Faves from the 2011 PDN Photo Annual

It's that time of the year when you dig into the Photo Annual, remember all of the great work shot last year and discover some new gems along the way. But inevitably, a few months later I've forgotten some of these photographers so that's why I like to write it all down. Below are some of my favorites, in no particular order:

Advertising Nadav Kander's portraits for St John Ambulance campaign. Agency: BBH London Emiliano Granado's Converse campaign Jeremy & Claire Weiss's K-Swiss campaign. Agency: Adam&Co

Magazine/Editorial Peter Van Agtmael for The New York Times Magazine. Story: Jeff Bridges Christopher Griffith for Men's Health. Story: Contrasting images of youth and decay Robert Trachtenberg's hilarious nude group portrait of the cast of Jackass 3D inspired by Ritts' iconic supermodel shot Andreas Laszlo Konrath's black and white portrait of a model reading for New York Magazine Nigel Parry's portrait of Leonardo DiCaprio for Esquire. (Full disclosure: any portrait of Leonardo would end up in my best of list) Tierney Gearon's very young cheerleaders for ESPN, The Magazine

Books Nguan's self-published Shibuya Tim Hetherington's Infidel, published by Chris Boot Ltd. Eugene Richard's War is Personal Timothy Archibald explores learning to understand his son's autism in Echolilia/Sometimes I wonder

Photojournalism/Documentary Sarah Elliott's photograph of a Kenyan abortionist's "tools" Jana Romanova portrait from a series on sleeping couples who are expecting babies. Matt Eich's Baptist Town portrait for AARP Bulletin Ashley Gilbertson's "Bedrooms of the Fallen" project Darcy Padilla's amazing 18 year long documentary, "The Julie Project" Ben Lowy's BP Oil spill abstract seascapes for GQ

Personal Tim Gruber/Ackerman Gruber Images image from the series "The Island" Wayne Lawrence portrait series of people at Orchard Beach, aka "The Bronx Riviera" Magdalena Sole image of a baby on a porch, from "Cotton Land -- The Forgotten Mississippi Delta"

Matt Nager

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I recently wrapped up work with Matt Nager. Matt is a very talented portrait and documentary photographer whose old website was obscuring a lot of his strongest work. We started by talking about his strengths, defining what his main goals were and establishing the best way to spend his marketing dollars to reach those goals. We completely overhauled the website, resulting in a fresh and streamlined site powered by aphotofolio.com. His previous site featured too many choices of stories for editors to go through, so the new site is all about delivering his best images efficiently so that busy editors don't miss the strongest work.

We also put together a print promo (quantity 750 printed by paperchase.net) announcing his upcoming move to Denver. The promo features images that highlight his strengths in portraiture, travel and documentary.

My personal favorite part of our project was developing the print portfolio (I just love print books!). Matt teamed up with the very talented Scott Mullenberg at portfoliodesignstudio.com.  Scott sent a variety of fabric samples for us to consider. We narrowed down the choices to a palette of blues and browns and finally decided on what you see below. I edited and sequenced Matt's work to highlight his diversity but also to show that he approaches all of his subjects with a consistent personal style and vision.

I am really happy with the finished product. Matt traveled to NYC and DC and got 23 meetings in just a little over a week. Upon returning home, Matt said "I think editors really liked having a physical book, it honestly made a huge difference." Many editors mentioned loving the colors as well. Actually showing your book to a lot of clients is the best way to gauge if the edit and sequence are right, and Matt might make a few tweaks to the book. But the overall impression was that "the sequencing was really great and showed off (his) versatility."

Of course now the real work begins... all of the follow up marketing that will help Matt capitalize on the the momentum we have built. To help with that, I created a year long marketing plan for him that incorporates suggestions for print promos, newsletters, social media and in person meetings.

Best of luck with the next year Matt!

Photo Editor Maggie Soladay Critiques a Week of Promos

Maggie Soladay (@maggiesoladay) generously shares critiques of print promos she receives. Here’s what she has to say about this week's batch:

1. Jonathan Robert Willis lives in Bellvue, Kentucky. I have been working with him for years as my go-to for Midwest portrait and lifestyle assignments.  Luckily, I know that Bellvue, Kentucky is the Cincinnati metro area.  His website and card don’t make that clear.  In fact, his card lists a NYC number.  The card is terrific and wild and I am guessing it’s aimed at advertising clients, which it should be.  Though, for an editorial photo editor that doesn’t know him I think it would be tough to identify his region without digging.  For example, he just shot an assignment for me this past month in Indianapolis, Indiana, a 1.5hr. drive from Cincinnati.  In this batch of promos his really stood out.  http://jonbob.com/

2. Brooklyn based Daniel Glazer’s card was meant to direct me to a video vignette of a model.  Not my interest area or work area. Totally not the kind of photography we use.  But, what Daniel shoots and how he shoots reminds me of why and how I got into photography in the first place. http://www.danielglazer.com

3. I want to love Van Ditthavong.  He has been sending promos for a while.  The current one has a bluish/cyan cast to it.  Not great. Van has a great environmental portrait series called “Portrait of the American Dream” in which he photographed immigrants on the job wearing popular culture kids Halloween masks.  I know him as Dallas based but the postcard and the website say Los Angeles and Dallas.  That always irks me. Who lives in more than one place? http://vanphotographs.com

4. Milwaukee photographer Adam Ryan Morris has a good identity design that is simple, memorable and fun. Strikes me it represents him well. And his photography is good. Only one problem: his website has a commercial section and that makes no sense.  He seems to have been much published in a couple of magazines, namely Milwaukee Magazine and that’s great.  But I don’t see how the other work is or can be called commercial work? Confusing.  A fun charming image on the postcard totally caught my interest and I remember him from previous similarly fun promo cards in the past year.  http://adamryanmorris.com/

5. Knoxville, Tennessee’s Hollis Bennett is a great photographer with a sleepy promo card. The 3 images on his card are too dark and not very engaging.  The work on his website on the other hand is fantastic.  I could spend a lot more time there.  Few photographers have the ability to give a sense of place to a story like he does.  Hollis is the discovery of the week!  Great work, great subjects, and totally original eye.  If I wasn’t going to write about the promos I may not have ever visited the website due to the promo card alone.  I am glad I did. http://www.hollisbennett.com/

(editor's note: number 6 was removed per photographer's request)

7. Michael Murphree’s card has a very straight picture of Cameron Diaz on a grey background. He included an 866 number and his URL but nothing else- no location, email, greeting or photo caption. I need to know where someone is located because I am a magazine photo editor and, like many, I haven’t seen a travel budget in years.  I assumed Los Angeles and was correct. Where else would a picture of a celebrity be promotion enough?  Some great work in the “human interest” section and some shots on grey of all of our favorite comedians. http://www.michaelmurphree.com/

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I think Maggie's feedback is spot on. Especially:

- Know who you are targeting to and try to send an image that is relevant to what they do (my exception to that rule is when you are sharing personal work. I think it's ok to share something that is not totally relevant when your goal is to give the editor a better sense of who you are and what you are passionate about).

