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April 6th, 2015

Band Defends Their Decision to Ask Photographer for Free Images

Alternative rock band Garbage published an open letter to portrait photographer Pat Pope on April 3, defending their decision to ask for free use of an image for their book and suggesting Pope was out of line for calling them out publicly.

On April 2, Pope published an open letter addressed to the band, criticizing their management company’s attempt to get free license to publish one of his images in a book the band plans to self-publish to celebrate their 20th anniversary.

In his letter, which was published on Facebook and picked up by websites Louder Than War and Huffington Post UK, Pope wrote: “I’m a firm believer that musicians and artists deserve to be paid for their work,” and asked the band, “When you think about artists being paid, does that include photographers?”

The band responded a day later with an open letter of their own, pointing out that they paid Pope for the shoot in 1995 (though presumably it was not a work for hire agreement), that books are expensive to publish, and that many other photographers “were happy for their images to be seen in conjunction with the telling of our story.” The band also did a little public shaming of their own, writing that they “would never publicly admonish or begrudge a fellow artist for merely asking [for them to provide services for free].” (more…)

March 13th, 2015

Blake Little’s Preservation: Dipped in Honey

© Blake Little

© Blake Little

Photographer and artist Blake Little’s new project, Preservation, kicked off a run at the Kopeikin Gallery in Los Angeles (March 7 – April 18) with a book also available now. The behind-the-scenes video on YouTube (NSFW) drew over 2 million views in a little over a month and a deluge of comments (690 as this was published), including persistent criticism about the use of honey and a dog as a subject. We reached out to Little via email for his thoughts on the project and the reaction it sparked online. (more…)

March 2nd, 2015

PDN Video: Ruddy Roye on Instagram, Storytelling, and Risking the “Angry Black Man” Label

Photographer Ruddy Roye has attracted 116,000 Instagram followers despite–or perhaps because of–his gritty, difficult subject matter and the long captions he posts to help humanize his subjects. Using Instagram largely as a tool of social activism, Roye draws attention to racial and economic injustice primarily in New York City, and often in the Bedford-Stuyvesant neighborhood of Brooklyn, where he lives. “A lack of black images [and] black photographers has created this void for people like me,” says Roye, who was born and raised in Jamaica. “Instagram has allowed me a light that didn’t exist before.” In this video, he explains how he found his Instagram voice, and discusses the professional risks he is taking by refusing to look away and remain silent.

Related:
Q&A: Instagram Editorial Director Pamela Chen

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

October 7th, 2014

Founders of Everyday Feeds Launch @EverydayEverywhere, “Family of Man for the Modern Age”

everydayTwo years after photographer Peter DiCampo and writer Austin Merrill launched Everyday Africa to share images that defy stereotypes about the continent, the popular Instagram feed has spawned multiple imitations, including Everyday Asia, Everyday Middle East, Everyday Iran, Everyday Sri Lanka, and Everyday USA. Now photographers behind 11 of the feeds have launched @EverydayEverywhere
and have invited photographers around the world to contribute by posting images to Instagram with the hashtag #everydayeverywhere.

The central feed will share a common mission: To disseminate images that promote greater understanding of the world. “We hope that when you put this body of work together, it’s a ‘Family of Man’ in the modern age,” DiCampo says, referring to the ambitious 1955 exhibition which featured 273 photographers, “celebrating commonalities, and fighting stereotypes in each region.”

He adds that the loose roster of photographers contributing the feeds are not a photo agency or a collective. “We’re happy this has become a promotional device for [photographers] but we don’t want them participating because of that. We want them to be excited about the project.”

DiCampo says that one or two images a day will be posted to @everydayeverywhere. Guest curators, working on the feed for two weeks at a time, will select the images that appear on @everydayeverywhere. For now, current contributors to Everyday feeds will serve as curators, but the contributors plan to invite an international group of curators to participate. DiCampo explains, “We want a variety of people: photo editors, artists, scholars, thinkers, musicians.”  Since the launch of Everyday Everywhere, Grant Slater and Austin Merrill have been the first and second guest curators, selecting images that had been posted on Everyday Eastern Europe, Everyday Bangladesh, Everyday Black America, Everyday Iran and Everyday NBNJ, which shows images from New Brunswick, New Jersey.

