Ben Van Hook – Adding Stop Motion To The Reel

Awhile back Ben Van Hook sent me this stop motion video which he shot for the experience, but told me it was generating him work now. I was intrigued because Ben already has an impressive reel and in my mind there really is no comparing the two so I wondered how this new piece generates him work.

Here’s what Ben had to say about it:

Almost all the stuff I’ve directed over the past 8 years has had some degree of production involved, some WAY more than others.

Like everyone else, I’ve been anticipating the move to more and more web content not only for magazines, but ad clients as well. The trick with magazines who want video content is the cost and production involved, they sometimes sorely underestimate what it takes to make video look great. Even though the cameras keep shrinking, for even simple shoots there is sound, production involved, different kinds of lighting other than strobe, platforms for the camera, more gear then you may need need an AD to wrangle talent and keep the crew moving. It really is a different animal.

I wanted to do something that was simple and could translate to the web as moving content. It was just me and the still camera. I cut it myself as well. it was really just to get my feet wet in a different technique that I’d never done before. I sent it to a few colleagues and friends and got a strong response. A creative director at an agency was pitching a campaign the next day (great timing) and asked if he could show it to the client because he thought the style would translate perfectly with the spot. Then i sent it to one of my magazine clients and they wanted me to produce a piece like this for their web content.

I will probably include this on my director’s reel here on out. I’m a big believer in shooting this personal stuff, luckily this time it dovetailed into some work… which is nice.

Update: AP vs. Shepard Fairey

I just saw this update in the AP lawsuit against Shepard Fairey:

The judge presiding over the ongoing lawsuit between street artist Shepard Fairey and the Associated Press concerning the use of a photo of then-candidate Barack Obama told the parties they should settle and that “sooner or later” the wire service would prevail, the AP reported. But it didn’t convince the opposing sides, who appear as ready as ever to see the case through to at least the next level.

via paidContent.

Review Santa Fe 2010

Jonathan Blaustein is on the ground at Review Santa Fe and will be filing a report for APE next week.

Photographers orientation at the Hilton:
rsforientation

Opening night party at Zane Bennett Contemporary Art where they’re showing an exhibition of the winners from the CENTER competitions, and a group show of gallery artists (Jonathan is included in that).
rsfzanebennett1

Ask Anything – The Meeting

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 kind of questions impress AD or AB when showing your portfolio? I know as a photographer that when I meet with other photographers or clients certain topics or questions impress me. I am looking to develop the conversation beyond “so lets see your book” and “thanks for coming in”

Amanda and Suzanne:
This is a subject that we consult with clients often. It is a sensitive subject to navigate. It’s one thing to get the meeting, but what to do or say is a whole other issue. With our clients we often do mini run-through’s to tackle the exact concerns noted above. Digest what your potential clients really want to hear or don’t want to hear and make notes that feel most authentic to you and your personality.

ANSWERS:

ART PRODUCER #1:
This may be very unconventional but, I like for them to ask about our clients and work that we have done. Makes me think that they interested in working together as a partner and not just showing off their work. Asking things like “where do we go for photography” and “how photographers are selected.” If they have a blog, I’d like to know that and will check that out for sure, if I like what I see in their book. It gives me a glimpse into who they are and how they work. For me that’s just as big as showing good work. I’m big on making sure that I’ve got a strong team on a shoot. There are great photographers that I wouldn’t pair up with certain creative teams but that would work wonderfully with others. Great photographer + great team on the shoot = amazing photos. Though this sort of questioning has be honest and organic (I don’t know if that’s the right word or not) but not pushy at all. Basically I want a photographer to work with us, not for us.

As far as a follow up, maybe an email every now and again updating me with what they’re doing or reminder link to their blog. This one is really tough, because it really depends. If I don’t see anything in their work that I think will be an asset to me/the creative team I probably don’t want a bunch of emails of follow up and I’m probably not going to outright say hey I don’t think your work is good. Yikes, this one is really tough for me. I keep pretty organized lists of photographers that I like and that I’d maybe like to work with in the future. So if I’ve seen their stuff, they’re either on the list or not. I know that doesn’t sound very nice… and now I’m rambling. I guess the biggest thing that I can offer to this question is regardless of what is used for a follow up, if I don’t respond in any way after a few, I would move me to a list labeled as that, so that unnecessary time and money is not spent on me.