- Make it easy for the editor to know where you are based. Although photographers do sometimes get sent to other locations for assignments, for the most part, photo editors are looking for great regional photographers.

- Be mindful of the quality of your paper and reproduction

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Check back next week when Maggie highlights some of the quirkier promos she receives (think box of oranges, remote control car, etc). 

 

New York Photo Festival Awards - Deadline and Tips

6pm EST is the new deadline to enter the New York Photo Festival Awards.

The 2011 edition of The New York Photo Awards features twelve category winners - including best fine art single, fine art series, documentary single, documentary series, advertising single, advertising series and photo book - one of whom will be selected for the Jury's Choice Prize, a $5,000 cash prize for best overall picture or series, presented by Persol.

As a former judge (2009) I'd like to share a few tips for preparing your entry. Of course judging is highly subjective and what each person will respond to is unique, but here are some basics to help you put together a good entry.

  • Know your judges (complete list here). Judging is highly subjective but being aware of the background and current job of each juror will give you some insight into where they are coming from.
  • If entering a single image, make sure you are choosing a truly unique and memorable image that will not elicit groans of "seen that before". There are so many visual cliches (check out Mike Davis' awesome blog post about avoiding cliche). Ask yourself the tough question: Is this really an original image? Am I offering the judges and public something they haven't seen before?
  • If entering a series, make sure your edit is TIGHT. Be ruthless with your editing. Show your edit to a few other people who will be honest with you. Photographers I work with almost always hold on to images they don't need. They have a personal connection to the image, or the moment in which it was made, that keeps them from being able to let it go. The judges are going to have a better impression of your work if they are left wanting to see more.
  • Make sure each image in your series offers something new and interesting to what you are saying. Often there is too much redundancy in people's contest edits. You aren't necessarily telling the whole story when you enter a contest. You are trying to put together an edit that will stand out with the judges and be memorable.

Remember, the judges will be looking at a lot of images. Do them a favor by showing work that is fresh, interesting, poignant, emotional, raw, subtle and unique.  Sounds easy, right?

 

Chris, Tim

 

I feel ill-equipped to add much to the many poignant, heartfelt and eloquently written memorials others have posted for Chris and Tim. Yet, if I don't get something down on paper now, I know I will forget how I'm feeling, and forget the details of the horrible week when Chris Hondros and Tim Hetherington were killed while covering the fighting in Misrata, Libya.

Like so many others, I was shocked and sickened by the news. I remember reading that first tweet Wednesday morning and calling Jay at work. Surely it couldn't be true. Then following the thread back to facebook where the news first broke. I was sickened to think of Chris and Tim's families getting this news the way the rest of us were. As Teru Kuwayama so eloquently wrote, the social media world does not have the same rules as the military when it comes to announcing when someone was killed in action. We are navigating new waters. Maybe there was no better alternative. Maybe the news needed to be spread quickly to ensure that Chris and Tim's bodies would get out of Misrata quickly. But still, it felt so wrong.

My other first reaction was "not again." Are the journalists who give up their lives to tell important stories really helping? Are people's minds really changed? Does public policy change? Of course I want to believe it does. Again, someone else explained how I was feeling better than I could myself. Thank you David Alan Harvey.

I remember discovering my dad's copy of Philip Jones Griffith's Vietnam, Inc. when I was a kid. I must have been 12 or so. It sounds cliche but it really changed my life. I learned that the world is full of horrible things happening, things my protected existence had no idea about.

And it taught me that there are people who risk their lives, unarmed, to document those horrible things. Photojournalists. Later on I would move to NYC and surround myself with these kinds of people. Our generation's war photographers.

The photojournalism community is small, and the time Jay and I spent in NYC bred so many friendships. I imagine all of the pain our community is feeling around the world, the pain of Chris and Tim's families. The hoping and wishing that it was all just a rumor.

But it was true.

So many people have shared their memories of Chris and Tim. Thank you Sebastian Junger, Andrew Hetherington, John Kerry, CJ Chivers, James Pomerantz, Peter van Agtmael, Greg Campbell, Nicole, Tim, Spencer and Gary and many others for documenting what's in your hearts at this very emotional time.

I am so sad for everyone who loves Chris and Tim and whose lives were touched by the kind of men they were. But their images have created a legacy.

As my favorite band once sang, "There is a light and it never goes out".

***

In lieu of flowers, the loved ones of Chris Hondros kindly request donations be made to The Chris Hondros Fund. This fund will provide scholarships for aspiring photojournalists and raise awareness of issues surrounding conflict photography.

The Chris Hondros Fund

c/o Christina Piaia

50 Bridge Street #414

Brooklyn, New York 11201

Photo Editor Maggie Soladay's Self-Promo Picks

Maggie Soladay takes photos of her favorite promos. Here's what she had to say about last Monday's batch:

The planets aligned Monday to deliver to me one of the tightest batches of photographer postcard promos in a while. I only received 6 postcards, but all 6 photographers made it onto my new photographer list. What I loved about the cards was the love the photographers showed for people and portraiture.

Every one of the photographers sent me postcards that alluded well to the work I was to see on their sites.  Most exceeded my expectations.  I laughed, entertained co-workers, and hung some of these on my wall (rather than send them right into the recycle bin). This batch of postcards were all beautiful, technically proficient, and showed originality.  I must say they look pretty good all together somehow too!

Maggie Soloday's Favorite Promos from Week of April 19, 2011

Maggie Soloday's Favorite Promos from Week of April 19, 2011

Jayne Wexler from NYC http://www.jaynewexler.com
Sara Rubenstein from Minneapolis, MN http://rubinsteinphoto.com/
Jeff Singer from San Francisco, CA http://www.jeffsingerphoto.com
Bryan Regan from Raliegh, NC http://bryanreganphotography.com
Jenn Ackerman + Tim Gruber from Minneapolis, MN  http://ackermangruber.com/
Joshua Paul from NYC http://joshuapaul.com/

Photo editor Maggie Soladay photographs the snail mail postcard promos that arrive each week (unedited) and posts them on Twitter @maggiesoladay.  She thinks photographers benefit by seeing what photo editors see and are hopefully inspired. She is the photography editor at ALM for The American Lawyer Magazine (the RollingStone of the legal world) and Corporate Counsel Magazine.

Blurb's Photography Book Now Contest

Yay for Blurb's Photography Book Now contest. The grand prize is $25,000.  Darius Himes is the lead judge and more will be announced soon I presume.

To enter:

If you have already made your photography book through Blurb, simply follow the Blurb-specific directions on our Entry page. This can be done completely online, no need to send us a physical copy of your book.

If you have self-published your photography book outside of Blurb, you’ll need to send us one physical copy of each book you enter for judging purposes. Here is the PDF entry form.

