Author: A Photo Editor

On Wednesday October 16th at 2pm EST (11am PST) there’s going to be a live webcast here on the blog and over on google plus where we discuss working in editorial and commercial photography. Basically the mission of this blog only in a webcast where I can have guests and take questions from people watching. I’ve already done one as sort of a test run that you can check out and decide if it’s something you’d be interested in watching here: http://www.youtube.com/watch?v=WrS77wlfzYw

Vimeo version here: https://vimeo.com/76621579

The goal is to try a new format for discussing topics of interests for Professional Photographers and because I don’t think there’s much out there for pros it should be worth producing a few times a month. I also like the idea of having guests on and discussing everything freeform instead of writing blog posts, something I’m doing less and less of 6 + years into this. Each episode with have myself representing the editorial perspective and Suzanne Sease talking commercial photography plus a guest or two. Next week our guest is Art Producer Kat Dalager. Send me any questions you might have on the topic of Art Production.

Guest post by Ryan Smith

I have had many, many times when jobs fall through for reasons that are outside of my control. There haven’t been many times though when I’ve actively said no to a job and until last week, there had never been a time where I turned down a good paying job from a respectable agency because of ethical concerns.

That’s right. I left money on the table because I didn’t feel comfortable using my skill set to promote this particular client’s product. It was an extremely difficult decision. August is traditionally a slow month for me so when work comes along, and it’s paying reasonable rates, it’s really hard to say no. In this case however, I just couldn’t bring myself to work for this client. Without naming names (and please don’t try to guess), I will say that this client promotes a particular product that I just don’t fully support. I don’t think it’s good for people, the environment, our country or our future.

The reason I don’t want to identify this client is because the people who work for their agency of record are good people whom I like and want to continue to work with. I don’t want my ethical dilemma to reflect negatively on the agency’s business. This is an important point because I greatly value relationships and as a freelancer and small business owner it’s paramount that I maintain good working relationships.

The agency understood my position and even respected my decision. Which is pretty amazing when you think about it. There they were, offering me good money to shoot a job that countless other photographers would probably jump at. And here I am saying no to a job that didn’t even require any negotiation. Here’s the budget, here’s the shot list, it’s yours if you want it.

And, here’s the kicker. The actual assignment sounded interesting to me. I think it would have been a lot of fun to shoot, but I just couldn’t reconcile my feelings about how the images would be used. I thought long and hard about this assignment, but ultimately I had to turn it down. I like to think that I’m sticking to my ethical code and that I’m above selling out, but I wonder how the decision would have been different if the fee for the job could have been “life changing” for me and my family. Where do you draw the line and how do you balance supporting your family and maintaining a good conscience? There is a lot of gray area and only you can make the decision.

For now though, I feel good about not taking the job. Do I wish I was making money right now? Yes, but there are other jobs out there. Just to prove my point, literally within one hour of deciding to turn down this job I received an email from another agency asking me to bid on a much better job for a client that I can really pour all my energy into. Now just keep your fingers crossed that I win the bid.

This post originally appeared here: http://www.playingworkblog.com/2013/08/i-could-be-shooting-right-now-instead-im-writing-this/

A follow up post can be read here: http://www.playingworkblog.com/2013/09/the-opportunity-to-choose

It may already be too late. Houzz appears to be using the images posted by professional photographers to illustrate editorial stories they create for the front of the site. One photographer was contacted by a staff writer to find out who built what was depicted in the images with no mention of licensing the images for this reuse.

It’s not unusual for social media sites to have onerous terms when it comes to posting your images on their site. Generally this is because they have to host the images on servers which may be located anywhere in the world and repost the images at will for other people to see. To solve this they take all your rights… We’re all suspicious of what might come next but so far that’s been the extent of what they do.

Houzz has taken the first step in reuse that should be of great concern for professional photographers. Paying writers to create editorial content with images uploaded to the site competes directly with existing editorial outlets that pay for a similar use. So not only are they ripping off photographers they’re stealing readers from outlets with their free content. And as Houzz works towards a profitable business model they will start selling advertising against their freely obtained content… and their evil plan will be complete.

I’ve written about this before but it’s worth mentioning again. Google, Facebook, Twitter, Houzz, et al have not reinvented the wheel here (despite all the talk about new business models). They’ve simply discovered a lower cost way to obtain content: free (the business model of free has been around forever). And they’re now selling advertising against that content which is no different than how the New York Times, GQ, etc. operate. Except of course, those guys all pay for their content.

