Finney Country Sheriff Kevin Bascue told AP the two men were charged because they didn’t have permission to take off from private property and hadn’t told anyone they intended to take photos… The sheriff didn’t mention Kansas’ ag gag law, the Farm Animal and Field Crop and Research Facilities Protection Act, which became the nation’s first when it was signed into law in 1990. The law bars individuals from entering and photographing an animal facility not open to the public.
via HuffPo.
For a photog, the path of the generalist can be a fraught one. You are never the first shooter called, for instance, because you are never the regarded as the “best” at anything.
— Joe McNally
By Craig Oppenheimer, Wonderful Machine
Shoot Concept: Images of plated food (soups, entrees and sauces)
Licensing: Advertising and Collateral use of 42 images in perpetuity
Location: In a studio local to the photographer
Shoot Days: 5
Photographer: Midwestern Food and Portraiture Specialist
Agency: Small Ad Agency in the Northwest
Client: Prepared Foods Manufacturer in the Northwest
Here’s the estimate:
Creative/Licensing: The agency approached the photographer with a request to photograph 42 items for their client who primarily makes prepared soups. The client was branching out into manufacturing other items besides soup, and they needed images to showcase 8 sauces, 8 entrees, 10 soups and 16 holiday food items. We received one comp of a close up of a bowl of soup, and we were told that they didn’t have any other specific information on the complexity of the dishes that needed to be captured. The agency mentioned that they were anticipating 5 days of shooting, and this meant that the photographer would need to shoot at least 8 dishes a day, plus one day where he would photograph 10 dishes…no small task.
When I spoke with the account director at the agency, she told me that they were planning to use the images in web ads, on product packaging, on their website and potentially in other printed collateral pieces (although she couldn’t think of any likely examples), and they intended on using these images for 5-10 years. I learned that not only is it rare for this client to manufacture new items, but also that the client has never done a shoot of this scale before and didn’t set a specific budget. This told me that while the shelf life was lengthy for these photos, the client might be easily scared away by an exorbitant bottom line.
Based on their licensing needs, and due to the inexperienced client and the small size of the agency, I chose to price the first four images in the main categories (sauces, soups, entrées and holiday items) at $3,000 each. I figured that the images of their best selling items in each category would be the ones featured in advertisements, and that all of the other images were worth a bit less due to a decreased level of exposure. So, for the second and third image in each category, I dropped the fee for each one to a quarter of the full price (8 images at $750 each totaling $6,000), and then lowered it to a sixth of the full price for the fourth and fifth items in each category (8 images at $500 each totaling $4,000) and then priced the remaining 22 images at one-tenth the full price ($300 each totaling $6,600). This all tallied up to $28,600. This felt a bit high based on other projects I’ve estimated for food clients, so I ultimately decided to drop it down a bit to $25,000 which also helped to keep the bottom line under $70,000.
After coming up with my own fee, I checked it against other resources. Getty would price that first image in each group at $2,530 ($735 for the web ads, $1,225 for the packaging, and $570 for the website use) for 3 years. This was in line with the $3,000/image I originally came up with. Blinkbid priced 1 image at $4,500 for “website” and “collateral” use for 1 year, and FotoQuote also priced 1 image at $4,500 for their “web pack” which includes web advertising and use on a client’s website, however this didn’t include packaging use.
Assistants: In order to stay on pace with the schedule each day, we’d need the first assistant available for a prep day before the shoot to set up everything, and then both assistants would be there for all of the shoot days
Digital Tech: We’d also need the tech for the prep day and each shoot day, and we included his workstation equipment in the equipment line.
Producer: The photographer had a producer he worked with at $600/day (a bit lower than I might include typically) and he’d be a crucial part of the shoot to make sure each day stayed on schedule.
Photographer Prep Day: This was for his time to set up in the studio the day before the shoot
Prop Stylist and Props: We didn’t actually need a prop stylist on set, but we did need someone to gather all of the necessary items and drop them off at the studio. The food stylists would be able to collaborate with the photographer for prop placement in each shot. While a handful of the items would be reused, the prop budget included items such as bowls, plates, cutlery, and tabletops. After speaking with a prop stylist, we decided it could take between $50-$100 per shot in props, which would be between $2,100-$4,200. Also, since we didn’t know how many items could be reused, the prop stylist needed ample time to source unique items, come to the prep day to drop them off and sort them, and then return any unused items after the shoot. The veteran stylist I spoke to recommended that I include 6-7 days for her, but I felt that this was too high, so I included 5 days…which I still felt was on the high side.