Contributors to Everyday decided to create a centralized Everyday feed during three days of meetings at the Open Society Foundations in New York City. The meetings, held during the Photoville photo festival, where an exhibition of work from 11 feeds was hosted by Instagram, gathered more than 30 contributors from around the world, says DiCampo. Though many had previously shared advice and ideas via Skype or email, few of the contributors had met in person.

“We’ve been talking for a long time about how to organize all this, how to encourage the Everyday concept to continue spreading while at the same time having some central structure,” DiCampo says in the press release the group issued on September 30.

To support the expansion of the Everyday project, the contributors who met in New York City also formed committees to address concerns common to all the feeds. “There’s now an events committee, an educational committee, a technical committee to help,” says DiCampo, who along with Merrill has used Everyday Africa imagery to conduct a visual literacy class in the Bronx where students can contribute to Everyday Bronx. He adds that a book of images posted to Everyday Africa is also in the works.

Related Article
Picture Story: Everyday Africa on Instagram

October 2nd, 2014

“How Come This Stuff Isn’t Animated?” The Story of Mr. GIF

Pop star Miley Cyrus and the rapper 2 Chainz backstage at Jeremy Scott's S/S 2015 show at New York fashion week. © Mr. GIF

Pop star Miley Cyrus and the rapper 2 Chainz backstage at Jeremy Scott’s S/S 2015 show at New York fashion week. © Mr. GIF for Milk Made

Mr. GIF wants to animate the Internet. The creative duo has made photographing and illustrating GIFs—the 27-year-old bitmap image format that supports crude animation—their calling card. They’re the team that Marc Ecko, Evian and Transamerica tap when they need to quickly make strong, easily shareable moving images for whatever they’re selling. In just a few short years, they evolved from a pair of daydreaming MTV plebes to shooting Miley Cyrus and 2Chainz backstage at fashion week. To them, still images that move were obviously taylor-made for the Internet and its thousands of screens. But can you really make a career of making GIFs?

The duo, Jimmy Repeat and Mark Portillo, are college buddies. They studied advertising design together at the Fashion Institute of Technology. Their studies were almost irrelevant—Portillo didn’t even finish—but the renowned art and design school is where the two would meet. Less than seven years later, they would quit their jobs to make GIFs—the full-time for clients like and others. Even an insurance company.

Having gone their separate ways after school, Repeat and Portillo reconnected under the umbrella of Viacom, at MTV’s “Geek” vertical, which covers cartoons, comics and videogames. Doing research for work, they devoured the same comics, but were struck by the format’s limitations.

Maria Sharapova for Evian at the U.S. Open © Mr. GIF

Maria Sharapova for Evian at the U.S. Open © Mr. GIF

“We were like, ‘How come this stuff isn’t animated yet?’” Portillo remembers. “We read Akira and we were like, “If this background was giving me seizures, it would be so much better.’”

So they dreamed up a GIF comic over smoke breaks outside Viacom’s Times Square HQ, and quickly learned why animation was so expensive (it’s a lot of work!). They abandoned the book idea, throwing the frames they’d finished up on Tumblr. But they were having fun. Illustrations gave way to photos, and a thought: “How is the GIF better than the JPEG?”

“We saw the potential,” Repeat says. “Everywhere you look, there’s a screen.”

As relative neophytes—Repeat especially—they were intrigued by the technology of photography. They experimented with odd cameras well-suited to the medium; at first, digital models like the Fujifilm FinePix Real3D W3, but they would later become obsessed with the aesthetics of analog. Toy cameras like Lomography’s Pop 9 (a nine-lens camera that makes nine exposures at once) and ActionSampler (four lenses, four consecutive frames), even 3D film cameras like the Nimslo 3D. The multi-exposure cameras helped streamline their workflow—helpful, as they had to develop and scan each frame to animate their GIFs. They found creative ways to merge digital and analog, using a DSLR to make time-lapse clips of instant film as it developed. They have a lot of cameras.

Marc Ecko, founder of Eckō Enterprises, Mr. GIF’s first big client. © Mr. GIF

They spent their nights and weekends making GIFs and posting them to Tumblr for free. It wasn’t long before Mark Ecko came calling (tweeting, actually) with their first paid gig, animating his upcoming TEDx presentation. They powered through it in three days. “I think we made 200-300 GIFs in one night,” Portillo says. “It was intense.”

