I have finally had a chance to catch up on all the posts and comments that resulted on my
posting in response to
Liz Kuballs initial post, then a mention on
Conscientious which in return resulted in a further mention on
Drinking with a Deadman and finally
Alec Soth linking the discussion on the
Magnum blog.
Not one to keep banging on the same old drum I put together a few more thoughts somewhat related to the debate on the plane ride Monday. I had also neglected to link an earlier piece I had written on the blog '
To judge or not to judge . . . . That is the question ?' that I think holds up well.
One of the most refreshing things I heard a photo editor friend once say was that on occasion photographers had turned down an assignment as they did not feel it was right for them and they mutually decided that the job would be better in some one else's hands. She was not upset or annoyed but greatly respected their decision. No damage was done to the relationship, the way it should be. In an ideal world this would be the best scenario for all parties involved but it is not always an option, especially when economics and lack of regular gigs play a part. If you make all your money on editorial and don't have any print sales, stock or advertising going on it can be difficult and almost impossible to turn work away.
We all play photo editor from time to time. I am thinking that most photographers think that would make a great photo editor. It is not an easy gig. I will always be inspired by thoughtful, daring, sensical, even whimsical photo editing, both for the selection of the talent and the final published pictures. Like it or not magazines like the New York Times and New York are always at the forefront, it is expected of them. But what is equally refreshing to me is when more mainstream titles show some ingenuity and think out of the box. I remember the Soth shoot for Entertainment Weekly, when it came out. Thinking that's ballsy, not because they are taking a risk, they are not, but because they are showing some real commissioning smarts ! Now that's the type of editor I would want to be.
I look at most titles each month to see whats going on. I am genuinely interested/ curious and like to be educated on who's doing what, who's shooting for whom and so on. There are of course pangs of jealousy from time to time, why didn't I get that gig, it's only human. One has to be realistic, especially when starting out, your work won't fit everywhere. Early on I thought I could do it all a little fashion, music, portraiture, travel, still life, studio, location as one does. But I found that in the beginning it was confusing to those who were hiring not quite able to categorize me not sure what in particular was my forte. Its funny how things come around with a bit of experience and exposure I have come full circle and am now get assigned quite the mixed bag. Oh and there are no had or fast rules this is just the way things have gone for me.
John has his review of this months crop
here and I am going to add a regular (hopefully) post to the blog. I think it might be fun to feature magazine commissions I have come across that I feel showed some extra flair and imagination in the matching of photographer and assignment. The final used picture might not necessarily be the greatest, or even a signature work, but the intention was from inception to publication.
It is certainly a challenge to get ones foot in the door these days as established photographers do work that they may have passed on in more prosperous times. It is certainly not unusual to see
Mary Ellen Mark in the pages of People magazine these days. Work that one may have gotten a chance at before becomes illusive as budgets and pages are reduced and many magazines look to pick up already finished work to save themselves production and shoot fees. This is another angle from which to tackle the magazine world, if you are working on a personal project someone somewhere might have a place for it. Take for example
Christopher LaMarca's '
Forest Defenders' series or
Jessica Dimmock's 'Ninth Floor' project which have both been featured in numerous domestic and international publications and this exposure has led in turn to commissioned work.
I have had a lot of great feedback to the "Running with the Bully' spread that ran in the July GQ, read
here. I am very pleased with the results not only with what they published but with all the other stuff I got. I am very appreciative of the opportunity, it was challenging and rewarding both photographically and personally a true life experience. I have learned to make the most of all the chances I get. My favorite/best work might not come form the shoot itself but as a result of the shoot and my being there. Most of the best stuff is outtakes or pictures taken in and around the shoot unrelated but yet related. Most of my portfolio has come as a result of being on the road. I wouldn't get to be in most of these places had someone not assigned me to be there. When traveling, time allowing I like to drive/walk around and explore camera in hand, why not, you never know what you will find around the corner or whom you may come across.
Robert Wright has a terrific post on one particularly challenging editorial assignment and how there may be a reward to be found nearby for busting your hump, read
here.
One has to keep producing new work, its a constant that never goes away. Photo editors are inundated by promos, books, websites. They are always interested in the new and are always curious about personal projects and the like. One has to be seen to be prolific and work does produce work. If you have ever made it into the photo dept. of as large/small magazine and have seen the sheer physical volume of material they get sent on a daily basis you will know what I mean. One should never rest on one's laurels and past glories.
As an assistant I worked with a lot of successful editorial/commercial photographers the majority of whom seem to have disappeared from the scene. Many were a little old school in their thinking and were of the opinion that this business some how owed them a living. Many had seen the good times in the 80's and early 90's when money was apparently free flowing, I heard the stories. They worked their way through the ranks and put the effort in when required but many were unable to roll with the changing times either through choice or circumstance. Some have left the business entirely and have become bitter about what might and should have been, if only. One has to embrace change and constantly push oneself to create new and interesting work, even if it is only you who believe in it at the moment. Good things will follow !
Chase Jarvis wrote a terrific post
here sometime ago that really struck a chord with me. If you are down in the dumps and struggling with your demons, worried about your future, how you are going to make a living and the ever changing photo world give it a look see.
I always give my all on a gig no matter what. Alluding to
Thomas Broenings comment I/we have a responsibility to the editor/magazine who have hired/trusted us to get them a result, at least one quality non suckable image ! I hope I managed to express this in the initial post. I am fascinated in the process, the story behind the picture, the technicalities, the subject etc.etc. I have a lot of photographer friends and it is always fun/educational to share stories and experiences. Just when you thought you had heard it all you realise you haven't even come close.
I know that most/all of this isn't anything new to a lot of my readers but I have received numerous emails from those who are relatively new to the game or whom are looking to broaden their horizons and who have found some of my ramblings useful. As the 'Deadman' himself says we are all in this together so knowledge shared is a good thing.
