Category: Photographers

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Jill Greenberg officially took herself off everyone’s list with that little stunt she pulled with outtakes from her McCain cover shoot for The Atlantic (I’m talking about all the photoshopping not the “lit from below” picture which felt like a nice try but not quite there) and made it a little more difficult for Photo Editors to get someone new and untested past the editor and more importantly the publicist.

If you have no idea what I’m talking about Mark Tucker has links to all the coverage and several questions of his own (here).

It’s the publicists who usually vet the photographers and if you’ve ever looked at a celebrity or political picture and thought “the most interesting thing about that picture is the person in it” that’s because safety is more important than creating something visually exciting. The challenge for Photo Editors has always been getting interesting photographers past the publicists because they always google them or come with a pre-approved list just to make certain the photographer will not do something unflattering or controversial. So, I’m shocked that the McCain camp approved her given the “candy and crying children” controversy that’s not much more than a google click away (well, it used to be a google click away…) but I’m guessing that The Atlantic didn’t seem to pose much of a threat so there was no background check on the photographer.

Hit pieces in magazines are not unusual, but it’s usually the writers that are the one’s waiting till the shoot is in the can, the fact-checking mostly done and then they can finally ring the subject up and start asking hard questions. What’s unusual here is that Jill went off and did it on her own without letting the magazine know what she was up to. Usually the magazine is involved in these kinds of decisions if not directing them in the first place. So, I can pretty much guarantee she’s not interested in getting hired anymore to do “the monkey light” and really just wants to be known as someone who manipulates. Even if some Photo Editor wanted to hire her now they wouldn’t get her past the editor let alone the publicist.

The Atlantic unfortunately got burned in the whole deal but there’s no way to know when someone is going to go rogue on you and if it ever happened in the past nobody would even know about it. The 2 week embargo seems unusual to me and it’s likely a function of The Atlantic wanting really badly to do something interesting in a very crowded newsstand and allowing Jill Greenberg to lay down the rules on what it would take for her to shoot a cover (at which point I would expect a photographer to tell me they hate the person they’re about to photograph and might not be the best choice for this assignment). If I’d been the Photo Editor in that situation I would be looking for a new job because I would have had to convince the editor to take a chance on a first time cover shooter for the magazine with very little political experience and on top of it get them to reduce the embargo to 2 week for outtakes.

Ultimately I don’t think she’s suddenly screwed it all up for photographers everywhere because shoots of this nature are almost always closely watched by the publicists, the terms with the magazine are exclusive and publishing outtakes from a cover shoot will land you in court

This was a very deliberate act by a photographer who knew she was going to get blackballed by publicists and make herself un-hireable in the editorial world to make a political statement or maybe she just wanted to remove herself from the editorial world in a dramatic way because in the end who but clients visits a photographers portfolio site and if you’re tired of having clients and working with publicists and just want to make art then this is one way to do it.

You probably know how much Photo Editors like their photographer lists and really any edited group of photographers is handy when looking for people to hire or looking for new people to add to your personal list.

I think this Women in Photography website (here) will become a very strong group from which to find talented photographers to hire. I like that it has a very specific point of view as defined by the co-curators amy elkins and cara phillips.

I mentioned to someone the other day that there are many resources that serve as lists of photographers for the creative community that you can buy into. But, if you don’t agree with the list of people you’re buying into, why not just go make your own. If it’s useful and the creative community knows about it, we will use it. The Women In Photography website is a good example of this.

I stumbled upon this treasure trove of photographer interviews that Randi Lynn Beach produced and I can’t believe I’d never heard of it before. There’s an absolute wealth of information from all kinds of photographers. Visit the site (here).

No, really, he ate one.

Back to that in a minute.

I’ve always had mixed feelings when it comes to hiring photographers overly versed in a subject matter. Certainly, when a photographer knows how to behave, act and dress around a subject it can cause the subject to drop their guard a bit and make for more intimate images. It also usually means they’ll be more accommodating with their time and with what they allow to be photographed so you get better access. The trade off is that photographers sometimes don’t push the pictures beyond comfort level, they won’t ask the subject to do something that might make them uncomfortable or might jeopardize their relationship with the subject.