Food Stylists and Assistants: I included 5 shoot days for two teams of stylists with their assistants, and also included an extra day for the primary food stylist to shop for supplemental food before the shoot. In order to shoot 42 dishes in 5 days, there would need to be 2 teams of food stylists with their assistants, and they would also need to follow a very strict schedule to complete the project on time. To help us think through how this would work, we created the following chart:
The chart details the schedule for each team over a 10-hour day. The numbers and letters in each slot correspond to the dish number and team. For example, 1a means the first dish for team A, and 3b means the third dish for team B. This schedule would allow the food stylist’s assistant to prepare a dish for 2 straight hours, one hour of which the food stylist would be lending a hand. After the hour when the stylist and their assistant prep the dish together, the food stylist will then spend one hour with the photographer shooting that dish while the food stylist’s assistant begins to prep the next dish. The photographer would switch back and forth between the two different teams with their own sets.
Supplemental Food: The client would be providing the majority of food, but the stylists would need supplemental items (like garnishes) to make the prepared foods look their best.
Studio Rental: The studio we had in mind had a weekly rate of $2,500. I included an additional $300 that the studio would charge for the few hours of prep time before the shoot days.
Equipment Rental: We always recommend that photographers charge for their own equipment. However, this photographer decided that he didn’t want to. The fee here represents $500 per shoot day for the tech’s workstation rental. The tech would be using a laptop on the prep day.
Image Processing for Editing: This covers the time, equipment and costs to handle the initial import, edit and upload of images for client review.
Selects Processed for Reproduction: 42 final images would be further processed and delivered.
Catering: I included catering for 12 people at $35 each for the 5 shoot days, plus and additional $600 for dinner on the day that there would be overtime.
OT Hours: On one of the shoot days the crew would need to stay an extra 4 hours in order obtain images of 2 additional shots needed in order to capture 42 dishes. I arrived at this number by calculating each crew member’s hourly rate (based on an 8 hour day) and multiplying by 4.
Miles, Parking, FTP, Insurance, Misc: I included an additional $100 per shoot day to cover these miscellaneous expenses.
Housekeeping: I made sure to note that the all of the manufacturer’s food products would be provided to the photographer, and noted the advance requirements.
Results: The account director told us that this estimate was competitive and definitely in line with the other bids they received, but they ultimately decided to hire a photographer located in the same city as the agency and client. The decision was also a creative one, as the client preferred the style of the other photographer.
Hindsight: If I had known that we were bidding against photographers local to the client and agency, and I was also told beforehand that our bottom line was comparable, I would have tried to adjust our estimate appropriately to offset any travel costs potentially incurred by agency/client representatives to fly out to our photographer’s city.
If you’ve had a photo project on indie-go-go, or Emphas.is, or Kickstarter asking for money, I wonder: have you contributed to other photographer’s projects? If you’ve got a book-signing coming up, or have published a book, did you buy someone else’s book, or go to their signing, or for that matter, their gallery opening?
As much as I can say there is a photography community in New York, I find myself questioning how much of it is self-interest and how much of it is reciprocal.
via Stella Kramer.
I was sitting on my porch the other day, chatting with a friend. He’s a wicked smart photographer, and has had a good bit of success, including a Guggenheim Fellowship. The ideas were flying rather quickly as we sat, rocking in our rocking chairs, killing black and red ants as they explored my territory. (They’re aggressive, and they bite, so they had it coming.)
He’d just returned from forty days roaming the hinterlands of Dick Cheney’s Wyoming, and was hungry for conversation, like a Jew who’s fasted after dropping a Torah. Mostly I listened, because he likes to talk. At some point, we reached the subject of artistic intent, which is guaranteed to rile up anyone/everyone.
My friend was an environmental activist for many years, and makes art for the noblest of intentions. He’s either trying to save the planet, or make us realize we’re all doomed. I haven’t decided yet. Regardless, he comes from a long line of artists who want to make the world a better place. The serious guys.
I mentioned that, though I occasionally vacillate, I mostly believe that no one reason for making art is inherently better than another. It’s the moral relativism argument, grafted onto an art conversation. He smiled, (or was it a smirk?) and said, sure, that’s the politically correct thing to say.
“But do you really believe that,” he asked?
I paused, and then said yes. I do. I’ve seen enough interesting art, over the years, that came from infantile experimentation, or anarchic rebellion, to believe that it’s not only the serious strivers who get to make the good stuff. Sometimes, great (or provocative) art can come from hedonistic, nihilistic nitwits, whether we like it or not.
