Today we released free guide #15 in PhotoShelter’s library of photography business guides: Selling Fine Art Photography. Turns out, the perfect “recipe” to finding success in selling fine art photography, let alone defining fine art photography, proved to be a bit elusive. So we talked at length with 12 pros – fine art photographers, curators and gallerists (online and offline galleries), and one fine art printer to get their best tips and tricks, find out what’s working and what’s not.
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via boingboing
in Photography
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LightBox | Time
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2011/09/27/art-and-the-outside-world-momas-new-photography/#1
“This year, my hope was to give an idea of the different ways photography is practiced today. I think all of the artists bring a unique background—where they are from, their training and their style,” Leers says. “That, in turn, makes each artist’s work unique and different than everything else.”
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Jesse Burke Interview – A Photo Editor
by Jonathan Blaustein Jonathan: For good or for bad, I think it’s helpful to start at the beginning. I haven’t yet gotten into the Tarantino-style, Reservoir Dogs-type narrative. So how did you get started? How did your photography practice begin? Jesse:
via A Photo Editor: http://www.aphotoeditor.com/2011/09/27/jesse-burke-interview/
Do you need a graduate degree to become a good photographer? No. To be successful, or famous? Not necessarily. I certainly think it can help in many ways. It makes you a better photographer, a smarter individual, more worldly, more experienced. So all of those things will help you in your life, and your photo career.
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Revolver takes a picture every time you pull the trigger
From the Netherlands’ National Archive, a 1938 photo taken in New York City of a Colt revolver that has been modified to shoot a picture with every trigger pull. Presumably most of those phot…
via Boing Boing: http://boingboing.net/2011/09/27/revolver-takes-a-picture-every-time-you-pull-the-trigger.html
in Equipment
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The Greatest Gift You Have As A Still Photographer – A Photo Editor
In the early 1950′s, LIFE Magazine decided that the pictures that were shot for them by many wonderful photographers were their property and therefore, they had the right to re-license them. The photographer’s thought otherwise, and insisted that the phot
via A Photo Editor: http://www.aphotoeditor.com/2011/09/27/the-greatest-gift-you-have-as-a-still-photographer/
The courts decided that the copyright remained with the photographer
in Copyright
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Ten years after its creation, VII Photo is going through a period of transition, as the agency announces who is remaining with VII and who’s leaving. BJP has all the details…
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As the Afghan war neared a decade’s worth of combat, casualties and headlines, the photographer and filmmaker Danfung Dennis was looking to jolt people’s consciousness.
“I was frustrated with photojournalism, and I was frustrated with society back in the U.S. being indifferent to the war,” said Mr. Dennis, who had covered Afghanistan as a still photographer in 2006. “I moved into video and new media to try to shake people up — to show the war’s brutal reality in an honest way.”
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Tom Hyde – After The Fall
Tom Hyde After The Fall As the moist air rolls off the Pacific Ocean to first encounter the North American land mass it slams headlong into the Olympic Mountains, rises up, cools off, and dumps. Of…
via burn magazine: http://www.burnmagazine.org/works-in-progress/2011/09/tom-hyde-after-the-fall/
Here it is all about timber, and paper, and fishing. Product. Extraction and subjugation in the industrial landscape of a forest. The towns here were built around the mills and the salmon canneries in another century. Aberdeen lies downstream along the Chehalis River and like many such American towns based on resource extraction and production, those towns that fueled expansion and built a nation, its best days are seemingly long behind it.
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UK Labour Party wants journalism licenses, will prohibit “journalism” by people who are “struck off” the register of licensed journalists
The UK Labour party’s conference is underway in Liverpool, and party bigwigs are presenting their proposals for reinvigorating Labour after its crushing defeat in the last election. The stupi…
Given that “journalism” presently encompasses “publishing accounts of things you’ve seen using the Internet” and “taking pictures of stuff and tweeting them” and “blogging” and “commenting on news stories,” this proposal is even more insane than the tradition “journalist licenses” practiced in totalitarian nations.
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Slingshot Camera Makes Coworkers Cower in Fear
Here’s a great way to win friends and popularity. It’s called the Sling Shot, and it’s a camera designed to make subjects cower in fear as you photograph them. No longer will your (soon-to-be-ex) friends and coworkers crowd around a tiny LCD screen to see
via WIRED: http://www.wired.com/gadgetlab/2011/09/slingshot-camera-makes-coworkers-cower-in-fear/
You get a great shot, at the expense of being a total douche
in Equipment
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Johann Rousselot, photographer and journalist, is frustrated at the lack of attention and access to news from Syria. This is his response, he hopes you will share it with others.
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The rules have “formalized a creeping information-control mechanism that informally began during the Clinton Administration and was accelerated by the Bush and Obama administrations
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VII The Magazine:
In this interview with VII The Magazine, Jessica Dimmock, talks about her time with the modern paparazzo. They are young, male, aggressive, often foreign, and must go to increasingly dramatic lengths to get their images. Jessica discusses her experiences, the high speed car chases, trespassing, tipping informants and the secret alliances that are all regular parts of the high stakes business. To see the film by Jessica Dimmock, “Paparazzi”, go to The Features and The Videos on VII The Magazine.
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Once Magazine isn’t really a photography magazine – it’s more a showcase for long-term photographic projects. Available as an app for the iPad, Once Magazine presents, each month, the work of three selected photographers. For each one, the magazine publishes around 20 images, with background information, interviews and audio files.
in Photography
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LUCEO STORE Grand Opening! | LUCEO
Link: http://blog.luceoimages.com/2011/09/luceo-store-grand-opening/
More than just a place to shop, the LUCEO STORE is the next step in our effort to assert more creative control over the production and distribution of our members’ work. This endeavor includes the creation of LUCEO PRESS, our in-house publishing arm; LUCEO STORE, a retail store for our collective works; and The LUCEO Print Gallery, a specially curated body of work by our members housed within the LUCEO STORE.
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All this is very bad news for photo thieves. For years they’ve heisted images with impunity: the chances of being caught were low, and if caught the default defence was “I found it on Google and didn’t know who the owner was”. But that excuse disappears with the now easily viewable metadata, and the chance of being caught has moved from remote to likely, going on inevitable.
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Yael Ben-Zion
Life leads us down many paths, some unexpected, and where we end up isn’t always where we set out to go. Yael Ben-Zion was born in Minneapolis, MN and raised in Israel. She returned to the states to attend Yale Law School and pursue LL.M. and J.S.D. degre
via LENSCRATCH: http://www.lenscratch.com/2011/09/yael-ben-zion.html
Yael’s first monograph, 5683 miles away (Kehrer, 2010), was selected as one of photo-eye’s Best Books of 2010 and for the PDN Photo Annual 2011. It was also a nominee for the German Photo Book Award 2011. She lives and works in New York.
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In the darkroom, a master was able to manipulate, through years of experience, the sense of presence by turning the flat Luminance image into the faux 3D Luminosity image. This is what Ansel was talking about when he talked about presence. To do this manually, in the darkroom, with primitive burning and dodging tools, requires intense complex technical and intuitive skill. Most photographers think that this inherent Luminance vs. Luminosity problem goes away with the advent of Photoshop and Lightroom. Nothing could be further from the truth. In fact, the problem is compounded, because we have more tools with which to create more mistakes and confusion.