On the other hand picking a photographer who has some distance from the subject and is not excessively concerned with their feelings or the possibility of making them uncomfortable or how they might be looked upon by the subject can result in some really spectacular work.

Anyway, this is a little more heady than I wanted to get into with this post because really I just saw this narrated slideshow over on the Texas Monthly website and I was imagining Peter Yang in his checkered vans and spiked hair dragging his cow shit covered 7b’s, c-stands and octabanks all over Texas and thought that was interesting. Of course I know Peter as a guy who shoots a lot of Rock and Roll pictures for Rolling Stone so I didn’t realize he’s from Dallas and went to school at UT and worked in Austin for 9 years and to what extremes he’d go to, to get a picture when I fired off a bunch of questions to see what the hell he was doing shooting cowboys in Texas.

Check out the slide show and audio commentary (here)

Was it really a 16 day shoot? I’m amazed magazines still do 16 day shoots. Did you have to sleep in a ditch?

It was sixteen days altogether for a cover and an 18-page portfolio in Texas Monthly. We logged 5,000 miles driving back and forth across Texas. In reality, there were six or seven days of shooting. The other days were spent traveling, scouting and investigating.

Leslie Baldwin and TJ Tucker at TM made initial contact with the ranches, but in the end, cowboys aren’t phone people. Arriving at each ranch felt like starting from scratch. I’m this Asian guy with spiky hair and checkered Vans, my first assistant is a California kid, and the second assistant is a hipster with tattoos running down her arms. We had to win them over with our charming ways.

On another occasion, we were out near Marfa. It was already ten at night and I had nothing planned for the next day. I was feeling really depressed as all I’d done that day was hang out in a field throwing rocks at a fence while the cowboys were out working on horseback. That night, we came across a bar and got to chatting with the bartender, and out of sheer desperation, I asked her if she knows any cowboys. It turns out her ex-husband is a cowboy and we ended up driving 3 hours due west and making some of the best images from the trip.

It sounded like you were shooting film. Why did you decide to shoot film?

No, I was shooting digital. I haven’t shot film in a long while. For the portraits I used a medium format digital back (Leaf Aptus at 75 S on a Hasselblad H2). For the documentary shots, I used a Cannon 1Ds2. There was a ton of dust and shit kicking up everywhere I went. For someone who rarely needs to clean his cameras, I was in my motel every night with an air blower and Pec Pad cleaning my cameras Nachtwey-style.

Cowboys, cows, horses and octabanks don’t sound like a natural combination and I suppose that’s why Texas Monthly choose you for this assignment. Did you ever feel completely out of your element like what the hell am I doing here? A New Yorker out in the middle of Texas with a bunch of cowboys sounds like a recipe for trouble to me.

Hey, I’ve only been a New Yorker for four years. I may not have grown up on a ranch (or anywhere near cows or horses), but I am from Texas.

I did feel out of my element at the beginning. I had just come out of 3 straight months of shooting my usual fare. Celebrity shoots where everything has been discussed and agreed upon and every moment of the shoot accounted for. Advertising campaigns with art directors and their clients standing in front of the monitor approving every shot frame by frame. Now here I was in Texas with no one telling me what to do. It’s a photographer’s dream, but it took a bit to get used to.

As far as trouble goes, no one was seriously injured in the process. I drank a lot of beer, ate a cow testicle or two, rode a crazy horse, heard jokes that haven’t been kosher since ’64, tried to lasso a fence post, and ate at a lot of Dairy Queens. A lot.

When you decided to do the lit portraits were you thinking this is my style and I’m sticking with it even if the 7b’s get covered in shit or were you thinking of bringing something new to the genre of cowboy portraits?