This week’s book is a great example of the phenomenon. “I Love You, Stupid,” is a very thick book filled with Polaroid photographs (and video stills) taken by the now deceased art star Dash Snow. Before I say anything else, I’ll admit that the pictures you’ll see below will likely offend your better sensibilities. They’re meant to, and they succeed.
Mr. Snow was famous before he died, as he came from a line of very important people in the art world. (The de Menils.) I didn’t know this, nor had I seen his work while he was alive. I do remember him dying, but only because I must have heard third hand that some junkie art dude overdosed. That was the extent of my knowledge, though perhaps you know more than that.
The book contains a very well-written opening essay by Glenn O’Brien, of GQ and Andy Warhol circle fame. Great stuff, really. It will make you excited to make art, for sure, and also prejudice you towards liking the images that follow. He’s extremely persuasive, and also forthright in countering any rich-kid bias you might have. (Basically, he presents Mr. Snow as a 21st Century Shaman.)
Once you’re fired up and ready to go, you get to see countless photographs of all the bad stuff you’re not supposed to do. There is tons of sex, drugs, blood, semen, graffiti, partying, homelessness, vomit, and more sex. Seriously, if I had a dollar for every penis included in this book, I could…well…buy the book. Fortunately, all the bad behavior reeks of genuine effort. (Must be all the smack and coke.)
A little while back, I wrote about Mike Brodie’s book “A Period of Juvenile Prosperity,” and was a bit cynical about his intentions. Great project, but I could see his mind whirring as he realized how perfectly his photographs would deliver what people wanted. It wasn’t that he didn’t seem serious about his frisky lifestyle choice, (freight train hopping,) only that the concurrent calculation was also evident. This book obviates those concerns. This mayhem feels real, like it doesn’t care whether we’re there to look or not.
I’m not saying this art is brilliant. (It’s not.) Nor that you should like it. (You probably won’t.) But I’m pretty sure Dash Snow wasn’t trying to be bad. He just was. And darkness walks upon the Earth, whether we like it or not. So art that captures that essence is valuable. Every bit as valuable as the art that tries to improve upon our faulty existence on this spinning blue orb.
Bottom Line: A nihilistic, voyeuristic, bad boy thrill ride
To Purchase “I Love You, Stupid” Visit Photo-Eye
Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.
Books are found in the bookstore and submissions are not accepted.
We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net
Anonymous Art Producer: I nominate: David Paul Larson. “David is extremely talented, hard-working and wonderful to work with. Working with him is a definite creative collaboration and he brings a fresh and different perspective to every shoot.”
How many years have you been in business?
I have been shooting professionally for three years.
Are you self-taught or photography school taught?
I attended Columbia College Chicago and double majored in Advertising and Photography. I wanted to talk to my clients both as a peer and artist. After photography school I assisted Norman Jean Roy, Mark Seliger and Mario Testino. Assisting on large production, multiple day shoots is the best education.
Who was your greatest influence that inspired you to get into this business?
After being medically discharged from The United States Marine Corps I wanted a career that was detail oriented, fast paced, competitive and team driven. An early mentor told me that if I wanted to become the best I need to move to New York and learn from the best. New York has single handedly had more of an impact than anything else. Professionally and personally it has pushed me to places I never thought I would go. It’s an endurance race with yourself and your art.
Darren Aronosky, Stanley Kubrick, Guy Bourdin and Garry Winogrand have had a profound impact on my work as well.
How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I am always looking for art directors,stylists and models to work with. I have found that the more personal work I create the more jobs I book.
Do you find that some creatives love your work but the client holds you back?
Rarely. I got into this business because I love collaborating and working with people. In the military everything is about teams and those lessons have translated a lot into my professional life. I get a lot of pleasure out of working with art directors and photo editors. Most of the work I get is a referral from existing clients so they often know a bit about me before we meet.
What are you doing to get your vision out to the buying audience?
I frequently post work on many social media platforms-Tumblr, Twitter, Instagram and Facebook. I love showing my work in person. I try to do that at least once a week. In addition, I am sending out an email promo every 45 days and printed mailers every two months.
What is your advice for those who are showing what they think the buyers want to see?
Oscar Wilde said it best “Be yourself; everyone else is already taken.” Don’t try to be everything to everyone. Shoot what you love and over time it will develop into your vision.
Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am constantly shooting for myself and for clients. I am interested in creating timeless, raw, beautiful images that will stand the test of time.
How often are you shooting new work?