Photographer Caren Alpert first alerted me to the Terms on houzz.com:

“As part of your use of the Website, you may participate in certain ideabooks, message boards, member communications and/or other public forums. Your participation is voluntary; however, by choosing to create ideabooks, post photos or comments, send any messages, submit any ideas or feedback, or otherwise participate in any Houzz forum, you acknowledge and agree that any postings, messages, text, photos, audio/visual works, information, suggestions, feedback, reviews or content provided by you (collectively, “Content”) may be viewed by the general public and will not be treated as private, proprietary or confidential, and you authorize us and our affiliates, licensees and sublicensees, without compensation to you or others, to copy, adapt, create derivative works of, reproduce, incorporate, distribute, publicly display or otherwise use or exploit such Content throughout the world in any format or media (whether now known or hereafter created) for the duration of any copyright or other rights in such Content, and such permission shall be perpetual and may not be revoked for any reason. Further, to the extent permitted under applicable law, you waive and release and covenant not to assert any moral rights that you may have in any Content posted or provided by you.”

Guest post by Shannon Fagan

My post a couple of years ago about jobs in China on A Photo Editor occasionally generates some interested persons to reach out and take the time to email me about working in Beijing, Shanghai, or perhaps Shenzhen. There have been no takers that I am aware of for the jobs though, and the reasons are interesting, curious, worthy of review. I’m now at the two and a half years point in my relocation from New York City to Beijing; well beyond the rose-colored glasses, but not blinded by the smog either. This is an update to that storyline, which I thought would be interesting to APE’s readership, all of who undoubtedly hear a lot about the wonders of the Chinese economy. So bizarre and numerous are the stories in the news, that now The New York Times, Getty Images, and iStockphoto are all blocked in China along with just about every serious social media outlet produced in the United States, including Facebook, Twitter and Youtube.

Shaun Rein, an agile entrepreneurial consultant to industries interested in relocations to China, and I occasionally trade communication about the amazing adjustments necessary here and which make working in China as a small foreign business very difficult. Add on top of these situations, that I have initiated a creative-based business, and it’s been a ripe learning experience. In under the first two years, I bailed a job applicant out of a silence-only windowless detention center, was blackmailed by a college student intern, was locked inside of a store and manhandled to purchase knockoff wardrobe, been visited by local officials bearing cameras and voice recorders, been encouraged to pay countless kickbacks (particularly for models), had company salaries removed from the office (while I was on vacation), and then blocked from the market of Mainland China by a competitor. It’s thus a little tongue and cheek to say that I have learned more about operational fundamentals in Beijing via episodes of AMC’s Breaking Bad, than stories in Businessweek. That is not to say that McKinsey and Company level expertise is not warranted in this market, but rather that such operational mechanisms are handled, as Shaun Rein has reminded me, at the Fortune 500 level, and not the small entrepreneurial startup arena of 50 workers or less, locally referred to as SMEs (Small Medium Enterprises).

China is amazingly interesting now; yes, despite the hurdles. We just saw the initiation of a new government and officially mandated Five Year Plan adjustment. The country is blossoming in subtlety as I learn the local language and become increasingly aware of the social context framework. I have, and I really do believe this, the hardest working production team that I have ever had anywhere, here now operational in Beijing. We’re having fun (it’s important to remember that) and we’re making images in droves that were never available before to the Chinese economy (our modus operandi). All are model and property released with technical specifications for global advertising, from a market overflowing in IPR theft and with little historical involvement in international advertising. It’s an entrepreneurial venture that has awakened in me all the challenges that I was seeking and for which New York City no longer provided during The Great Recession of 2008 forward.

This write-up is an insider’s take on the notorious economy in China for foreign commercial art creatives interested in participating. It is important to know that the manner of the mechanics of the economy here in China are different than in the US, where equal opportunity meets equal amounts of work. China is very much divided in the scope of work available and where the jobs are going. In the years since the post on APE, I have come to know, and probably more so accept, that the economy in China is and will be for a very long time barred from foreign participation unless the individual is embedded near permanently locally. This makes what may seem like “doing business in China” very difficult for one-off trips of assignment work. That does not mean that there is no opportunity to pursue, but those opportunities would be best spent (for a foreigner’s time and money), in contacting the normal routes of introduction to clients…i.e., ad agencies in Asia, or, better yet, advertising/design agencies in the West with the interests in sending a photographer abroad to do the work.

