The Daily Edit
Photographs Push First Amendment Boundaries
I don’t know much about Richard Prince, but I like to think that he’s in the business of operating at the edges of what’s acceptable. Whether he’s pushing the boundaries or just working in the grey area I think it’s important for art to have trouble makers. I’m more comfortable thinking about blank canvasses and drawing on top of images as important for pushing boundaries that other work can be built upon than worrying about whether this is something that will be admired centuries from now. I believe the title of this piece Jonathan Blaustein wrote for me: “You Don’t Always Get Art, But We Still Need More Of It“.
So, what about the grey area when it comes to photography and privacy. This is certainly a contentious and topical issue when it comes to paparazzi chasing celebrities or people taking pictures of slaughterhouses. Recent attempts at legislation in those areas (here, here, here) suggest people would like to limit the first amendment right to photography in public places. An exhibition at the Julie Saul Gallery in Chelsea seems to be pushing the boundary of privacy and photography. Photographer Arne Svenson shot pictures of residents in a neighboring building with a telephoto lens from his own apartment across the street. In a story for the New York Times Magazine, Photography Director Kathy Ryan contemplates the artistry vs. privacy issue:
These particular pictures are problematic, even for those, like me, who overwhelmingly side with artists and journalists when it comes to questions of freedom of expression. I support the artist’s right to make and exhibit his art and feel Svenson has the right to exhibit these pictures. But if images surfaced in a gallery of my daughter in our home, shot by a photographer using a long lens without our knowledge, I wouldn’t be happy. So the question arises, is it art when it’s a photograph of someone else, but not when it’s you or your family?
I think in the end Arne Svenson may run into “a reasonable expectation of privacy” which is what makes street photography and making pictures in public possible and taking pictures of people in their homes illegal (Note: consult a lawyer, this is just my opinion).
But, I agree with Kathy in her conclusion that “the freedoms enjoyed by artists and journalists are worth possible breaches of privacy.” Boundary pushing is good for art, we don’t always “get it”, but it allows other artists to build upon it.
It Doesn’t Get Any Easier With More Experience
Well I must say that it doesn’t get any easier because as you get more experienced and as you go further you’re trying to work with more complexity, and take more complexity and create more simplicity. Because you’re older and hopefully experienced you see things as a larger whole so your job then becomes more difficult because you’ve got to synthesise all these many different points into a single reality – a photograph. So the job doesn’t get any easier it gets more challenging. It’s very important that the job is challenging because if it isn’t you shouldn’t be taking the picture.
The Daily Edit
New York Times Magazine: Iwan Baan
Wednesday: 6.5.13
Design Director: Arem Duplessis
Director of Photography: Kathy Ryan
Art Director: Gail Bichler
Deputy Art Director: Caleb Bennett
Deputy Photo Editor: Joanna Milter
Photo Editors: Stacey Baker, Clinton Cargill, Amy Kellner
Designers: Sara Cwynar, Raul Aquila, Drea Zlanabitni
Photographer: Iwan Baan
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Advice for Photo Assistants: Getting in with Production Companies
In my first post on photo assisting, one of my biggest pieces of advice for photo assistants was to get in with production companies. And though I touched briefly on why, I got a lot of emails and comments asking for more details on how to better get on the radar of production companies, and what producers expect from photo assistants in terms of knowledge and prior experience. Being a photo assistant myself, I can only speak pretty generally to these questions, so I sat down with my longtime friend Josh Marianelli, a producer and studio director at the California-based Corey Rich Productions to get the lowdown on how to get hired at a major production company and what producers are looking for.
First things first. How can a photo assistant get on the radar of a production company, and ultimately, get hired?
Word of mouth works well – being recommended by another assistant or producer goes a long way, so try to make as many connections as you can on any job you work on. (Obviously, while also being respectful of the existing relationships on the job, and not selling yourself too hard). Use social media channels to stay connected with producers and always be ready to share your work history or up-to-date portfolio with any production company looking to hire. Getting hired is also about being the right match for the production company. For example, at Corey Rich Productions we do a ton of physically intense outdoor shoots. So, depending on the job we’re tasked to shoot, we’re looking for assistants who have the right capabilities beyond camera and lighting knowledge – assistants who can climb mountains, cross glaciers, have the strength to be on the road for multiple weeks, confidently travel through Pakistan and hike into the Karakoram. It always helps, in my experience, to have a unique skill set that might be advantageous to the types of productions you’ll be working on.