I shoot at least once a week. It’s the only way to stay sharp with your craft. I think about photography as a muscle and it constantly needs to be stimulated, stretched and pushed.
David Paul Larson is a young photographer based in Brooklyn and is seeking representation.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.
It’s disgusting. I hate it! I’ve done it only when I’ve been to countries where it was difficult to go and they said, “If you don’t do color, we can’t use your things.” So it was a compromise, but I did it badly because I don’t believe in it.
The reason is that you have been shooting what you see. But then there are the printing inks and all sorts of different things over which you have no control whatsoever. There is all the interference of heaps of people, and what has it got to do with true color?
via Henri Cartier-Bresson: ‘There Are No Maybes’ – NYTimes.com.
(click ad to see today’s visual interview )
Along with Irving Penn, Richard Avedon and Mark Shaw, Mr. Stern was part of a generation of photographers who made clear, clutter-free, arresting images the language of glossy magazine advertising, which until then had mainly used pictures to illustrate text.
…Robert Sobieszek, the curator of what is now the International Museum of Photography and Film at the George Eastman House, called Mr. Stern’s martini photograph “the most influential break with traditional advertising photography” of its time.
via NYTimes.com.
Everything’s bigger in Texas, and Americans love their cars. How’s that for mashing two stereotypical truisms into one. It’s like a mixed metaphor, only better. (Like if you kill two birds with one stone, you might cry over spilt milk. Poor little birds. They never hurt anyone. What’s wrong with you? Killing two defenseless birds.)
What was I saying?
Oh. Right. Americans and their cars. Ours are bigger than yours, if you live anywhere but here. We like big trucks and Hummers and things like that. Little cars are for sissies. And Europeans. (We all know how much I like Europe, so let’s not take my joking too seriously.)
Kidding aside, Europeans drive smaller cars than we do. It’s a fact. (Maybe the Japanese do too, but I’ve never been there. If you want to fly me over to Japan to give a lecture or something, send me an email and we can talk.) Small cars make sense in Europe, what with the ancient streets designed for horses and fiestas and such. Can you just imagine trying to navigate a Ford F-350 through the streets of Rome? No thanks.
Things are different over there, and mostly, we assume they’re better. (Except for the economy, of course.) The charm and the history are seductive to us, as we often lack that here. But we do have our own strengths: empty highways, endless horizons and kitchy gas stations, like the ones immortalized by last week’s artist, Ed Ruscha. (No, I won’t throw him under the bus again this week.)
Like “Some Los Angeles Apartments,” Mr. Ruscha made an artist book in the 60’s called “Twenty Six Gas Stations.” They were depictions of Americana, and the categorical title was likely inspired by the 19th Century Japanese woodblock printers Hokusai and Hiroshige, not to mention Marcel Duchamp and his readymades. How do I know this? Because I read it in a book called “Twentysix Viennese Gas Stations,” by Sebastian Hackenschmidt and Stefan Olah.
In this, the second edition, there are actually far more than twenty six gas stations. The name remains to ensure the reader gets the connection/allusion to Mr. Ruscha. He was the clear inspiration, and the book includes a pastiche of interviews he’s given over the years. But the book is not about him, really.
The focus is on a car culture that is as alien as I can imagine, living, as I do, in the heart of the American West. (Or as I like to call it, the land of lunatics and dropouts. Which am I? Do you have to ask?) Out here, there is space for everything. Gas stations are expansive, with plenty of room for people to hang out and try to bum spare change for cigarettes or booze. (Which they also sell, in most places.)
In Vienna? Forget about it. There’s no room for such extravagance. And if there were, they’d probably still do something different, what with their refined tastes. As it is, this book shows us that people buy gas for their cars in some pretty weird places. Like alleyways, apartment building basements, and little courtyard hideaways. Strange, and almost effete.
Let’s be real here. This book will not change your life. The photos are well crafted, with solid, formal compositions and good use of (bleak) color. They’re cool, in that pan-Germanic kind of way. But you won’t have an epileptic fit from their genius.
Instead, they provide a window into the antithesis of an archetype. Or, rather, they give us ethnocentric Americans a solid look at how the other half lives. And how we might, too, once gas prices rise enough that Smart cars are the intelligent choice for all of us. For now, they’re pretty useless out here. Once you see some 18 wheelers hauling down the road at 85mph, you’ll know what I mean.
Bottom line: Cool book riffing on Ed Ruscha’s idea
To Purchase “Twentysix Viennese Gas Stations” Visit Photo-Eye
Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.
Books are found in the bookstore and submissions are not accepted.
(click ad to see today’s visual interview )