That’s the short take.

The longer take, important to us all since this is looking to be among the preeminent future economies in the world, is that the reasons for this lay within the manner in which the Chinese economy is situating itself. The meat and potatoes are essentially this: there are two types of jobs in China.

In Group 1, are the Chinese client jobs aimed to local talent; primarily focused on price (about 1/3rd the foreign norm), and not particularly focused on creative achievement but rather “technical achievement” (can the chosen worker do the work performed?). A lot of the latter deals with lacks of trust running between Chinese society and their government, the manners of establishing credibility in the market, the educational system setup, and the like. The work is provided through networks of communication (one’s work relationships), and it takes time to get those and even longer to maintain them. One would have to be in China to navigate this, and I do not see this system changing in the near future. If one had an interest in pursuing Chinese clientele, the scope of obtaining the jobs is much more labor intensive than a drop of a portfolio and massage of a budget. One would have to be in the trust network, and provide a lot of pre-emptive service to estimate, re-estimate, shoot tests, and the like, in order to establish an assignment. This would be an assignment, which in the end, would not generally remunerate for the time to do this setup work. Thus, the market is going to remain segmented. To do this from abroad is logistically not possible. As Shaun mentions, “it can be challenging for foreign creatives to work with Chinese clients, as historically Chinese firms are not willing to pay top dollar for creative services and consulting while they are for something tangible like hardware.”

In Group 2, there is foreign client work using both local and foreign talent and the work is budgeted according to both international price and local price. It varies widely and depends on the job. These jobs are often being situated in editorial focus, such as events and news stories, corporate portraits, and similar kinds of work. Actual advertising work is channeling for Westerners by the Westerner being connected primarily to the Western client before China becomes the focus. Thus, the manner of getting the work is similar to the way that photographers are marketing now. This is the system in which one has a potential client knowledgeable about their commercial artwork, and the client happens to have an assignment in China, or India, or Chile, or Fargo, North Dakota. This manner protects the photographer for licensing and payment, the bigger concern being simply getting paid. The local established method of money trading hands in China is almost always one half of the money up front, and the other half upon delivery. This delivery part can leave the living-abroad individual hanging if there are not protective mechanisms in the middle. One has very little power in Chinese legal systems (both Chinese and foreigners alike).

After two years, numerous jobs have come across my desk, but in nearly every case they have fallen into one of the two groups above. Time and again, interestingly, I have listened to foreign photographers living in China resolutely state that all their work is generated from foreign-only clients, and I found this odd. Odd because, often their experience, their years on the ground, their language abilities, even their Chinese friends, would all seem to suggest that other options were available to these candidates. But, I did not come across situations where this factually, more than hearsay, appeared to be the case in marketing and actual work performed. It could be that this market in China is generally quite underdeveloped in maturity compared to the Western focus of photography/creative economies seen in other major cities where there is mentorship, “rules” of engagement, and situations inducing competition to innovate. Certainly this is the case to a large degree, as standardization is wide here, but still difficult to measure since there is no over encompassing organization and each individual is mostly left to his/her own manners of development.

China is a very interesting place and economy. In many ways, I wish that there were more easily-situated work available to back up the post online a couple years back, but what I came to learn was that those offers were in Group 1 above, and generally not realistically obtained for those working outside of China. It may be the case that as my understanding of Chinese work and life continues, I will see yet another subtlety to the situation and go back on my analysis here as to why these market offers of work are not being met with foreigners showing up and actually doing that work. Clearly there is money flowing in China and there is work to be had, but it’s the mechanisms and logistics that are barring foreign operators from participation. China has everything that the West has, but it has its own local version: YouKu is China’s YouTube, Weibo is our Facebook, and all of these established Western websites are blocked. This should give a taste for the complications and when one multiplies them by the idiosyncrasies of daily life, it makes what seems as easy as a plane ticket and visa, quite relatively removed.

The bottom line is this: One, do not expect it to be easy to work in China. Two, do not expect on-the-ground support to the degree of comfort and planning that the West offers. Three, plan to exercise a great deal of patience upon each setback. Four, plan on needing to be present for supervision and quality control throughout the process. Five, the cultural barrier is greater than the language barrier. Six, jobs pay less. Seven, everything is transient, have multiple backup plans. Eight, China isn’t inexpensive for foreign businesses anymore. Nine, the Kung Po Chicken tastes better. Ten, the Chinese experience is exhilarating.