For the do not’s… Do not:
-come on too strong and ask who exactly is shooting work going on right now or what projects I can send you now to bid on immediately
-come in expecting me to spend hours seeing a bunch of books of work, less is usually best
-walk in with a chip on your shoulder talking only about all the huge national clients that you have shot for recently. It is nice to know that you can pull off this sort of production, but I want you to be curious about my clients and how you can help them, many of them are not national.
-follow up with me constantly… sometimes once every week after we have met.

ART PRODUCER #2
Point One
It’s harder and harder to get in-person showings because we are absolutely inundated with requests. It’s not for lack of desire, but for lack of time.

Point Two
It’s presumed that you’ve done your homework on the person and company you are meeting and your work is compatible with the work created by that company.

Point Three
It’s presumed that your portfolio is in top condition with recent work.

When you DO get an in-person showing:

  • Be considerate of the time of the person viewing the work. While looking at potential photographers’ work is part of their job, getting the work out the door is the first priority. They are not being rude, they only have so many hours in the day.
  • First ask how much time you have. If you go over the prescribed time, it should be because your client is engaged and specifically extends the time after you mention that your time is up. “I see that I’ve used all your time. Thanks for meeting with me. Do you have any other questions for me? Is it okay if I keep you on my promotions list?”
  • No need to turn pages for the AB or AD – they are quite capable. If they go too fast, slow them down with an anecdote about a page or two: “That shot was produced in 2 hours and we had less than 3 minutes with that CEO. He was so pleased with the shot that he asked me to come back for a more formal portrait.”
  • No need for constant chatter while they look at the book: it can be distracting and they may absent-mindedly keep turning pages while you talk.
  • Please do NOT ask if they have any jobs for you. I’ve said it before and I’ll say it again: It’s like asking someone if they have any spare change. It’s painful enough that agencies don’t have enough work to keep their own folks busy, but asking for work that they don’t have to give is rubbing salt into the wound. If they have something for you, they’ll let you know.
  • Impress them with your knowledge of their company and their work: “I’ve always been impressed with the work you’ve done for TREsemme, especially the shots for Naturals. Did ____ take those shots?”
  • I’d advise you not to slam the previous work (“I could do better than that.”) because the person you’re talking to may have been the driving force behind those shots and you might’ve insulted them.
  • Respect “personal space” boundaries. What you see in their office, their desk and in common areas is not for discussion. You have been invited into their personal space as a guest, not as family. Please do not become too familiar by asking about things you see around you. Limit questions to business questions that are common knowledge or are easily researched. Of course, this is different if you have a closer relationship with someone, such as being Facebook friends already.
  • I recommend not inviting someone to be a Facebook friend unless you are certain that there was some kind of personal connection between you and the client. LinkedIn or other business networks are different and it’s acceptable to send invitations. If you feel that a meeting did not go well, skip this step!

Follow-Through: What would you do in other social situations? This is no exception. Some kind of acknowledgment is common courtesy and Thank-you notes never go out of style. They could be postcard fashion or thank-yous in envelopes or they could be email thank-yous (use the subject line wisely: “Thank you for the portfolio meeting”). I don’t expect them, but they are nice to receive. I don’t know why but I actually save them (yes, I have quite a stack!)

ART PRODUCER #3:
Some name drop other agencies and that’s not good because we could have just lost an account to that agency so I wouldn’t do that. It’s awkward looking at books while the artist is there. The artist may luv the car shot that they did. I may skip over it because we will never shoot cars and I’m more interested in the product shots. I guess the only other thing is that your promos should be of what your specialty is not of your vacation photos. My guess is that other ab’s may disagree w/ me.

CREATIVE DIRECTOR:
Likes:
I generally like photographers who are interested in understanding challenges currently in front of me and offering potential solutions. But, offering solutions in a collaborative way by making recommendations, not blanket statements. I prefer recommendations based on a time when the photographer had a similar challenge, how they approached it, and what they learned from it, I find that very helpful. And if you have nothing to offer, then make it clear to me that you’ll bend over backwards to help me figure it out.

Ask me what photographers I currently use or follow/admire. I don’t want to get drilled on this, but it shows me that you’re trying to understand my tastes, needs, production values, approach towards imagery.

What I don’t like:
Photographers who can magically solve all my challenges just by hiring them. Totally triggers my BS meter.

Photographers who show me too much work. Keep it to 12 images or so.

Personal questions… I don’t want to be your friend, I want to get the job done.