Also, once you’re hired by a production company, do your job well. We don’t turn and burn assistants – once we find a qualified assistant, someone with the right attitude, who works hard and plays hard, we’ll work with them over and over again.
What kind of general knowledge do producers expect from photo assistants, aside from equipment mastery and lighting/tech skills?
Beyond camera, lighting and tech skills, our expectations have more to do with attitude than with added knowledge. We want our assistants to be engaged, completely aware of their surroundings, and to be independent-minded and self-sustaining. This means thinking on his or her own about what needs to happen throughout the day, project and set. We also expect assistants to respect the work environment and be aware that they’re part of a bigger team that includes everyone involved within the project, at any level or any capacity. We expect them to be respectful of the client, especially if there is one on set. Leave your ego at the door, show up and be passionate about what we’re doing – and enjoy yourself while working with us!
Does a photo assistant’s professional background or experience ever factor into your decision to hire them on a job?
Most definitely. I mentioned this earlier, but most of the time we don’t just hire for photography or technical skills, we’re also looking at personal skill sets and backgrounds and unique knowledge dependent on any particular assignment, whether it’s operating certain machines and equipment, to knowing how to navigate a certain city or corner of the globe, or having certain language skills and organizational skills. We are looking for assistants who can basically add to the abilities of our team.
Anything assistants shouldn’t do when trying to get a job with a production company?
Absolutely don’t embellish or fabricate any of your abilities or experience. When it comes down to it, those capabilities you sold us on will be tested, particularly with the types of shoots we do. We expect you to confidently show up and perform at the level that you sold us on – not just when it comes to cameras or lights. For example, if you can tell us you can ski, you’d better be able to ski! No matter how large or small the task seems, we rely on our team’s ability to hold their own and contribute to the end goal of successfully and safely wrapping a production. Of course, you can never completely avoid an accident – that’s part of production – but if you approach every job with an honest assessment of your experience, you can help to eliminate costly mistakes and safely contribute to completing the job. For instance, if you’ve never worked with lighting equipment around water, and don’t know how to safely use or connect a ground-fault circuit interrupter or safely set up and secure lights of any size, don’t tell us you have – the risk is too high.
Any additional tips for photo assistants trying to get in with production companies, or just succeed at their profession in general?
The industry and environment that we work in has changed dramatically over the past decade, and we’re no longer just shooting still photos. Moving picture and audio work make up at least 50% of the jobs we do today. Increased knowledge, specifically related to operating and working with video and audio equipment, technology and software, will increase an assistants’ chances of securing more jobs. Whether it’s in a corporate office environment or a far-off remote location, an assistant who can confidently handle and operate all the gear associated with still and video productions, including audio, will be able to sell themselves to a larger number projects. Having an assistant who can smoothly transition from still to video to audio and switch back and forth between all equipment on any set, is a huge asset to any size production but particularly small crews that share multiple responsibilities and wear many hats. When it all comes down to it though, make sure you enjoy what you do! At Corey Rich Productions, we want our crew to have fun and not take themselves too seriously – and hope anyone we work with can do the same.
If you have any more tips or questions on getting hired or working with production companies (or getting hired as a photo assistant in general) feel free to comment below or get discussion flowing on the Photo Assistants’ Association Facebook page.
journalists will be as powerful as the masthead brands of the past
We must monetize, and reward, those journalists building an audience outside of the masthead brand. We must encourage our journalists to explore new media opportunities – opportunities we can benefit from. In the future – journalists will be as powerful as the masthead brands of the past.
via » Andrew Davis would love to help Warren Buffett save the newspaper industry – JIMROMENESKO.COM.
The Daily Edit
Wired: Joachim Ladefoge
Tuesday: 6.4.13
Design Director: Claudia de Almeida
Art Director: Bradley R. Hughes
Photo Director: Jim Merithew
Senior Photo Editor: Carrie Levy
Photo Editor: Kristen Fortier
Photographer: Joachim Ladefoged
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War Through a Woman’s Eyes
There’s a great story in American Photo on female conflict photographers.
