Aug 31 2010

Learing on the Job, Or Not?

Category: Business Strategies, Creative Process, Multimedia & VideoEthan G. Salwen @ 1:53 pm

“I’m not sure I’d agree with you as far as learning multimedia on the job,” Gail Mooney commented to one of my recent posts. I’m glad she brought the point up. In writing about the new multimedia project I have taken on for Human Rights Watch, I wrote: “Photographers can learn multimedia skills on the job,” and explained that thinking this way is what allowed me to take a leap and offer HRW services requiring skills I am still learning.

Learning on the job can mean taking a calculated leap, with plenty of support - like this woman boarding a train in Lima, Peru.

Learning on the job can mean taking a calculated leap, with plenty of support - like this woman boarding a train in Lima, Peru.

I think that Mooney and I are probably really on the same page, and simply looking at the fine line between offering services we are not capable of delivering professionally and offering services out of our skill range but that we know we can deliver. When it comes to still photographers offering video and multimedia services, we can do this by outsourcing services or, more specific to my point, knowing through experience that we can learn the skills called for — before and during the job.

Not Pro Cake Baking

It would be an unprofessional disaster if I sold professional services to bake a wedding cake this weekend. I just couldn’t do it. But regarding my offering multimedia services to HRW, there are a few thing to consider that put this “learning on the job” in a different category:

  • I studied multimedia in college pretty seriously, making a polished project that was used by the United States Post Office for public education. (Yes, the technlogy was very, very different.)
  • I’ve been playing around with modern multimedia, learning some skills and — just as important — identifying the many skills I still have to learn.
  • I’ve been interviewing numerous photographers over past three years on the topic, processing their advice by writng articles.
  • Many of these photographers have become friends and have made it clear that they will support me when I need help with my own projects.
  • When I pitched the project to HRW, I made it very clear that this would be a relatively simple project, fundamentally using the skills I already have (if not yet at the most professional levels).
  • I was honest and direct with HRW that I would be learning on the job, and that we would need to consider this in terms of both project timeline and our working relationship.

Learning on the Job IS Professionalism

None of these points are to argue with Gail Mooney. She’s been working very, very hard for more than a decade on her film-making skills and she’s still learning. This must be respected. It is why I wrote a post about how hard it is to make movies, in which I encouraged photographers to Continue reading “Learing on the Job, Or Not?”

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Aug 11 2010

A Photojournalist (Published) in Argentina

Category: Business StrategiesEthan G. Salwen @ 1:04 pm

AC_Blog_100811_HRW_1Today an image of mine from yesterday’s Human Rights Watch press conference appeared in “Pagina 12,” Argentina’s biggest progressive newspaper. Images of mine from the press event also ran on a number of international news Web sites. Yes I’m pleased about this, but I’m also quite surprised.

When I arrived at the Human Rights Watch press conference (to unveil “Illusions of Care”), I had two goals. My primary goal was to meet contacts to help with my multimedia project for HRW. My second goal was to experiment with photographing still images while also capturing video and, gulp, recording audio as well.

I figured that the material likely would not make it into my multimedia project, and so I didn’t have to worry about the low quality of the video from my Canon G9, nor about the fact that I had no idea how to record audio with my brand new Zoom H4n, which looks like a spaceship and comes with an instruction manual that left me confused an anxious.

In other words, although I was messing around with a lot of equipment, I wasn’t nervous. No pressure. But then. . .

I noticed that there were no other photographers at the press conference and I thought, um, shouldn’t we be putting my work to use for HRW? At least, I thought, I should make sure I get one or two suitable images for press use, just in case.

I only really got my head on straight regarding press images after the conference, back at the hotel that HRW was using as their strategic center. There were giving lots of interviews and so I finally said, “Shouldn’t we be offering my images to the press?”

Indeed!, the team said. So I rushed back to my computer, set up a gallery of selects, and started responding to emails and calls that were coming in.

Marianne Mollmann speaks at Human Rights Watch press conference in Buenos Aires, Argentina, August 10, 2010, to release report "Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina"

Marianne Mollmann speaks at Human Rights Watch press conference in Buenos Aires, Argentina, August 10, 2010, to release report "Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina."

Thinking About the Client

I realize, of course, that daily news photographers think very clearly (and in advance) about how to get their images quickly into print. I’m not that kind of photographer, and so I don’t think that way. (That’s not an excuse; I’ll be more alert in the future.)

In terms of getting my images published I wasn’t thinking about how to make a few extra bucks on licencing a few tiny images. The important thing for me was to make myself part of the HRW team, help them with their press efforts and — no small matter — show them what I look like working in action.

Yes, I’ve already got the “go” for the multimedia project, but I am working with only one contact, who already has my confidence. Yesterday, two of her colleagues saw me go the extra mile for HRW, and I’m sure that, at some point in some way, this will serve me well.