Lighting the photos had always been my plan. I’d seen a lot of images of cowboys growing up and I wanted to bring something new to the table while staying true to who they are. It rained a couple of days and there was lots of dust everywhere we went. The lights were always tarped to keep out the elements.

Of your other portrait work how much is planned and how much is just “let’s see what’s happening when we get there.”

I started my training as a newspaper photographer. As a journalist, you are not permitted to affect the environment. When I moved to magazines, this way of thinking stuck with me for years, and helped bring a candid, found quality to my photos. With celebrity work, you can’t tell a publicist “we’ll just get there and see what happens.” You have to assure them you won’t make their client look like an ass. My shoots now are much more planned and produced, but I always strive to keep some spontaneity.

Yum.

I see a growing trend here as the Yousuf Karsh estate (here) becomes the latest in a series of photography masters to unveil professional websites that will not only serve as wonderful resources for the photo community but act as a central resource for consumers and professionals looking to purchase prints and reprint rights.

During his career he held 15,312 sittings and produced over 150,000 negatives.

The short video clips (here) are particularly interesting to watch as Yousuf answers questions that we seem to ask photographers over and over.

Photographer Renée Jacobs interviewed 93 year old Charis for London based Photo Icon magazine (website here). Here’s an excerpt.

AT THE AGE of 93, Charis Wilson has seen more than most people ever will – and the art world has seen more of her than almost any other woman in the history of photography. As Edward Weston’s lover, writer, companion, driver (Weston never learned to drive), and model from 1934-1945, Charis left an indelible imprint on Weston’s work and the way in which his photographic nudes are examined. Charis is the subject of more than half of all of Weston’s nudes, including some of his most famous – the Oceano Dunes series and Nude in a Doorway. His portrait of her at Lake Ediza is well known (if somewhat misunderstood). Charis grew up in a literary family, surrounded by adults and few children to play with. She was a sickly child and developed her strength by bicycling – and swimming naked out to the kelp beds in Carmel Bay. When she met Weston, she was 19 and he was 48, already an accomplished photographer with one book to his credit and a growing reputation as a new breed of modernist photographer. Her literary skills helped secure Weston a Guggenheim grant in 1937 – the first ever awarded to a photographer. Her insight and observations accompanied his photographs during their Guggenheim travels in the ground-breaking and bestselling book, California and the West.

What was your reaction to seeing the photographs for the first time? I had seen some poor reproductions before that – but to actually look at the prints, I had never seen pictures like that. I was used to other people that made pictures softening things – the Pictorialist style was in vogue – so I had never seen photographs like these. Sonya showed me some of the shells and the peppers – then pulled out some of the 4×5 nudes.

… and what was your reaction to the nude photographs?
I thought they were terrific. Again, I’d never seen anything like that.

Did it make you want to be part of that art or did it make you more interested in him as a man and a person?
Yes, I was more interested in him I think… well, it’s hard to say. It’s too far back to really determine – but whatever it was, I wanted more of it. More photographs. More of the person that made the photographs!

What was the posing or directing method that he would use in those early sessions?
He didn’t give any directions. He just said: ‘Go over there and sit down or lie down, or do what you feel like doing and move around all you want. Change your position as you want to’. That’s what Sonya had told me: ‘… there’s nothing to posing for Edward. In fact, you don’t even pose. You just move around and do what you feel like’. And that’s all very well, except when you try to do what you feel like he’d yell: ‘Hold it! Hold it! Stop right there’. So you could never move without being told to ‘hold it’. I had a mental picture of what I would look like in his camera – these rather idealized nudes based on ones seen in his darkroom – but even after 5 or 6 moves I never got to the point I had imagined because he’d keep stopping me on the way.

It was during that time in 1936 that Edward made the famous nude study of you in the doorway of the Santa Monica Canyon house – and neither you nor he were completely happy with that image, correct?
Well, we knew it was a good picture. But we had our objections to things that should have been straightened up.

