Author: A Photo Editor

The pace of doom and gloom stories for printed media continues unabated but I’ve noticed more and more that are offering brilliant insight into the problem and even a few solutions.

A story in Business Week about a thriving newspaper industry in Germany (here) surmises that the problems with US newspapers is not the internet it’s the content:

“I suspect the real reason German papers still thrive is their embrace of competition. Unlike so many U.S. papers, Bild was never part of a quasi-monopoly that allowed complacency. It’s telling that Bild doesn’t deliver —it depends on newsstand sales. ‘Bild has to prove itself at the kiosk every day,’ says Deputy Editor-in-Chief Michael Paustian.

That pressure helped Bild maintain its focus on original content. It uses almost no wire copy and brags that every story is an exclusive. Even during the crisis years, Bild kept its 800-strong editorial staff intact. What advice does Diekmann have for American newspapers? ‘It’s too late.’ ”

Along a similar note Dr. Samir Husni (AKA Mr. Magazine) scolds all the top magazine titles for causing the failing newsstand themselves by selling subscriptions at cut rate prices. The practice, to offer dirt cheap subs as a way to control circulation and meet rate base not only undermines newsstand sales but in my mind it destroys the content by bringing in consumers who are barely interested in reading the magazine in the first place and forcing the editorial staff to cater to a more general audience of readers. Dr. Husini’s unlikely cure for the newsstand woes:

“Stop chasing the numbers of customers and concentrate on customers who count. The first step in doing such is stop the rate base gimmick. You can’t anymore chase a rate base number and try to meet that number. Today’s customers are different and reaching those who count is much more important than counting them.”

Mygazines continues to make headlines for allowing consumers to freely scan and distribute their favorite magazines in a clear violation of US copyright laws but it doesn’t look like they will go away anytime soon because they’re owned by the same company that runs Pirate Bay (CNet story here). They’ve been on Hollywood’s most wanted list for several years now and appear to be indestructible.

There are many, many reasons why this will never become the napster of the publishing industry; it takes a lot of effort to scan an entire magazine and converting magazine pages into jpgs hardly seems like a brilliant solution to portability online, to name a few, but it’s certainly caused quite a few people to sit up and take notice and spark discussion. I agree with this motley fool story entitled “It’s the end of publishing as we know it” (here) when they say:

“Magazines like Cosmo, Wired, and Playboy always looked like prime online properties, dishing out their advice, entertainment, and other well-written and popular articles through this huge series of tubes. But here we are, well into the digital age, and most of them simply haven’t made the transition yet.

If Mygazines teaches Time anything, it would be how to present the print magazine in a tasty online form, easy to navigate and easy to use. Copy that model and then improve on it, inject a bit of revenue-generating advertising, and see if your readers prefer the official version with corporate backing or some fly-by-night rip-off where everything is free but nothing is guaranteed. Now let’s see which publisher might be the first to get a clue so we can invest in it.”

Of course publishing companies are like lumbering giants and as risk adverse as you get (a few serve as retirement accounts for their owners), but it would only take one textbook case of a magazine doing it right online and proving that the revenue and audience exists to turn the entire industry around.

I don’t think printed magazines will ever go away completely and why should they, people still like to read them and they’re awfully convenient for the airport, bus, train or limo rides, but the audience is limited and will continue to shrink so publishers need to follow the young audience and the casual, used to buy it for 1 article readers where they’ve gone, online.

Also, if you’re simply going to reprint the entire contents of the magazine online with all the advertising intact it should be free. Simple math will tell you that the newsstand and subscriptions prices don’t even cover the printing and distribution cost for a single issue, so if I’m saving you that expense the least you can do is not charge me for it online. If you’re going to transform the content online and run epic photo essays, allow reader interaction and leverage the technology available then the possibilities for audience and revenue are endless. If you treat the internet like a piece of paper you may find equilibrium between audience size, expense to produce and profit but the the multi-million dollar profit glory days are now coming to an end.

Overall, the theme here seems to be content, quality content. Can it really be that simple? I think so.

UPDATE: Pirate Bay refutes ownership of Mygazines (here). Thanks Sean.

Two recent developments have me excited about the future for photographers:

1. Magnum photographer Thomas Dworzak is in Georgia for The Wall Street Journal and they’ve got a nice online slideshow to go with it (here) but then they take it a step further and have a BIG picture page with a comment area (here). Spread the word. It can only get better.

2. Andrew Hetherington sells out of a series of 220 prints in 9 minutes. All because he’s a brilliant photographer and…he has an audience (read about it here).

It can only get better as more an more newspapers and eventually magazines adopt the big picture strategy and need professionals to go out and deliver powerful content. And, photographers with an audience can count on publishers seeking them out to tap into that audience and their additional channel of distribution.

