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June 11th, 2015

Photographer Lectures Expand “Emerging” Exhibit (And They’re Free)



Broadcast live streaming video on Ustream
The Annenberg Space for Photography in Los Angeles will host a series of informative and inspiring photographer lectures over the next three months during the run of “Emerging,” the exhibition co-produced by PDN’s editors and featuring photographers selected for the annual PDN‘s 30 issue since 2008. The “Iris Nights” talks, to be held at the Skylight Studios across the park from the Annenberg, feature exhibited photographers discussing recent work, their career paths, and their approaches to a range of subject matter.

The series begins June 11 with a talk by Lauren Dukoff, the celebrity and music photographer, and it continues through September:

June 18 – Dina Litovsky
June 25 – Ilvy Njiokiktjien
July 9 – Olivia Bee
July 16 – Katie Orlinsky
July 23 – JUCO (Julia Galdo & Cody Cloud)
July 30 – Nicole Tung
August 6 – Peter DiCampo
August 13 – Marcus Smith
August 20 – Pari Dukovic
August 27 – Toni Greaves
September 3 – Bryan Derballa
September 10 – Corey Arnold
September 24 – Diana Markosian

The schedule is subject to change, of course, but we’re delighted to see some of the most thoughtful, articulate participants in past PDN’s 30 panels are scheduled to share their stories with the public.

More information is available on the events page of the Annenberg Space for Photography website:  annenbergphotospace.org/events

Related Articles:
New Perspectives: “Emerging” at the Annenberg Space

PDN Video: Marcus Smith on How to Attract the Clients You Want

PDN Video: Olivia Bee on Instagram, iPhones, Expectations and Envy

April 29th, 2015

What Photographers Need to Know Before They Go Pro

Sponsored by NYIP

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Photo by Hossam ElDin Mostafa

What do you need to know before you go pro? Robyn Selman, general manager of The New York Institute of Photography (NYIP) aims to answer this question through curriculum for photographers.

Selman works with experts in the field, such as Patrick Donehue, to ensure NYIP’s curriculum is “forward-looking and serves students well,” she says. Donehue, who has worked as a photographer, educator and director of photography at Getty and Corbis and is now a consultant working with Apple, offers these tips for budding pro photographers:

1) Study what has already been done. Successful photographers know how to stand out from the crowd. They create images that haven’t been seen before.

2) Thrive on the process of improving. Focus and development aren’t just photographic techniques, they’re attitudes. Continually scan the horizon for what you’d like to do, focus your inspiration, make choices, and persist so you are always enhancing your vision and craft.

3) Edit, then edit again. Start by selecting dozens of favorite images from a shoot, then cut them down. Then do it again (and again). This is how to build a portfolio. Be a ruthless editor of your own work.

4) Handle adversity and be optimistic. Learn how to rebound from difficulties, whether personal or professional. Being able to dust yourself off and get back up is the mark of a determined and inspired professional.

5) Listen. Then ask your client, editor, curator, colleague, etc. questions, and don’t leave a topic or a meeting until you know what’s being asked of you.

6) Speak a global visual language by looking at things from a global perspective. Do research; find out what things look like in Singapore, Shanghai, Rio, Dubai and elsewhere around the globe, so you get a more rounded impression of the world.

7) Get funding. In order to grow, learn and put the necessary time and energy into refining your craft, you need to be properly funded. Choose gear you can afford—or find a way to afford the gear you need—and take a financial risk when it seems appropriate.

8) Be an early adopter of technology. Use new tools to help set you apart and gain an edge on other photographers. Monitor and be aware of what’s coming and choose what you need to embrace to enhance your image-making.

NareshKumar-hr

Photo by Aspenashfotons

NYIP offers a Professional Photography Course that covers technical know-how, business acumen, personal vision, professional practices and techniques, and specialty areas of focus, providing a solid, smart and comprehensive foundation for your growing professional business. And while NYIP’s courses are online and self-paced, the program pairs every student with a professional photographer as a mentor for personalized support throughout your studies.

Additionally, NYIP has partnered with Wedding & Portrait Photographers International, WPPI, to launch the first ever industry certification for wedding and portrait photographers. Like NYIP’s courses, the certification program is offered asynchronously, fully online, giving you tremendous scheduling flexibility. The program covers technical details relevant to photography, exposure, lighting, and composition, as well as business knowledge. Those photographers who successfully complete the program will be WPPI Certified photographers.

Visit www.nyip.edu to learn more about its courses and WPPIC.

