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July 29th, 2014

How Much Do Editorial Clients Pay? “Wiki” Gives Names and Fees

Editorial clients are reluctant to publicize information about rates for photo assignments. But photographers need to know who pays what, in order to figure out which clients are worth shooting for, and to help them negotiate assignment fees.

A Tumblr site called Who Pays Photographers? helps bridge the information gap with a wiki-inspired spreadsheet listing fees paid by numerous publications, both online and in print. The site also provides information about whether the client pays expenses, how long they take to pay, and what photographers like and dislike about the client. All the information is uploaded anonymously by photographers who have shot assignments for the clients.

But users, beware. The spreadsheet, which lists clients more or less in alphabetical order, is disorganized, and a challenge to scroll through (and it can’t be downloaded). The client list is long but not exhaustive, updates are infrequent, and some of the reports are several years old. Moreover, the information provided is unverified.

Still, Who Pays Photographers? can be a useful starting point. Photographer Anastasia Pottinger says she came across it when she was trying to figure out what to charge photo blogs to publish her portraits of centenarians, after the project went viral.

“[The site] gave me a better idea of what to expect.  I had read a few blog posts out there where people were getting $150 per image and maybe that’s true when it’s just one image, but I was not sure what to charge for a whole set of images,” she says. For online publication rights to ten of her images, she says she negotiated a $375 fee from Huffington Post, after Huffington Post asked (as it usually does) to publish the images for free.

The anonymous owner of Who Pays Photographers? said in an email that he (or she?) is a working editorial photographer, with limited time to maintain, improve or promote the site. (The Who Pays Photographers? Twitter feed and archive were last updated in February.) “I welcome input and any help in running” the site, the owner says.  See our earlier Q&A with the owner for more information.

June 8th, 2014

Fake Chuck Westfall Unmasked!: Photographer Behind Controversial Canon Blog Reveals Why He’s Calling It Quits


The real Chuck Westfall, a Technical Advisor at Canon USA for pro imaging products

If you follow the photo industry and, in particular, the world of Canon photography products, you’ve undoubtedly heard of the Fake Chuck Westfall blog.

A direct descendent of the Fake Steve Jobs persona that humorously parodied Apple’s leading luminary on The Secret Diary of Steve Jobs blog, Fake Chuck Westfall has been spoofing Canon’s main camera guru and the photo industry in general since 2008.

Fake Steve Jobs turned out to be writer Dan Lyons but Fake Chuck Westfall has remained anonymous…until now.

After tweeting on the FCW Twitter account last week that he was planning to pull the plug on Fake Chuck Westfall, the man behind the controversial blog agreed to be interviewed by PDN to explain who he is, why he created FCW, and why he’s putting an end to it. (And no, it’s not because Canon is threatening legal action, as it did back in 2009, which turned Fake Chuck Westfall into a photo industry Internet celebrity and caused the blog’s traffic to skyrocket.)

So, without further ado, meet photographer Karel Donk, aka Fake Chuck Westfall. Donk will give a more in depth account of the entire Fake Chuck Westfall saga in a post on his blog on Monday morning. (UPDATE: Here’s Donk’s FCW farewell post.)


November 27th, 2013

PDN Video: Is Your Photo Project a Contender for Lens Blog?

Jim Estrin: How Lens Blog Selects Photo Projects from PDNOnline on Vimeo.

Jim Estrin, founder and co-editor of Lens, the popular New York Times photography blog, recently sat down with PDN to talk about what he looks for in photo projects, what distinguishes the projects that Lens blog publishes, and why Lens editors reject many other stories. For photographers trying to get his attention, he offers insight and tips about work ethic, story choice, and representation of subjects. He also discusses two projects that exemplify Lens Blog’s standards and esthetic.


September 13th, 2013

Do Execution Photos Serve a Journalistic Purpose?

TIME announced the publication yesterday of “exclusive images taken by a photojournalist of Islamic militants publicly executing, by decapitation, a young Syrian…near Aleppo, on August 31, 2013.” TIME said in the announcement that, “because of the danger in reporting inside Syria,” it cannot confirm the identity or political affiliation of the victim, or the motivation of the killers.

The unnamed photographer gave a statement to Time in which he says, “I was feeling awful; several times I had been on the verge of throwing up. But I kept it under control because as a journalist I knew I had to document this, as I had the three previous beheadings I had photographed that day, in three other locations outside Aleppo.”

Read more at TIME Lighbox. A link to the images accompanied the announcement, but some of us at PDN couldn’t quite bring ourselves to look. Do such images, presented with so little context, do more harm than good?  Do they inform, and stir public outrage that ultimately discourages atrocity? Or does the photographer’s presence encourage the atrocity by giving the perpetrators a forum?