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Aug 10 2010

Working for Human Rights Watch – Multimedia Style

Category: Business Strategies, In-Camera Techniques, ViewpointEthan G. Salwen @ 10:39 am

AC_Blog_100810_Human Rights Watch_1Human Rights Watch held a press conference in Buenos Aires today to drum up interest in their latest report: “Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina.” I’m pleased to announce the cover image of the report was made by yours truly. It was great to put my photography to work for HRW. It’s even greater that it’s a relationship that has just begun. The next phase will involve my making for them a multimedia production, a topic about which I have been writing so much lately. (In fact, my writing led directly to this job, which is very cool and which I will explain below.)

For the “Illusions of Care” cover I was charged with making an image that spoke to the report’s theme — roadblocks to better reproductive health care for women and girls in Argentina. I could not show the identity of anyone I photographed, unless I obtained a model release, and so I focused on a graffiti-filled hallway in the maternity ward at Hospital Alvarez in Buenos Aires. (The graffiti “Aca nacio” features prominently in the image. “Born here” in Spanish.)

Actually, I was able to get model releases from a number of women I photographed. And some of these images show the women with distressed expressions that might have made a more powerful cover image. However, using one of these images for “Illusions of Care” would have been disingenuous, to say the least. The care at Alvarez maternity ward is excellent. The women’s expressions were the result of them being in various stages of labor.

Although many of the images I made at Alvarez were not right for the report cover, I’ll likely be able to use some in the multimedia project I am now working on for HRW.

Building Trust Was Key

A couple months back Marianne Møllman, the author of “Illusions of Care, contacted me to see if I might be able to make a cover image for the report. I told her I was Continue reading “Working for Human Rights Watch – Multimedia Style”

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Aug 06 2010

Still Images Are Like Mt. Rushmore, Videos Are Like the Bubonic Plague

Category: Business Strategies, The Industry, ViewpointEthan G. Salwen @ 2:54 pm

AfterCapture Blog_100806_Viral Photos_aIn the world of new media, still images are like solid, immovable monuments, while videos are like fluid, unstoppable viruses. Given the fact that most of us want our images and ideas to “go viral,” understanding this concept is critical.

I have a lot to say on this topic, but for this first post directly speaking to the strange paradoxical way in which — in the world of the Internet — still images are like Mt. Rushmore and videos are like the bubonic plague, I will simply offer an illustration of the concept.

Let’s start with the little, uncredited thumbnail you see to your upper right. I stole this image from a photographers Web site, I give him/her no credit and I provide no hyperlink back to his/her site. This kind of screen-grab stealing and usage happens 3.4 million times a second, and it’s totally illegal.

Below you see a bigger version of the same image. Now I will tell you it was made by Ian Shive. You will note that I’ve added his copyright stamp, and if you click on the image you’ll see that I’ve created a hyperlink to his site. Further, I will tell you that Ian Shive is a wonderful photographer, a great guy and that you should definitely check out his site and use his services. The fact that I’ve done all this does not change the fact that I what I have done is totally illegal. I have stolen this image from Shive’s Web site, broken copyright law and abused Shive’s right to control his intellectual property. I just can do this with a still image without breaking the rules.

AfterCapture Blog_100806_Viral Photos_1

Now, I’m going to post the five-minute episode one of “Wild Exposure with Ian Shive”, a video hosted on Vimeo.com. This multimedia production by Shive and Russell Chadwick features stunning video by Chadwick, amazing still images by Shive, an original musical score the team had commissioned, and yes, you got it: the same photograph that I already stole twice in writing this post.

Not only am I legally allowed to share this video, I am encouraged to do so by Shive, who enabled the “Embed” button, allowing me to post this video directly into my post. And there is no stipulation that I have to say wonderful things about Shive, or provide a link back to his main Web site. In fact, I’m free to host this video on my “The World’s Shittiest Videos” Web site, and even if this really irritates Shive, there’s very little he can do about it.

While it’s impossible to move Mt. Rushmore, powerful viruses have a way of a way of moving with wonderful, unstoppable speed.

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Jul 23 2010

Photographers Embrace Social Networking — In Ways That Ring True

Category: Business Strategies, Creative ProcessEthan G. Salwen @ 3:59 pm

AfterCapture Blog_100723_SocialMedia_1Chloé Browne, a London-based wedding photographer, only started using Twitter after three clients found her through tweets written by others: clients raving about her services. Now Browne tweets throughout the day, and weaves this focused social media marketing into the fabric also comprised of the threads that are her active blogging and Facebooking.

AfterCapture Blog_100723_SocialMedia_2Brown is one photographer featured in “Hello, world: Social Networking for photographers”, a great article by Diane Smyth, published in the “British Journal of Photography.” As Smyth explains of Browne:

“Browne’s Facebook and blog pages link back to each other, her Twitter account and her main website, and she updates her Facebook page and Tweets each time she publishes a new blog, which is at least once a week. It is a lot of admin, she admits, but in her case it’s had real results – she only advertises online, and wins most of her new business this way”

AfterCapture Blog_100723_SocialMedia_3In “Hello, world” Smyth reports on just a few of the different ways that photographers are finding business and (just as important) creative success with social media. One, clear message that Smyth conveys is that these photographers are finding quantifiable, positive value from social media because they are using social media in ways that are true to their personalities and business goals.