Guest Post by Erin Patrice O’Brien

I was doing a shoot last week for Golf Digest with Christian Iooss, the magazine’s director of photography. We were photographing a celebrity who golfs with a bunch of set-ups. I have worked with Christian and his deputy picture editor, Kerry Brady, a few times in the past.

It occurred to me that this was probably Christian’s first shoot where he just happened to be surrounded by all women. On that day, my two assistants,Lyndsey Newcomb and Rebecca Reed, were women, and the prop stylist Helen Quinn also had an entirely female crew. Christian and I talked about the differences between men and women photographers, some of which were apparent, others seemingly assumed by certain photo editors.

I always recognized that the editorial side of media seems to embrace, or at least maintain, the good-ole-boy network. It’s bothered me for some time, particularly given the female talent in the market on the demand and supply sides. There are plenty of amazing women photographers out there who are not getting hired by magazines in spite of the fact that the majority of photo editors are women. I’m pretty sure the break out among photo editors is 80% women and 20% men. With that figure in mind, I realized that of the editors who hired me it was a 50/50 split of female to male. The same thing goes for art buyers. Seriously.

After the shoot, Christian forwarded me a thoughtful blog post by a photographer named Daniel Shea. Daniel observed that there was an absence of women working on the magazines for which he was currently shooting and questioned why?

Thank you, Daniel. I have been questioning this for a very long time.

When in college, I spent hours at the library, looking at photographers whose work captured my imagination. I was into Sally Mann, Nan Goldin,Richard Avedon and Helen Levitt. When I opened magazines, I was inspired by the work of Annie Leibowitz, Sheila Metzner, Sarah Moon, Peggy Sirota,Pamela Hanson, Brigitte Lacombe and Ellen von Unworth. They were doing what I wanted to do. They were women photographers with their own vision who were making beautiful work. Mary Ellen Mark was my idol, closely followed by Melodie McDaniel, Cleo Sullivan, Dana Lixenberg and Elaine Constantine.

I would scour magazines to find the latest and most interesting work. I would rip out the pages from Vibe, Paper, and i-D with the work of Melanie Mcdaniel, Elaine Constantine, Dana Lixenberg, Cleo Sullivan, Anna Palma and Corinne Day. They inspired me. I loved their work. I loved their perspective. It made me think in a different way, and I learned from it. I would read The New York Times and be inspired by Brenda Ann Keneally. I printed at Printspace next to Baerbel Schmidt, Justine Kurland, Imke Lass, Sylvia Otte, Gillian Laub, Elinor Carlucci, Tracey Baran and an assortment of guys whose careers took shape much differently than mine.

When I arrived in New York City in 1995, I began assisting many photographers, including Jill Greenberg, Tria Giovan, Anna Palma and Ellen Silverman, none of who had assisted and all of whom had their careers going. I also worked for a bunch of male photographers. It was much harder to be a female assistant. I would work for fashion photographers as a second assistant and literally feel invisible on the set because the other women were skinny models who were sixteen years old. When I would pick up from the equipment rooms at any of the big studios, I was routinely treated like a “girl who couldn’t possibly know anything.” The men running the equipment rooms were bullies who hated their jobs and took it out on assistants who were not part of the cool club. Pier 59 anyone?

What I learned from Jill Greenberg was that you didn’t have to know everything technically. One could figure it out by experimenting or have an assistant show you how to do it. I saw her experiment and test things and be creative. She knew what she wanted. Jill was just a year older than me and she was doing it. We had our differences, but she took Michele Pedone and me under her wing and gave us solid work for a year on cool shoots as opposed to working for still life photographers wiping off perfume bottles.

When I look through magazines or online, if I see a picture that I love, 9 times out of 10 it is the work of a female photographer.

George Pitts was instrumental in hiring women and black photographers and showing a completely different perspective to the world. Vibe was first where I saw many incredible female photographers. It was breathtaking. Pitts told me once that he thought women were better photographers and it really stuck with me because I agreed. My favorite photographers have always been women.

I can’t tell you the number of times that people would come to my shoot and walk right past me looking for the photographer. Or how many times that I’ve been asked if I was the makeup artist simply because I was a woman standing on the set.

Some female photo editors who will go unmentioned that I have worked with put their own glass ceiling issues above women photographers.