If you need to make a photography book in order to enter, we recommend starting at Blurb.

The competition closes on Thursday, July 14, 2011 at 3:00 p.m. PDT (22:00 GMT).

The Problem Isn't Photo "Spammers"

A few days ago, a creative director with an axe to grind threw up a poorly conceived website aimed at stopping what he calls "photo spammers". He named specific photographers who he claimed were guilty of being "spammers" because they had sent unsolicited e-promos. He, along with a handful of other creative directors (note: no art buyers signed the list) pledged to not hire these blacklisted photographers. The photo blogosphere lit up (see aphotoeditor.com and mediabistro.com), with people pointing blame at certain photographers, reps, database products like Agency Access and Adbase and email marketing products like MyEmma and Mailchimp.  Said creative director claims he was just trying to start a conversation about a system which is broken.Well he certainly got people talking, but not very constructively.

What nobody seems to be mentioning is that the problem is not the fault of any one party. The problem lies in the fact that there are just too many photographers trying to make a living doing what they love and not enough jobs to go around.

The barriers to entry into the profession continues to dwindle. Technology has made it very easy to make good looking pictures. iPhone photos are winning World Press Photo and being published in Martha Stewart and The New Yorker.  (I'm not saying all you need is an iPhone to be a good photographer... of course you have to have a good eye and a sense for what makes a compelling image). Technology won't slow down, so this is a given that we have to accept.

And at the same time that it is getting easier and cheaper to make great pictures, there are fewer ways to make a decent living doing it. This has been argued to death on other sites and I won't go too much into it. But it's important to admit that the pie is getting smaller and there are a lot more people wanting a slice.

Staff changes at the places that hire photographers have made it so that art buyers, photo editors and creative directors are responsible for a bigger workload than ever before. So they have even less time to be sifting through e-promos, yet the amount they are getting is at an all time high.

Not to mention the erosion of copyright and the licensing model...

To say the system of self-promotion is broken is too simplistic. A well thought out and well-targeted marketing plan that uses a combination of producing new work, sending print promos, e-promos/newsletters, social networking, in-person networking and following up is still essential.

My advice for photographers: DO NOT send any kind of promo (print or email) to someone who does not work on projects that you are right for. For magazines, this should be pretty easy. Just go to the newsstand and look at them.  When pitching to art buyers, make sure you know what accounts that agency is working on. If you can't name what a certain creative on your list does, then you probably shouldn't be marketing to them. This takes a lot of discipline and research time but it is very important.

Also, make sure you are complying with the CAN-SPAM act, which requires you to include a physical address and an unsubscribe link in every email.

And most importantly, make it a priority to increase awareness of your work through non-promotional means. Create new bodies of work or personal projects at lease once a year. Share your work with others, start an event in your town, put together a DIY exhibition, print limited edition books, participate in the online photo community, attend festivals, do portfolio reviews. Get offline and concentrate on creating and sharing and creatives will learn about you in a way that feels more genuine than any promo could.

My advice for creatives who feel inundated with unwanted promos: Feel the pain of the photographers who are trying to get jobs. You get paid a salary, they do not. Their agents only make money when their photographers make money. Think of the silver lining, that you have people who value what you do enough to spend time and money promoting themselves to you. And use that unsubscribe button.

 

 

PDN Interviews JWT Art Buyer about Self-Promos

PDN has an ongoing series called "Promos I Kept" where they interview creatives about what self-promo pieces are effective. The most recent installment has some really great and solid advice from JWT Director of Art Buying Shawn Smith. To read the whole piece you must have a subscriber log in. If you don't already have a subscription to PDN, you need one. On email promos:

Shawn Smith: I get tons of them, at least 50 a day, especially on Tuesdays, Wednesdays and Thursdays—it’s an insane amount. The problem is that I open and read 90 percent of my e-mails on a Blackberry so if you are sending me images in an e-mail, chances are I won’t see them.

The best e-mails are very focused, event-driven announcements about a show or a new book that’s coming, things of that nature. Keep in mind that creatives are not constantly looking for photographers, we’re doing our other job too.

On personal projects:

I think it’s really important for photographers to be working on series and stories and sequences, rather than just single images.

On print promos:

I really like when people send photo series, show announcements, book announcements, etc. I also love to receive small books, though I do understand that cost can become a big issue when doing these types of piece.

Interesting bit about all of the email promos coming in on Tuesdays, Wednesdays and Thursdays. I advise photographers to send emails on Tuesday or Wednesday, because the data consistently shows that those get the better open rates. But if everyone is sending on those days, it will become overwhelming for the client to even begin to look through all those emails.

Best advice: only send out an epromo when you actually have something to say. Don't just send one when you have a new picture to show off. If there is something interesting or newsworthy in your promo, you have a much better chance of the buyer reading it and clicking on a link.

In Praise of AFAR Magazine

Can we just talk about how gorgeous AFAR Magazine is? I was stuck at the airport for a couple of hours and flipped through as many magazines as I could. I'm a little late chiming in on the lovefest (it's been named the best travel magazine by pretty much everyone) but I am smitten. AFAR really stands out on the newsstand. Photo editor Tara Guertin uses photojournalistic travel photography to convey a true sense of what it's like to immerse oneself in another culture.  Destinations still appear pretty and desirable, but they seem real and approachable.  And unlike a lot of other travel photojournalism, there were none of those visual cliches that clutter the genre (wide eyed children gaping at the camera, abandoned buildings, etc). They even use stock photography in a way that makes the images seem fresh and new (a grid of bridges around the world comes to mind).

Here are some of my favorite images from the March/April 2011 issue:

 

The "Postcards" section in the front also features great images on the photojournalism end of the spectrum.

 

Interested in contributing to AFAR? These writer's guidelines should be helpful to photographers too.

Photographers with Cool Print Promos, Keep an Eye on this contest

I'm always looking for inspiration for print promos for photographers, and the For Print Only blog is one of my favorite destinations (along with noplasticsleeves.com and the PDN Self-Promo Awards galleries. So I was very excited to see that they are going to announce a FPO contest soon. I can't wait to see the winners, and I hope that you photographers out there who have worked with designers on cool print promos enter.

From FPO

On Monday April 4 we will launch the call for entries for the inaugural FPO Awards, celebrating the best print work from around the world during 2010. It will be open to design professionals, students, printers, and hobbyists as long as the work has been produced in a minimum quantity of 50.

Judges (really amazing group!), categories, and fees will be announced then.

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Fotofest 2012 Biennial Deadline is next week

from fotofest.org The FotoFest 2012 Biennial takes place March 16 - April 23, 2012.

The FotoFest 2012 Biennial will be looking at Contemporary Russia.

