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November 3rd, 2015

Approximately 180 National Geographic Employees Being Laid Off, Others Offered Buyouts

National Geographic has confirmed that 9 percent of their 2,000 employees (approximately 180 people) are being laid off, less than two months after the National Geographic Society announced that 21st Century Fox had acquired a controlling stake in the magazine and other media assets for $725 million. There is no word yet on how many people in National Geographic’s photography department have been affected. One photo editor for the magazine, Sherry L. Brukbacher, confirmed on Twitter that she was among the “many” let go today. In addition to the staffers being laid off, the company is offering buyouts to an unknown number of longtime employees.

“The National Geographic Society and the National Geographic Channels are in the process of reorganizing in order to move forward strategically following the closing of the NG Partners deal [with Fox], which is expected to occur in mid-November,” National Geographic’s SVP of communications M.J. Jacobsen told PDN via email.

“Involuntary separations will represent about 9 percent of the overall workforce reduction, many in shared services and a voluntary separation offer has also been made to eligible employees,” Jacobsen added.

We’ll update this story as we learn more.

Update: Senior photo editor Kim Hubbard confirmed on Facebook that she was among those let go today. “Thank you for the calls and messages on what has been a surreal and sad day,” she wrote. “Over the past five years I’ve worked with some amazing photographers, designers, writers, editors, and scientists on stories that I am incredibly proud of. Now I’m looking ahead to the next big thing (if you know what that is, please let me know! 😊) I’ll be with Nat Geo until Jan 31st.”

October 28th, 2015

PhotoPlus Expo 2015: The State of Editorial Photography

The directors of photography at Women’s Health, Bloomberg BusinessWeek, Garden & Gun, People and GQ shared stories behind shoots and offered insights into how they work with the photographers they hire in a panel discussion hosted by veteran editorial photographer Art Streiber at PhotoPlus Expo this past week. In “The State of Editorial Photography,” panelists spoke about budgets, cover shoots, how video is factoring into their work and how photographers should market to them.


People’s Catriona Ni Aolain noted that TIME, Inc. is positioning itself as a video-first company and said that the People staff discuss whether or not to create video for each story the magazine does, but she also said much of the video produced during shoots with celebrities is created not by photographers but by a separate video team. GQ’s Krista Prestek said the same was true at her magazine, and Streiber noted that he’s being asked for video on only 25 percent of his editorial assignments. When magazines first introduced iPad apps, he was asked to shoot video more frequently, he said.

On shooting covers

Women’s Health’s Sarah Rozen said that her photographers usually get eight hours with their cover models and need to shoot four to five setups. GQ’s Prestek said she saw a trend of getting less and less time with celebrities because “magazines are less essential to celebrities” for getting exposure. Often celebrities will book a string of media appointments in a single day, which leaves editors “jockeying for priority so you don’t get them at the end of the day.” GQ will spend anywhere from $30,000–$100,000 on cover shoots, Prestek said. (more…)

August 12th, 2015

Why All The Articles in PDN’s New Issue Are About Women Photographers

© PDN/Photo by Lauren Dukoff

© PDN/Photo by Lauren Dukoff

The articles in the September issue of PDN, now available to subscribers and in the iTunes store, offer our standard mix of technical advice, interviews, and insights into the photography business. The one difference is that all the photography we are featuring, from our news pages to End Frame, is by women photographers. Why are we interviewing and showcasing only women photographers in this issue? Because we can.

It didn’t take much extra effort to find women photographers who could provide valuable insights and inspiration on every topic we wanted to cover: lighting, video post-production, pursuing and publishing a long-term project, marketing, meeting the demands of fashion and portrait clients, and many other issues relating to establishing a name in today’s photography business. Women photographers have to contend with lingering stereotypes about what women can or can’t excel at. By filling every section of this issue of PDN with images and insights by women photographers, we hope to emphasize the breadth of talent, expertise and experience of women photographers working in every genre and style.

This issue, whose theme section focuses on portraiture and fashion photography, seemed like an opportune time to make such a statement. Zanele Muholi’s beautiful, searing exhibition “Isibonelo/Evidence,” which opened in May at the Brooklyn Museum, exemplifies a powerful (and empowering) use of portraiture in social activism. In the spring, Aperture announced it would be publishing a compilation of celebrated photojournalist Mary Ellen Mark’s advice on portraiture. When we arranged to publish an excerpt, we didn’t know that Mark was ailing, or that the book would be published posthumously. It seems fitting, however, that PDN‘s first all-women issue includes words and images by a photographer who blazed so many trails.