We’d like to hear from our readers about this. The images are posted at

August 8th, 2013

Fed Up with Self-Serving Noise from Photo Bloggers, Zack Arias Started a Blog, Then Published a Book in His Spare Time

Photographer Zack Arias is the accidental “Dear Abby” of the photo industry. He started a Tumblr blog last year called Photography Q&A, inviting readers to “ask me anything about photography.” He has since fielded more than 1,000 “Hi Zack” e-mails with questions about gear, technique, art and creativity, and business.

The blog is popular not only for the information Arias provides, but because of his honesty, good humor, and horse sense. He often recounts his own mistakes to instruct and encourage his readers, and isn’t afraid to cajole them, or challenge the industry’s conventional wisdom and egos.

Arias, who is also a popular workshop instructor, recently compiled some of the blog’s best installments into a book called Photography Q&A: Real Questions. Real Answers, published by New Riders. An excerpt of the book appears in the August issue of PDN, and is now available on our web site. We asked Arias how his blog got started, and he replied with his usual candor.

“It was because I got pissed off at another photographer [who] came out with a web site that was this ‘Top Ten Steps’–like a system to help get you started becoming a photographer. There was just a lot of bad information in it. A lot of people were in an uproar. I was staying out of the fray, but people kept asking me, ‘Zack, what do you think of it?’

“Finally I said, ‘The hell with it. Here’s what I think of it: I think it’s a bunch of trash, and nobody should listen to it for these reasons.’ Then I was in the fray, and then I was pissed off, and it was just one of those things: OK, you’re going to do a top ten? I’m going to do a top 100–no, I’m going to do a top 1000. There’s a lot of noise in our industry right now. There’s a lot of top ten lists, and ‘get this going quick’ [schemes] and people just walking all over the craft and people not preaching that you have to be patient, you have to work hard, and this is going to take a long time and it’s not easy. If you think it’s just about taking pictures, you’re missing the other 90 percent of what it means to be a professional photographer. And I wanted to create something that had more signal, and wasn’t noise, and wasn’t just an affiliate link aggregator, like hey, we’re going to bring a lot of people to our blog, and hope they click on our links so we can monetize it.

“So it [the blog] started because I wanted to create something that had a more honest look [at the profession] than have a shiny, happy infomercial that was getting a lot of traction.”

Meanwhile, Arias is taking a break from teaching workshops, but that’s another story.

School of Hard Knocks: Zack Arias, Lost and Found (subscription required)
PDN Reader Survey: The Best Workshop Instructors

August 2nd, 2013

Laid Off, Maddie McGarvey Offers Touching Homage to Small-Town Newspaper Photography

Photojournalist Maddie McGarvey has written a touching tribute to her work as a newspaper photographer at Gannett’s Burlington Free Press. McGarvey was laid off yesterday, along with 200 other Gannett employees, she reports in a blog post published today, which she titled “Looking Forward.”

Despite the setback, McGarvey says that several of the subjects she’s met in her year on the job have changed her life and given her a sense of optimism, perseverance and community, and she shares her photos and stories of those people. She writes: “I’m hopeful for this career that so many friends and I have chosen to follow. This job, in my short time, has led me to some incredible people who have absolutely changed my life for the better.”

It’s worth a read:

April 26th, 2013

Alec Soth on Wandering, Storytelling and Robert Adams vs. Weegee

Last week at the Portland Art Museum as part of the 2013 Photolucida festivities, Alec Soth gave a lecture titled “From Here to There: Searching for Narrative in Photography.” The talk could have been titled “Searching for Narrative in Photography Lectures,” because Soth mostly allowed the audience to lead the way with questions, which he responded to with the aid of a number of prepared slideshows. The evening was free-form, entertaining and a bit wandering, which made sense given that Soth emphasized that wandering and taking pictures without a set goal in mind has produced some of his most important bodies of work. But more on that later.

Soth started on a down note, sharing a quote from Robert Frank—“There are too many images, too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art any more. Maybe it never was.” He also showed a photograph of an installation by Erik Kessels: a pile of prints made from all of the images uploaded to Flickr in a 24-hour period.

Soth described the perspectives offered by the Frank quote and Kessels’ installation as “bleak.” But, he said, the “way out of this [bleak situation for photographers] is storytelling.” (more…)

March 20th, 2013

National Geographic Celebrates 125 Years with Vintage-Photo Blog


As part of the celebration of their 125th year, National Geographic recently launched a Tumblr blog that unearths “lost” photographs from the Yellow Monster’s image archive, which is said to include more the 10.5 million images.