FotoFest’s own exhibition will focus on Contemporary Russian Photography: Post World War II Avant-garde Photography to the Present. These exhibitions will show work by Russian photographers working in Russia. The theme will be explored through five photography, video and multi-media exhibitions of work by contemporary Russian artists. FotoFest’s Creative Directors are collaborating with two Russian curators on these exhibitions.

In addition to FotoFest’s own exhibitions, numerous Participating Spaces in the Biennial look at work that artists send to FotoFest for consideration. These spaces have the option of 1) following FotoFest’s focus which in 2012, can include work about Contemporary Russia by artists of any nationality, or 2) presenting work unrelated to FotoFest’s theme.

Participating Spaces are the over 100 galleries, non-profit spaces, and commercial venues in the Houston area that choose to exhibit photography during the FotoFest Biennial alongside FotoFest’s own exhibitions. Participating Spaces may take a more varied and open-ended approach to what they will exhibit for the Biennial. Some spaces will follow the Biennial focus, others will not. On average, ten Participating Spaces create exhibitions based on portfolios seen on the FotoFest submission web page. Submissions Process

FotoFest curators will be doing their own studio research in Russia for its own exhibitions, but we are happy to consider submissions sent by Russian photographers for this purpose.

For Participating Spaces, FotoFest shows submissions on a special website to Participating Spaces possible exhibition by them during the Biennial. As stated above, these works can be about Contemporary Russia by artists of any nationality or work unrelated to FotoFest’s Russian Theme.

The submissions guidelines are listed below. FotoFest art staff reviews all submissions which are then shown to the FotoFest Art Board for review. Submissions approved by the Art Board are posted on the submission web page for Participating Spaces to view and select for possible exhibition.

Deadline: Friday, April 1, 2011 (at the FotoFest office)

To have your portfolio reviewed by the FotoFest, please send:

* A CD or DVD containing no more than 25 high quality digital images (JPEG) * A short statement about your work * A current resume or curiculum vitae

Materials will not be returned

Please note:

* The FotoFest staff reviews portfolios on a monthly basis. * Digital images must be sized to 1000 px at their longest dimension. * Digital files that do not follow these specifications will not be considered. * No more than 25 images will be reviewed. Supporting text can be saved on CD/DVD. * Due to the volume of materials that FotoFest receives, submissions will be reviewed in the order in which they are received. * Responses may take up to several months. Please be patient and DO NOT contact FotoFest regarding the status of your portfolio. We appreciate your patience. * FotoFest does not review portfolios sent via email.

Please address work to: FotoFest 2012 Biennial - SUBMISSIONS Attn: Exhibitions 1113 Vine Street, Ste 101 Houston, TX 77002 U.S.A.

Please contact FotoFest Exhibitions Coordinator Jennifer Ward with any questions – exhibits@fotofest.org

Palm Springs Portfolio Review Registration is Open

I'll be reviewing portfolios in Palm Springs as part of the Palm Springs Photo Festival. There are some great seminars and workshops planned as well.

Some business & marketing highlights:

HOW TO IDENTIFY CLIENTS, BRING IN NEW BUSINESS & NEVER BE REJECTED with Maria Piscopo

SOCIAL MEDIA MARKETING: Putting Facebook, Twitter & Linked-in to Work for You with Frederick V. Johnson.

PRICING & NEGOTIATING STRATEGIES FOR COMMERCIAL PHOTOGRAPHERS: Getting Your Money with Maria Piscopo

HOW TO GET YOUR PHOTO BOOK PUBLISHED with Michelle Dunn Marsh and others

Blurb Presents: The PHOTOGRAPHIC BOOK: Editing, Sequencing, Designing, Producing and Marketing Your Work In Print

AN INTRODUCTION TO MARKETING YOUR PHOTOGRAPHS with Mary Virginia Swanson

More info at http://connect.palmspringsphotofestival.com/connect-2011/

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Don't forget to read up on how to make the most of a portfolio review.

Self-Promo Round Table (Part 3 of 3)

It's the last of my three part series on what creatives love and hate when it comes to photographers' self promos. Hope you have found it helpful so far. Today we get the dish from people in the marketing and advertising world. If you missed the previous installments please check them out. Monday was editorial and Tuesday was entertainment.

Today's panelists are:

Sandy Boss Febbo, Executive Art Producer, Carmichael Lynch

I receive dozens of mail promos and an average of one hundred email promos daily.  For me, it's all about the image.  Period.  It's that simple, and that hard.  The image must be compelling enough to get my attention and with the vast talent producing and promoting their work - standing out is a big deal.  But they do.  It can be as simple as a postcard with a single strong image or an email blast with a similarly simple format - that's all it takes.  I've received more elaborate pieces from photographers that feature a strong body of work - a published book, set of postcards, blurb book, etc., as well as a several pieces recently from agents and artist collectives that are stunning.

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Of these Just Add Water and Giant are certainly worth mentioning.  The first was a great collection of folded posters with a range of work from each of their artists and the latter a bound book with again a range of work from each of their artists. In both cases, again, the quality of the imagery was the hook.

My only pet peeve is overly designed promotions. It's about the image, not the package, the extras, or investment.  I would rather see a simple promo than one where the imagery becomes secondary or lost.  I also cringe when a promo isn't recyclable.

Just Add Water promo specs:

designer - Rinse Off Wallace

printer - Capitol Press (www.capitolpress.com)

quantity - 1500

Giant Artists specs:

Designers: Megan Steinman & Eric Roinestad

Printer: Oceanic Graphic Printing

Quantity Mailed Out:1,000

Elise Robins, Senior Print Producer, Publicis West The type of self promos that I have kept and generally hold onto for longer periods of time are ones that are beautifully printed and have something very unique about them.  The images selected to be show cased on the piece are obviously extremely important, but almost as important is the presentation.   The promo piece does not have to be particularly expensive, but it needs to stand out.

This can be done with "show stopping" photography that is unusual or dramatic.  But it can also be done by formatting the piece differently.  I believe that the presentation of the piece also shows the originality of the photographer and I particularly like those pieces that are cut differently, folded differently, printed on a unique stock or with a unique technique. I also like to see more than one image displayed in these pieces so that I can get a sense of the photographer's style which is not always easy from one shot.  The key takeaway is an emotionally moving picture on a unique platform.

I have no real pet peeves when it comes to photographers marketing themselves other than the frequency of their communications.  I think hearing from a photographer 3-4 times per year is adequate.  Having my mailbox cluttered with promotional pieces each week and sometimes the same promotional piece is overwhelming and not appreciated.  I realize that in a digital age, this is a weird thing to say, but I actually prefer to receive promos in the printed form versus electronic.  Printed pieces seem to have more impact and evoke more emotion than an email.

I think the only place for more elaborate promos is during a portfolio showing.  I definitely gravitate toward well made books and ones that are more unique.  One photographer showcased his work using a scrapbook theme which allowed him to show a variety of work in an unusual way that stuck with me.  Along with books, the leave behinds at portfolio shows are usually more elaborate and that feels good to me, as if I am part of a select audience that is important enough to get those special promo pieces.