Also, check out the 10 Misconceptions about photography. I’m feeling pretty good about what lies ahead.

I think the way clients and photographers communicate and reach each other and the job of Photo Editor will profoundly change in the next decade. There’s exciting technology to take advantage of and the potential of the internet has barely been tapped by publishers. I wanted to start talking with .com and junior Photo Editors to look at the way they’re using technology and get a feel for what the future might bring.

I met Ryan Schick at the Photoshelter panel in NY a few weeks back and found him to be very well spoken and thoughtful about the industry. Ryan works for Condé Nast’s Portfolio.com as the News Photo Editor where he sources all the daily news pictures and develops larger photo essay projects. He’s young and a .com Photo Editor so I thought he might have a different take on how he finds photographers and how the future might play out.

You seem like a fairly technologically savvy Photo Editor. Is that a generational thing or have you made an effort to incorporate emerging technology into your workflow?

I wouldn’t say it’s necessarily a generational thing. I’ve worked with editors who are significantly older that are interested in technology as a device to develop more efficient ways to receive the imagery they need from the photographers in a timely matter. New means of image transportation and tools that enable more efficient communication have always interested me. Email has always been a central tool in my life. Heck, my first email address was 73514,1650@compuserve.com. This was back in 1992 before AOL, Prodigy, and others introduced alphanumeric email addresses.

I’m curious about how you communicate with photographers and your thoughts on how it might evolve.

Instant messenger is a remarkable tool, if properly used. Given it’s intimacy and the opportunity for it to be invasive to the recipient, it requires a certain amount of sensitivity on the users part There are multiple photographers I talk with on a daily basis via IM. Example; I communicate on a daily basis with photographers who are currently working on projects. It’s remarkable to witness a project develop, in real-time, with a photographer who is half-way around the world. Observations and suggestions are easily communicated; picture ordering, toning, and other variables can be done on the fly.

Apple’s iChat video capability is a tool that I still have yet to take to completely. I’m not sure how this will progress in the future, but for the time being I find instant messaging to be an sufficient replacement for email and phone conversations.

What about the ways photographers market themselves to Photo Editors. Books, mailers, email campaigns. Certainly there’s room for change there. The books are so expensive to make and ship certainly we eventually don’t need those anymore do we?

I still believe that photographers might not necessarily need the big-tent image distribution agencies to be successful in today’s market. I’m more impressed by the photographer who has taken the long-term investment strategy of developing personal relationships with his or her editors. There are magnificent tools out there that photographers can utilize to represent themselves and ultimately distribute their material.

I’ve always admired the photographer who updates his or her online portfolio on a regular basis. In a way, I think the digital reformation has made many of the dead-tree portfolio books we’ve grown accustomed to obsolete. I know it’s a tough market for most photographers out there and portfolios are not inexpensive to produce. I’d rather see photographers develop an online portfolio that demonstrates their personal eye toward presentation and detail and put their money back into a personal project that will help them along with an underdeveloped skill-set.

Email distribution and mailers are also objects I’ve taken greater attention towards in recent months. There are several photographers out there, including a young Philadelphia-based photographer named Steve Boyle, who take enormous strides to constantly bring editors attention to their every-growing body of work. Steve’s persistence in developing a visual style of his own is equaled only by his determination to constantly develop open channels to editors. I’m not certain whether or not this is an off-shoot of his efforts in self-promotion, but he seems remarkably well informed in visual trends and even runs several of his tests by me on a regular basis.

This however is not something that he and I fell into overnight. I cite this because I think many photographers take the ‘battering ram’ approach toward self-representation. I cite an example of a photographer who was referred to me by a former colleague and for whom I have an enormous amount of respect for. What started as a recommendation and an appointment to view his body of work turned into a multiple-times-per-day phalanx of phone calls and emails. By the time the actual appointment to meet came around I had frankly grown exasperated by his persistence and for better or worse was uninterested in the actual meeting.

What about a photographers website, do you ever do more than just go and look at the pictures?

I don’t just use a photographers website to look at the work they want to present (ie. putting their best face forward); there is another facet of their site that I’ve grown remarkably fond of. Being a user of Safari, I have a quick-tab on my address bar that currently loads the following personal blogs:

aphotoaday.org
Kirk Mastin
Michael Rubenstein
Jensen Walker
Robert Caplin
Justin Fowler
Mike Terry
Matthew Williams
Tara Todras-Whitehill
Mark Rebilas
Dustin Snipes
Thomas Boyd
Chris Detrick
Rachel Hulin’s ‘Shoot The Blog’
& Redux’s RSS Feed

At current count, I check these blogs and 21 others on a daily basis. Not all of these blogs are updated regularly but several of them, including Matthew Williams’, are well developed because they give you a better idea into the scene the photographer was given and how he executed his coverage. I like being able to see a larger take whenever possible. I think a personal blog can be a remarkably effective tool for a photographer to communicate to an attentive audience. I’m certain I’m not the only editor to regularly check photographers’ blogs, but I think as photographers continue to recognize this as an effective tool of free self-promotion, its popularity will continue to grow.