March 23rd, 2015

Unique College Program Helps Environmental Orgs See Value of Photography

© Joshua See

Mammalogist Tom Horsley prepares to remove a captured bat from a high-elevation mist-net in Borneo. Joshua See made this photograph while working with the Royal Ontario Museum as a student in the Environmental Visual Communication program. © Joshua See

Conservation photographer Neil Osborne understands how important visual communication can be to environmental and conservation organizations. Photographs, videos and other forms of visual storytelling can help non-profits share their messages and the work they do with wide audiences. Visual storytelling can also serve as an effective fundraising tool. But many nonprofits spend little on photography and other communications efforts, Osborne notes.

He and his colleagues at the Environmental Visual Communication (EVC) program at Toronto’s Fleming College saw an opportunity to match students with nonprofit organizations that need photography, video and other visual communications assets. Over the past three years they’ve developed a “placement partner” system for the EVC, which gives students real-world experience (and, in some cases, payment) while putting their talents to use for good causes. Many students “publish individual and collaborative works before they even graduate,” Osborne notes. In the process of providing “communication strategy and tactics to these groups to enhance and advance their messaging,” students demonstrate to nonprofits how valuable visual storytelling and the expertise of photographers can be in helping them meet their goals. (more…)

January 20th, 2015

5 Fundamental Photo Tips for Aspiring Wedding and Portrait Photographers

Sponsored by NYIP

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Photos courtesy of NYIP

For wedding and portrait photographers who want to sharpen their skills, but already have a full schedule, The New York Institute of Photography (NYIP) offers an online course for each specialty that covers both technical skills and business smarts. Each course is 150 hours, divided into four units, and can be completed at the student’s own pace over 18 months, with an additional six-month extension easily available as well. Instructional materials span a variety of levels of experience and creative talent, and every student is paired with a professional photographer as a mentor for personalized technical support and artistic development throughout their studies.

Lead photo mentor Chris Corradino says working with NYIP students has been “one of the most rewarding experiences of [his] professional career.” We asked him for some fundamental image-making and photography business tips:

1) To enjoy long-term business success, a strong foundation is crucial. This starts with a solid knowledge of manual exposure, the important camera features, and the language of photography. Buying more expensive gear won’t result in leap frogging the competition. No matter what piano an untrained musician sits at, they still can’t play it.

2) Don’t get bogged down in equipment. What distinguishes your photographs can’t be purchased in a store. It’s your own unique vision and perspective on the world that makes all the difference.

3) Learn the rules of composition, and then break them. Good art doesn’t necessarily come from a textbook, but rather a blend of technique and creative vision.

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4) Avoid categorizing yourself as “professional” and “amateur” or engaging in debates that seek to define these terms. A good photographer focuses on craft, not labels. The actual definition of the word amateur is “to do something for the love of.” This is the spirit that all professionals should strive to retain throughout their career.

5) Simplify your composition by eliminating distractions from the frame—unless showing more of the environment actually strengthens the overall impact of an image. For example, instead of eliminating the wedding party as the couple exits the ceremony, include them in the image.

NYIP’s wedding and portrait photography courses delve further into these key topics, as well as: setting up a business; defining your brand and visual signature; developing packages, building an online presence and marketing techniques; working with vendors, planners, videographers, and clients; the history of photographic portraiture and current photography trends; posing individuals, groups, children and pets and putting them at ease; setting up a studio; using backgrounds and a variety of lighting and lenses; working on location, and more.

Visit www.nyip.edu/courses for more information on the wedding and portrait photography courses.

January 20th, 2015

Behind Cosmo UK’s Honor Killings Protest “Cover” Photograph

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This mock-up of a Cosmopolitan UK cover features an image from a series of photographs created by artist Erin Mulvehill.

Last week a mock Cosmopolitan UK cover that sought to protest honor killings drew attention and praise online. Honor killing is a horrific practice in which family members kill one of their own, often a daughter, who is perceived to have brought shame on a family.

The Cosmo UK mock cover depicts what appears to be a woman suffocating. In images of the cover circulated by the magazine and Leo Burnett Change, the agency that designed the cover, the issue is sealed in plastic bags, completing the impression that the woman on the cover is being asphyxiated. The cover was inspired by the 2004 murder of 17-year-old British Pakistani teen Shafilea Ahmed; Ahmed’s parents suffocated her in front of her siblings for perceived offenses that included refusing an arranged marriage. Ahmed’s parents were later convicted of murder.

After several outlets reported that the design would appear on the February issue, Cosmopolitan UK clarified that the cover was just a mock-up, created as part of a campaign the magazine is working on with UK women’s rights organization Karma Nirvana. (The actual February cover featured Khloe Kardashian.)

