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March 11th, 2009 - Don’t Give Away Your Photos
“Dear sir, I’m informing you that our publication, Fancypants Monthly, would like to run the photo of the fancypants on your Flickr photostream. For payment, we would credit your photo for our thousands of readers to see. Please respond promptly or we’ll assume you’ve declined the offer. Have a great day!”
E-mails like this come up every so often in discussions in professional photography. The essential question is: Do I give my photo to be used to get exposure or do I decline unless a monetary payment is offered? The answer seems to change depending on one thing: experience.
Those who have been in the industry for quite a long time usually advise to never give away your photography to profit-making businesses and publications no matter what kind of credit is given. I would have to agree for the most part (there’s always an exception). If you look at most magazines, credits for stock imagery is usually shoved into the inside gutter of a page.
Take a look if you never have - flip through a magazine, spread the pages open so far that you can nearly see the spine, and look in those gutters for four or five point type with photo credits. Is anyone looking that hard for a photo credit? And suppose your credit was more prominant? What do you expect to get out of having credit given?
The realistic part of these kinds of letters is that people are choosing amateur forums to find images they can’t find in microstock and then hope they’ll give away the rights so that they can show their family copies of the publication they were printed in, and on the sly, mention they’re a published photographer to people. But people who have invested interest in the industry, whose full-time jobs is for these kinds of things, find it to be a dispicable practice that only hurts the photo business.
I hate to admit it, though, but trying to get something for free is human nature. It’s the job of the photographer to be informed enough to know to always charge for their work. So here’s my suggestions to you, if you ever run into this situation, to handle it:
• Don’t be afraid to negotiate. Some first-timers think that if they go back with a request for payment that they won’t get published at all. But know this - the majority of the time, these folks are just negotiating. If they can NOT pay for something, they won’t. However, they will most likely pay you as long as your requests are reasonable. Yes - it is rude to offer nothing, but it seems to be a growing trend as art budgets are being slashed more and more these days and they will do what they can - IF they can.
• Be professional. This has nothing to do with the everlasting argument of being pro or amateur. If your work is being purchased, you are now professional. Your work is obviously good enough to be published, don’t get overwhelmed with the situation. Be ready to have an idea of what you want to charge for your photo, make a simple PDF invoice with your “company name”, and answer e-mails and phone calls promptly.
• Don’t be afraid to say no. You don’t have to give your photo away if they are unwilling to compromise. Take time to think about how you’re going to market your photos thereunto. There are so many avenues available now for selling photography without having to have a huge network. Try to get your image on a microstock site - that way if they ever chose to use it, they would be forced to pay for it.
Lastly, if you do give a photo away - don’t expect to get anything back. Instead of being tagged “gracious and helpful” you’ve just been tagged “sucker”.
March 11th, 2009 - Photography + (Design + Publishing) = New Posts
I’m refocusing my blog here at Smith+Fritzy to have many more posts on the dynamics between photography and designers. I’d like to explore the different topics that have come up for photographers who are selling their photos to magazines, ad agencies, microstock sites, and so on. There tends to be lots of photographers talking about this kind of thing, but less from the people who actually are using and purchasing the photographs.
The relationship between photographers and designers is long, complicated, misunderstood, and reveared as it’s the mixture of the two that can make both things shine. In my experience, I’ve had nothing but great experiences working with photographers as I’ve been playing photographer for the past five or so years myself. I know other designers are the same way as the two seem to mix so well, but there’s always those who don’t mesh.
Issues always come up - budgets, art direction, deadlines… it’s inevitable in our fields. I think it’s important that all parties understand the pressures each side faces. For both of our sake, here’s a list of some of the issues I’m going to post about in the near future:
• The current (new) realm of editorial photography and pricing
• Giving away photos for photo credits
• What art directors are looking for in stock photography
• The changing dynamics of photography in a declining old media market
• Benefits of being a multi-talented photographer
And so on… The list will expand as I continue writing on the subject as I know there are many more questions out there on the topic as well as news items coming out so frequently that affect the industry.
