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…)
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You invest more than just your photos when you use services like Dropbox or Adobe’s Creative Cloud. Sensitive data, such as your location, private communications and more, gets transmitted to third party servers every day.
Every year, the Electronic Frontier Foundation surveys key tech firms to judge just how diligently they safeguard your privacy. Companies are judged across five criteria: whether they follow industry-accepted best practices when it comes to privacy protection (i.e. do they require a warrant before handing over communications), whether they tell users about government data demands, whether they disclose policies on data retention, whether they discloses government content removal requests and whether they have a “pro-user” policy of no “backdoors” to allow government surveillance.
This year, several firms used heavily by the photo community earned five stars–a perfect score. Among them were Adobe, Apple, Dropbox, Yahoo! and WordPress.
Social networking sites like Twitter, Facebook, LinkedIn and Pinterest didn’t fare as well though they still beat out Google, which is aggressively courting photographers with its new Google Photos storage service.
You can read the full report here or get the nickel version from the EFF’s graphic below.
Love them or hate them, photo filters are a staple of photo sharing. While some may view them as a shortcut to creativity, new research suggests they’re also a powerful lure for eyeballs on the web’s most popular photo platforms.
New research from Saeideh Bakhshi, David Shamma and Lyndon Kennedy of Yahoo Labs and Eric Gilbert at Georgia Tech aims to understand how filtering and “visual post-processing” impacts photo sharing.
What they found, simply put, is that filtering photos drives more engagement: photos with filters were 21 percent more likely to be viewed on Flickr and Instagram than those without. What’s more, filtered photos were 45 percent more likely to be commented on.
There is an art to filtering, though.
“Filters that increase contrast and correct exposure can help a photo’s engagement, and filters that create a warmer color temperature are more engaging than those with cooler color effects,” the authors write. “Photographically speaking, filters which auto-enhance a photo (e.g. correct for contrast and exposure) drive more engagement. We find the less-engaging filters exhibit transformation effects which are exaggerated and often cause photographic artifacts and/or loss of highlight details. The exception being filters which make a photo look antique.”
The study gleaned insights from interviews with Flickr users, plus a quantitative analysis of over 7.6 million images from both Flickr and Instagram.
Incidentally, filters aren’t the only means of increasing engagement with images. The researchers also found that the more tags a Flickr image had, the more likely it was to surface in a search. The age of a Flickr account also had a “positive but small role” in the number of eyeballs an image attracted.
The full report, which provides a detailed breakdown on the methodology used in the study, is available here.
According to an announcement from Instagram, the judges will pick three winners based on “the existing body of work represented on their Instagram account, focusing on the quality of their imagery, their photographic skills and on the project and stories told through their photos.”
“Photographers in all corners of the world use the Instagram platform to share unique and authentic stories that otherwise rarely come into focus,” Getty’s senior director of content partnerships Elodie Malliet Storm said in a statement.
“This grant captures the global enthusiasm from photographers to continue to push their craft to new levels,” added Instagram community director Amanda Kelso.
In addition to the grant money, the work of the winners will be shown at the Photoville photography festival in September in New York City. Winners will also receive mentorship from a Getty Images photographer.
The grant boasts a distinguished list of judges. They are: TIME magazine director of photography Kira Pollack; photographer Malin Fezehai; photographer Maggie Steber; photographer and National Geographic Fellow David Guttenfelder; and photographer and @EverdayIran co-founder Ramin Talaie.
Applications will be accepted through June 4, 2015 at 11:59 p.m. GMT. Getty and Instagram also released a hashtag to help spread work of the grant: #GettyImagesInstagramGrant.
For more information or to apply, visit: www.gettyimages.com/grants
Related: PDN’s 30: Malin Fezehai
PPE 2014: Leading The Revolution in Smartphone Photography
Why TIME Chose an Amateur Photographer’s Image for Its Cover
Q&A: Instagram Editorial Director Pamela Chen
Maidan Moment: Anastasia Taylor-Lind’s Book of Portraits From Kiev
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…)
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…)
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…)
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.
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.
Two 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.
Picture Story: Everyday Africa on Instagram