Certainly in the not too distant future all publications will have .com Photo Editors or the PE will spend much of their time working on the .com side of the photography. With a healthy budget and unlimited pages to publish work how can this not be a great thing for photographers? Why do I keep seeing tiny little photographs on publishers websites?

At Portfolio.com, one of the things we quickly realized was that we could publish additional material that would not have otherwise made the magazine, not due to quality issues but from the finite amount of pages in the magazine delegated to individual features.

Case in point: Photographer Michael Christopher Brown developed a magnificent photo essay for our July 2008 edition on the efforts of Chinese authorities to divert precious water resources from farms and villages in the surrounding provinces to fill the expansive fountains that line the Olympic promenade in Beijing. Portfolio editor Sarah Weissman had an initial edit of 30 images from the more than 250 image submitted by Michael. Through their mutual cooperation, Michael and Sarah consolidated his take into 5 images that were eventually published in our print edition. Recognizing the opportunity to develop a more robust online presentation we added an additional 7 images to our slideshow to expand the depth of the visual coverage associated with the online article. (See it here)

This can be a lesson to editors who are currently wary of their own dot-com’s ability to recognize the expansive opportunity they have to present the work that they and the photographers have labored so hard let see the light of day. Given the limited amount of financial resources (read: free) required to publish a slideshow online I would only envision further publications using their dot-com’s in such a fashion for more robust photographic essays online. Many of them already have.

As for the tiny pictures on our site, I wish there was a more effective way to maximize the exposure of multiple stories with large imagery, but from a basic design aesthetic I find that to be quite difficult on a news site.

However, I do salivate over the photographic presentation of Garden & Gun magazine online. Beautiful!

A blog post  written by William Lobdell, an 18 year veteran of the Los Angeles Times entitled “42 Things I Know” should serve as a clue train manifesto for newspaper (cluetrain is here and here).

As a former media insider I know the feeling of “this shit is broke and you clowns have no clue how to fix it” that he’s expressing in his post. I’ll highlight a few of the points I strongly agree with here:

3. … the business model for newspapers is broken.

5. … it can’t be fixed.

7. Technology has run laps around the print media — giving readers instant news, open-source journalism, no barriers to become publishers, and an infinite news hole.

8. The idea that your daily news is collected, written, edited, paginated, printed on dead trees, put in a series of trucks and cars and delivered on your driveway — at least 12 hours stale — is anachronistic in 2008.

11. Newspapers were unbelievably slow in embracing the Internet, even though younger reporters have been pleading with their bosses for years to embrace the Web.

15. Business side of the paper was worse in recognizing the Internet’s potential and its threat to the newspaper business. I once suggested that, since Craig’s List had arrived on the scene, The Times should match that business model and give away most of its classified ads (since we were already losing it already) in exchange for Internet readership and premium ad prices for corporate advertisers (such as employers). The business people laughed.

17. You can’t just transfer a news gathering operation from print to the web. Revenue on the web is fractured (like cable TV) and a news web operation can support far fewer journalists and layers of editors. It requires a different mindset.

24 … We operated as though we had a monopoly on truth and great journalism for far too long. We didn’t listen to our critics and sometimes our readers. That cost us.

33. If I were publisher, I’d have a clear mission statement for The Times’ editorial department (if you ask 100 journalists at The Times about their mission, you’d likely get 100 different answers).

35. I’d get realistic estimation on the size of The Times’ future work force and then make one large cut to get it there (good sources say another 150-200 layoffs are on the horizon). An internet operation can’t support a huge newsgathering operation, and morale would improve if everyone knew no more major layoffs loomed. People can deal with reality; it’s just this surrealistic no-man’s-land that make it impossible to move forward and has good people bailing out.

36. I’d take the very talented journalists I had and develop a SERIES of websites that provided the best information for that beat/subject matter. The Web is all about niches. The Times, for instance, could have the premiere sites for every professional and college sports team in Southern California. It could be THE place to turn to for news on City Hall, Los Angeles Unified School District, and Los Angeles Police Department. Not to mention Southern California environmental issues, LAX and the coast.

42. And this is ultimately why I left The Times. Though the paper has been in business for 125 years, it had become riskier to stay than to go.

Visit the entire list (here).

The people who can take media into the future are sitting right there, on staff at all the major publishing organizations, but they’re slowly leaving, so somebody needs to get off their ass and empower them to help make changes. I asked for a blog at the last two publications where I worked and finally had to just start one on my own.

Oh, and don’t miss Simon Dumenco shredding the LA Times Magazine to pieces in Advertising Age (here).