Link: Conscientious Extended | The Single Photograph
Ask any photographer what they’re working on, and they’re sure to tell you about their project. It’s almost as if these days photographers don’t take pictures any longer, they take projects
Category: Photography
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The Single Photograph
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William Eggelston’s Advice on Photographing Strangers
Q: “You never got your ass kicked for taking a picture?”
A: “Occasionally I will. But usually what I’ll say is, [in an overtly upbeat, ingenuous voice] ‘May I take your picture? I’m from Memphis!’
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Abe Frajndlich Tells of Photographing a Difficult Annie Leibovitz
Link: Abe Frajndlich Tells of Photographing a Difficult Annie Leibovitz | Feature Shoot
She knew my work because she had worked for the Allgemeine before I did and they were sending her weekly copies. Her first comment was, “I’m not going to do any of your crazy stuff for you.” I said, “Hey, that’s up to you. We’re supposed to do a story together. If you don’t want to do any stuff at all for me, that’s okay too.”
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6 Questions Nature Photographers Should Ask Themselves Before Pitching to Clients
In this competitive market, it’s very important to know how the editorial selection process works. So we put together 6 questions that you, the nature photographer, should ask yourself before pitching to editorial clients:
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Stop Arguing About Instagram and Go Make a Picture
Stop Arguing About Instagram and Go Make a Picture
The debate over whether iPhone and/or Instagram photos are real photography is stale and pointless. As pointless as whether one needs to use a certain type of camera or lens to make a photo worth looking at.
via WIRED: http://www.wired.com/rawfile/2012/07/instagram-debate/all/1
For a lot of professional photographers, iPhone photography is kind of like masturbating. They do it all the time, but they’re too embarrassed to talk about it.
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Sharon Hayes: 7 Reasons Why I Can’t Do “Free”
Sharon Hayes: 7 Reasons Why I Can’t Do “Free”
Many freelancers will nod their heads in agreement while reading entrepreneur Sharon Hayes’ seven reasons why she has pretty much stopped doing unpaid work for the many people who request it …
Many freelancers will nod their heads in agreement while reading entrepreneur Sharon Hayes’ seven reasons why she has pretty much stopped doing unpaid work for the many people who request it from her every day.
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Flickr’s Engagement Problem
Flickr’s Engagement Problem May Be Too Big for Even Marissa Mayer
People are already begging Yahoo’s new CEO Marissa Mayer to make Flickr awesome again. The only way to do that is to fix its engagement problem.
via WIRED: http://www.wired.com/gadgetlab/2012/07/gadgetlab_071812_flickrengage/
No matter what kind of upgrades its team rolls out, Flickr can’t be “awesome again” as long as it’s a ghost town. It’s not that Flickr needs more features, per se. It’s not going to take off thanks to a great lightbox, or brilliantly displayed EXIF data, or amazing slideshow features. Those things are nice. But what makes it awesome is people.
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PDN/Nielsen PIX Launch Derided By It’s Target Audience Of Women Photographers
PDN/Nielsen PIX Launch Derided By Its Target Audience Of Women Photographers – A Photo Editor
PDN/Nielsen launched a new magazine called PIX and Jezebel immediately picked up on the excessively girly and fluffy content in a post titled “Finally, Lady Photojournalists Get Their Own Photo Ladymag Full of Lady Stereotypes”: “Smudge-proof makeup tips
via A Photo Editor: http://www.aphotoeditor.com/2012/07/18/pdn-pix-launch-derided-by-its-target-audience-of-women-photographers/
It seems a little incongruous for a company that wants to be all about professional photography to get in the business of supporting photo enthusiasts and specifically going after the “Mom’s With A Camera” group. But, I guess that’s what happens when you have a corporate mother ship hovering over you.
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Photography After Photography (Further Down the Rabbit Hole)
Link: Conscientious Extended | Photography After Photography (Further Down the Rabbit Hole)
on the internet, photography currently seems to focus on what I call one-liners, and we’re in a strange spot. Where is this taking us? How can we get away from this (assuming we’d want to get away from it)?
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Still Images in Great Advertising- Stephen Wilkes
Still Images in Great Advertising- Stephen Wilkes – A Photo Editor
Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it. I have been in this business for many years and I been familiar with Stephen Wilkes for years, okay deca
via A Photo Editor: http://www.aphotoeditor.com/2012/07/12/still-images-in-great-advertising-stephen-wilkes/
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Arles 2012, A Failed Festival
Link: Arles 2012, A Failed Festival | Le Journal de la Photographie
Arles 2012 is dead. Long live Arles 2013. Whatever will happens then, couldn’t possibly be worse than this.
