According to a recent estimate by the C.D.C. an average of eighteen American veterans kill themselves every day. That number accounts for 1/5th of all of suicides in the United States.
Photographer Ashley Gilbertson goes inside the Department of Veteran Affairs in Canandaigua, NY where the Veteran Crisis Hotline is located (here).
I am floored by the dedication Ashley has shown to this subject. Bravo man, bravo.
Chris Anderson thinks the internet is dead, this should prove him wrong:
via, C-Monster.net
Shallow focus and Rack-Focus is lazy. A ham-fisted and overtly slothful technique with little impetus other than to lead your viewer around by the nose, to force them to look exactly where you want them to look, when you want them to look there. As a tool, like all other cinematic tools at the filmmakers disposal, it can and may be very useful. But as a staple and default way to depict moving images it is as articulate as a house brick.
Shallow focus and Rack Focus is the cinema equivalent of spoon-feeding the audience one small digestible and banal visual morsel at a time. Handing to them a deliberately unsophisticated and unchallenging image platter. It is the camera equivalent of writing only in capital letters and short sentences for fear your reader/viewer may not understand precisely and exactly what you want them to understand.
via Mike Jones Digital Basin : Weblog. Thx, Grayson.
The photographer, Mannie Garcia, had sued arguing that he owned the copyright to the picture and should be entitled to any profits made from it. Mr. Garcia’s lawyer told the Associated Press that his client dropped the suit because it had “taken a toll on him personally and professionally.”
via ArtsBeat Blog.
Domino’s pizza recently launched Show Us Your Pizza, a website where consumers can upload photos of Domino’s pizza for a chance to win $500 and “the possibility of getting your photo in an ad.” The pizza chain is in the midst of a heavy image remake and this new campaign is a along the lines of the previous one where they issued a mea culpa for years of selling cardboard tasting pizzas. Now they claim to uncover the secret tricks used to make food look good in fancy photoshoots.
Crispin Porter + Bogusky is the agency behind the makeover that is surprisingly unoriginal and similar to the Dove Campaign For Real Beauty created by Ogilvy & Mather that claimed to reveal the hidden side of beauty shoots.
And, while I believe the rules for the contest and offer of $500 for an advertising photo are particularly heinous, nothing here strikes me as dangerous to the profession of advertising food photography. This is a gimmick plain and simple. Careful editing of the submissions allow only the most delicious looking shots to get in and the whole thing is slickly produced by CP+B to make it look like the consumer is now in control.
Because I tend to look on the bright side of things I chalk this up to the ebb and flow of styles in advertising photography and I see an opportunity for photographers who can shoot highly produced images that look off-the-cuff.
Meier und Mueller is a new photo book publisher founded by Andrés Marroquín Winkelmann and Jörg M. Colberg. They aim to publish high quality books that are a bit different than the norm. This book trailer gives you a good idea where their head is on this. I’m guessing the German electro music is not included like one of those new Hallmark cards.
Seems to be a new trend of people wanting more control over the book publishing process or wanting to publish books that the big publishers have not interest in (see: LBM). Either way it sounds like progress to me.
“Conditions”, Andrés Marroquín Winkelmann from Meier und Müller on Vimeo.
According to Jörg “Pre-sales start the week after Labor Day, the official sales start in early October.” The book is priced at $49 with special editions that include a print for $90 and a box edition with a large print and nice box to store it for $350. The book will be sold online only except for specialty shops like Dashwood.
This method existed long before the computer, the printing press and even a defined measuring unit. No picas or points, no inches or millimeters. It can be used with nothing more than a straight edge, a piece of paper and a pencil.
via Retinart.
Michael Bierut is a graphic designer and partner at Pentagram. He worked on the redesign of The Atlantic.
Here’s a great video where he talks about his creative process that I found on The Design Observer. I thought this quote was particularly poignant:
“I don’t consider myself creative. I don’t have ideas that I want to express that I make up myself. I can’t think of any personal projects that I’ve done. I just don’t work that way. The reason I became a designer is I wanted people to come to me with problems I can solve. I know how to do that, I can be creative then. I feel like I’m a doctor and I can’t just practice medicine on myself, so I need patients who are sick, the sicker the better in fact.”
