we have with the photographer selected to receive the free consultation. This will take place on the 30th.
If you’re interested leave your website in the comments. If there’s a huge group of people I’ll pick a few candidates and we can all vote to see who gets it and then I can see if other consultants will work with me on the runners-up at a later date.
Comments closed. Thanks to all those who volunteered.
The Library of Congress is uploading it’s photos onto Flickr.
Via, Gallery Hopper (here). Thanks Mark.
A reader asks if it’s better to approach the Associate or Deputy Photo Editors for a book showing or for sending promos because the Director is usually too busy.
I’d say targeting the photo editors under the Director is an excellent plan of action.
I’ve always encouraged all the photo editors in the department to look at as many books as possible to develop their eye for photography so they can experience the process of discovering new talent and then hiring them for a shoot.
In many cases it was easier for me to drop in on a portfolio showing; to look at the book, grab a promo, shake the hand and get out. That’s how I saw a lot of books and photographers I normally wouldn’t have time for with all the stupid meetings I went to everyday.
Eventually, I would get lobbied by the other photo editors to hire photographers they discovered and liked and we always ended up pulling the trigger on a few to see how their discoveries worked out.
And, don’t forget the Creative Director in your promo mailings. Many times they came into my office with the promo of a photographer they were interested in—just don’t leave me out of the loop. I always like to already know who they’re talking about when they bring those in so I look like I know what the hell I’m doing “ah, yes Irving Penn and I go waaay back, I’ll IM him.”
Is that bigger than Vanity Fair? Online it is. See it (here).
This photo story called “Surface Tension” (see it here) by Nick Cobbing submitted on Photo Rank (here) is the kind of thing that absolutely sings off the monitor. It doesn’t hurt that Nick has the perfect interface on his website for viewing a photo story (intuitive, simple and the controls disappear off the screen or hide in the corners). I can look at photos like this all day on my computer. Way to go Nick.
Sexy new ad’s shot by Ellen and created by Fallon will separate Equinox from the rest of the pack in the very competitive January fitness sign-up cycle.
Via New York Times (here).
Afterward, Bruce defended his knee-jerk reaction, saying he had warned the photographers against taking his picture during the prayer and Pledge of Allegiance.
via USA Today Blog (here)
Tom Cruise’s wedding photographer took his damaged hard drive in for recovery only to have the repairman steal the photos and try to extort 1.3 million from Cruise.
Via, New York Times (here).