Translation: Women don’t frequently help other women in business, even when it benefits both. A lot of times my work and that of other female photographers is relegated to the front of the book (magazine speak for work appearing before the feature well), while male photographers get the cover or the big feature story. Conversely, some of the male photo editors that I’ve worked with have given me some of my most challenging assignments that I am sure a female photo editor in the same position would never give to a woman.

There are many female photo editors who really do hire equally and have supported me throughout my career, and I am very thankful for and could not have succeeded without them: Leslie dela Vega, Doris Brautigan, Nickie Gostin, Michelle Molloy, Brenna Britton, Kathy Ryan, Crary Pullen, Lucy Gilmour, Donna Cohen, Rebecca Simpson Steele, Amelia Haverson, Fiona MacDonagh, Kathy Nguyen, Rebecca Horne, Heidi Volpe, Florence Nash, Helen Cannavale, Phaedra Brown, Julie Claire, Ernie Monteiro, Donna Cohen, Sarah Harbutt, Yvonne Stender, Kate Osba, Raquel Boler and Michele Romero…to name a bunch.

When I was pregnant, I was worried that no one would hire me if they knew, so I didn’t tell any photo editors until I wasn’t allowed to fly anymore. After I had my daughter, Maya, photo editors like Marianne Butler, Victoria Rich and Suzanne Regan hooked me up with jobs that were in NYC for a while, or said you can bring the baby.

When I get a call for a shoot, usually my first call is not to secure an assistant, but to make sure I have childcare coverage. I live in a community where I know other parents that are able to pick up my daughter if my shoot runs late or even have her sleep over. I feel blessed to make a living as a photographer. I love what I do.

And those skills of being able to manage a business, a household and a child are things that have taught me to troubleshoot and always be prepared for surprises that require solutions. I know that if an assistant, stylist or babysitter doesn’t show up I will still be able to do the job.

Daniel Shea says, “In my own personal experience shooting high-profile people and situations, shoots can get tense quickly, and you have to be able to be aggressive and assertive in a time-crunch situation. That is in no way meant to suggest that women can’t do that, but here is where sexism rears its ugly head—if women are perceived as being less able to handle those situations, that can definitely factor into the decision to hire men.”

The constant multitasking that is my life as a woman, mother and photographer makes me more qualified to deal with time crunch and stressful situations better than most. I am completely confident when doing three set-ups in an hour, which I did the other day, or handling the “you will have 10 minutes with this person” shoots. I can do these shoots with my kid pulling my hair or climbing on me because I can shut out everything except the shoot. It’s the nature of the job. It’s also my life.

One photo editor I spoke to told me, “As a photo editor (and not a photo director), I get to choose a short list of photographers, send them to my boss and hopes that he/she picks the one I want to use. I think a lot of time PEs want to hire women and their directors go for the guys—I don’t know why that is, maybe because they have a history, maybe its because their name is better-known. I have had many—MANY—conversations with editor friends of mine who keep having to hire the same male photographers because that is what their boss wants, I think most, if not all, PEs see the ratio and realize it’s fucked up.”

Women and men get different things from their subjects. It’s how we relate to each other. This is an important conversation. I know that Daniel Shea is compiling a list of female photographers that he would endorse which is great. I have my own list worth sharing.

My list has been in my head since I started shooting, and it keeps getting bigger. I am always checking out and inspired by the really cool work of women photographers. What female photographers’ work matters most lately? Delphine Diallo and Sarah Wilmer blow me away. Livia Corona, Lauren Greenfield, Gail Albert Halaban and Elaine Constantine are all doing things in different media, but to great effect and on their terms. Dulce Pinzon,Maggie Soladay, Amanda Kostner and LaToya Ruby Frazier are pushing cultural, social and economic boundaries with their extraordinary work. Sandra Myhrberg started her own fashion magazine, called Odalisque, where she employs a ton of women photographers. And the female brands behind some of the biggest corporate brands: Olivia Bee and Elizabeth Weinberg.

That Daniel Shea is bringing up this issue is important. But what of the many women—photo editors, for example—who can do the same but choose to sit on the sidelines instead, avoiding taking risks and playing it safe to their own career benefit? Women will rise in greater numbers when other women take risks by pushing the talents of unknown and little-known women, and by the continued support of men who have the power and influence to get women recognized. It’s not an either-or scenario. Both things have to happen. And men need to stop hiring other men who are just like them. By default that places women at a disadvantage.

Here is a big list of women photographers who are all…. killing it.