Let’s not be hypocritical or too well behaved. Let’s say out loud what everyone else has been saying under their breath. This year’s festival was a failure.
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The Object on the Wall
Link: Conscientious Extended | The Object on the Wall
Over the past decades, the photograph itself, the object on the wall, has become more important. Why is that? I actually think there is no simple answer. Instead, we seem to be witnessing several developments coming together at the same time
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Olympic Photography Goes Amateur
Olympic Photography Goes Amateur – A Photo Editor
The internet is buzzing about these Olympic portraits taken by Joe Klamar for AFP and Getty. Most of the talk is about how unprofessional they look with ripped seamless, rumpled flags and sinister lighting (Reddit thread here). I have to agree, but rather
via A Photo Editor: http://www.aphotoeditor.com/2012/07/02/olympic-photography-goes-amateur/
Unfortunately, I think the answer is more pedestrian: editors asleep at the switch treating an olympic portrait session like a flickr feed.
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A Few Words About Joe Klamar’s Viral (and “Obviously Terrible”) Olympic Portraits
A Few Words About Joe Klamar’s Viral (and “Obviously Terrible”) Olympic Portraits – Reading The Pictures
Whether the picture subverts the background, the composition, the lighting or the athlete’s expression, what at least a handful of Klamar’s photos “accomplish” is to slight the plasticized image of the Olympic athlete perpetuated throughout the quadrennia
via Reading The Pictures: http://www.bagnewsnotes.com/2012/07/a-few-words-about-joe-klamars-viral-and-obviously-terrible-olympic-portraits/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Bagnewsnotes+%28BAGnewsNotes%29
So whether Klamar was hoping for something more polished or these were the results he was aiming for, what’s most interesting is how much these photos have captured widespread imagination for unconsciously deviating from the slickest standard.
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Alamy releases white paper on the current state of image licensing
Link: Rob Galbraith DPI: Alamy releases white paper on the current state of image licensing
the white paper, called “Image Licensing: Time for a Change?”, is available as a free PDF download.
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Infinite frames in a crop: compositional building blocks (or, the future of photography?)
Infinite frames in a crop: compositional building blocks (or, the future of photography?)
Ion Orchard sunset. Leica S2, 70/2.5 Summarit-S Here’s an interesting thought: sensor resolution is way past the point of far more than most people need – look at that recent Nokia 808 …
via Ming Thein | Photographer: http://blog.mingthein.com/2012/06/28/infinite-frames-in-a-crop-compositional-building-blocks-or-the-future-of-compacts/
how many images are there in an image?
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The digital revolution has not happened (yet?)
Link: Conscientious Extended | The digital revolution has not happened (yet?)
What do I mean by that? A few things seem obvious. The first and foremost being that the advent of digital photography has destroyed the livelihoods of many photographers (and not just photographers, but let’s focus on photography here). In terms of the business side, the digital revolution has happened. I personally am not interested in the socioeconomic Darwinism that’s so prevalent in large parts of, for example, commercial photography. I’m not interested in the business aspects2, so I’m going to ignore them here.
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Photography After Photography? (A Provocation)
Link: Conscientious Extended | Photography After Photography? (A Provocation)
Now that we’ve done all that stuff that you can see in history-of-photography books, now that we’ve become obsessed with re-creating that past over and over again – how can we turn around, to look at and move into the future?
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The Look3 Festival Round-Up
The Look3 Festival Round-Up – PhotoShelter Blog
Last week, a few of us from PhotoShelter headed down to Charlottesville, Virginia for the LOOK3 Festival of the Photograph. What started in 2008 as a group of photographers gathering on Nick Nichols‘ farm to watch slideshows of each other’s images has tod
via PhotoShelter Blog: http://blog.photoshelter.com/2012/06/the-look3-festival-round-up/
LOOK3 is energetic, lively, and remains intimate despite its fast-paced growth over in the last few years. Yet, because the majority of featured work is based in photojournalism and documentary photography, there’s a very serious and sometimes emotionally taxing undertone to some of the talks and exhibitions
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Curators Look Ahead to LOOK3
LightBox | Time
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2012/06/05/curators-look-ahead-to-look3/#1
The very day after the 2011 LOOK3 Festival of the Photograph ended, this year’s guest curators—National Geographic photographer Vincent Musi and Washington Post visuals editor David Griffin—started to put together the slate of artists who will appear this coming weekend. The annual for-photographers-by-photographers event in Charlottesville, Va. runs June 7-9. But, says Musi, the weekend will include the work of more than one year: professional relationships and the curators’ senses of balance, both developed over many years, were key in the decision process.