You were not satisfied with the uneven part in your hair and the bobby pins and he was not satisfied with the shadow on your arm?
That’s right. Well, the shadow on my arm was really worth protesting, because if you didn’t print it very carefully it looked as if I had a withered arm. Whereas the hairdressing was simply sloppiness on my part I’m afraid.

… and he only made the one exposure of that?
He did with everything 8×10; you couldn’t afford to make duplicate exposures. He never did.

People read all sorts of symbolism into Edward’s still lifes – that he never felt was there. Did you think Edward was being truthful with you and with himself (and with the art world) when he said that there were no hidden meanings?

Edward had a way of saying that in some cases symbolism was inescapable. It is just there and you can’t very well erase it when you’re making a picture, even if what is moving you to make the picture is something else. So he was not interested in the obvious reading of a photograph. He got impatient with people who were looking for everything to be sexual in a picture of a pepper. To him, that was a much too simple – and simplistic – way of looking at a picture.

And similarly, with the famous Lake Ediza photograph – you’ve written about how tired you were and how exhausted, but still you were somewhat perplexed or amused that people would read into that photograph a certain sensuality. It was really you just sitting against the rock exhausted.
Um… hmm. Yes, I really was just exhausted [smiles].

It got to the point where driving around during the Guggenheim travels, Edward would doze off and you would scout a location because you were so tuned in…
Uh huh. Right. For the most part.

But you felt like you still could never quite see the ‘Weston moment’.
In the early years, I was obsessed with doing that. I was making the picture in my head. I figured I knew what he was doing, and how he was seeing, so well that I could put it together – I never did. I finally figured that Edward was the picture maker and I was the wordsmith. He simply does not do it in words; I do not do it in pictures.

Why do you think you were obsessed in the early years with doing that?
I think because I had a very strong feeling that anything anyone else could do, I could do, you know. It was really bigheaded on my part, I think. That everything in the world could be that simple. That it was possible to get hold of and ease myself

Did you ever have any desire to photograph or do nudes of him?
No. No. I never wanted to take photographs. And it absolutely amazed Edward, because he had a good number of female students in those days that had all been helpers of one sort or another and he kept offering to teach me. I always wanted to look through the ground glass, in fact, it was so automatic that he finally stopped asking me and just moved off for me to get under the focusing cloth and look at his picture. He knew I always wanted to see it. But to do anything photographic? Absolutely not. I knew this much about photography from listening to what he said. It took far more command, self-command, of what you were looking at and doing than I would ever have. As far as I was concerned, writing – which is what I assumed I was pretty good at – meant that you wrote and then you rewrote – and then you rewrote again. Carefully. I had learned this from my grandmother and great aunt and father, all of whom were writers of one kind or another. Something you worked on. This was anathema to Edward. Photography – a photograph – wasn’t something you worked on. That was the kind of thing that no good people who fixed it up later in the darkroom did. He had to be so sharp and so straightforward that he could find the thing immediately, set up the camera and see just what he expected to find there. Get the thing in focus in no time at all, pull the slide, make the exposure. I could never see this as a way of working.

Why would I want to be a photographer? I loved what he did and that was enough for me.

Phillip Toledano has a new book coming out on phone sex workers (here).

When I see a project like this (Timothy Archibald’s sex machines comes to mind as well) I’m always impressed by the photographers ability to convince the subjects to sit for pictures that will potentially be seen by hundreds of thousands of people. It’s worth noting for for future assignments where a subject might be spooked easily.

Via, Swissmiss.

Hey, it Looks like Sheila Metzner’s got a new website (here) as well, complete with music and slideshows (Caution: If you’re at work make sure the volume is down) so I think it’s safe to say we have a genuine trend here (ok, maybe it started a year ago, I haven’t been keeping up with Sheila and Albert).

It think this is partially about building a fan base and mostly about taking control of your content. All the legendary photographers have content floating around the internet and there needs to be a place to link everything back. Also, when consumers run into your work somewhere and google you to find out more, there should be a place they can go to see more work and other stuff like buying books or getting a lecture schedule or watching a video interview (you can do whatever, once you’ve got the google juice). Let’s hope the trend continues.

