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via, postcardsfromamerica.tumblr.com
The Daily Edit – Tuesday
4.3.12
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Respect
Photo Editor: Greg Garry
Fashion Editors: Big Smiley, Coffey
Photographer: Jeaneen Lund
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
Mary Ellen Mark – To Be OK At Something Is Easy
The Decimation Of The News Outlet Photography Department
“Picture editors and photographers are some of the biggest newsroom casualties” of budget cuts, he said. “So when you have a story laced with subtleties, it becomes key to really work to have the latest visual content and representation of that story.”
Five years ago, the Sentinel had five photo editors and the Herald had six. Today, each paper has two.
via The iconic photos of Trayvon Martin & George Zimmerman & why you may not see the others | Poynter. thx, Tom Q.
The Daily Edit – Monday
4.2.12
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The Red Bulletin
Chief Photo Editor: Fritz Schuster
Creative Photo Director: Susie Forman
Deputy Photo Editors: Valerie Rosenburg, Catherine Shaw, Rudolf Ubelhor,
Creative Director: Erik Turek
Art Director: Kasimir Reimann
Photographer: Palani Mohan
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
This Week In Photography Books – Javier Arcenillas
Let’s be honest: last week’s column was long. The week after I agreed not to mess with the format, I went and added 10 paragraphs to your reading load. Forgive me. (Even my Dad had to read it in two stages.) I thought it was worth it, as the chance to hear from such talented publishers was too good to pass up. But this week, allow me to rectify the situation. We’ll keep it short, just to maintain the balance. Book review only. No rambling personal narrative. (Until next week.)
When I visited New York last Fall, I saw some posters strewn around Williamsburg. Intense and more than a little scary, they advertised a project called “Sicarios,” which was showing somewhere in Brooklyn, I believe. If you’re unfamiliar with the term, it means Hitman in Spanish. (Or Assassin, if you prefer.) There are a lot of them running around Mexico and Central America, as the skill-set is in high demand.
So when the book ended up in my pile, (by Javier Arcenillas, published by FotoEvidence in Brooklyn,) I was relieved and disturbed at the same time. While I would normally drop into a story about the dangers I faced traveling in Guatemala back in ’99, I won’t go there today. Got to honor the promise above. But the photos in this book offer a stark, black and white vision of the red bloody mess going on down there at present.
Is this book for everyone? No. Definitely not. It’s a collection of gruesome, troubling and poignantly tragic photographs. They’re expertly rendered, and may or may not lead to any sort of social change. But they do, for certain, bring humanity to what is, for many, an abstract Geo-Political problem. The US can swing it’s military dick around the Middle East all it wants, but that doesn’t make the drama to our South any less real, or horrifying.
It was only two weeks ago that we collectively meditated on the concept of suffering with Donald Weber’s new book “Interrogations.” He left much up to the imagination, which was what lent a talismanic power to the publication. “Sicarios” does not. Which is why it’s not for everyone. But for those of you who hunger to stare down the ugly “truth”, this book might offer a sumptuous repast.
Dead bodies, naked streetwalkers, scowling psychopaths, blood trails down the side of a car door, young kids strolling through their perilous reality without a second thought, women crying in hand-me-down American T-shirts (West Virginia- No Lifeguard At The Gene Pool,) barbed wire-topped prison walls, cowboy hats, machine guns, machetes, crucifixes…it’s all there. Does this sound like fun? I sure hope not.
But, if you’ve read any or all of my previous columns, you’ll know that I don’t believe Art must always be pretty. Quite the opposite. Dave Chapelle once did a skit on his show called “When Keepin’ It Real Goes Wrong.” This book pretty much nails the concept. A cycle of violence, once kicked off, is hard to stop, no matter where in the world you live. Some places, as Malcolm Gladwell has mused, have it worse than others. Cultures of revenge and blood lust. Guatemala is such a place.
So let’s end this now, shall we. After all, I guaranteed you a short piece. This book is worthy of your attention. Mr. Arcenillas is laying out the gory bits for all to see. It’s up to you if you feel like looking. I won’t judge you either way.
Bottom Line: Super-hard-core book, not for the faint of heart
To purchase “Sicarios” 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.
It’s the people you know who give you work
…photo editors or creatives got to know me from production calls. I wasn’t handing out business cards on the shoot [as an assistant]. I showed up, did my job, showed people I was the guy who could get things done. That’s when my conversation with clients began, and when I called them up later [about work], they remembered who I was.
Michael Clinard’s Professional Transition via PDN
The Daily Edit – Friday
3.30.12
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Runner’s World
Design Director: Kory Kennedy
Deputy Art Director: Marc Kauffman
Photo Editor: Andrea Maurio
Associate Photo Editor: Renee Keith
Photographer (first image): Trevor Dixon
Photographer (second image): Michael Lewis
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
Still Images In Great Advertising – Kevin Griffin
Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.