This kind of thing is usually relegated to the lower realms of photography but it’s nice to see Advertising Agency Latcha and Associates would like to include car photographers by seeing if they will shoot samples on spec. From their “Shoot A Sample” brief:
selected photography samples will be presented to the client. upon approval, you will become a preferred shooter for our collateral work. Bottom line: there is a lot of photography that needs to be captured. and shooting needs to begin soon. since the look is very unique, it is imperative that we have the right talent in place to move forward. We will create a talent pool of those who hit-the-mark to then move forward in bidding projects, and in some cases, direct award. also, and most importantly. this is a HUGE opportunity to shoot a look that’s new and fresh. you get to be part of our team – and assist in collaborating and evolving the style of a major automotive brand!
and
We sincerely hope you join us in this sample project. this is a very exciting time to be creative and redefine an agency/photographer relationship. By participating in this exploratory project, you are agreeing to do so without reimbursement from latcha or lincoln.
Nice try Latcha, you didn’t think we’d notice, did you?
UPDATE:
—– Forwarded Message —-
From: David Latcha <dave@latcha.com>
Sent: Thu, August 19, 2010 1:30:52 PM
Subject: Re: FYI Shoot A Car Sample Brief
Thank you for your insights.1. This information was shared, under confidentiality, to a select group of photographers. When we find out who shared this information with you, that photograper/rep will be banned from ever working with this agency and I’ll make sure that all of the other art buyers in Detroit are aware of their indiscretion.2. We have no idea who you are or if you even are what you claim. No website? That doesn’t seem professional.3. You have no idea what is being asked. That is obvious. Professional car photographers are asked by all reputable agencies to produce samples to help define strategic goals. If the photographer has produced a style and a look that works for the strategic creative, and the agency and client agree, then that photographer is then chosen to shoot and produce all, if not a majority, of all of the photographic needs for the campaign.4. We are not “stealing” shots, these are samples that we are asking for. The brief describes that we are not paying for the exploration, but at the same time, we ARE NOT USING ANY OF THE PHOTOGRAPHY being shot AS SAMPLES for any purpose other than to determine the creativity and artistry that a photographer may bring.5. MIND YOUR OWN BUSINESS.David LatchaOwnerLatcha+Associates248-482-4505
Interesting because spamming photographers with your proposal does not infer any kind of confidentiality what-so-ever. Also, I doubt this claim that “Professional car photographers are asked by all reputable agencies to produce samples” because I’ve spoken with professional car photographers who thought this was a horrible proposal.
More than a dozen of the photo agencies that supply celebrity snapshots from the paparazzi are banding together to withhold their prized product unless it can get additional compensation from People magazine, resulting in the postponement of its iPad app.
via Hollywood Reporter, thx Russell.
Photographer John Eder files this report from the field:
Scion, the car company, sponsors a gallery space here in L.A. They are slavishly trendy in their curating, and there is nothing trendier than Vice Magazine. The magazine is actually very well written and very funny, and I look forward to each issue, for real – for the writing. Their photography aesthetic, though, is squarely in the Terry Richardson/Ryan McGinley camp.
The show was curated by Jonnie Craig, a 20 something UK skateboard guy who has become majorly successful by more or less aping Ryan McGinley. In fact, Ryan McGinley is a champion of his work. So, this whole show was very homogeneous in the look, even tho it was 20 or so photographers, it ALL looked like it could have been shot by Ryan McGinley. It’s kind of like a math equation, where Johnnie Craig=Ryan McGlinley=Wolfgang Tillmans+Terry Richardson minus sex plus skateboards, kittens, cats, horses, tourist attractions, cigars and scabs (from skateboarding – there were two or three gnarly closeups of abscessed wounds, from different photographers), all of whose root number is Wm. Eggleston. More math in this equation is if you take 1000 pictures with your point and shoot of your friends or your cat, eventually you will get a few compelling frames.
It was good for people watching – loads of 19 year old girls tottering around in stripper shoes and the androgynous L.A. man-children who love them. The guys were actually far more the fashion show here, with a weird, femmy hipster vibe in full, uh, flower – lots of eyeliner, formal shoes with knee-socks and culottes or capri pants, old man glasses and silly mustaches, ironic t-shirts, wallet chains and plaid jackets that are two sizes too small.
Despite all this fashion rebellion on the part of the youth, virtually every conversation I blundered into was about branding and marketing. What was really funny was having this conversation in a group where one kid was so lit on acid and his pupils so dilated that I thought they were going to blow right out of his head. He said he was “tripping balls.” And yet, still, we were talking about branding and how genius Scion is at trend monitoring and appealing to the youth.
Anyway, that’s the report from the front lines of culture and photography here in Los Angeles.
the report indicates that the industry could realize $1.3 billion in incremental revenue
via FolioMag.com.