Begging. Don’t even hint of being desperate for work, perhaps there is a reason no one else is hiring you?

Smacking down other photographers. I once had a photographer roll their eyes when I told them our budget for a recent project. He implied that I got ripped off because he could have done it for much less. My perception is that he would have cut corners just to get the work or he had a serious lack of production values.

Follow up is tough. I hate email. About a year ago, my inbox became flooded with emails from photographers through ADBASE. I had to resolve my mailbox over-limits (time wasted), remove myself from ADBASE’s list, Multiple times (more time wasted) and I still receive emails from photographers that are HTML (download the images, Even more time wasted). Now I just delete emails that I suspect are photographers because I get so many, and I just don’t have time.

Nothing wrong with a personal letter… Not many people do them anymore so it stands out.

Post cards and mailers are OK IF you have a cool mailer. Most of the mailings I get look like typical stock images so they go right in the trash.

ART PRODUCER #4:
I think you should just be yourself when it comes to being reviewed. For me it’s about the work. I tend to ask questions about their work. Where it was shot? Who was the client? What was it like to shoot that shot? Etc….

I find that the AD or myself as an Art Buyer tend to ask the questions. When it comes to the photographer asking questions I would only wish that they’ve at least done their homework and checked our website to see who our clients are. That helps. Whether they’re right for our clients or not I don’t particularly like it when someone asks me who my clients are during the interview. That’s when I feel like they didn’t take the time to find out before they came. It’s a JOB interview. For the rookie or the vet it’s still a JOB interview.

All the things that I ask of a photographer I do the same when it comes to presenting to the client. I do not tell a client in a triple bid why I think Photographer #2 is really bad. I shouldn’t have presented photographer #2 if I felt that way. The same goes for what pictures you put in you book. I do not want hear someone tell me that they should have put a certain picture in their book. I would like to see what they shoot personally, their passion. I always feel that’s the real portfolio within portfolio. You learn a lot about a photographer through their personal work. I think a simple thank you email is fine. If they’re really listening they will include the picture that I expressed a liking as just a nice reminder of they’re work.

Again…..It’s a job interview. All the same actions apply. Just in a more relaxed setting.

ART PRODUCER #5:
#1 please know who our clients are and what we are working on – its called google, people- i mean really.

#2 know we don’t have much time, so get in, share your work and ask questions about specific things you want to work on- tell me how you see yourself gelling with us! Tell me what you want! It’s not against the rules to speak up about what you’d like to be shooting.

#3 ask which art directors work on and/ or lead those accounts and target them with mailings and emails. Occasionally this is not an easy question to answer depending on the agency size and ways of working, but its worth asking. Without being demanding, ask to see them on that day of your visit- for a quick peek at your book and handshake.

#4 don’t leave anything behind that doesn’t have your name and contact info on it. It sounds simple, but it happens a lot more than you think, so be smart and don’t wind up in the recycle bin.

#5 DO explain how an image was created- using what techniques, something about the story, – At first we like to simply take in the images, so, give us that- but we also like something for us to sink our teeth in, to know more about why you are so great at what you do!

#6 send email and snail mail to remind people of who you are. Include images! Don’t call and say remember me? or remember that mailer I sent you?… don’t.

Overall, you are trying to begin a relationship here – it’s important to make yourself appealing (match up with what the agency does) but also be yourself, be relaxed and content to go with the flow – not nervous or pushy, after all we all like working with good, nice, fun people!

To Summarize:
The most important thing is to figure out first WHO YOU ARE and WHAT WORK TO SHOW and HOW. Then do your research on WHO YOU ARE MEETING WITH and then should be comfortable to have the additional conversations. Remember to smile and keep things light, enjoyable, confident, while still staying professional and creative.

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.” Amanda and Suzanne review your comments for 2 days, and then they are off researching next week’s question.

The New Wired App

Good pictures speak for themselves. But text is a different story. It needs a lot of rhetoric skill and typographic care to do what it should: to communicate.

via iA

Aurora Photos Now Has A Journalistic Search Filter

I received a press release yesterday from Aurora Photos announcing a new search feature that allows picture buyers to license images that have not been altered or manipulated in any way. Certainly there are many organizations that need this type of imagery and it’s gotten pretty easy to manipulate images on the desktop, but you can’t ignore the manipulation that takes place in the camera, so here’s what’s so cool about this new feature from Aurora. They’ve defined what they consider to be journalistic and what is not. This is a huge step in the right direction and something that’s been lacking from photography contests and editorial submission guidelines. If you want to claim that you publish journalistic images you have to define for your contributors and the public what you mean by this.