Portrait

Alessandra Petlin http://alessandrapetlin.com

Alison Aliano http://www.alysonaliano.com

Angie Smith http://angiesmithphotography.com

Anna Bauer http://www.annabauer.com

Annie Liebowitz http://annieleibovitz.tumblr.com

Autumn de Wilde http://www.autumndewilde.com

Barbel Schmidt http://www.baerbelschmidt.com

Cara Bloch http://carabloch.com

Cass Bird http://www.cassbird.com/

Catherine Ledner http://www.catherineledner.com

Christina Gandolfo http://www.cgandolfo.com

Dana Lixenberg http://www.danalixenberg.com

Danielle Levitt http://daniellelevitt.com

Darcy Hemley http://www.darcyhemley.com

Delphine Diallo http://www.delphinediawdiallo.com

Dulce Pinzon http://www.dulcepinzon.com

Elaine Constantine http://www.elaineconstantine.co.uk

Elizabeth Weinberg http://elizabethweinberg.com

Emily Shur http://www.emilyshur.com

Erika Larsen http://erikalarsenphoto.com

Erin Patrice O’Brien http://erinpatriceobrien.com

Eugenie Frerichs http://eugeniefrerichs.com

Flora Hantijo http://florahanitijo.com

Gabriela Hasbun http://www.gabrielahasbun.com

Gillian Laub www.gillianlaub.com/‎

Guzman http://www.lesguzman.com

Jessica Antola http://antolaphoto.com

Jessica Wynne http://jessicawynnephoto.com

Jill Greenberg http://www.jillgreenberg.com

Kendrick brinson http://kendrickbrinson.com

Kyoko Hamada http://www.kyokohamada.com

Lisa Wiseman http://www.lisawiseman.com

Lamia Maria Abillama http://www.lamiaabillama.com

Lori Adamski Peek http://www.adamskipeek.com

Mackenzie Stroh http://www.mackenziestroh.com

Martha Camarillo http://marthacamarillo.com

Mary Ellen Matthews http://www.jedroot.com

Megan Peterson http://www.meghanpetersen.com

Meredith Jenks http://www.meredithjenks.com

Michele Asselin http://www.asselinphotography.com

Michelle Pedone http://www.michellepedone.com

Morgan Levy http://morganrlevy.com

Naomi Harris http://naomiharris.com

Olivia Locher http://olivialocher.com

R. Jerome Ferraro  http://www.jeromepix.com

Robin Twomey http://www.robyntwomey.com

Sage Sohier http://www.sagesohier.com

Sarah Wilson http://www.sarahwilsonphotography.com

Susana Howe http://www.susannahowe.com

Sylvia Otte http://www.silviaotte.com

Sarah Wilmer  http://sarahwilmer.com

Lifestyle-Fashion

Amanda Marsalis http://www.amandamarsalis.com

Anna Wolf http://www.annawolf.com

Beth Perkins http://www.bethperkins.com

Brigitte Sire http://brigittesire.com

Catherine Wessel http://www.cathrinewessel.com

Chloe Aftel http://www.chloeaftel.com

Christa Renee  http://www.christarenee.com

Debra LaCoppola http://photoduo.com

Ditte Isager http://www.ditteisager.dk

Emily Nathan http://www.emilynathan.com

Erica Shires http://www.ericashires.com

Ericka McConnell http://erickamcconnell.com

Jennifer Rocholl http://www.jenniferrocholl.com

Karan Kapoor http://www.karankapoor.com

Kate Powers http://katepowers.com

Kathryn Wolkoff http://katherinewolkoff.com

Melanie Acevedo http://www.melanieacevedo.com

Nina Anderson http://www.ninaandersson.com

Olivia Bee http://www.oliviabee.com

Samantha Casolari http://www.samanthacasolari.com

Sarah Kehoe http://www.sarahkehoephoto.com

Sue Parkhill http://www.sueparkhill.com

Terry Doyle http://terrydoylephoto.com

Thayer Gowdy http://thayergowdy.com

Venetia Scott http://www.clmuk.com/photography/venetia-scott

Fashion and Beauty

Amanda Pratt http://www.amandapratt.com

Amber Gray http://www.ambergray.net

Anna Palma http://annapalma.com

Caroline Knopf http://www.carolineknopf.com

Catherine Servel http://catherineservel.tumblr.com

Chloe Mallet http://www.raybrownpro.com/

Claudia Fried http://claudiafried.com