One $20,000 grant is available for 2011. Applications are (here)
Going to the PDN Photoplus Expo? You may want to come see Amanda, Suzanne and I put the toughest questions you can muster to an all-star panel that includes an AB, PE, Rep, Photog and AD. The Seminar is Thursday, Oct 28, 2010 – 3:45 PM to 5:45 PM.
If you’ve got a tough question, e-promo example, mailer example, website example or portfolio conundrum it would be awesome if you submitted it to Amanda (amanda(at)sosastone.com) or Suzanne (suzanne.sease(at)verizon.net) before that date, so we can bring it up with the panel. I would be extra stoked if someone made a video question we could present. Actually that might be a good way to show us your promo materials or portfolio.
Not going to the expo? No problem. I’m going to setup some type of live streaming/transcript/audio that will allow you to see/read/hear the questions and answers. Also, you will be able to participate in the discussion on twitter.
Amazing what people will think of:
via Big Orange Slide.
Gutenberg “died bankrupt and disappointed.”
… it took decades before some people figured out how to make money from this remarkable invention.
Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease have agreed to take anonymous questions from photographers and not only give their expert advice but put it out to a wide range of photographers, reps and art buyers to gather a variety of opinions. The goal with this column is to solicit honest questions and answers through anonymity.
QUESTION:
What’s the standard protocol for dropping a rep? I feel like I’m about to tell my spouse that I’m filing for divorce. I’m almost terrified to do it in person, and I’m not shy. I have been getting an increasingly unpleasant vibe from my agent and I’m just not comfortable with the way he represents me. I want the face of my “brand” to photo editors and art buyers to be someone I am proud of, not someone I’m embarrassed about. I am mostly paranoid that this agent will talk shit on me to his network for dropping him. I know I’m supposedly “their boss” but I also don’t want to burn any bridges either. I’d love to hear from other people on how they went about the rep switch, and about having to pay commissions to the old rep for a certain number of months (is this normal?) after they parted ways. Hearing it from the agents’ perspective would be great too…
Amanda and Suzanne:
We have consulted with photographers and reps around the world and helped them with this very dilemma. Many photographers are looking for agents, here is some insight in the world of having an agent.
ANSWERS:
PHOTOGRAPHER’s AGENT:
I do not think the photographer is a reps “boss.” They should be working together as a team. I do not think you should get rid of a rep or a rep should not get rid of a photographer without first trying to address and work out the problem.
PHOTOGRAPHER’s AGENT:
In my opinion, the more honest and straightforward you are in any relationship, the better. I’ve always maintained that if a relationship is not working for one of the parties, then the relationship is not working! I would question the statement of this photographer, “I’m supposedly their boss.” In 22 years, I’ve never had a relationship where the photographers considered themselves my “boss.” We are partners, and the most successful photographer / rep relationships are the ones in which there is collaboration and mutual respect.
PHOTOGRAPHER’s AGENT:
Ahhhh…the old “to have” or “have not” an exit strategy established before ending a rep/photog relationship.
Sounds like there isn’t one in place here (that has been discussed or possibly in writing). Point that should be
noted for “next time.”
In my experience with three agencies the standard protocol has varied, but typically the artist/rep first has a
“come to Jesus” conversation to discuss “unpleasant vibe” or like topics that either will clear the air with
some ways for improvement i.e see how it goes over the next few months etc. or it’s decided that the relationship
has run it’s course.
If it’s the latter, then an exit strategy should be discussed, put in writing & signed by each of the respective parties.
This can/should vary depending on how contentious or cordial the potential split is.
This allows for clear communication with neither party getting a strong (bullying) upper hand. It’s business.
Points to be included in the exit agreement could include:
o what date the relationship will formally end.
o when & how portfolios/promo-materials etc. are retrieved by the agent & returned to the artist.
o how long the artist will remain on the website.
o outstanding monies owed i.e. artist to rep for expenses are discussed for payment.
o outstanding jobs or existing negotiations are discussed, completed & billed.
o period that after the relationship formally ends that the agent can collect commission on jobs.
(Typically this is included in all boiler plate contracts) but I have seen it range from 3 months – 1 year.
o List (or not) of clients that these monies can be collected from – including reuse scenarios (which is key).
A separate piece of the exiting strategy should involve a written & signed cease & desist about speaking
professionally i.e. not badly about either party (with ramifications) – again, depending upon the tone of the split.