“That was the beginning of the end for our day jobs,” Repeat says. “Like, ‘Oh, this is what a good client’s like?” Ecko dug the work, and they started to get more gigs. They GIF’d the U.S. Open for Evian, and fashion week for Tumblr. By 2013, they had quit MTV, and would soon score a huge project: a year-long Tumblr promoting the San Francisco-based insurance company Transamerica’s “Transform Tomorrow” campaign.

The pair convinced Transamerica to send them across the country making GIFs of America’s cities. They flew drones over rooftop gardens in Detroit, Mt. Rushmore in South Dakota and, of course, San Francisco and the iconic Transamerica building. They booked a room at a luxury hotel with the perfect view for a 24-hour time-lapse of the skyline. Transamerica was skeptical of the format—until they saw the popularity of the first clip they posted. Now, when you go to www.transformtomorrow.com, their fancy hotel view of San Francisco graces the background, the current time of day reflected by the time of day in the 24-hour time-lapse they made.

A time-lapse GIF of the San Francisco skyline, that Mr. GIF made for Transamerica, prominently featuring their iconic headquarters. © Mr. GIF

A time-lapse GIF of the San Francisco skyline, that Mr. GIF made for Transamerica, prominently featuring their iconic headquarters. © Mr. GIF

Now certified pros, they’re still almost instinctively inventive with their resources. When a client that was supposed to fly them out and put them up in Austin, TX, to shoot a SXSW panel told them that they had to pay their own way, they got their drive down to Texas sponsored. Their friends at Tumblr would connect them with Transamerica, but it was the GIFs they shot on the trip to Austin that would help them land the gig. When a job for St. Ives took them to Hawaii, they stayed an extra week and shot Honolulu for Transamerica. Since they like to shoot film (which is expensive to buy and process), rather than go to a professional processing house, they trained the local CVS employees how to prep and cut their negatives, adding a healthy tip for their trouble.

One thing they learned early on is that new work leads to new work. They needed to show clients they could make the work, so before they had paid work to show, they just did it for free, and for fun. The fun shows up in the work, and it works.

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 14th, 2014

Philly Paper Swaps Ferguson Riot Photo: Did It Do the Right Thing?

Reading a Philadelphia Magazine report about the decision by editors at the Philadelphia Daily News to change a cover photo in response to some outrage on social media left us wondering:  Did photo editors at the Philadelphia Daily News change their minds because they thought they’d made a mistake? Or did they change their minds to avoid controversy and public outcry?

philly DN covers_555

The Philadelphia Daily News cover in question (above, left) featured a photo from Ferguson, Missouri that showed a protestor about to hurl a burning Molotov cocktail gas canister at police. Protests began in Ferguson over the weekend, after police shot and killed an unarmed black teenager, Michael Brown. The protests began peacefully, and have remained mostly peaceful, but some violence and looting have erupted, and police have been widely criticized for their iron-fisted and highly militarized response to all protestors.

Against that backdrop, the Daily News published a cover photo of a protestor with the Molotov cocktail burning canister over the headline, “Hell Breaks Loose.” The photo drew immediate and harsh criticism on Twitter: Readers said the image could be taken to suggest that the (mostly white) police response was justified because the (mostly black) protestors were being so violent. In response the Daily News put out another edition of the paper with a different photo.

The second cover photo shows a distraught-looking female protestor, holding up a sign demanding answers from police about the shooting of Michael Brown. Police in riot gear can be seen lined up behind the protestor. The Daily News did not change the headline.

And that leads to some larger questions about photo editing in the social media age: Should editors show deference to the instant opinions on Twittering readers, on the theory that input from the public leads to more informed picture choices? Or does deference to the instant opinions on social media undermine photo editors by encouraging readers to constantly demand changes and retractions on coverage of controversial or sensitive topics?

Philadelphia Magazine published Tweets from Daily News readers, followed by a Tweet from a Daily News senior writer who wrote, “Based on reader reaction we’re changing our front page image — so we actually do listen.” That was followed by a Tweet from Daily News assistant city editor David Lee Preston that said: “Big takeaway from tonight should be that a bunch of pros with hearts & souls inhabit this newsroom.”