Prentice Howe, SVP, Executive Creative Director, Door Number 3

I get bombarded by photographers' mailers. Most of them are postcards or simple fold-out pieces. With so many hitting my desk, it's hard to tell them apart. Honestly, most go straight to the recycling bin. The ones that really stand out? They have a killer image that just begs to be stared at.

I love when photographers pick an interesting topic and then deliver a photographic narrative around that. The more interesting the topic, the better. Rather than just sending beautiful shots from a scenic coastline, they're actually digging in and telling a story through their shots and showing many different sides of their skill sets along the way. It shows creativity and the ability to tell a story through the lens. Those kinds of pieces get passed around the creative department the most.

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One photographer who always sends beautiful, well designed mailers is Dana Neibert. He sent an incredible book a while back, printed on very tactile paper with hand stitched binding.

Dana designed his book himself. Printed by Neyenesch in San Diego. Quantity 7,500 (!)

Jon Setzen, Creative Director, Something Massive LA

The best promo pieces for me are always the most simple. When you get numerous promo pieces a week the last thing you want to do is follow instructions to see a photographer's work. I once had to do a paint by numbers sort of exercise to see a photograph of NYC at dusk. I also never understood the corporate gift sort of promos - matchbooks, calendars etc. I understand why it's nice to have something to use and reuse, but for me I only ever saved things I thought were well designed. Recently I have kept promos from Amanda Marsalis (samples of newest promo below), Jim Franco and Kang Kim.

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I always open envelopes and when you have to open an envelope your attention is always fully given to what is inside. When sending out my own promo pieces in the past I've always hand-written the addresses. People will generally open a hand-written envelope before a machine printed one. If you put a postcard with a short hand-written note in an envelope, it will get looked at and read. I would argue that your website (which hopefully appears prominently on the back of the card) will most likely be visited.

This definitely requires more work, but it's better to spend the time writing the note and addressing the envelope then it is trying to figure out which photo will look best on the mass-produced journal you're thinking about sending out. Work with a designer to think about layout and typography on the back of your card. If you have a logo (which you really should) have a custom stamp made and use that as your return address. Custom stamps cost about $30. It makes you look organized and invested in yourself and your brand.

Blair Thompson, Creative Director, Believe in

Being in the position of hiring photographers for projects, I am contacted fairly regularly. This can manifest itself in many forms. No particular medium has a better chance of attracting my attention. The main, and most obvious, distinction between those that succeed and those that fail is that they understand our visual direction and approach. We should be targeted because the photographer feels there is a 'good fit' and that their creativity 'mirrors' ours. Failing to understand this and subjecting me to irrelevant and unconsidered marketing is wasting both or time and money.

Ultimately we are most impressed by the work. That speaks loudest. Your capabilities and experience are all important but nothing speaks more loudly that the pictures! How it is presented is not necessarily the issue as long as it is confident and resonates with us. Usually this is most likely if the photographer is creative and resourceful and is not afraid to take risks — much like ourselves.

Focusing on particular mediums of delivery — here are my thoughts:

Digital Brilliant on the side of the photographer in terms of tracking and monitoring click throughs etc. But easy on the side of the recipient to ignore or intend to revisit — and never does. This approach requires considered design and imagery, working in harmony to cut above the sheer level of mail an average recipient gets on a daily basis and create an impression. Clicking through is step one. Having a site which then fully satisfies the users interest is what will make the biggest difference of all.

I am also a fan of the 'this is what I've been up to' email route. It's honest and allows the recipient to feel a privileged view into the photographers world. A bit like a blog but less frequent and again highly considered. It definitely provides a strong opportunity for building positive brand awareness. Don't overdo it though — there are still limits which border on annoying. About every 6 weeks is good.

Print A simple and creative approach works best here. Don't spend fortunes on elaborate brochures. Go with something which is cost effective and easy to replace with newer or targeted content. Think about what your customer is likely to best respond to. Also think responsibly in terms of the materials you print on and the lifespan of your materials. Beautiful images and design will stand a greater chance of being retained for longer — or even passed on, which is ultimately what you are looking for.

General Show your best work and try not to show everything and anything. Focus on what you do best or what you want to do more of. You will appear confident and professional and more likely to command a decent fee as a result.

Contributor Bios

Sandy Boss Febbo is the Executive Art Producer at Carmichael Lynch in Minneapolis where she has produced for a great range of clients for over fourteen years. Sandy has a degree in Art History and English Literature. Her background includes time with the Minnesota State Arts Board and she has volunteered as a docent at the Walker Art Center for over fifteen years.

Elise Robins: Born and raised in the suburbs of Chicago Graduated from Illinois State University with a BA in Marketing Graduated from Depaul University with an MBA in Marketing Management Has worked in the advertising industry for about 18 years Currently lives in Seattle with her husband Interests are reading and travel

Blair Thomson is Creative Director of independent design and branding agency Believe in. Established in 1996 Believe in exist to articulate engaging, provocative and effective brand experiences driven by ideas and solid research. They push boundaries and exploit possibilities, working in partnership with ambitious clients to realize the full potential of their brands. Experience encompasses branding, identity, print, packaging, illustration, art direction, digital, advertising and environment.

Prentice Howe is the head visionary and trailblazer at Door Number 3 in Austin, responsible for leading the indie ad agency’s creative team while playing an integral part in the overall company operations. As Executive Creative Director, Prentice supervises all art direction and copywriting, while developing strategic campaigns that communicate a brand’s truth to a desired audience.

Jon Setzen is the Creative Director of Something Massive, an interactive advertising agency with offices in LA, NYC and Buenos Aires. His personal work has appeared in numerous magazines, blogs and rock posters have been exhibited worldwide including London, Tokyo, Copenhagen, NYC and LA. He lives and works in Los Angeles where he also runs the Los Angeles chapter of Creative Mornings.

Self-Promo Round Table - Part 2 of 3

Today's self-promo round table panelists are from the entertainment industry:

If you missed yesterday's post from the editorial/magazine world, please check it out.

Wednesday I'll post feedback from ad agency creatives.

Leah Overstreet, Photography Director, Spike TV

I work at a guy’s network, so its great when promos come in that are geared toward the type of work we are doing. I make sure and hold onto these for reference for upcoming shoots that we have. Its very important to make sure and tailor your work towards your client and the type of work they are doing.

I receive so many emails each day and lots of times email promos get lost in the shuffle. If you send me a promo through the mail, I am 10 times more likely to see it and hold onto it, then an email.

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I love this promo by Scott McDermott because it is not a pretty portrait. It shows all of the grit and imperfections in the skin, face, and hands. The contrast of the black and white backgrounds really make it stand out. It's a 6 x 8.5" card and is printed on thicker stock paper.