With the growing use & trends of social media, this should also include emails, FB, LinkedIn, twitter, tumblr etc.
While there is always some fall out, I still believe that cream rises to the top but it pays to keep quiet and professional.
Very common practice in corporate America.
Another thought:
Writing an email (artist/rep) that gets circulated by the rep to the artist group, key clients, trade sources etc. briefly explaining
that x&y will no longer be working together. Wish each other well etc. It’s a good PR/political measure that again keeps both parties
accountable & professional.
ESTABLISHED PHOTOGRAPHER:
Dropping an agent should be done respectfully and honestly. The photographer owes the agent time to develop a relationship with potential clients and the body of work. If the agent cannot sell the vision of the photographer it may be a mismatch worth exploring new agents who do have a shared vision of how to market and how to sell that vision. A review of progress or lack of should be discussed and openly analyzed. If it is beneficial to split, I think this should be done gracefully and respectfully. There is no reason to berate or condemn a person when ending the relationship; simply on a personal level it is not helpful or necessary. I would review the contract, agree on terms for termination and gracefully move on. If you can say it don’t write it.
ESTABLISHED PHOTOGRAPHER:
I got some advice from a lawyer friend at the time I started working with my ex agent, “It’s easier to get into a business relationship than it is to get out of one.” Certainly true in my case….
From the description, I have to say though it appears some of the anxiety this person is facing is self-inflicted.
Mistake 1: Working with someone who you’re embarrassed about and feel you can’t trust.
Mistake 2: Working with someone on an extended basis without a contract and / or clear compensation and severance terms.
Mistake 3: Thinking you’re “the boss” of your agent. I think most good reps would view it as they work with you, not for you…. more of a partner in your business than an employee…
ESTABLISHED PHOTOGRAPHER:
There is no standard protocol. It’s a very difficult situation and yes it’s like a break up.
From my experience, be honest, say it’s time for you to move on, and keep repeating that it’s nothing personal. It’s business. Keep in mind that any rep who talks shit about any photographer will reflect more on the rep than you. Those days are over when you can get away with stuff like that. As far as commissions are concerned, it depends on how well or badly the break up goes. If he takes it like a professional then work something out. If he acts like a child, then break it off cleanly and move on.
Remember, it’s your career and an agent represents you. You are in charge not them.
ESTABLISHED PHOTOGRAPHER:
Ending a relationship with a rep is a lot like breaking up. First let’s deal with the money. It is always advised that you get in writing how the commissions will be handled in the event of a split when you first sign your agreement to work together. Splits do happen and getting it in writing makes the split cleaner.
I once had a rep who used to burst into the studio at the last minute grabbing misc samples and tearsheets on the way to an appointment she had set up for another of her photographers, saying she thought it was a good opportunity to show my work. She also tended to wear very loud color clothing and too much perfume. This was really not my style, as I am very organized, prepare my work beautifully, and tend to be understated.
This person, did not “represent” me or my work well, and I ended it after a short time of working together.
In your case, if everything has been handled professionally from the beginning, and you have legitimate reasons for moving on, and have had decent communication along the way, I don’t think an agent would talk bad about anyone who has split with them. It’s also a bad reflection on them to do so, unless everyone knows you’ve been a jerk.
I wouldn’t worry about it, just move on and set things up better next time.
ESTABLISHED PHOTOGRAPHER:
Its happened to me a few times.
Best way to go about is to not get personal- it is like a divorce, but there is no need for either type of breakup to ever get ugly.
Just say you think you have different goals and it’s not working out. Don’t point fingers, or dig up anything from the past (or worse, drag other people into it) just that you think it’s time to make a change.
As far as compensation, if you don’t have a contract commission on any account you’ve worked with while with the rep seems fair. In my case I had an account that shot once a year, and the next shoot fell well outside our parting but I felt the rep was owed that, in the spirit of the agreement, and paid the commission.
Remember that it’s a small community and word gets around, so chose yours carefully and take the high road whenever possible.
If they “talk shit” that is often taking as coming from someone that is bitter, and will only make them look bad. Don’t worry about it.
It is possible the rep will take on someone that does the same thing you do, so don’t sit back and think those clients will have any loyalty. It’s a good time to send out a promo or make some calls and let people know you are rep-less, this will combat anything the old rep might say about you being out of business, and you might pick up some clients that like your work but hated your rep.
I’m still friends with all of my old reps (and ex wives and girlfriends too) and while the relationship will change they call still be a valuable part of your business. Take the high road, do the right thing, and part as friends.