But being a woman can also prove an advantage. “I can slip behind lines where males can’t necessarily,” says Levine. During one long-term stint in a conflict zone, she recalls, “I would often just dress like the women. Male colleagues didn’t even recognize me. I would try to blend when possible.” She also gets a perspective on events that men seldom see. “I don’t want to say that women photograph differently, but sometimes our access draws us in differently,” she says. “If I’m in a room full of women mourning, especially Muslim women, I can stay with them longer. Being a woman allows me to embrace some of the intimate moments. I’m a female and I can enter the bedroom of a woman, whereas my male colleagues wouldn’t be able to do that.”
Being perceived as less intrusive or intimidating can also make it easier for women to move unobtrusively through the range of scenes in the theater of war. “You have to know how to weave in between all worlds,” Levine says. “You have to know how to behave, not only sitting on someone’s floor in a war zone or in a morgue, but meeting with high officials, moving in a motorcade, or riding on the back of a pickup truck with Libyan rebels on the front line.”
As for motherhood, Levine says it brings insight to her work. “Maybe I approach some of the situations I’m in differently because I am a mother, or I connect with women more easily in the field because I’m a mother as well,” she says. “I can imagine being in their shoes, God forbid, if I was on the other side of the camera. It’s a big part of me.” Having children also drives her to contribute to the effort to understand and resolve conflicts. “It draws me in closer and fuels my passion to do what I do,” she says, “because as much as I cover conflict, I hate conflict and war.”
Read the whole story here:War Through a Woman’s Eyes | American Photo.
Something we haven’t seen before is exciting
That’s one of the reasons why rarity matters to us, is because we can provide an experience that people haven’t had elsewhere. You know, as great as The Moonrise Over Hernandez is, for those of us who have been looking at photography for a long time, it’s hard to see that in a fresh way. Something we haven’t seen before is exciting.
The Daily Edit
GQ: Levon Biss
Monday: 6.3.13
Design Director: Fred Woodward
Creative Director: Jim Moore
Director of Photography: Dora Somosi
Senior Photo Editor: Krista Prestek
Photo Editor: Justin O’Neil
Art Director: Chelsea Cardinal
Photographer: Levon Biss
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This Week In Photography Books – Antonio M. Xoubanova
The flavor molecules remain on my tongue. Even now, as I swirl the red muscle around my mouth, I can taste the delicious bitterness. The coffee is a fresh memory, but I can feel the nascent flow of caffeine through my body. The battle, uphill all the way, is still to be fought. Can. It. Will. Me. To. Productivity?
Not that it matters much, but I gave up coffee for six months. “Addiction,” I said, “be gone.” I was cocky about it, too. After making it through a trip to Europe, (with the attendant jet lag,) having still not succumbed to the power of Joe, I was sure I’d conquered the beast. “My willpower is legendary,” I shouted. “They will write Epic poems about me, and the time I slew the liquid, brown dragon. Hear my tale and sing my praises.”
How did it happen? How did my weakness slowly emerge from hiding, and end up slitting the throat of my discipline? What was the impetus? A fair maiden, of course. She seduced me. “A few sips can’t hurt,” she said. “It will help you lift your tired bones out of bed.” (It did.) “What’s the harm in a few sips,” she asked?
I was re-hooked immediately. Now, with a hand-me-down espresso maker sitting on the kitchen counter, I feel like a rat in a lab. Touch the button, little rat, and you can have yourself a treat. Ignore the little shock of pain, though. It’s only temporary.
Yes, my addiction never left. It was merely biding its time, lounging in a cave somewhere, deep in my psyche. Thank goodness it only has a taste for coffee, and not heroin. (That would be bad.) No, it merely lingered, sure that its dark prowess would prevail, eventually.
My little monster is kind-of-like the fictional phantasms at the heart of “Casa de Campo,” a new book by Antonio M. Xoubanova, recently released by MACK. (Seriously, though, does the M. really make a difference here? Are there other Antonio Xoubanovas out there we need to know about? Just curious.)