I’ll be back sooner than you think!
January 16th, 2009 - Resource Magazine
This weekend, I picked up a copy of a (new to me) magazine called Resource Magazine. Its a magazine around photography, but not a “photography” magazine. It is about the jobs surrounding photography - assistants, directors, editors, and the such. Its my kind of magazine as it deals with the subject matters of photography that I think are the reality of the business outside of event photography. Surprisingly thick, it is full of interesting content (a nice short article on shooting Tupac for Rolling Stone and an interview with Mark Higashino), but also very relavent ads that aren’t B&H photo catalogs like in photo magazines. The ads fit into the magazines younger, hip design.
Check them out: http://www.resourcemagazineonline.com
I do wonder how things are going how much a magazine like this will stay relevant. I actually have less concern for the publishing world than I do for the photographers that this will effect. There’s something about seeing photos in magazines that just can’t be reproduced in any fashion. As magazines start disappearing, what’s going to happen to the photographers? It’s not just people shooting editorial - it’s ad shoots and everything that goes with it.
December 15th, 2008 - Farewell, Amelia. We Love You.
I was saddened to read this morning that one of my favorite magazines is publishing their (her) final issue. Amelia is/was a magazine created and published by Amelia Gregory in the UK. Started back in 2004, she pushed the capabilities of print, giving us scratch-and-sniff, fuzzy, and glittery covers. She made a magazine with a clear voice, a great community, and exquisite use of product. Amelia was essentially my version of the Sassy Theory of magazine publishing.
The Sassy Theory is that to build a successful magazine, you must have great content, being cool without trying to be cool, being a trendsetter while not following trends, and a community that believes in your voice. Its been ages since a magazine like Sassy existed. Since learning about Amelia around issue 4, I hung onto this magazine like Sassy. Amelia had a true passion for what she was doing. There wasn’t a pretense of making lots of money around it. Amelia was created because it needed to be created.
The reason Amelia is ceasing publication after issue 10 is because it has become too expensive. To be fair, Amelia herself gave a few more reasons at Magtastic. But what I got from it was that the money part of it has just become too difficult to keep up with - paying printers, paying herself, and trying to pay those helping out. Part of me feels like there may have been an investor that could have helped with the money - but at the same time it would have made things worse. The magazine wasn’t meant to be consumed by all. To keep her clear vision, it needed to stay under Amelia’s ownership and leadership. Bringing in outside money means compromise despite any conditions given.
Is there something to be learned by Amelia? Until printing becomes more affordable, print just isn’t in the future for most starters. Will that ever happen? I hate to try to predict those kinds of things, but for so many reasons, I just don’t think its happening. And its sad because when there’s great publications like Amelia who fully utelize the product, we’ll never see those things again. Its the thing that just can’t be reproduced digitally and makes you love print. Until then, long live zines. Keep your quantities low, your quality high, and print because you love to and not because its going to make you rich.
November 3rd, 2008 - A Day of Calm
I woke up today feeling eh. Not bad, but not great, just kinda in the middle. After a previous day of exploring, hiking, and taking photos, it’s back to work for everyone. I don’t think it has to do with going back to work, though. My wife told me she felt the same way. I turned on the Today show and everyone isn’t as spunky as they normally appear. And so I wonder… is this “eh” day because of the election tomorrow?
I voted on Saturday. I think there’s been more people who have voted early this year than ever before. People know what they want. People want their voices to be heard. So while the official voting day is tomorrow, I think we’re all just waiting. There’s a sense of anticipation… not like a birthday gift, though. For most of us, the opening of this present could be a winning lottery ticket or a bomb.
So as we sit and wait, Monday is going to be a lull in the excitement of this week. But rest assured, Tuesday is going to make up for it. It’s probably the first Monday that doesn’t feel like you’re catching up from the weekend.
October 21st, 2008 - What Happened, Volkswagon?