To Summarize:
Having a rep is like being married. It’s a relationship based on trust and respect, but you both have to be attracted to one another (to the same work we mean). Since one of us was a former rep – we know what’s it’s like to have those break ups. Have a GOOD contract in hand and discuss those WHAT IF’s before getting into your relationship with one another (and make sure everything discussed is in writing). Like a marriage or any relationship – they all end eventually – some on good terms (like retirement) and some not so good (death, divorce, infidelity – and yes there is many times infidelity happens in rep/photographer relationships – again “Project Infidelity” we mean). Our favorite line from this is: “If you can say it don’t write it.” If you can openly communicate – you should have a good relationship.
Call To Action:
If you are looking at getting an agent – write a list of qualities you are looking for in an agent. Then when you find that agent, discuss your needs and wants from them – listen to theirs. Then review contract and make sure those items are itemized and documented. Have both of your exit plans clearly stated. GOOD LUCK!
If you want more insight from Amanda and Suzanne you can contact them directly (here and here) or tune in once a week or so for more of “Ask Anything.”
PART 1
I got this question from a reader recently:
I have entered some of the contests but I always get the feeling that they are fixed to some degree. I have talked to other photographers and they feel the same way.
It always seems to be the same people winning over and over again. Particularly up here in Canada where the market is smaller. I’m guessing that its just the luck of the draw and the more entries you put in the more chances you have because sometimes the photography that does win is crappy. For example photos of celebrities no matter how bad they are always seem to win. I’m guessing that judges also know who the photographers work is considering how high profile some of it is.
I know this sounds kind of bitter and don’t get me wrong because I love to see great photography win and I love seeing stuff that inspires me but sometimes… its frustrating seeing what wins.
Yes, I believe the contests are fixed to some degree. I don’t blame the organizers or the judges necessarily, it really comes down to the herd mentality of the photography business.
First, you have the taste of the judges. Many are hiring from the same pool of photographers and even if they are not there’s the simple math that if two judges kind of like something, then they agree and you have a winner. As opposed to one judge loving something and another hating it. That would be the loser. Add into this the simple economics of the photography business where the people in charge, the owners CEO’s, CFO’s and EIC’s, define successful photography as photography found in successful magazines.
Second, you really can’t look at contests as a source of new talent. They really amount to a nice group back slap for another year in the business doing good work.
Celebrity photography is another matter. Not only is it quite difficult to gain access to celebrities it’s also impossible to get them to participate in an interesting picture. Therefore the bar if much lower for me when it comes to celebrity photography. I know many photographers prefer to focus on the technical aspects of a picture but for me subject matter is 2/3 the battle. Access is a huge deal and hiring people who not only are able to gain access but convince people to do extraordinary things was always high on my agenda.
So, while I don’t believe awesome, incredible photography is hitting the cutting room floor I know some really boring stuff makes the cut because of familiarity and subject matter. That being said, I’ve always looked at the results from contests and found interesting photography that I didn’t know about.
PART 2
I got an email from Geoff Smith about a contest called the Canteen Awards that he recently participated in and thought I might like. After reading this statement on the website my interest was piqued:
Naked Judging Exposed: In too many photo contests it feels like the fix is in: the outsiders’ entry fees pay for the insiders’ prizes. Canteen is confronting this feeling head on. We exhibit the winning images alongside the comments of our judges, Brooklyn Museum director Arnold Lehman and photographer Matthew Porter—even when those comments clash.
Geoff, who incidentially was a runner-up in the contest (congrats man) told me that Canteen is a literary magazine published in Brooklyn, NY and he decided to enter because “the entry fee was only $15 and you got your choice of issue of the magazine as well (the cover price is $10).” Now, not only are they publishing the different rounds of cuts in the contest along with judges comments (here), which is unbelievably insightful and transparent. According to Geoff “they published longer versions of the judges comments, essays really, in the print issue (#6, due out Aug. 1).” And, gave him a full page to respond to the judges comments.
If that weren’t enough, they’re having a show at Powerhouse Arena in DUMBO Aug. 4th-29th, called Naked Judging Exposed: The 2010 Canteen Awards in Photography (reception Aug. 19th) where Geoff says “They also put me in the show and they are exhibiting my entire 6-image entry which, for me, is just bizarre and awesome and I can’t thank them enough, but also shows that they are really walking the transparency walk and not just using the trope of changing how things are done as a marketing or promotional device.”
I think we have a new standard for photography contests. Nice work Canteen.