But it remains unclear why the Daily News changed the cover photo: Did they think they’d made a mistake? Or were they simply bowing to pressure from some angry readers?

Regardless of their motives, we throw open the floor to PDN readers: Did the Daily News make a mistake publishing the Molotov cocktail-throwing protestor? Should the paper have changed the cover photo? Should photo editors let social media reaction influence their decisions, and if so, to what extent?

Note: Earlier version of this story described the burning object in the protester’s hand as a “Molotov cocktail.” Readers noted it was a burning gas canister. We changed it.  In this case, we listened to readers on social media, too.

July 3rd, 2014

Photographer Creates Free iPhone App for His Signature Style

New York City-based photographer Alexander Richter has used the Contrast by Hornbeck app to make images of the city's architecture for his Instagram feed.

New York City-based photographer Alexander Richter has used the Contrast by Hornbeck app to make a series of images of the city’s architecture for his Instagram feed. Photo © Alexander Richter

Photographer John Hornbeck couldn’t find a camera app for his phone that came anywhere close to the high-contrast, black-and-white photographs he makes with his camera, and he wasn’t interested in “having to purchase a bunch of add-ons.” Hornbeck, who earns money from his photography but also works in the software industry, decided to collaborate with a friend to build an app that would come close to reproducing his style.

After they finished the app, Contrast by Hornbeck, the photographer used it for a few months before he and the developer decided to “push it out to the public and see if there would be any interest from others.” There has been.

Hornbeck has promoted the app—it’s available for free—via his social media channels, and others have shared it. “I know at least a couple of respected photographers who use it and have told others about it, so it’s just word of mouth and people playing around,” he says. The downloads number “in the thousands,” and several hundred images on Instagram are tagged with the #contrastbyhornbeck hashtag.

The biggest thing this app offers that others don’t, Hornbeck says, is simplicity. Photographers can use it to make high-contrast, black-and-white shots. “That’s all it does and we have no plans to really change that.”

 

June 17th, 2014

What We’re Following on Instagram This Week

Here’s what the @pdnonline folks are checking out this week on Instagram.

© Cengiz Yar (@hfwh)

© Cengiz Yar (@hfwh)

Cengiz Yar, Jr @burndiary
Burn, the online magazine for emerging photographers founded by David Alan Harvey, has been using Instagram to post photo essays: one photographer sharing photos from somewhere in the world for seven days. This week: Cengiz Yar, Jr., (@hfwh) posting from Syria, mainly the Kurdish-controlled region, and from a refugee camp for Syrians in Lebanon.

 

© Patricia Lay Dorsey (@patricialaydorsey)

© Patricia Lay Dorsey (@patricialaydorsey)

@socphotogallery
Thanks to PDN’s 30 photographer Zun Lee (@zunleephoto), whose work we featured last week on PDN Photo of the Day and on the @pdnonline Instagram feed, for introducing us to this one. Social Photography is using Instagram as a virtual gallery and online forum in connection with its physical gallery exhibition this month at Indy India Art Gallery in Indianapolis. Social Photography is fostering a dialogue about how social media and the sharing of images is changing both photography and how we view our daily lives. In addition to Zun Lee, contributing photographers have included Samantha Box, Lauren Bohn and Patricia Lay Dorsey.

© Daro Sulakauri (@darosulakauri)

© Daro Sulakauri (@darosulakauri)

Daro Sulakauri for @opensocietyfoundations
Daro Sulakauri (@darosulakauri) is taking over the IG feed of Open Society Foundations, posting from Tchiatura, a manganese-mining town in the Republic of Georgia. The story is brutal, the images beautiful.

© Carl De Keyzer/Magnum Photos (@carldekeyzer of @magnumphotos)

© Carl De Keyzer/Magnum Photos (@carldekeyzer of @magnumphotos)

Carl De Keyzer for @newyorkerphoto
Magnum photographer Carl De Keyzer (@carldekeyzer) is taking followers of the New Yorker Photo Booth to an exotic locale called his backyard. All week he’s posting from his home and garden. De Keyzer lives in a restored castle “somewhere between Ghent and Brussels in Belgium.” This proves, yet again, that you don’t have to venture too far to make great photos, especially if you live in a restored castle and have a garden with peacocks and geese and a big white dog.