the shift by readers and advertisers online will limit the growth of print, the industry’s lifeblood. While magazines’ print and circulation revenue combined will hit $25.1 billion in 2015, growing at a compound annual rate of 3.5 percent, it will still be lower than its 2007 level of $25.4 billion.
There’s some good news: Advertising is starting to recover. After plunging 26.8 percent from 2007-2009, it crept up 2 percent in 2010.
via Adweek.
I love old photos. I know I’m a nosy photographer. As soon as I step into someone else’s house, I start sniffing for those old photos. Most of us are fascinated by their retro look but to me it’s imagining how people would feel and look like if they were to reenact them today… A year ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future.
via burn magazine.
The goal of this survey is to evaluate and share developing trends of how photographers used social media sites such as Twitter, Facebook and others in 2010 as compared to 2009. The 2009 Survey was an incredible success thanks to your participation and word of mouth to your peers.
Go (here) to take the survey.
“To permit one artist the right to use without consequence the original creative and copyrighted work of another artist simply because that artist wished to create an alternative work would eviscerate any protection by the Copyright Act,” concludes Judge Pregerson. “Without such protection, artists would lack the ability to control the reproduction and public display of their work and, by extension, to justly benefit from their original creative work.”
via Hollywood Reporter.
in 1980 there were .45 PR people and .36 journalists per every 100,000 workers. As of 2008, that number had shifted radically. There are now .90 PR people per 100,000 workers and just .25 journalists.
via Utne Reader.
Stay curious, stay open. Always keep learning. That is how the great ones got to be who they are, and that is how they stay there.
The art gallery world is entirely different. It is commercial and measured by dollars. If it doesn’t sell it won’t be in galleries very long. I certainly promoted my work. I was new. That’s what the contemporary art world wanted and still does, novelty.
via B.
There are at least two kinds of photographic bravery: the bravery of those who risk life and limb to show the world the ugly truths of war and conflict, and the bravery of those who push themselves in long-term, intimate projects — confronting themselves while documenting their subjects. There is no hierarchy of bravery.
via NYTimes.com.
I’m now China’s Top Selling Stock Photographer, the only industry consultant with a core expertise for China, Director of the Young Photographer Alliance’s China Mentoring Program, an ASMP liaison to Asia, and more to come!
via The Stock Photo Guy .
via some clever stuff.
keep in mind that the skills needed to generate a successful ad image are only 10% photographic. The rest? Client interaction, on-set conduct, conference call etiquette, budget finagling, crew management, general problem solving, the care and feeding of buzzwords and jargon — and knowing when to go with the flow versus when to make suggestions that might nudge the project out of the everyday and towards something more transcendent …
via planet shapton.
“I did not know how to say ‘no.’ I worked 14 months without taking a day of vacation. I was 30 pounds overweight and drinking so much. I was not nice to the people around me, and I was even worse to myself.”
via NYTimes.com.
The function of a professional photographer will be the same. To make a living from his work.
via What’s Next.
it takes a bit more than owning a camera to be a photographer or at least a certain type of photographer
via Conscientious.
last year, Steidl received something north of 2,000 unsolicited submissions. He printed none of them.
via NYTimes.com and @dariushimes
I get asked quite a bit about studying to become a photo editor or landing a job in the photo department at a magazine and this workshop seems like a good step in the right direction:
http://www.kalishworkshop.org/index.html
Kalish 3.0 is designed to address new opportunities in visual storytelling. For over 20 years we’ve been training editors, producers, photojournalists, professors and students in visual editing.
Subjective/Objective, suggests that despite the perceived view of documentary photography, and its imminent demise, the reverse is actually true, with the medium enjoying a remarkably ‘vibrant and creative’ period, as seen in the selection of photographers who frequently present a very personal visual language.
Condé Nast Publications, whose stable of magazines chronicles the American zeitgeist as meticulously as any anthropologist, has reached an agreement to lease one million square feet at 1 World Trade Center, giving ground zero a much-needed corporate anchor with a proven ability to attract other businesses.
…the negotiations involved reams of traffic studies and security discussions, to ensure that its black cars (more than 100), its racks of designer dresses and its well-shod executives would be able to pass swiftly each day through the police-imposed security zone that is to surround the complex.
via, NYTimes.com thx, Mark.
When I started out as a photographer, all galleries had an inventory of frames. All that was required was to send matted prints to the gallery and they popped them in their frames. The costs of shipping and flying the artist in for the opening were also absorbed by the gallery. Digital imagery (and the economy) changed that system, as prints became large scale and no longer uniform.
via L E N S C R A T C H.