I won’t lie to you. I tore through nine books this morning before I settled on this one. My brain is mush, (hence the double-double espresso before 7am,) and I didn’t feel much like reading. All the books I grabbed had massive essays or reading commitments, and I wasn’t up for it. (These are photo books, for goodness sake. Just give me one where I can look at some pictures. OK?)
I would probably have reviewed this one eventually anyway, as MACK often makes books worth discussing. But “Casa de Campo” jumped the queue, thanks to its decided lack of text. There is a short, excellent piece to read at the end, but it only contextualizes the experience after-the-fact.
And what would that experience be? A long set of pictures, in which circular images are mixed with traditional rectangles. What of? The photos appear to be made in some sort of urban park. Portraits are interwoven with mysterious sculptural suggestions, like a hole dug beneath a bench, or a circle made of dots of spray paint, or a memorial affixed to a tree.
There are rabbits and birds, a dude peeing against a tree, a Christmas tree that may as well be an art installation, and an Earth mound that looks suspiciously like a grave. I’m not sure what you’ll think, but I kept turning the pages for more. (Always the sign of a good book.) Hippies frolic, Tai Chi ensues, and what’s with the guy in the bathrobe?
The story at the back tells of mysterious, translucent inhabitants of the park, which used to be hunting grounds for the Spanish Royal family. Are we talking about ghosts? Or, as the story suggests, are they dark parts of Madrileño souls, which have detached from their hosts to hide out behind trees or under rocks? Is this literal? Does it matter?
We all have hidden parts of our psyches. It’s straight out of Jung, but I’ll spare you the psychobabble. Whether or not my coffee addiction took corporeal form, at some point, deep in the recesses of my mind, I’m sure it would have been comfortable in the Casa de Campo. Should I beat it back again, there is a hole in the dirt out there somewhere. It will make itself at home, and wait until it can ascend again, above ground.
Bottom line: Mysterious, interesting pictures, fantastic backstory
To Purchase “Casa de Campo” 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.
The Daily Edit
Esquire: Max Vadukul
Friday: 5.31.13
Creative Director: David Curcurito
Director of Photography: Michael Norseng
Photo Editor: Alison Unterreiner
Art Director: Stravinski Pierre
Photographer: Max Vadukul
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Art Producers Speak: Paul Costello
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 Paul Costello.
How many years have you been in business?
20
Are you self-taught or photography school taught?
I have a BFA in photography from NYU. Aside from a great foundation in art history, I learned nearly everything assisting and shooting. After college I assisted for Ellen Von Unworth and was amazed by her process and work ethic. I only was with her a short time but that stayed with me. She worked a picture… tried out lots of ideas… and really collaborated with who she was shooting. From a process stand point, I do the same thing.
Who was your greatest influence that inspired you to get into this business?
My father was a prolific photographer when I was little. I don’t know if he inspired me to think of shooting as a business, but I’m sure I got my love of picture taking from him and I still aspire to make pictures that feel like those snap shots of my childhood.
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 probably worry way too little about people noticing me… but I’m inspired all the time. There really is an infinite amount of inspiration around us all the time. Seeing someone with great style crossing the street can be the jumping off point for a whole new project. Or my daughter might put on one of my ties and then have me following her with a camera for an hour.
Do you find that some creatives love your work but the client holds you back?
That was true for a time. When the economy tanked in 2008 there was a palpable fear that I think had a real effect on creativity… I don’t feel that at all anymore. I’m a real collaborator. There’s nothing more rewarding than a great team feeding off each others talent.
What are you doing to get your vision out to the buying audience?
I take full advantage of social media. Tumblr especially. http://hot-shoe-in.tumblr.com. I made a decision a while back to make it very personal. I very rarely post work there that will be available elsewhere… It really gave a platform to a part of what I do that clients wouldn’t have had the chance to see otherwise.
What is your advice for those who are showing what they think the buyers want to see?
As long as it feel true to your vision, I think it’s ok to cater to your audience. For me that happens in the edit. I like to shoot for many possible edits, and if you know a buyer is looking for apples… why show her oranges?
Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Oh yeah. At some point it just becomes a part of who you are.
How often are you shooting new work?
All the time!
http://paulcostello.net/html/about.html
Rep: www.sarahlaird.com
Henry LEE
henry@sarahlaird.com
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.