When I was in the advertising program at my college, I began looking at ads in a new light. They became an art form to me and sought out as many fresh, beautiful ads as I could. This was before the Apple ad craze came to town.
Volkswagon’s campaign of wonderfully simple, clean and creative ads hit the streets around the time they reintroduced the Beetle to the market and began reviving their brand. Maybe it’s the European sense of style, but at the time, they could do no wrong. They should have stayed in the forefront the way Apple has this past decade.
Somewhere along the line, VW turned to humor instead of style for their ads. I mean, just typing it kind of says what went wrong. Back then, I wanted a VW just because of their ads, the same way people want iPods instead of the hundreds of other MP3 players out there. We didn’t want humor. Their newest ads featuring Brooke Shields talking about people having kids just so they can buy a station wagon… it just made me a little sad. Celebrity spokesperson, bad joke, no substance… when we buy cars, we buy either power or style. Not humor.
So this is just my little plea to VW to get out of this rut and go back to the basics.
October 2nd, 2008 - It is settled.
We’re now moved and settled back home. It took about 5 days to drive across the country, Fritzy was a good boy the entire way, and there were no flat tires or getting sick along the way. It was actually a very beautiful trip this time around. Last time, we drove in April. Kansas was the biggest boring state to ever drive through. But this time, I actually liked Kansas. One evening, there was a beautiful sunset against hills of giant windmills. The next morning, we had to stop at a local tire store (I thought I had a flat, but didn’t) and they were so genuinely polite and nice. Instead of fields of wheat, there were fields of sunflowers and all sorts of other crops we didn’t see coming out.
Coming back, with the market the way it is, we were tempted to buy a home. Everyone here is selling and the prices are very affordable now versus before we left and everything was outrageously exaggerated. There were beautiful homes in the historic downtown that I would love. Our favorite was one that was recently restored and was just breathtaking but it was out of our budget… but it was the home I’ve always wanted. Original hardwood floors, high ceilings, lots of windows and light, and a very cute front porch. Maybe one day. For now, we’re apartment dwelling and its good for now. I think its easy to rush into situations and find yourself buried after a while because you were too green when you entered.
The things I really like about moving back…
• Convenience. There’s no more driving three hours to get to the movies, to go shopping, to re-enter civilization. Its been such a shock just being able to drive down the street and have a bookstore or video game store available… or even fast food other than a Burger King in the local jiffy.
• Selection. What they have at the grocery stores here are actually pretty different than back in the West. Oh, and we went to an IKEA and was so awesome.
• Family and Friends. I think I’ve done more outside of work in the last few weeks than I did the entire time I was living out West. I’m going to photography club once a week, I eat dinner out with family and friends, I take Fritzy over to run free in grandma’s backyard, and I don’t feel completely alone. And it’s interesting, but I actually don’t feel distant with the people I left back West. I talk to everyone frequently since I work with them still and nothing feels like it changed, if not just for the better.
• Winter. What’s winter again? There’s no feeling creeping up that a bad winter is on my tail. It’s awesome. I know that sounds petty to people who grew up with winters and snow and ice and whatnot, but to someone who never has, it became overwhelming. Six months of snow didn’t sound bad when I was moving out there, but in reality, it was one of the most difficult things I’ve ever lived through.
• Fast Internet Connection. It’s so awesome. 
So that’s enough for now, I just wanted to update and let you know that I’m back to blogging and you’ll see posts more frequently. Bye!
September 3rd, 2008 - A Long Shoot
No, not a long shot. Today, I shot for about four and a half hours straight with no breaks. I’m only amateur, I’ve never done too much pro work like this - only a handful of things. But this was like a marathon of photography. My main tools were a Canon 20D, which overall is a really nice camera although not having an auto ISO selector sucks. I shot most of it at 400 ISO, so I’m hoping the noise isn’t an issue on these older bodies. I know on my Pentax that noise wasn’t really a factor until I hit 800, but 400 and below always looked pretty similar.