Called “Found,” the vintage-photography blog was quietly introduced a couple of weeks ago, and has built an audience rather quickly. As of last week, Found had more than 13,000 followers, according to National Geographic Digital Creative Director Jody Sugrue. Several of the images have been “liked” or shared hundreds—even thousands—of times.

“The response has been incredible,” Sugrue told PDN. “It’s been overwhelming, and I think its encouraging us to tell more stories like this, in this way.” Through Tumblr, “we have access to a community that National Geographic doesn’t normally tap into, which we’re excited about,” Sugrue says. (more…)

February 27th, 2013

Celebrating International Polar Bear Day With a Look at Conservation Photography

Today the conservation organization Polar Bears International is celebrating International Polar Bear Day, a day of action and awareness that encourages people to think about their carbon footprint and the steps they can take to reduce their impact on climate change and the loss of arctic ice.

In honor of International Polar Bear Day we thought we’d highlight the work of a pair of photographers we’ve had the opportunity to interview in recent years: Paul Nicklen and Florian Schulz. Each of them has photographed polar bears and other arctic animals, and they are leading voices in the effort to conserve arctic ecosystems.

Below is our 2009 interview with Paul Nicklen about his book Polar Obsession. When we published the interview in 2009, we also featured a handful of his photographs from the book on our “PDN Photo of the Day” blog, which you can check out here. Since we published it, it’s become one of the most popular and shared posts ever on “PDN Photo of the Day.”

More recently we spoke with German photographer Florian Schulz about his book To the Arctic, about photographing in some of the remotest places on earth, and about working as a conservation photographer.

Happy International Polar Bear Day!

A Pretty Picture Isn’t Enough: An Interview with Paul Nicklen

This interview first appeared on PDNOnline on November 20, 2009.

After beginning his career as a biologist, Paul Nicklen quit his job for the Canadian government and dedicated himself to wildlife photography. Nicklen grew up in the only non-Inuit family in a small Inuit community on Baffin Island, in the remote Nunavut territory in northern Canada. There he developed an appreciation for and knowledge of the arctic that fed his photographic work.

In 1994, while struggling to make money as a young photographer, Nicklen wrote a proposal to the Nunavut territorial government asking for funding to begin a book project documenting wildlife in the arctic and Antarctica. The government cut him a check for $8,000.

For the next 15 years, first as a freelancer and then as a National Geographic photographer, Nicklen worked to document nearly every species of wildlife in the polar regions, while never losing sight of that first proposal. “When I’m mentoring young photographers, I tell them to think of some major project all their stories can fall under, so you can have an identity some day, and do a book and all that,” Nicklen says. National Geographic Focal Point recently released Nicklen’s book, aptly titled Polar Obsession. It’s the realization of a decade and a half making pictures in some of the harshest and most remote regions of the world.

But as Paul Nicklen told PDN, beautiful pictures aren’t enough to capture the attention of audiences during this critical time for polar ecosystems.

PDN: What do you hope the book conveys to readers?

Paul Nicklen: Being a biologist for so many years and working so hard to collect data, I felt so helpless with these data sets that we worked so hard to bring back to the government. We were really slow at sharing the data and having other scientists share their data with us. Eventually, [after establishing a photography career] I did some scientific stories for Geographic, and then one day I did an article that was more of an emotional plea to the readers of Geographic. I actually thought it was going to bomb. I was very surprised that it was ranked as the number one story in Geographic that year through their readership survey, and it was ranked as the highest [readership survey] score in the last 17 years at National Geographic, so that gave me the confidence that I had found a formula of reaching out to people.

What the book does and what the article did is just to let people know how connected the animals and species are to an icy polar existence. I had a very respected scientist say to me: If we lose ice, we lose an ecosystem. Ice is like the soil in the ground. One piece of multiyear ice has 300 species of microorganisms in it. When the sun returns to the arctic in the spring, you get the big phytoplankton blooms under the ice, all this algae growing, you get the copepods and amphipods feeding on that, which makes up the biggest biomass in the arctic ecosystem. You’ve got the arctic cod feeding on that, you’ve got the seals feeding on the cod, you’ve got the whales feeding on the cod, and then you’ve got of course the polar bears feeding on the seals. This chain all the way through is tied to the ice.

When there’s a bad ice year, those copepods and amphipods are severely affected. The original projections were that the arctic was going to be ice-free by 2100. Now they say the arctic is going to be completely free of ice in the next 7-15 years, and so the projections have been off, its accelerating at a much faster rate than we ever thought. Were all getting caught off guard by how quickly its disappearing.