The provenance of the photograph depicting the suffocating woman is also interesting. The black-and-white photograph used in the mock-up is part of “Underwater,” a fine-art series created by Brooklyn-based photographer Erin Mulvehill in 2009. The images in Mulvehill’s series depict women who appear to be floating underwater, many with their hands pressing out towards the viewer. (more…)

October 7th, 2014

FREE Travel Photography Video Tutorial

If you missed Pulitzer-prize winning photographer Brian Smith’s live presentation on travel photography at B&H Photo in New York City last month, you can now see it online for free. Brought to you by Sony, this inspiring and educational one-hour video is filled with stunning images, practical tips and technical advice to help you capture better travel photos. Take it from Brian, he’s traveled six continents, taken thousands of photos as a Sony Artisan of Imagery and built a stunning collection of travel photos that will motivate you to get brave and creative with your camera, especially when you travel.

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Brian Smith with the Sony a7R

Sponsored by Sony, creator of Sony Alpha-series mirrorless and DSLR cameras

September 3rd, 2014

Photojournalists Launch “Selfie Against the Death Penalty” Campaign

Documentary photographer Marc Asnin and VII Association, a non-profit organization founded by VII Photo Agency, have launched a social media campaign that advocates for the abolition of the death penalty.

The “Photographers Selfie Against the Death Penalty” campaign is part of a collaboration between Asnin’s Neverland Publications and VII Association on Final Words, a book and traveling exhibition that presents the final statements of 515 inmates executed in Texas since 1982. The aim of the project is to focus on “the humanity at the center of the death penalty in America,” the organizers said in a statement.

To participate, photographers are being asked to upload an image to the Final Words site, and to finish the statement “I stand against the death penalty because….” Among the photographers who have participated so far are Larry Fink, Rudy Archuleta, Anthony Barboza, Sim Chi Yin, and several members of the VII Photo Agency.

For full instructions for how to participate in the campaign, visit the Final Words site here.

August 22nd, 2014

Yale Research Group Launches Fascinating Search Platform for 170k FSA-OWI Images

Image caption: Modern riverboat, St. Louis, Missouri, 1940, by John Vachon.

Modern riverboat, St. Louis, Missouri, 1940, by John Vachon.

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An image of the Photogrammar’s map tool, which visualizes the quantities of images FSA-OWI photographers made in regions around the country.

A group of researchers at Yale created “a web-based platform for organizing, searching, and visualizing the 170,000 photographs from 1935 to 1945 created by the United States Farm Security Administration and Office of War Information (FSA-OWI).”

The platform, which they’re calling Photogrammar, allows people to use visual tools to search through the digitized photographs from the FSA-OWI archive, which is housed at the Library of Congress. The map tool, for instance, allows users to see the quantity of images made in regions across the United States. One can also use the map to trace the work of individual photographers such as Dorothea Lange, John Collier and Marion Post Wolcott, and see where they worked and produced the most images.

The Treemap, another visualization, uses colored blocks of different sizes to show the number of images of different types FSA-OWI photographers produced in different category topics. Users can drill down into subtopics of the category topics.

The Photogrammar also features a more traditional keyword-driven search function.

Explore the Photogrammar site here. But fair warning: it will suck you in.

Related: 14 Rare Color Photos From the FSA-OWI

May 21st, 2014

Advice From the Trenches for Graduating Photography Students

Classes in photography can be a leg up to landing a job as an assistant or getting started in the photography business, but real-world experience often teaches practical lessons not taught in photo schools. What are the important lessons photographers didn’t learn in school, that photographers found themselves scrambling to make up after college?  We recently rounded up some advice for recent graduates (published on PDNOnline). We also asked photographers David Brandon Geeting, Cody Cloud and Andrew Burkle for their perspectives.

Geeting, a Brooklyn-based editorial photographer, graduated from the School of Visual Arts in 2011, and worked as a photo assistant and did other jobs before going into business for himself in 2012. Burkle, a food photographer shooting advertising for national brands, graduated from Ohio University in 2009, and worked as a photo assistant in Chicago before opening a studio last year in Cleveland with photographer David Hagen. Cody Cloud shoots fashion in Los Angeles with his partner, Julia Galdo. He earned his MFA from San Francisco Art Institute in 2005.

Here’s what they told us about the things they wished they’d learned in school, and their advice for new graduates.

What skills do you wish you’d learned while you were in school–but didn’t– that would have helped you most when you got out?