I also really like a recent promo I received from EJ Camp. It is 6x8.5. This promo is made of a thicker stock paper, with a photo finish. Its a great advertising shot and right in line with the work that we do. It made me want to look at her website and see more of what she does. I usually think that one or two images per promo card should be the max, however I think this is a good example of a series that works well using more images.

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ejcamp2

Put your strongest work on your promo that will drive the potential client to your site.

Maggie Fost, Art Director, Merge Records

I am more likely to keep a single postcard than anything more elaborate because if it's an inspiring image or something that just makes me smile, I'll pin it up on my bulletin board, which spans a full wall of my office and is filled with all kinds of images and objects. That said, an email that is specifically written to me (rather than crafted for mass distribution) is probably the most compelling kind of promotion. Knowing that someone is eager to work with Merge makes me more likely to file their email in my "photographers" folder than someone sending images of their recent work every quarter. If they include their location in the subject line, it's easier for me to find when I go back looking for a photographer in a certain city or region.

Another way I learn about photographers is by asking someone whose business it is to be in the know, like Jasmine (this is the straight dope - she did not ask me to say this!) For a recent project, I needed an L.A.-based photographer who had a sun-drenched dreamy style. Rather than googling away or sifting through my e-archives, I sent a quick email to Jasmine and she pointed me directly to the perfect person. It turns out this photographer had sent me promos in the past, but I ignored them because they weren't relevant to my needs at the time.

I also learn of photographers through our bands. If they want to work with someone specific for promotional shots or an album cover, we almost always honor that. If I like the results, we are likely to use that photographer again, so making connections with the subjects photographers are interested in shooting is just as important as marketing to the client.

Gail Marowitz, Creative Director, Roadrunner Records

The promos that I tend to keep are of two types:

The first promo has an image that directly speaks to what I do and my needs as a creative director for a Rock Music record label. It can have a portrait of a band in an interesting location, it can have a musician that looks comfortable and that properly telegraphs the sensibility of the recording artist. It can also be a still life or an illustrated photo collage that is dark, edgy and well executed.

The other promos that I keep are those of the extremely well designed nature. They have beautiful typography, interesting paper selection and are conceptually solid. These are the promos that assure me that the photographer has a good eye and cares about his/her work from concept to final output.

I do have pet peeves.

  • Do a little homework before blindly sending promos. If you send me still lifes of lipstick and flowers or women doing yoga, or children or beautiful fashion models, I will delete and/or throw away and not go to your website. I work for a Rock/Heavy Metal label. Try to send me appropriate work for what I do.

  • If you still go the snail mail route, make sure your promo is well designed and printed well.

  • Don't send me an email promo every week. I know there is a way for you to check if I found your promo interesting enough to look at your website. If I haven't checked your site, and you keep sending me promos (I receive approximately 20 of them a DAY), I will get annoyed. You don't want that.

What I appreciate the MOST, is when I meet a photographer who is talented, look at their book, explain my needs and in the following week or two, they have put together and sent me a body of work that captures the essence of what we talked about in our meeting.

Simon Keeping, Art Director, Kraken Opus

I receive a fair few printed promos from photographers. Its always nice to look at but in terms of referring back to them later I'm not sure I actually do. In the course of the publishing projects I work on there's alot of paper on my desk, flatplans, editorial plans, proofs, print samples etc etc so I normally lose them within that pile of paper or failing that it gets 'filed' somewhere safe which I then forget about.

I much prefer e-promo's which are easily forwarded to editors (when it comes to commissioning), other team members or even fellow designers and most of which I think represent photographers better than a printed flyer as the quality of the images is never compromised by poor printing.

One thing I find very irritating is when I take the time to click through to a site to check out a photographers work it can be at times a battle to just look at the images. A word of advice, If you direct me to your site, I don't want to see loads of flash animation and over designed navigation, I want to see the quality of your work. Keep your site clean and functional other wise people will just get frustrated and give up trying to view your work. Remember what the function of your site is: a tool for art directors (very busy people) to see your photography. I'd rather see the worlds most basic website which allowed me to quickly view your work and get a feel for your style (with easy to find up-to-date contact details) than an all singing, all dancing web extravaganza. Remember your site is often the first point of contact with clients, don't miss out on work because of it!

Contributor Bios

Gail Marowitz has been art directing and designing for the music business for nearly twenty years. She has worked for various labels including Tommy Boy Records, the Imago Recording Company, Wind-Up Records and Columbia Records where she was the Design Director for ten years collaborating with artists such as James Taylor, Patti Smith and Bette Midler. In 2006, she won a Grammy® Award for "Best Recording Package" for Aimee Mann's "The Forgotten Arm" and was nominated in the same category again in 2008 for Mann's latest release "@#%&*! Smilers". Her work has been selected for Print Magazine's Regional Design Annual and she was a recipient of a Silver Telly Award in 2008. Currently, she is the Creative Director at Roadrunner Records, a label whose stock in trade is mostly hard rock and heavy metal. You can see her personal work at www.thevisualstrategist.com

Maggie Fost is the Art Director at Merge Records, an independent record label in Durham, North Carolina.

Leah Overstreet began her career photographing for the Smithsonian National Zoo in DC. After moving to New York she worked in the photo departments of GQ, Vogue, and Men’s Journal Magazines. Leah is currently the photo director for Spike TV/TV Land and a freelance photographer.

Simon Keeping is a freelance art director, currently working with Kraken Opus who specialize in high end, limited edition books. He has recently art directed 5 titles for such luminaries as Ferrari, Deigo Maradona and Tottenham Hotspur. Influenced by music, design, illustration, fashion, photography and reading too many skateboard magazines as a teenager, he describes his style of work as ‘clean, stylish and bold’.

Self-Promo Likes (and Pet Peeves)... From the People You're Sending Them To (Part 1 of 3)

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Just to drive everyone nuts, I've been talking to photo editors and creative directors about what sort of promos they like enough to keep. As you hopefully know, most of the print promos they receive go straight into the recycling bin (and most e-promos aren't opened). What makes a promo stand out enough to get pinned up on the wall of chosen ones? What promos get forwarded to the other creatives? What turns people off?d And why should this drive you nuts? Well, as with anything creative, it's highly subjective. Ask 5 different people, get 5 different answers. That said, there are some common themes throughout. Everyone agrees that overly gimmicky promos can't make up for mediocre images. There's also some consensus that personal project images make the more interesting promos.

Over the next three days I'll be posting creatives' thoughts. Today's installment is magazine photo editors. Tomorrow check back for opinions from the entertainment industry (record labels, TV and book publishers). Wednesday will feature ad agency creatives.

Today's panel:

Rebecca Crumley, Director of Photography, The Knot "I’ll peek at the promos as I walk from my mailbox to my desk. But honestly, 99% of the time, they go straight to the recycling bin. I’d rather see an updated blog to convey the current work. This way, I know a photographer is actively shooting, staying on top of their business, and get a better sense of his or her personality. I also work in a different manner than most photo editors; I’m seeking existing images from which we’ll produce editorial content. So this ties into taking time to send promos to creative professionals of relevance to your work and of applicable needs."