Thanks for the tip Robert Wright.

Albert Watson has a new website (here) at least I think it’s fairly new, last time I checked was a year ago when I tried to hire him and felt like a fool for leaving urgent messages for a very last minute cover, then of course when I finally got his wife on the phone he’s in Europe for a month and booked on jobs as far as the eye can see. Nevertheless Jodi @ RS told me he’s an incredible sweet-heart and still works harder then an art school grad on their first assignment so I thought what the hell I’ll see if he’s up for it. The first portfolio on the website has 186 images in it. Not recommended that any art school grads try and pull that off.

Check out the new and improved thumbnail view for the free promo at ILikeThesePhotos.com. This will give buyers a great opportunity to view 297 photographers in 10 seconds flat. Don’t think you’ll find that anywhere on the web. Special wOOt to my new business partner Erik Dungan for coding that up. It took him all of 10 minutes to do it so look for cool stuff coming down the pike in the near future. I’ll be taking this show on the road (email) in the next day or so.

Click here to see a full screen version: ILikeThesePhotos

UPDATE: Follow this link to see the entire group as medium thumbnails APE Flickr

Click on the photograph to see the name and website of the photographer. Adjust the speed of the slideshow (I like 1.2 seconds) or use the manual controls at the top.

Attention art buyers and photo editors, this is a free promo that’s meant to supplement all the other ways you find photographers to hire. I created it see if there might be an easier more efficient way to quickly look at 200-300 photographers. Compared to the weekly promo pile this works pretty good. Plus, if you’re like me, you remember a picture and not necessarily who took it so you can come back to this slideshow and find the name and website of the photographer whenever you like. This project only works if you find work you like and hire the photographer. I can create more of these but it’s a complete waste of time if it doesn’t connect buyers with photographers. That’s the only reason I did this. If you have suggestions on how to make the next one more useful for you please let me know.

Photographers, I want to thank everyone who participated, it was a privilege to look at all your work. If you disagree with the selection I’ve made not to worry, we’re going to do this again with different editors in a couple months. The flickr group was such a pain in the ass because it didn’t behave anything like the personal area but now that everything is hosted on my account it seems to work fine. Let me know if you need me to do something with your photo. I ended up editing it down to 1 photo per photographer to make the viewing faster.

Anyone who has a blog and feels like spreading the word you can use this embed code or link to the full page version at http://www.ilikethesephotos.com You can change the size of the embeded version by changing the width and height (keep it square).

<iframe data-lazyloaded="1" src="about:blank" align="center" data-litespeed-src="http://www.flickr.com/slideShow/index.gne?user_id=12642015@N06&set_id=72157604534186618" frameBorder="0" width="550" height="550" scrolling="no"></iframe>

Photoshelter blogger Rachel Hulin has a nice interview (here) with one of my all time favorite photographers, Antonin Kratochvil (he also sent me work from the road for the slide show which you can all see once I repair the problem). I love working with Antonin because although he appears to be tough as a bag full of hammers, in reality, he’s a very down to earth man who endearingly refers to everyone as “bitches.” Oh, and his pictures ROCK. His contact sheets are something to behold because there’s hardly any frames leading up to “the shot.” Talk about a tough edit, try editing 50 of his contact sheets down to 5 pictures in a magazine. Impossible.

If you made the final cut and sent me your photos on flickr you now need to email them to me here: promo(at)aphotoeditor.com

If you already emailed them to me to begin with you don’t need to do it again.

The slideshow is not working the way it should and I need to upload them into a set on my account. It has to work right before it goes out to art buyers and photo editors.

Here’s the pool of images that made the cut: http://www.flickr.com/groups/aphotoeditor/pool/

You have to be logged in to flickr to see all 550 images and that’s the problem at the moment.

April Fools Joke. Since it’s over I thought I’d let you know first.

The NY Times has the details on the reported 25 Million dollar deal that would move her entire collection to Flickr with a Creative Commons License (!).