Another timely story is our feature on the proliferation of groups formed by and for women photographers. We’ve noted before that, in today’s fractured marketplace, photographers have benefited from forming peer networks, both online and in person, to exchange advice, support, and job referrals.  A few of these groups, we’ve noticed, look like all-boys’ clubs. Women have responded by creating their own networks and gatherings. Some, like Women Photojournalists of Washington, have been around for years, but new ones seem to be forming every day.

Why now? Organizers of these groups point out that while there are more women working in photography than ever, men still get the majority of solo gallery shows, editorial assignments, and other opportunities that lead to greater recognition. In an interview in the current issue, photojournalist Maggie Steber notes that the market is hard for every photographer now—not only women. Competition can be particularly intense for the few token slots set aside for more diverse voices and talents. Expanding the opportunities for success requires new ideas and cooperative effort. “Instead of going back to the same shrinking pie, we should be thinking differently,” says Jennifer McClure, who recently formed the Women’s Photo Alliance in New York City. “We should be thinking, ‘How do we make more pies?'”

–Holly Stuart Hughes, editor

August 3rd, 2015

Amanda Demme on Photographing Bill Cosby’s Accusers for New York Magazine

A photo posted by Amanda Demme (@amandademme) on

When New York magazine posted a blockbuster story in the early hours of Monday, July 27, to its website, many of the names involved were familiar: Bill Cosby, the iconic entertainer accused of drugging and assaulting dozens of women, outspoken victims such as Janice Dickinson and Beverly Johnson, and Jody Quon, the magazine’s director of photography, who got the story on the magazine’s cover. But one name was relatively new: Amanda Demme, the photographer who shot the striking cover. Featuring seated portraits of 35 of the women who have accused Cosby of sexual assault (plus one photo of an empty chair)—its visual impact was arguably as important as all of the interviews inside the magazine.

Demme has had multiple careers as an artist manager, music supervisor and nightclub producer. Relatively new to photography, she’s landed credits in LA Weekly, Rolling Stone and New York, and a solo exhibition at Obsolete Gallery in Venice, California in just two years. Because of her work for New York, she was fresh in photo editor Sofia Guzman’s mind when it came time to assign the ambitious project (“She’s the one who kind of spearheaded the whole concept,” Demme says of Guzman). Demme’s portrait style is both stoic and expressive, well-suited to capture the quiet dignity of Bill Cosby’s victims. “I was telling them to sit erect, don’t smile,” Demme says of her directions to the subjects. “When you look at me, you’re not looking at me, this is not a camera. You’re looking at Cosby. And you’re not mad, you’re not in pain…what you are is empowered.”

Demme was able to photograph 35 of the 46 women who have come forward to accuse Cosby of assault, but when she began, there were only 18 on board. She started shooting at her studio in Los Angeles in March, and would repeat the process six more times at multiple locations across the country as more women were recruited into the project. She describes a general uneasiness among the subjects at the start: “There’s always an uncertainty,” Demme admits, “because nobody knows why I’m shooting it a certain way.”

A video posted by New York Magazine (@nymag) on

Though Demme “wanted to immortalize these women in a really beautiful way,” she was still a stranger to these women. In the course of each shoot, she earned their trust. The network of victims has become quite large, and after she had photographed a few of the women, they spoke to each other (or their lawyers) and vouched for Demme and her work. “They were like, ‘Oh no, they’re really cool,’ and so the word of mouth amongst their community helped bring in others,” Demme explains.

Quon gave her minimal direction, asking merely that the portraits not be “dark,” like much of Demme’s published portraiture. Quon insisted that the women not be styled. “She wanted to keep it journalistic,” Demme says. “So the only request we made was that each of the women bring a set of black clothes and a set of either white or cream or really light gray clothes.”

At the first shoot at her studio in Los Angeles, Demme and her producing partner Stephanie Westcott set up multiple sets, then decided afterwards on which one to re-create at the subsequent shoots. To maintain consistency, she recorded the location, distance and settings for her lighting setups. Some locations required adjustments, like when a smaller studio necessitated the use of a different focal length than she had started with. “I would also have each woman turn their body, put their heads down, and in that moment, I said: ‘What you are showing me is where your head has been at for all these years. What are you feeling at this one moment that you used to feel when you were alone or in pain, or just trying to figure it all out?”