At any rate, I shot probably about 1000 photos today of about 100-130 different pedestals (its for a big art show). They ranged from small rings and necklaces to huge headboards and doors. I am definitely a macro shooter. Akiko says that graphic designers tend to be macro shooters. For me, I enjoy being able to control the shot - its much easier to compose when the scale is smaller. So today, shooting these large pieces was difficult. I mainly shot with a 50mm f/2.5 but would change to just the kit lens every now and then for the huge pieces.
I have to say overall it was pretty fun. I’ve never shot like that before. I mean, I think on my Pentax for the past year, I’ve only put on it maybe 800 or 1000 shots total. I hope this coming year I will do a lot more since I won’t be out of commission for six or seven months because of snow and winter.
Tomorrow is the even bigger day. I’m shooting a fashion show. It’s a little easier since it will only be about 1-2 hours total, but I’m using the monster L 70-200mm f/2.8 IS. I’ve got my tripod ready, but I’m not sure if I need to handhold it. I don’t think my arms could manage holding that lens up that long, though. It’ll be really interesting to see how this turns out. I’m glad I’m not being paid just in case it doesn’t work out super well, but I’ll try my best - that’s all I can do.
August 11th, 2008 - Suspense Everywhere
8020 Publishing made the announcement that they’re “suspending” their recent launch, Everywhere magazine. Now I am not against 8020 as a company or anything of the sort. I just have issues with their business plan, business practices, and maybe even part of it is having these ideas that I would be absolutely interested in, but for some reason I’m very put off by them.
Firstly, I’m not going to talk about this. Its been talked about enough, its not the point of this post, but it is something that has really tainted their company’s perception.
I want to talk about why Everywhere is not being published currently. At the very beginning of its public introduction, I just didn’t get it. I mean, I really should be their audience. I’m an amateur photographer, I’m a magazine designer, I believe in magazines as a medium… so how come I don’t get it?
1) What are they doing that no one else is? There’s lots of books out there that you can buy when you’re interested in traveling to a place. There’s magazines that will give you tons of information about specific locations you’re looking to visit. There’s AAA that will give you maps, food, and lodging information. So what is Everywhere’s value?
2) Is user generated content helpful or hurtful? As a reader of a publication, are you looking for a travel photo/written journal? Is it presented as such or is it presented as having valuable information? Is having your content done by amateurs, talented or not, going to help sell your magazine to people or lower the worth of the content?
3) Would I submit a story and photos for the magazine? I wouldn’t because I’m spending a lot of time creating content for a profitable book without real compensation. Compensation doesn’t decide amateur or professional. In Japan, there’s plenty of photographers who spend 3/4 of their time making their living from photography, but because of that 1/4, they don’t call themselves professionals. To lower your own self worth is something I don’t believe in, no matter if you’ve been published or not.
4) Would I buy the magazine? I haven’t yet. I love magazines, too. Both Everywhere and JPG should be easy choices every month on my buy list. But I’ve never purchased them, before or after the incident. Would I buy a magazine that focused on specific photographers, amateur or not, that interviewed them about their life and their craft, and how it influences their shooting? Yeah, more than likely.
I could go on some more, but I’m getting a bit tired. I don’t mean to mix JPG and Everywhere, but in all honesty, when they announced Everywhere, I just thought “Okay, a JPG with only travel photos”. It wasn’t enough to make for a new magazine. It missed key parts of what a magazine is, what a book is, and what a website is. It felt like 8020 was trying to build a brand of “UGC” magazines… like, a food one after this, then a fashion one… actually, that doesn’t sound half bad… but I digress… they’re still going to have similar issues as Everywhere has. Your content has to have value before it will be purchased and Everywhere never found its value.
However, I get a feeling the real reason they’re “suspending” is because they figured it out finally and are pairing up with an outside company, more than likely web, to add that missing value to their magazine/website/POD. Either that or it won’t be coming back.