David Brandon Geeting: I wish I would have taken more studio classes and learned more lighting techniques. I shoot a lot of work in the studio now, and everything I do is totally self-taught. When I was in school, I just walked around with a 35mm point-and-shoot camera and made C-prints of off-kilter moments and funny trash on the street. I had no plans of shooting commercially – I thought I would make a living as an artist. I thought I’d be having solo exhibitions and publishing weird books. That is still the goal, but in the meantime I am doing the best I can to survive with self-taught techniques that I could have learned before graduating.

Andrew Burkle: I really wish I had gotten more input on how to price myself and bid on jobs. The problem was that we learned invoicing but not bidding, [which] is a hard skill to teach and standardize. In the beginning I was probably under bidding and getting work, but vastly under valuing myself as well as inadvertently lowering the standard cost for other bidding photographers.  I think that is a common young photographers mistake though. It is an important step to start pricing yourself correctly.  Even if that means losing out on some work.  If you know your work has value, you have to stick to your price.

Cody Cloud: I wish we would have learned more technical lighting and more Photoshop. Where I went to school they didn’t emphasize the technical side, and coming out of school, my [Photoshop] skills weren’t up to par for jumping into the real world. I assisted a long time. That’s how I learned to light. Julia [Galdo] does the Photoshop so the partnership works out good.

What advice do you wish you had gotten (or heeded) before you graduated?

Geeting: The best piece of advice I got in school was from Joseph Maida, my junior seminar teacher. The thing he said that stuck with me was, “No surprise for the writer, no surprise for the reader,” which is actually a Robert Frost quote, but it applies so well to photography. I didn’t pay much attention to these words at that time – I was too busy being a self-righteous college kid – but they were always in the back of my mind. Today, I might have a pre-conceived idea before I start shooting, and even if that idea is illustrated exactly as I had imagined in my mind, there’s a good chance that it won’t be very interesting to look at. If you are not surprised by what you are shooting as you are shooting it, no one else will be. Being able to adapt is so important. Leaving room for change and happy accidents is something I have built my practice on.

Burkle: I learned this eventually on my own: Very few [people], if any, will appreciate you. You have to work hard, work often and keep your head up. You will most likely be poor for a while. However, once you’ve proven to people that you are hard working, persistent, talented and easy to work with, the world will start to take notice.  This process can take a few months or even a few years.  Unfortunately, your degree in photography is for your own peace of mind.  The photo world estimates your worth in real-world experience.

What professional advice do you have for students who are just graduating?

Geeting: GET A BLOG. And update it every day. Make something every day. If you really love what you’re doing, it shouldn’t be a chore. You don’t need to spend a bunch of money on a leather portfolio or promo cards or whatever people think will get them noticed. Just make the work. And then get up the next day and make it again. If you are putting in the work, good things will happen to you. That’s just how the world works – the energy you exert will come back to return the favor. I really believe that.

Burkle: Keep on top of your technology–cameras, capture software, photoshop, new equipment and techniques, archiving software, etc.–and shoot as much as possible for yourself.  The latter seems obvious, but I fell victim to this early after graduating. When you start working 60 hour weeks for someone else and you don’t have much access to studio time, shooting for yourself becomes a struggle  very quickly.  FInd the time.  Work on weekends.  No one will hire you for the portfolio you “want” to create.  Clients hire photographers, not assistant with potential.

Cloud: I would tell students to work on talking about their work. In every meeting, you have to pitch your ideas. Clients need to hear exactly what you’re going to do and the reason for it. You have to articulate it so they can get it. That’s going to help you get jobs.

Related stories:
So You’ve Just Graduated With a Photography Degree. Now What?
What I  Didn’t Learn in Art School: Life Lessons from 10 Photographers (for PDN subscribers)
Creative Pitches That Land Advertising Clients
The Money Issue: Estimating 2.0: Bidding on an All-Media Library Shoot (for PDN subscribers)

April 2nd, 2014

PDN Video: Lens Blog’s James Estrin’s Career Tips for Photojournalists

Jim Estrin: 6 Tips for Emerging Photojournalists from PDNOnline on Vimeo.

James Estrin, founder and co-editor of Lens, the popular New York Times photography blog, talks about how to launch a successful career as a photojournalist. His tips and insight cover how to choose meaningful projects, the importance of photojournalistic process, and practical advice about portfolios, mentors, and relationship-building with editors and peers.

Related:
PDN Video: Is Your Photo Project a Contender for Lens Blog?
PDN Video: How to Get the Most Out of a Portfolio Review
PDN’s 30 Photographers Provide Career Tips to Aspiring Photographers
PDN’s 30 2014: New and Emerging Photographers to Watch