Do you know that feeling? The one when you’re showing images to someone (perhaps an editor that you were hoping to work with) and you get to that picture, the one that looked perfectly acceptable moments before, but as soon as you show it, you’re filled with regret.
Photography is a small attempt at immortality — a way to preserve some aspect of your identity, your time and your consciousness; communicate it to others and bring it forward into the future. You can say that about virtually any art form of course, but photography is unique in being able to do more with less by employing an effective lever, a technologically based visual recording medium
“These ARE great.” Then he added a four letter word, poured us another glass, lit another cigarette and after a long pause looked up and said, “Never explain your work.”
Just like the music industry, with which it shares many similarities, the photo licensing world is ripe to be iTuned.
I’ve been photographing the American cultural landscape for the past twenty years. Utilizing different series that I’ve done involving the everyday urban and suburban places we encounter, I’ll strive to make visual and verbal connections between these overlapping territories of American life while sticking to our theme of how sprawl has affected inner city environments.
I’ve found that a small percentage of magazines I’ve worked with over the years have no contract at all. In those cases, I send them mine. Of the rest, about half have a contract that governs assignments into the indefinite future, while others, like AARP, send out a contract for each assignment. When I do get contracts with no time limit, I tend to add an expiration date. Here’s the AARP.org contract (click to enlarge):
An apparent administrative slip-up has unleashed an uprising at celebrity photo agency Retna, with photographers complaining that the agency is failing to report sales, pay royalties, or respond to calls and e-mails from frustrated contributors.
The yellow border yields a power, which extends far beyond physical geography. It reins in the mythological, transporting its readers back to their wide-eyed childhoods, to their parent’s bookshelves and basements made up of solid yellow blocks, while simultaneously influencing some of our generation’s greatest visionaries and iconographers. Who hasn’t made a collage like David Lachapelle?
British Journal of Photography
Kodak has reaffirmed that film remains a profitable business for the company, a day after it filed for Chapter 11 bankruptcy protection
And so I became an acolyte in the Temple of Kodak. Like a convert, I embraced the rituals, spending hours under the soft amber lights, holding beakers like chalices, head bowed over trays in worshipful anticipation. There was a Zen-like comfort to these processing and printing sessions, which calmed me. I would go in after dinner and not emerge sometimes until sunrise — often with a few rolls of bulk-loaded Tri-X jangling in my makeshift camera bag, ready for new adventures.