Sacha Lecca, Senior Photo Editor, Rolling Stone

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DSREPS late last year (i think) sent out a large oversized set of images by Deborah Schwartz's amazing roster of talent (see pictures of the promo in action). It certainly made an impression getting such a large set of promos. My favorite in the bunch: Fucking Flies On My Wedding Day by Jason Nocito. www.dsreps.com | www.jasonnocito.com

Cole Barash is a photographer whose work I've been checking out for a few years. The promo card itself is very simple. Simply designed promos stand out to me where logos, slogans, unnecessary graphics on a promo card can distract. I was able to work with Cole this year when he shot surfer Clay Marzo for us, which was great. www.colebarash.com

Mark Murrmann's day job is photo editor of Mother Jones magazine and he  is also a talented photographer. We sort of got introduced recently and he sent me his card. His live music work is great. www.markmurrmann.com

Giant Artists very recently sent out a beautifully printed book showcasing the artists they represent. I'm a big fan of Giant Artists and their roster so this is an obvious keeper. www.giantartists.com

...speaking of printed books, pamphlets or zines, Phil Jackson, is a documentary photographer out of Philly largely shooting his fellow skaters, every once in a while puts out a small zine. www.philjacksonphoto.com

...also, just this week I got a booklet by Eric Kayne featuring his work on the band Arcade Fire (-ed. note of full disclosure: I produced this promo). I like the pics though some of the design elements take away from some of the shots. (ie the white vertical lines cutting into them.) (-ed. note: fair enough!) www.erickayne.com

Alex Lake/Stem Agency: I met with a rep from Stem Agency and this card was one of their leave behinds, a photo by Alex Lake of Florence Welsh of Florence and the Machine. It's such a gorgeous image feeling more like a cinematic film still. www.stemagency.com

Brenda Milis, Director of Photography, Men's Health

I very much like to get promos in the mail since I check each piece of mail every day. I am much more likely to miss emails: I may open an email and get a call or have someone walk into my office and completely forget about it, having never truly looked at it. That promo mailer, in contrast, is sitting right in front of me on my desk. I feel very strongly that not a lot of money needs to go into making a good, impactful photo promotion. I think it’s important to include more than one (and hopefully several) images in your promo, be that on one card or several pieces/cards. If it’s just one great shot I might not get as strong of a sense of your shooting style, your range, and in fact you may have just gotten lucky shooting one great image!

I am really turned off by overly clever, overly produced promos that I receive (and more about that in my discussion of promo 2, below). Please have the confidence in your images to let them speak for themselves. I don’t need to make a keychain out of your promos, nor a luggage tag for that matter. Also, I really want to be able to recycle your entire promo if and when I get rid of it. I don’t want a lot of plastics and doo dads that are bad for the environment and add to waste. Our industry is wasteful enough as it is.

1. Angie Smith Was not aware of Angie’s work until I got this promo book which is in the form of a notebook. It’s lovely and clearly wasn’t inexpensive to produce. Redux reps her and produced the promo. If Angie had sent me a single card with 3 or 4 images on it, I would have been just as happy.

Designer: http://silasdilworth.com/

Printer: Paperchase.net

2. Joseph Escamilla Wow -- I almost never took the time to open this promo. It’s a good example of overdoing it: This came as a package in a clear plastic wrapping. It was hard to make out the images because of the stuff that was attached to the images themselves. The base of package was the anatomical head figure, mostly covered with what looked like key chain tags.

The promo card was part of the package as well. The star of this promo was the stuff included which basically obscured the images which I really quite like. Very intriguing and unique imagery of artifacts which we may be able to use for stories about medically-related topics, etc.

In sum, a very annoying promo that I’m glad I took the time to open and unpack in order to see the photos. I wish that the photographer had just sent me promo cards -- would have been happier and he could have saved a lot of money.

Promo Specs:

The promo was a collaboration between Rachel Ma (helloraye.com) and Joseph, with prior identity and branding having been done by Owen Gee (nicelyobserved.com). Most of the components were straight out of office supply stores, all the printed material was done in small 500 print runs by uprinting.com. 5 4x6 4/4 offset postcards.  And 100 8x10 digital prints.  Everything else such as labels and personal notes were all done on his laser printer. Joseph created 100 promos and have mailed about 40.

3. Dorothy Hong Dorothy Hong's promo cards show an intimacy, a freshness, and youthfulness that is lovely and I'm looking for the right assignment for her. She sent me a packet with 3 cards, each one had one image on it.

Promo Specs:

Designer: Dorothy designed them herself with a template she created years ago, just dropping in new photos each time Printer: overnightprints.com Print run: 1,000 total (4 different photos, single sided 4x6 postcards, 250 each) Distribution List: Mailed all 4 out in 1 envelope, to 250 people. So every envelope contained 4 separate, different photos. 4. Hollis Bennett This is a simple tri-fold mailer promo with three images on the inside and his name, website, contact info on the back. Gorgeous, medium format pix---could use for travel, documentary. Simultaneously lovely (which makes me happy) and yet appropriate for a men's mag (which makes me happy).

Promo Specs:

5,000+ emails 6 times a year through Agency Access Designed by Hollis and printed by Nashville-based Jive! printers. Print run around 350 tri-fold cards.

Molly Roberts, Director of Photography, Smithsonian

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I live with photographer promos surrounding me and keeping me company during my work day. I recently changed my wall and posted an image by Alex Masi. Prompted by his postcard to check out his work, I found out that he had photographed the Buddhas of Bamiyan earlier and was heading back to that area. This led to my assigning Alex for a feature in the December 2010 issue of Smithsonian.

Although I love having some of these postcards and prints around me, I also lament the waste as over 70 % probably end up in the recycling bin. I prefer digital mailers at this point for conservation purposes.

Allyson Torrisi, Director of Photography, Popular Mechanics "I think the simpler the promo the better. I have a prejudice that the more elaborate the promo , the more it is to make up for talent. Great talent will stand out on a single postcard with two images. The goal is to drive me to your website to see your work. It is more important to to have great work. Invest your time and energy into test shots, collaborating with friends. Shoot a personal story, that tells me more about who you are than a vellum envelope."

Contributor Bios

Rebecca Crumley is one of the industry's leading experts in wedding photography and style. In her role as Weddings Photo Director at The Knot, she is responsible for producing hundreds of Real Wedding stories featured each year in The Knot Inc. media properties through managing thousands of wedding photography submissions. Her daily interaction with photography also predicts trend forecasting and industry insight.

Sacha Lecca is a Senior Photo Editor at Rolling Stone, with over 16 years' experience in magazine publishing, including stints at Newsweek and CMP Media.