PDN: When you began this work, were you at all aware of these concerns?

PN: No, not at all. When I first started in photography in 1994, that was around the time that game farms really broke onto the market and you could go photograph snow leopards and rent a wolverine and a black bear and grizzly all in one day for $500. Because of my science background and my biology training and my passion for the polar regions, I thought, The more people that [go to game farms], the better, the more I need to go up and shoot the habitat and show the interconnectivity between the species and the ice. So I gambled and it paid off. I shot hard for those 7 years. Then 2002 rolls around and thats when we started to get the first cries that things were changing in the arctic. I went on some scientific trips, and then by 2004 people were saying were in serious trouble. I felt lucky to already have a really big body of work at that point. Ive photographed every species in the arctic and most of the species in Antarctica now. So I was lucky to be on top of it.

PDN: Once that information started to come to light, did it change your work or your goals, or what you did with your photographs?

PN: Yes and no. I started out in photography as a pretty picture photographer. I just wanted to shoot beautiful pictures of beautiful creatures sitting in the polar regions. But that left me feeling really empty in my work. Then luckily I met [wildlife photographers] Flip Nicklin and Joel Sartore and they both mentored me, and really taught me the power of telling a story. I realized you don’t need a lot of different pictures, you can still have the candy, and then you just need a few pictures of ice and copepods to show people how its all tied together. I don’t need hundreds of pictures of people taking ice core samples. One quote from a scientist will cover all of that type of photography. So I’m again coming from the angle of celebrating the life in the arctic and saying this is what we stand to lose unless we change our ways.

PDN: Are you making more of an effort now to find ways to do be an advocate for climate change issues?

PN: I allow [all the scientists that I work with] to use my photography at no charge. The best scientists I’ve worked with were the worst communicators, by far. My goal is to bridge the gap between good scientific research and the public. These scientists are out there speaking and showing all these really bad pictures, they’re showing PowerPoint presentations of these pie charts and I think that people are glazing over. So I’m like, Why don’t you insert a few pictures to keep them entertained and then hit them with the pie charts and the graphs?

I speak as much as possible. It’s a decent way to make a living and its also really getting the message out there. I spoke to Dow Chemicals; I spoke to a bunch of ad agencies, to Microsoft and Apple; I spoke to Frito-Lay, PepsiCo. At the end of the Frito-Lay talk I got a standing ovation, and the CEO got up and said, “I’m buying 1000 copies of your book and giving it to all upper management in my company.” You just start to get the message out there any way you can.

PDN: Do you have an agent for your speaking engagements or does National Geographic set them up?

PN: I’m with the speakers bureau here at Geographic and I book my own gig the odd time. I like it because on the [Geographic speaker] Web page it talks about photographers with environmental messages, and I don’t shy away from that. I’m not trying to do these high-paying motivational speeches, I’m coming in with a message and if people don’t want to hear it they wont enjoy my talk. I had one complaint yesterday with someone saying my talk was entertaining but it was just a little too environmental. And it wasn’t even that environmental, but people just don’t want to hear it. People are busy; they’ve got their kids, their spouses, their Blackberries and cell phones going off, and its just one more thing to have to worry about.

PDN: How have the downturns in the economy and the magazine market affected what you do?

PN: It hasn’t affected me financially, maybe because I’m shooting global warming issues and polar regions. I think I’ve had my best stock year ever. But what has really hurt what I’m doing and what message were trying to get out there, is as soon as the economy tanks, climate change drops way down the list. Almost all the decisions people make are financially based [in a bad economy]. So I feel that my message is falling more on deaf ears.

PDN: How has photographic technology influenced your work?

PN: It’s just huge. I was on a story in 2004 for Geographic diving in the fastest ocean currents in the world, really technical diving, and to go down with multiple film housings and multiple strobes—when you shoot underwater strobes you have to shoot manual exposure, TTL just does not work underwater—and my project wasn’t going well. I talked to Kathy Moran, my editor, and she said, I can see you’re trying, it looks really difficult, but you’re not getting it, you’re just missing it. Right then I went and bought two brand new, expensive [Canon] EOS 1D film cameras, and I thought I’ll just buy a digital [Canon] 1D Mark II just to have on the side so I can start dabbling. Well those film bodies never came out of their boxes. I paid $3000 each and I sold them on eBay for $200 each and I’ve never looked back. That was in 2004. Now I can put a camera in my housing, put in a 16MB card that will shoot 500 frames. I’ve got [the equivalent of] 15 rolls of film underwater without having to go back up and change film, and I can instantly see what my lights are doing, I can instantly check my histogram.