She shot some in pairs, and several group portraits. The shoots could be intense, with lots of laughing, crying and hugging, but Demme says having several women at each shoot helped put the women at ease, that “as each woman saw the next woman doing it, they knew how to handle themselves.” She also shot video interviews, and encouraged the women to support and converse with each other.

Demme shot tethered with a digital camera, but she always imagined the shoot in black-and-white. “I shot it with an intention and a look that was monochromatic…where it looked like an army,” she explains. “I wanted it to look like clinical and army-like, so you didn’t see what they were wearing, you didn’t notice the body language.”

As Demme’s images came rolling into the New York offices, Quon realized they had something, and began to campaign for the story to be on the cover. There were concerns about it not being in color, so Demme went back and tried converting a few files to color. But it didn’t have the same impact, so Quon pressed for the atypical black-and-white cover. It’s “why Jody is so dope at what she does,” Demme says.

Demme filed portraits of each woman sitting and standing, and several that featured “clusters” of the women in group portraits. Then the team at New York conceived the cover, with all 35 women seated in a grid, with a single empty chair at the end of the sequence. Demme calls the empty chair “an invitation” to not only the women that Cosby abused that they couldn’t get in the story, but also to “an entire movement of women speaking up. That is their chair and these women are behind them, supporting them all the way.”

July 29th, 2015

Video Pick: Rep Maren Levinson: Being a Good Photographer Isn’t Enough

Seattle-based photographer John Keatley recently posted a video interview he did with his rep, Redeye’s Maren Levinson, in which she touched on several changes to the photography industry. Her frank assessment of the market in which professional photographers and their reps operate has earned the video nearly 30,000 views on YouTube. (more…)

June 17th, 2015

A Photo Editor for Medium Makes the Case for Self-Publishing Platforms

Self-publishing opportunities abound, as we report in a feature story that’s now available at, called “Are Visual Storytelling Platforms a Good Thing for Photographers?” We interviewed photographers about how they’ve benefitted (or not) from using a variety of platforms, including, Maptia, VSCO Journal, and Medium.

In an effort to promote their work, photographers are filling those sites with what amounts to free content–much of it high-quality content. So the question is, are photographers benefiting from the exposure provided by those platforms, as much as the platform owners are benefitting from the free content they’re vacuuming up?

As the story was going to press, we got a thoughtful response to the question from Keith Axline, the former editor of Wired magazine’s Raw File blog, and now editor of Vantage. An offshoot of Medium, Vantage is new online magazine established to highlight the best photo projects that photographers post on Medium.

Axline’s response came too late to be included in our story. But here’s the question as we posed it, and his response:

PDN: What’s in it for photographers? With a few exceptions, those I’m talking to are reporting that their stories pretty much get buried on these self-publishing platforms, and they don’t really attract clients and assignments. Which suggests they’re of marginal self-promotional value so far. So my question is, how would you try to convince skeptical photographers that these aren’t just more sites vacuuming up free content (photo stories) shot by hungry professionals, for the benefit of the site owners looking to generate ad revenue for themselves?

Keith Axline: It’s a really tough question. Some projects that Vantage profiles, I really love, but they don’t get much traction with readers. It was the same when I was at Raw File at Wired. But others find their audience on Medium when they wouldn’t have found it anywhere else. There’s no one-size-fits-all for every photo project or photographer. Any of these sites, including Medium, is just a tool for photographers and it’s up to them to make the most out of it.

I totally understand the perspective that photo blogs are exploiting photographers by running their stuff without payment. That’s one way to look at it. I see that. Though I disagree with it. At Vantage we only want to make that ask of photographers who are excited to be featured by us and for whom the attention is an asset that outweighs the granted one-time use. It’s not for everyone. Our posts are promotional in nature because we’re excited to talk about photographers’ work. So in that sense whatever the perceived cost of the granted use can be viewed as a marketing expense. We also encourage photographers to contribute to us directly so that there’s no middleman between them and potential fans. They get to see all the traffic to their story, where it came from, and reply directly to comments that readers make.

I also think that it’s not clear to photographers, or most people for that matter, how to turn traffic and viewers into a plus for their business. Hopefully in the future Vantage and Medium can get closer to facilitating that, and I’m happy to have a “best practices” discussion with contributors (I’ve been meaning to even write a few posts about it).

I think anyone who runs a photo publication is passionate about photography to some degree and they’re probably not exactly raking it in from ad revenue. Participating doesn’t make sense for everyone, but there is a large swath of people who would love to be featured. I’ve never heard of anyone regretting being profiled by us, but maybe they’re just being nice.

Are Visual Storytelling Platforms a Good Thing for Photographers?