You can see the search function (here) and this is their definition:

What is JOURNALISTIC:
1. Candid photographs that truthfully represent what was taking place at the time the image was made.
2. Posed portraits of people in their environments, as is often done for magazine assignments. No digital manipulation has been made to the image, and the subject is not a model and has not been paid or rewarded materially for their participation in the making of the photograph.
3. Images with acceptable digital adjustments. This includes: small adjustments to brightness, contrast, and saturation that do not alter the reality of what the photographer saw when he/she made the photograph. Minor sharpening of an image is allowed.
4. Images with acceptable retouching. This includes: cleaning dust or scratches from film scans or dust from lenses or digital sensors. It is not acceptable to remove things such as moles, birthmarks, or blemishes from a subject’s face.
5. Creating panoramic or similar formats by stitching together at their edges two or more images in such a way that the resulting image truthfully represents the view at the moment the images were made.
6. Black and White images that are not tinted or toned in any way and adhere to all the other rules for a “journalistic” image.

What is NOT JOURNALISTIC:
1. Digitally adding or removing anything from the image that is not dust or scratches. This includes: Blemishes, pimples, dirt, power lines, lens flare, logos, trademarks, people, etc.
2. Combining two or more images to achieve a third new single image.
3. Manipulation of the image’s brightness, contrast, saturation or color that changes the reality of what would have been seen by the photographer or others present when the image was taken.
4. Images where the subjects are models or have been paid or rewarded materially for their participation in the making of the photograph.
5. Images that appear to be candid, but where the subject or any element in the image was conceived, posed or positioned by the photographer.
6. Images where the subjects are wearing clothing or using equipment or props provided by the photographer.

Slideluck Potshow Becomes A Resource For Finding Photographers

The latest version of the Slideluck Potshow website (here) has the work of 2000 artists from 100 shows in over 40 cities around the world.

Seems like it will be a great resource for people who hire photographers for a living to find new talent and get inspired. Direct links to all the photographers websites makes it super handy if you’re in a hurry.

Slideluck

Ask Anything – How Do Assistants Take It To The Next Level

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:

I have been assisting fashion photographers in NYC for about 5 years now and feel more than ready to move on to the next phase of the game. I have tried to put together a print portfolio in the past an always end up getting frustrated and scraping it halfway through. What do editors want to see? If I put in complete series, the book becomes way to thick. When I try to edit down each series it feel scattered to me and doesn’t make sense. Should a portfolio show the range of a photographer or a consistent vision? How many pages are too many? Does showing commissioned work matter more than personal? Is a homemade portfolio out of the question?

I shoot all the time and know the work is good but I just can’t seem to grasp the next step…

Amanda and Suzanne: We are excited about this question, because it’s been an ongoing question for decades and I think it’s crucial to have an open mind and know that each individual has to create their own visual voice and take the advice of potential buyers and mold it to represent your vision.

ANSWERS:

ART PRODUCER #1 This is a tough one to answer as general response. I think it’s a little different for everyone. For sure have someone else take a look at what is included. A photographer is always more attached to the work than anyone and everything holds meaning. Someone outside of that should take a look to make sure that everything included has relevance. Though I will say, usually less is more. Most art producers or editors just don’t have the time to sift through large books of work and if too much is included, may skim over some great pieces instead of really looking at the detail. Specifically show the type of work that relates to the type of assignments in which you are wanting to get. A homemade portfolio (for me) is not out of the question and can give me some insight into your creativity, just make sure that it doesn’t look thrown together and still reflects your overall brand. I also like to see a little bit of personal work. It tells me a little about you as a person and what it may be like working with you. As well, it shows me what you’re passionate about and what you like to shoot. But for sure focus on commissioned work.

ART PRODUCER #2 There is no magic number of pieces to show, nor is there a magic formula for what to show. The answer is: Show enough work to prove to the viewer that you are capable of handling a particular project. In some cases, it may mean showing 20 pieces. In others, only a handful.

This will vary not only by the body of work the photographer has in their repertoire, but by the scope of the project and by the type of client. Clients working at a local level may expect a more broad body of work than a national client, which is usually pinpoint specific in what they are looking for.