When I did the leopard seal story [published in the book], all of a sudden I’m having an encounter with this animal that’s feeding me penguins, it’s the most magical encounter I’ve ever had with an animal, and if I had film I would have shot 35 frames, I would have lost most of those to bad exposure or other things, and I would have turned my back on that animal and ended that encounter. Swim away from an animal like that, you end the encounter. So here I am, I was able to shoot 15 “rolls” on my first dive with a leopard seal and I ended up shooting that entire assignment in four days. Normally an assignment is 12 weeks. So that’s what digital has done for me. And in the underwater world its very dark, and now I can switch to 1000 ISO. On one of my assignments [I was hand-holding], doing ten second exposures at night underwater and just sitting on the bottom. I never would have considered doing anything like that with film.

PDN: What advice would you give to young people who are interested in photographing wildlife as a career?

PN: I would tell them to get really used to the idea of rejection. Start off high. Shoot something you are really proud of. Send it to someone where you want it [published]. When they send you a rejection letter, send it to three more people who are next on the ladder, and if you get rejections from them send it to 90 more people, until someone picks it up.

People get so emotional in this business and they get the first rejection letter and the negative thoughts start to run through their heads. It takes a lot of patience, because no one else is going to believe in you until you build up that portfolio. You have to keep hammering away.

Don’t quit your day job until you have all of the equipment that you need and enough money to travel. I quit my government job, announced to the world that I was a professional photographer and I had saved 60 thousand dollars. Within one year of running my business I was flat broke and had not sold a picture. It took me three years before I was breaking even in my business, six years before I was making a profit, and then I got lucky to get into the Geographic system. Know that its going to be the hardest thing you’ve ever done, by far.

PDN: Has the majority of your work been self-assigned or have you done it on assignment?

PN: The first six years of my career were freelance, just shooting all my own personal stock, trying to get noticed by National Geographic. I did a bunch of stories for Canadian Geographic and Equinox and other magazines, but I wanted the big yellow monster. In 2001 I got my first assignment with Geographic and then they assigned the next two after that, and then the last eight have been my proposals.

PDN: How many projects are you able to do in a year?

PN: I’ve been shooting for [National Geographic] for eight years and I’ve shot 11 projects, so 1.3, I would say. And that’s pretty busy. You’re not [spending] a lot of time in the field but you have a lot of research time, you’re doing lectures, you’re editing, you’re at home buying and fixing gear trying to get ready for the trips.

PDN: Are there other organizations that you work for, or do your Geographic assignments eat up all of your time?

PN: I just did an assignment not too long ago for New York Times Magazine. That’s about it, and that was a real push for me, I had to squeeze them in one week between Geographic lectures and traveling. I’m really a bit of a recluse. When I’m not shooting I like to put my camera away, I like to hide it. You need down time and my dream is to fly my airplane. I bought an airplane five years ago and it sat in my driveway for those five years and I finally got to fly it this summer.

I’m also associated with the International League of Conservation Photographers. I do work with them, lecture with them and go on their RAVES, (Rapid Assessment Visual Expeditions), so I go try and help their cause as well. I’m busier than I want to be, but the snowball started to roll on its own and I cant run from it at this stage. If I’m tired and exhausted and working hard, that’s it, you’ve got to keep going.

September 28th, 2012

On Sustainable Business Models, and Comparing Apples to Oranges

The American Society of Media Photographers’ program, “Sustainable Business Models: Issues & Trends Facing Visual Artists,” held September 27 in New York City, can be viewed online via ASMP’s video library. Speakers and panelists provided useful context and insights into the current marketplace for photography, as well as thoughts on how professional freelancers might adapt their marketing and licensing in today’s economy. A warning, however: Along with provocative insights, the afternoon panel also included the predictable, banal observation that photojournalists have no role to play now that “everyone has a cellphone,” and statistics on how many images are uploaded to Facebook or Instagram each day or each hour or each minute. If you’re like me, you find these comments irritating. Because the first comment is untrue, and the second is irrelevant to any discussion of the professional photography business.

Yes, news editors trolled Instagram to get images of the aftermath of the Empire State Building shooting, but those image sales had no impact on the market for photos by professional news photographers: If amateur cellphone users hadn’t been on the scene, we simply wouldn’t have had any images of the carnage. Yes, a zillion snapshots of cats, babies and plates of food are shared on social media every day. What bearing does that have on what a professional photographer offers to clients or their audience? (more…)