Claudia Goetzelman http://www.claudiagoetzelmann.com

Cleo Sullivan www.cleosullivan.com

Colleen Rentmeister http://www.colienarentmeester.com

Corinne Day http://www.corinneday.co.uk

Daniela Federici http://danielafederici.com

Elinor Stigle http://www.ellinorstigle.com

Ellen Stagg http://thestaggparty.com

Ellen Von Unwerth http://www.ellenvonunwerth.com

Gabriele Revere http://www.gabriellerevere.com

Indira Cesarine http://www.indiracesarine.com

Jamie Isaia http://jamieisaia.com

Jennifer Livingston http://www.jenniferlivingston.com

Julia Pogodina http://www.juliapogodina.com

Karen Collins http://karencollinsphoto.com

Kate Orne http://kateorne.com

Liz Von Hoene http://www.lizvonhoene.com

Melodie McDaniel http://www.melodiemcdaniel.com

Micaela Rosato http://micaelarossato.com

Ondrea Barbe http://ondreabarbe.com

Pamela Hanson http://pamelahanson.com

Paola Kudacki http://www.clmuk.com/photography/paola-kudacki

Sandra Myhrberg  http://sandramyhrberg.com

Sarah Moon http://en.wikipedia.org/wiki/Sarah_Moon

Sarah Silver http://www.sarahsilver.com

Sheila Metzner http://www.sheilametzner.com

Stephanie Rausserhttp://stephanierausser.com

Yelena Yumchuk http://www.2bmanagement.com/

Still Life, Food Interiors Lifestyle

Alexandra Rowley http://www.alexandrarowley.com

Amy Eckerton http://www.amyeckertphoto.com

Andrea Chu http://chucandy.com

Andrea Gentylhttp://www.gentlandhyers.com

Andrea Wyner http://www.andreawyner.com

Anita Valero http://anitacalero.com

Anna Williams http://annawilliams.com

Aya Brackett http://www.ayabrackett.com

Beth Galton http://bethgalton.com

Beatriz Dacosta http://www.beatrizdacosta.com

Burcu Avsar http://www.burcuavsar.com

Diana Koenigsberg http://www.dianakoenigsberg.com

Ellen Silverman http://www.ellensilverman.com

Erika Rojas http://erikarojasphotography.com

Erin Kunkel http://erinkunkel.com

Katherine Barnard http://kathrynbarnardphoto.com

Leela Syd http://leelacyd.com

Linda Pugliese http://www.lindapugliese.com

Ngoc Minh Ngo http://patbates.com/ngoc_minh_ngo/

Melissa Punch http://www.melissapunch.com

Moya McAllister http://www.moyamcallister.com

Maura McEvoy http://www.mauramcevoy.com

Rachel Watson http://rachelwatson.com

Rita Maas http://www.ritamaas.com

Sara Remington http://www.sararemington.com

Tara Donne http://www.taradonne.com

Tria Giovan http://triagiovan.com/

Documentary

Amanda Koster http://www.amandakoster.com

Amira al Sharif http://www.amiraalsharif.com

Anastasia Rudenko http://www.anastasiarudenko.com

Andrea Gjestvang http://andreagjestvang.com

Annabel Clark http://www.annabelclark.net

Brenda Ann Keneally http://www.brendakenneally.com

Chiara Goia http://www.chiaragoia.com

Chloe Dewe Mathews http://www.chloedewemathews.com/hasidic-holiday/

Christina Paige http://www.christinapaige.com

Dorothy Hong http://www.dothong.com

Elissa Bogos http://elissabogos.squarespace.com

Ericka McDonald http://www.ericamcdonaldphoto.com

Emily Berl http://www.emilyberlphoto.com

Erin Siegel McIntyre http://about.me/erinsiegal

Gail Albert Halaban http://www.gailalberthalaban.com

Imke lass http://imkelass.com

Jessica Dimmock http://www.jessicadimmockphotography.com

Katarina Premfors http://www.katarinapremfors.com ngo, inspirational

Kate Brooks http://www.katebrooks.com

Kathryn Cook http://www.agencevu.com

Katrina Dautremont http://katrinadautremont.com

Latoya Ruby Frazier http://www.latoyarubyfrazier.com

Lauren Fleischman http://www.laurenfleishman.com

This post originally appears here: http://erinpatriceobrien.tumblr.com/post/60936647347/a-response-to-sexism-in-editorial-photography