ART PRODUCER # 3 Being on both sides of the portfolio gives me a unique perspective on this. The most important thing is to show a cohesive style with aesthetic and technical repeatability. My first portfolios where scattered in terms of style and technical approaches. This was a direct result of being a freelance assistant working with a wide range of fashion photographers. Once instructed to keep things simple, I got back to my roots of graphic design and complied a book of 10-15 portraits all done in the same style and utilizing a very simple lighting scheme. It worked and got me noticed. The next step was to build on that style, introduce new subject matter, but keeping things cohesive and simple, putting the attention on what I wanted viewers to see.

Once you have a large, strong body of cohesive work, you can begin to tailor the portfolio on a case by case basis. I’ve asked photographers to show me that they’ve shot the type of product my client needs advertised. My clients are literal people.

PROFESSIONAL PHOTOGRAPHER: When putting together a portfolio, I try to convey a personal vision, not the best images in my library. I view my personal vision as a fingerprint and its the only thing I can offer that I’m 100% sure I’m the best at. If you try to put work in your book you think an art buyer wants to see, it will automatically become lost in the flood of similar images.

To Summarize: The viewer has a specific need to fill. You might be able to fill that need or not, but you should not focus on what you THINK they want to see, but show them what makes you, YOU. Stated perfectly: “personal vision as a fingerprint” – use your portfolio to make a mark on that person and their visual memory. You want to be brain googled, meaning you are the first to pop up in your potential client’s mind for a specific project…the real goal of a printed portfolio.

As a side note – when showing commissioned work that does not always mean you have to show the tears, it means show the work you captured for that specific project (this usually helps clients understand your production value and how well you take art direction).

Call To Action: Research Print portfolio options and get one printed:

Some examples to consider:
Paper options:
(consider using double sided paper – http://www.moabpaper.com/entrada.aspx – which you can purchase directly from http://www.lost-luggage.com/store/paper.php – which is pre-scored) or from http://www.rexart.com/case_envy.html
Printer to consider: Lincoln Miller at pushdot studio www.pushdotstudio.com
Portfolios: www.lost-luggage.com
http://www.plasticsandwich.co.uk/

Custom book binders:
Brooke – fantastic Book binder: http://dwellerbythestream.wordpress.com
Nicole Andersen – www.nabookarts.com
Scott Mullenberg – www.mullenbergdesigns.com

Also there are perfect bound book options out there…
blurb.com
aandi.com

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.” Amanda and Suzanne review your comments for 2 days, and then they are off researching next week’s question.

Last Chance To Stop $300 Permit Fee

Today is the last day to register with the Mayor’s Office of Film, Theatre and Broadcasting to speak out at the hearing on June 3rd against charging fees for all still photography permits. Every editorial and advertising photographer uses the type of equipment that under current rules requires a film permit from the city and up until now those seeking a permit simply were required to carry $1,000,000 in liability insurance, but the new proposal is adding a non-refundable $300.00 ‘application’ fee for every time a permit is pulled to shoot!

Read about it here.

Wired Introduces a Rich iPad App

Condé Nast has worked with Adobe for about a year to develop software that integrates with Adobe’s popular publishing program, InDesign. The new software gets the magazine closer to something that now seems like a company mantra: “author once, publish everywhere.”

The add-on to InDesign, Mr. Dadich said, allows the magazine’s editorial team to easily move the print design into the iPad design and vice versa. Until now, Condé Nast’s apps relied on software developers, not the magazine’s design team, to put the content into an app. The Adobe add-on will be available for sale to other publishers.

via Media Decoder Blog – NYTimes.com.

Kickstarter – A Way To Fund Creativity

Kickstarter is one of those collective/social/new-web ways to fund projects. For photographers and filmmakers the premise is actually quite good. You state how much money you need to pull off a project then as an incentive for different levels of funding you offer access to the project and collateral. It’s also great for the backers because money is only taken if the goal is reached so the project can be completed.

Like all new-web ways of bringing in money you must already have the audience/fans in place to make it work. Joey Daoud of the Coffee and Celluloid blog recounts his experience trying to get a film made using Kickstarter (here).

I think the main thing to takeaway is it’s a tool, not a magical source of funding.

If you’re a photographer who already has a fan base and you want to fund a project by pre-selling prints, books and access to you then this could be the perfect way to get it done. Or maybe you have friends with deep pockets but don’t want to offend them by begging for money. Turning it into a Kickstarter project will make it less awkward for them to fund your artistic ways.

Just don’t expect angel investors to recognize your genius and magically appear.