Why should people care about saving their photographic heritage?
great works of art have the power to move us, whether they’re made now or whether they were made 50 years ago, 100 years ago, or 1,000 years ago or more. And so each time we lose something that has that power, we’ve lost an opportunity to be changed by it.
The Daily Edit
Glamour: Joel Stans Thurs
Thursday: 5.30.13
Design Director: Geraldine Hessler
Executive Photo Director: Suzanne Donaldson
Art Director: Sarah Vinas
Deputy Editor, Photo Visuals: Julie Stone
Senior Photo Editor: Martha Maristany,Brian Marcus
Photographer: Joel Stans
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William Clift at the New Mexico Museum of Art
It’s a magical process, creation. One minute, something doesn’t exist, and then, click, it does. Embedded chemically or digitally, light from the world codifies into an illusion, packed with information. Occasionally, that information is meant to challenge and provoke. Some photographs are hard to look at, intentionally. They capture the essence of brutality or hypocrisy. Think Richard Misrach.
Other times, though, pictures strive to contemplate the sublime: the alluring beauty that reflects our incomprehensible insignificance. Flowers are pretty, but mountains and oceans are sublime. Think Hiroshi Sugimoto. Or William Clift.
I wasn’t familiar with Mr. Clift’s work, though he did beat me out for the Eliot Porter Prize in 2011. (Asshole. Just kidding.) I recently saw his black and white photography exhibition at the New Mexico Museum of Art, and came away extremely impressed. Much as I’m often harping on here about work that pushes towards the political, or the grotesque, these pictures were about nothing more than harnessing the pure power of history and beauty. (Not the sort of thing I normally champion.)
The exhibition, “Shiprock and Mont St. Michel,” was organized by the Phoenix Art Museum, where it was originally shown. It will be on the wall in Santa Fe through September 8th, and I’d highly recommend it to anyone who lives in NM, or is passing through town this summer. Why?
The gelatin silver prints are the photographic equivalent of the perfect soufflé; far easier to consume than to make. (It’s often difficult to appreciate the power of simplicity, masterfully-executed.) Layers of tonality and silky textures. Exquisite shades of gray and upward-jutting land forms. That sort of thing.
Though the two locales seem a bit arbitrary, they exist together simply because that is where Mr. Clift chose to focus his attention over a forty year time horizon. His creativity, his choice. There is a nice Old World, New World balance to the whole endeavor.
While we’ve all seen majestic landscape photos over the years, the images here, made near Shiprock, New Mexico, in the Navajo Nation, indicate a definite point of view. Energy radiates through the rectangle. We feel the essence of a multi-million year time horizon, and the spiritual thoughts that such a landscape engenders over time. Deep beauty, for sure. (And a bit of irony, as Shiprock is a pretty hardcore place. It currently has the 3rd highest poverty rate among the Native American population in the US. Which is saying something.)
The other set of pictures, made on an island off the coast of France, focuses more on man’s mark within the historical continuum. The shock of a Gothic spire spears its way into shadow, multiple times. Architecture and light commingle. The sense of community, of a group of people making descendants over time, comes to the forefront. Again, the prints are extraordinary.
I wanted to highlight this exhibit, because it’s important to remember that there are countless reasons why we make pictures. Despite my freakout six weeks ago, I do believe that no one reason is inherently better than the next. It’s the quality of the vision, and the resulting photographic objects, that keep us engaged, and ready to look. Again. And again.
The Process Of Making Pictures Is Connected To Failure
“The whole process of making pictures is so deeply connected to failure. You have an expectation you have a dream of what your picture is going to be and then something always necessarily goes wrong.”
Gregory Crewdson, Brief Encounters
(Streaming on Netflix and Amazon Prime)
The Daily Edit
New York Times Magazine : Holly Andres
Wednesday: 5.29.13
Design Director: Arem Duplessis
Director of Photography: Kathy Ryan
Art Director: Gail Bichler
Deputy Art Director: Caleb Bennett
Deputy Photo Editor: Joanna Milter
Photo Editors: Stacey Baker, Clinton Cargill, Amy Kellner
Designers: Sara Cwynar, Raul Aquila, Drea Zlanabitni
Photographer: Holly Andres
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