Brenda Milis began working with photography as an art historian, receiving her B.A. at UC Berkeley and studying photo history on fellowship in the graduate division of Northwestern University. Getting her start in photo editing at Jane magazine, Brenda eventually helped launch Style.com, then moved to Santa Fe, NM to work as a photo editor at Outside magazine. She is currently the Director of Photography at Men's Health magazine. Shoots she has produced have won awards and been featured in American Photography, SPD and the PDN photo annual.

Molly Roberts has been working in the newspaper and magazine biz for 30 years. She is  currently Photography Editor at Smithsonian Magazine.

For more inspiration, feedback and contradictory opinions about self promos, check out these resources:

Rob Haggart's APhotoEditor.com archive is a treasure trove of self-promo write ups.

PDN hosts an annual self-promo contest. You can browse the winners galleries by year for lots of inspiration and some ideas for graphic designers and printers to contact (when that info is listed which it isn't always...)

The No Plastic Sleeves blog is all about great promos and portfolios. Tons of inspiration.

Teaser: Self Promo Roundtable in 3 Parts

A little teaser for the weekend. On Monday I'll be posting the first of three installments of interviews with various creatives who receive a lot of self promo pieces. We'll be talking about their likes, dislikes and major pet peeves. E-promos vs. print. Envelope vs. no envelope. Simple vs. complex. You'll read candidly honest opinions from:

...plus maybe a few more.

I'll also be featuring galleries showing specific examples of promos people loved enough to keep.

See you here on Monday!

Photographers Doing it for Themselves, but at What Cost?

In the new economy and media landscape, there are a lot of cant's. Photographers can't wait for funding, can't expect a traditional media outlet to publish their work, can't rely on portfolio viewings to lead to work. They are expected to be constantly blogging, tweeting, tumblring, producing online magazines, creating iPad apps and tapping their social networks for funding. The thinking is that your increased online presence will generate money for you because you will be part of the conversation and on the radar of the people who are hiring. Or, that people will pay you directly to consume your work in the form of a self-published book or magazine. But at what cost?

Too Many Hats Syndrome

Today the British Journal of Photography posted a story titled "Do it Yourself". BJP talks about Rob Hornstra's Sochi Project, a massive undertaking chronicling the area where the next Winter Olympics will be held. Since no media outlets would pay to do something on such a grand scale, Hornstra was left to fund the project himself.

But as Hornstra points out, “You’re not just a photographer any more, you’re an entire company,” he says. “You handle the marketing, the sales, budgeting. You handle everything. You have to make people aware of the story."

How do all of these new demands on photographers affect the actual photography? Are you a good marketer? Do you enjoy trying to get people to buy ad space on your site? If you are undertaking a large project, it will probably involve a team of people. Do you want to spend your time project managing the endeavor? If you do, that is fab, but if you don't, don't feel the pressure just because it is what everyone is doing. Better to do one thing really well than to do 20 things half-ass.

Time Suck Effect

Recently, Manjari Sharma's Shower Series ended up on lots of blogs, which led to an ad job shooting faucets. Sharma was interviewed about the project and the gig it led to, and one thing she mentions in most interviews is that she reads all of the photo blogs in order to stay current. I commend her, as that is practically a full-time job. It's great to have the pulse of the industry and to know what your colleagues are working on. And I love that her project got blogged about so much and that led to a commercial job. It's what we all want for the industry.

But I worry that there is too much pressure and emphasis put on being part of the blogversation. If you find that you are spending more time staying current on photo blogs than actually shooting, coming up with new project ideas, editing work or collaborating with colleagues, then it's time to reevaluate how valuable all the blogging is.

Maybe I Should Shoot More Like...

You also want to be wary of having your style influenced. Just because everyone is blogging about hazy, barren seascapes this week or abandoned schoolhouses or whatever doesn't mean that you should do that or that doing so will lead to internet fame and glory.

As they say on Project Runway, stay true to who you are as an artist. Have a point of view. Don't muddle that view with too many outside influences.

There is something to be said for unplugging, literally and figuratively.

And Now for some Good News...

I love photo essays. I started my career pitching stories to magazines back in the days when editors would actually say yes and the story would appear a few weeks later in print. I think there is nothing like the power of a large-scale photo project to tell a story. I firmly believe that regular people who don't care a thing about photojournalism can have their minds expanded and their views changed by seeing an amazing photo essay.

I love that there are so many new avenues for photography. I just hope they reach a wider audience beyond those who a) love photography or b) are interested in the issues being covered by photojournalists. The power of traditional media lies in its reach.

I also love that blogs, online magazines and other self-publishing avenues have allowed photographers to research other people's work more efficiently. Now there are no excuses for doing a project that has been done to death already.

Get online and see if your idea is original. Then get offline and go shoot. And don't forget to tweet about what you ate for lunch that day.

Read more about crowdfunding: I recently wrote about how Erin Siegal used Kickstarter to fund her project. PDN's August cover story about Jason Florio talked at length about crowdfunding and the many outlets photographers can pursue. Tomas van Houtryve recently posted about beta testing flattr.

Get some self-publishing inspiration: VII has launched the VII Magazine in order to be a media outlet as well as content creator. Former GEO editor Tina Ahrens and acclaimed photojournalist Karim ben Khalifa launched emphas.is, an online portal for photojournalism that will use crowdfunding and micropayment to sustain itself. Magnum's David Alan Harvey has turned burn magazine into a portal for student work, workshops, contests, and more.

iPhone 4 Camera White Balance Drama

I've just returned from the Apple store with my 2nd iPhone 4.  I returned my first one because the auto white balance in the camera wasn't working, and I read online many stories from other people about having similar problems.  It took talking to 3 different people at the Apple store before someone would just take the first phone back and give me a new one. Well unfortunately, the replacement phone is just as bad as the first (if not worse). The "geniuses" at the Apple store tried to tell me that a yellow cast is totally normal because of tungsten light.  I explained to them that I understand that different light sources have different temperatures but that the white balance is much, much worse than with the 3Gs.  (Please don't try and lecture a photo major about light!)

Here are side by side comparisons showing pictures taken with the iPhone 4 and the 3Gs.  Can you guess which is which?

I'm trying to decide if I will go back and try for a third. I know they're going to give me a hard time, and try to make me feel like this is a totally normal thing for the camera. From my online sleuthing, I've learned that some people do finally get a phone that doesn't do this, but it may take up to six exchanges!

Unfortunately you can't replicate the problem in an Apple store because they don't have the right lights. So I'm going to bring a small lamp with me and show them for myself. I'm not going to leave the store til I get one that works right, and if I can't find one that works right, I'm going back to my old phone.

Stay tuned ;)

Are you having the same problem? You're not alone:

http://macgroup.org/blog/2010/08/09/iphone-4-looks-do-matter/

http://discussions.info.apple.com/thread.jspa?threadID=2482991&start=0&tstart=0