May 1st, 2015

Why TIME Chose an Amateur Photographer’s Image for Its Cover

The May 11, 2015 cover of TIME Magazine, with an image by aspiring photographer Devin Allen.

The May 11, 2015 cover of TIME Magazine, featuring an image by aspiring photographer Devin Allen.

Yesterday TIME Magazine released the cover of the May 11 issue bearing an image of the Baltimore protests made by a 26-year-old amateur photographer named Devin Allen, who first picked up a camera in 2013. It is just the third time the magazine has used amateur images on the cover. It’s generated a lot of publicity for TIME, which issued a press release about Allen’s photo the day the issue came out. “[Allen’s image] was just beautifully composed and it was compelling, and it caught my eye immediately and summed up the story in a really interesting way,” says TIME deputy director of photography Paul Moakley.

Since Monday, Allen, who has a job working with autistic children and is an aspiring photographer, has covered the protests of the death of Freddie Gray, who died after his spinal cord was nearly severed while he was in police custody. (The state’s attorney for Baltimore, Marilyn J. Mosby, announced this morning that she has filed homicide, manslaughter and misconduct charges against Baltimore police officers). The cover text ties Allen’s black-and-white image of a protester running from a line of riot police to scenes one might have seen during the Baltimore riots in 1968, implying little has changed for black communities.

Allen brought an insider’s perspective to his coverage of the protests of Gray’s death. He is from West Baltimore, where protestors have clashed with police and riots have erupted into looting and arson. His images went viral on Monday when he published them on Instagram. They were shared by actor Michael K. Williams and singer Rihanna, and caught the attention of editors at several news organizations, including TIME. (more…)

January 22nd, 2015

Study: Taking “Artistic Photographs” Makes You Attractive to the Opposite Sex

There are as many motivations to pursue a life in photography as there are photographers, but a study lead by Scott Kaufman of the University of Pennsylvania may nudge a few more into the ranks.

The study, titled “Who Finds Bill Gates Sexy? Creative Mate Preferences as a Function of Cognitive Ability, Personality, and Creative Achievement” sought to “clarify the role of creativity in mate selection among an ethnically diverse sample of 815 undergraduates.”

The authors found that the ability to take “artistic photographs” was a highly prized creative attribute among both sexes, ranking seventh in the list. Not too shabby.

Screen Shot 2015-01-22 at 7.48.48 AM

(Do note that while, ahem,  “writing magazine articles” wasn’t deemed nearly as attractive as some other creative pursuits, it wasn’t rock-bottom of the list — we just clipped the list here for space purposes. The full list, giving magazine writers their proper context, is here.)

According to Kaufman, et al.,  creativity that falls into the “ornamental/aesthetic” form proved more attractive than creativity that falls into the “applied/technical” arena (activities like coding, for example).

The above is via Tiffany Mueller who makes a persuasive case that photography really belongs at number four on the list.

January 20th, 2015

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


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…)

December 23rd, 2014

PDNPulse: Top Stories of 2014

As another fascinating year in the world of professional photography comes to a close, we look back on the stories that drew the most interest from PDNPulse readers this year.

From manipulated news photos, to photographers arrested for doing their jobs, to collaborative efforts between photographers and an interview with one of photography’s most influential star makers, these stories capture some of the highs and lows of the photography business today.

1: George Steinmetz Wonders: Was It Worth Getting Arrested for National Geographic Cover Story Photos

2: 2014 Winter Olympics Op-Ed: Everything You’ve Read About Problems for Photographers in Sochi is True

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

4: Photographers Share Intimate Images of Loved Ones for Curated Photo Website

5: AP Severs Ties With Photographer Narciso Contreras Over Photoshopped Image
5a: Photographer Fired by AP Says Decision Was Fair, But Process Wasn’t

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

7: If that Kim Kardashian Photo Looks Familiar…

8: Calumet Photographic to Liquidate, Closes U.S. Stores

9: Photographer Creates Free iPhone App for His Signature Style

10: Wal-mart Sues Photographer’s Widow Claiming Copyright for Decades of Portraits of Walton Family

11: Suffolk County Pays $200K to Settle News Photographer’s Unlawful Arrest Claim

12: How Should Clients React to Sexual Coercion Allegations Against Terry Richardson?

13: AP Photographer Anja Niedringhaus Killed in Afghanistan

14: Cowboy Lifestyle Photographer David Stoecklein Dies, 65

15: Photojournalist Camille Lapage, 26, “Murdered” in Central African Republic