I reached out Kevin Griffin when I saw this incredible campaign by Chemistry for The Irish Examiner. I liked the diversity of the images and felt they were creatively shot for each concept. I also liked that the way social issues were not hidden but in your face.
Suzanne: I went to your site and you have an excellent body of work. This campaign required you to shoot in different styles. Was that a challenge?
Kevin: The biggest challenge was to show a certain continuity throughout the campaign. This was achieved by good art direction and good grading by the retoucher, iCraft.
Suzanne: This campaign is very political- how were they received by the public?
Kevin: They were very popular, the campaign highlighted underlying problems within Irish society, problems that are usually ignored.
Suzanne: And were you disappointed that Ads of the World did not include “Suicide” and “Mental Health”?
Kevin: No, I was not one bit disappointed. I think the whole campaign is strong. Lürzers Archive included “Mental Health” recently in their magazine.
Suzanne: Did the campaign get to the social issues that are highlighted in the campaign?
Kevin: Yes I think they did, I believe the pictures really do tell the story they are trying to portray.
Suzanne: I noticed in your personal work, you look at the world in a fun and quirky way- has that work helped you in your commissioned career?
Kevin: I love shooting personal work, this work is really for me. Not all my work is fun and quirky, we all see the world from a different perspective and I think this is the interesting part of any visual communication.
Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.
As an industry, we need to get our multimedia stories distributed on other channels
Now here’s a thought to get our work into the mainstream: Why not bring back the Newsreel of yore to the modern age? If the film festivals play short docs before feature films, why don’t we show our multimedia features along with the movie trailers?
The Daily Edit – Thursday
3.29.12
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Psychology Today
Creative Director: Edward Levine
Photo Director: Claudia Stefezius
Associate Art Director: Yuko Miyake
Photographer: Henry Leutwyler
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
LA Art Producers Discuss Industry Topics At Community Table
How cool would it be to get a group of LA Art Producers in a room and pepper them with questions about the business? And, not one of these panels where everyone is on their best behavior, but a cozy room filled with like minded professionals, where you can seriously discuss the state of the industry when it comes to finding and hiring photographers. Well, that’s exactly what Community Table, a series of blog posts based on a lunch Matt Nycz, Kate Chase of Brite Productions; Heather Elder, Lauranne Lospalluto of Heather Elder Represents; and and Alison McCreery of POP Blog put together.
So far there’ve been two installments: Part I: The Appetizer and Part II: The Main Course
Here are a few highlights:
There is a rise in the “pay to play” events where photographers pay a fee or pay into a program that allows them direct access to creatives and or art producers. The organizers sometimes offer compensation to the reviewers in an effort to elevate the seriousness of the event and show a respect for the reviewer’s time. What is it about these types of events that are most successful and what do you feel could be improved upon? Do you see this as a positive trend and if not, why?
Here is how Jigisha got everyone thinking:
“In the past few years I’ve thought about this a lot because I’ve needed to strategize as my role as an art producer in an ad agency and as a department head. With regards to the pay-to-play events, I’ve thought about what is a conflict of interest and what is acceptable.
At first, I would get an offer to come look at and critique portfolios that came with a stipend. I knew the people putting the shows together were also charging the photographers to have their books reviewed, but I would do them. However, in the last couple of years, the books that came to me were photographers who didn’t need my critique, who were already quite successful and could call me and get a showing
Acknowledging that the pay-to-play events present a valuable opportunity to emerging photographers, Jigisha continued, “Then alternatively, there have been other reviews I’ve done for beginner and emerging books where I could be constructive and helpful. In this case, my time was worth it for them, if the photographer uses it as a critique to make their book better.”
Based on an evaluation of how much each side gets out of it, Jigisha now only participates when she feels it is not a conflict of interest. “I made the decision not to participate in events where the caliber of photographer is good enough to come in to my agency and be seen. But I will participate in the ones where I can use my experience to help them and they can maybe do a little more work and see me at my agency the next time and not have to pay.”
But back to eBlasts. “I like them and I don’t like them,” offered Melanie. “A lot of time I have to delete them every morning. But the email trend has helped cut down on the mailed promos. It now takes a week to get what I used to get in a day. I feel better about the impact on the earth.”
“I’m the total opposite,” said Kristine, “I love promos and am guilty of not opening every email blast. Promos have always been a favorite part of my job. I just love them.”
And in conclusion, one final bit of advice from Cara. “One thing the creatives ask us over and over is how they can make the eblasts stop. The eblasts should be targeted directly to the art producers.”
Make sure you check out both posts and look for future updates.