I grabbed a couple screen shots but the place is absolutely mobbed with people. I was able to drop a “nice one” on the picture of the queen tho.

Link to her Flickr page (here).

I emailed Jennifer Rocholl after a few readers raised questions about the similarity between an image of hers and an entire body of work by Jan Von Holleben (here). I actually saw the photo in question in her portfolio several months ago and didn’t give it a second thought because honestly it’s not unusual to see similar work and ideas in photographers portfolios. A former first assistant’s work is actually expected to be very close to their bosses. Not a problem in my mind and even more so when it’s the only image like it in the portfolio.

It really only becomes a problem when you win an award or some kind of recognition and that image is published to represent you as a photographer. That’s exactly what happened with Jennifer and from what she tells me PDN was unaware of Jan’s work as well, when they made the selection.

Tell me about the picture in question.

I shot that picture last May as a portrait of 2 clothing designers called Brown Sound, for Flaunt Magazine. It was a collaborative idea between the 3 of us, and developed that afternoon as we were coming up with ideas.

I was unaware of Jan’s work until last week when he emailed me and I saw his “dreams of flying” series on his site.

So, Jan emailed you after seeing it, what was his reaction?

He asked why I chose that particular image to represent my photography. Actually, PDN selected it out of my portfolio submission. I said I was sorry if he felt I copied his work, but that was not the case as I had not been familiar with him as a photographer or his series. And actually, if I was at all influenced by any images, they would be this fashion story Zach Scott did in 2002 for Los Angeles Magazine:

and this shot of charles and ray eames:

If you develop an idea that’s similar to another photographer’s do you think you should abandon it once you discover the similarities?

If I stopped what I was doing every time I thought I was emulating a form of someone else’s work, I wouldn’t get anything done. Would any photographer, at this point in photo history? Can you imagine if after Avedon, no one ever dared to shoot a subject in front of a white background? Or after Halsman shot his collection of celebrities jumping in the air, jumping was off limits to any other photographer? What if Tom Waits stopped doing his thing when people told him he sounded too much like Captain Beefheart? When I take a picture of the forced perspective illusion of someone standing in the palm of another person’s hand, does this now mean that I’ve monopolized this trick and I’m known as the “forced perspective photographer that shoots people holding tiny people”?

Ultimately, I think there’s a thousand more variables that make up a photographer’s consistent body of work and gets him/her jobs, besides an optical illusion gimmick. I think Jan’s a genius at what he does, the collection of these images is really beautiful and creative, but I don’t think my work and his compete aesthetically or stylistically. He and I have discussed our positions to each other and are both fine with it.

Off topic here but did anyone call and give you a job after seeing the PDN 30? I think that’s the reaction photographers would expect after being featured like that.

No jobs yet.

One of my all time favorite photographers has no agent, no website, doesn’t send out promo mailers, no logo, isn’t in any of the sourcebooks, not listed in the free workbook phonebook, has never called to see if I’ve got anything for him and if I hadn’t scoured the web and made a few phone calls years ago I would have no clue how to contact him (you have to email me if you want his info).

Sometimes I get tired of talking about marketing and business because the reality is I really just like looking at pictures and I get a real buzz out of sending photographers off to take pictures and wish I didn’t have to deal with any of the other shit and I know photographers just want to take pictures so I thought I’d take this opportunity to say that if you want to be like Seamus Murphy and work hard to develop your craft then go do it.

A reader points out: …”Yours is probably the most helpful blog I have ever come across, however your insights make the whole industry sound so strategic. Your blog makes it sound as if us photographers all have to be walking on egg shells so as not to step on any toes. Hey! We’re the ones producing the actual pictures!”

Yeah, I hear ya buddy. There’s something I really enjoy about photographers who could give a flying rats ass about marketing themselves to me.

If you want to just go out take great pictures, I will find YOU. That’s my job. That’s why photo editors exist. If it were easy the editor could do it.