The Daily Edit – Wednesday
3.28.12
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W
Creative Director: Alex Gonzales
Design Director: Anton Ioukhnovets
Photography Director: Caroline Wolfe
Art Director: Anna E. Davidson-Evans
Photo Editor: Jaqueline Bates
Photographer: Ellen Muliachyk
Stylist: Felicia Garcia-Riveria
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
Has finding a decent photographer become easier or harder in the digital age?
It’s so much easier. I haven’t called in a book for years.
I also think there are more decent photographers working today than there were 10 years ago. The economy has weeded out the field somewhat. I see a wide variety of photo styles being accepted by clients today, which brings photographers into the commercial fold where previously they wouldn’t have had a market.
Chris Peters, Sr. Art Producer at Colle+McVoy via, Wonderful Machine Blog. thx, Neil
Perhaps Many Photographers Don’t Understand The Value Of Usage
A reader sent me this story, so that it might instill confidence in young photographers like herself. I think you will find that it does that:
I worked with one of the local college’s ex-students on a shoot for a magazine editorial about a year ago. The ex-student lied about having my permission and gave the image to the college, which then used the image on a billboard advertisement that wraps around a 20 story building on a very busy road in the city. It is a recognizable image of mine, and shows the faces of two models from a local agency. It was actually one of the models who spotted it first and I received a very embarrassing phone call from her agent who asked me how that shoot ended up on a billboard.
I went online and researched some suggestions of how I could handle this, but I couldn’t find much available. Crawling through some forums, I found that a few photographers had their images stolen and placed on a billboard, and they charged $500 for the use. The billboard was already up there for 1.5 months and it was supposed to be up there for 3 months total. I called the model agency and they told me that they ended up with $1500 for each girl for a year’s usage. They said that they knew the figure was low, but at least they would receive some pocket money.
I also consulted with a couple of local creative agencies who also offered some advice. They were helpful at first, although once they started talking to the college they decided to back off. I think they probably thought it wasn’t worth it (despite that I offered them the incentive of a commission). They were perhaps scared of losing a potential client over a nobody photographer like me.
So I spoke with the college directly and they asked me to come in to discuss this and negotiate a pay-out. I didn’t want to go in – I couldn’t see a reason to apart from them using this opportunity to intimidate me. They were a little manipulative over the phone, suggesting that my photograph would potentially be featured there for 12 months and it would be great exposure for me if I didn’t charge too much. I offered them $1500 per month, which they thought was ridiculous (I thought what they paid the model agency was ridiculous!). They told me the billboard space was only costing them $2700 per month. So I said I’d seek further advice and come back with a figure. They were desperate to get me to come in.
After much research, I found that it’s tricky to put a price on usage. I found the best advice to be 10 – 30% of the marketing budget (from small to large scale). In this scenario, they hadn’t commissioned this shoot and it wasn’t just about using my image, it was also the humiliation I went through explaining to my team members (particularly the model agency) how the image got into the advertiser’s hands. It also concerns the disassociation of my image to me (now known as the face of that college and it impacts my professionalism – even the creative agency that I sought advice from assumed I stupidly gave the files to the college (I had given them to the ex-student to use for his portfolio).
So I went with my gut instinct, and ended up charging them a figure that I thought was fair. I wrote them a letter a week later, explaining my situation, the inconvenience this has caused me, my humiliation to those involved, and that I thought after all this the figure was fair. I stuck with this:
2.5 months and they take the image down – $1500 per month = $3750
3 months – $1500 per month, $4500
12 months – $1250 per month, $15000
In the end, they decided they wanted my image for 12 months. After a few emails back and forth, I ended up settling on $9000. That’s ok, it’s a little less than what I was asking for but it’s a little more than 30% of their budget for the billboard space, I didn’t want to pursue this any further so I was happy to settle on that. They even offered me the incentive for future work with them.
After a google search, it seems like this problem occurs often and perhaps many photographers don’t understand the value of usage.
Confessions of a Veteran Spring Training Photographer
Are things better now than there were 21 years go? Has technology made my job shooting spring training easier? Yes. Being able to look at my pictures on the screen on the back of my cameras during a game allows me to know if I have a certain image in the can so I can move on to the next subject. The image quality is terrific and the ease of delivering the files back to the office is a dream.
I’m glad I’ve been around long enough to work through all of these changes.
Brad Mangin via Raw File | Wired.com.
The Daily Edit – Tuesday
3.27.12
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Oprah
Creative Director: Adam Glassman
Photo Director: Katherine Schad
Art Director: Jaspal Riyait
Deputy Photo Director: Christina Weber
Photographer: Todd Marshard
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted
BIPP Considering Rule Change
The British Institute of Professional Photography has answered to claims of irregularities after four of the seven judges in this year’s Professional Photography Awards received top prizes.
