This is refreshing. It is different from the Continue reading “Photographers Embrace Social Networking — In Ways That Ring True”

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Jun 04 2010

Learning Multimedia and Video On the Job

Category: Business Strategies, Creative ProcessEthan G. Salwen @ 1:33 pm

“The way I learn the best is just to do stuff,” Wu said. “So I will just take an assignment and learn along the way.”

This thought from Tony Wu came near the end of my post yesterday, and I thought I better elaborate on it, both for the sake of clarity and to fend off the likes of Gail Mooney, a photographer who has spent years mastering video and multimedia and who has told me more than once (understandably) that she gets very irritated by photographers (and clients) who downplay the difficulty of creating video and multimedia.

Where did I learn to photograph on a train at high altitude? Um, that would be, on a train at high altitude. (Nearing 15,023, heading between Lima and Huancayo, Peru.)

Where did I learn to photograph on a train at high altitude? Um, that would be, on a train at high altitude. (Nearing 15,023 ft., heading to Huancayo, Peru, from Lima.)

Tony Wu is as conscientious of his professionalism and the difficulties of creating multimedia as Mooney. Also, to be clear, this was just one brief thought from him in a very long conversation. Wu didn’t make a big point of the idea that photographers should take on new challenges while on the job. However, I will.

I don’t think it goes against best professional practices to suggest that on-the-job learning should be a critical strategy embraced by still photographers venturing into multimedia. As Wu suggests, why not go out an get jobs that require a slightly higher level of expertise?

Professional Photography IS On-The-Job Training

Continue reading “Learning Multimedia and Video On the Job”

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Jun 02 2010

The Incredible Nature of Ian Shive

Category: Books, Business Strategies, In Motion, PhotographersEthan G. Salwen @ 4:57 pm

AfterCapture Blog_100602_Shive_1“At the end of the day, your multimedia project is only as good as your story,” Ian Shive told me today during a fantastic interview. Both insightful and contagiously enthusiastic regarding the evolving possibilities in multimedia for still photographers, Shive is a 31-year-old nature photographer who turned pro only a few years ago — from a background in marketing major Hollywood motion pictures. Driven and focused, Shive is having tremendous success, recently publishing “The National Parks: Our American Landscape” and having launched Wild Collective, a full-service multimedia production company with partner, Russell Chadwick.

Shive’s portfolio is a strong, lush statement that speaks to his capacity to create top-notch nature imagery. However, to get a much better sense of who Shive is — and to gain inspiration for possibilities in leveraging still images in multimedia projects — watch “Wild Exposure with Ian Shive – Episode One – The Southwest.”

Created with Chadwick, the original idea behind “Wild Exposure” was to create a multimedia promo piece for “Our American Landscape.” The thing is, returning from their 28-day, 7,500-mile National Parks road trip, Shive says the team realized that Chadwick “had shot 36 hours of the most stunning footage you have ever seen in HD.” What to do?

Continue reading “The Incredible Nature of Ian Shive”

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May 07 2010

Just say “No” To No-Good Photo Jobs

Category: Business StrategiesEthan G. Salwen @ 2:27 pm

AfterCapture Blog_100507_Just Say No_1“One of the toughest things for a photographer to do is to say ‘no’ to new business, even if it’s a bad deal,” writes Aaron Lindberg in his most recent post for “Black Star Rising.” He continues: “Especially in today’s environment, your prospective clients have an arsenal of pick-up lines — ranging from sweet talk to coy bluffs — to make bad deals sound like good ones.”

Head to “Photographers, Don’t Fall for These Client Pick-Up Lines” to get a taste of the pick-up lines Lindberg has heard, as well as his encouragement to just say “No!”

You probably already know to say “no.” It’s one of the best, most basic pieces of advice for the business of professional photography. However, knowing this doesn’t seem to make saying “no” any easier. Grounded, positive encouragement like Lindberg’s is needed, and often.

There are a lot of reasons that photographers are apt to say “yes,” but let’s not dwell on them. Let’s turn the problem around and considering relishing in the opportunity to say “no.” Continue reading “Just say “No” To No-Good Photo Jobs”

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Apr 26 2010

Why and How to Register All Images with the Copyright Office

Category: Business Strategies, Resources, WorkflowEthan G. Salwen @ 3:23 pm

AfterCapture Blog_100426_Copyright_1“If you are not registering your work with the Copyright Office, you are not respecting your work either. Registering your copyrights is the professional thing to do.”

This important observation comes from Susan Carr in her great ADBASE “Insight” article, “Protect & Respect: Why It’s important to Register Images.” Carr not only goes over the Whys, but leads us to practical Hows.

As Carr, a photographer dedicated to photographer rights, a past president of the Amiercan Society of Media Photographers and a regular contributor to ASMP’s “Strictly Business Blog,” explains:

“When I first started registering my photographs with the Copyright Office, I cherry picked images or projects based on my own assessment of their value.

“It turns out that I am not the best judge of what the market will like or use. For example, I photographed a project 10 years ago for an architect. The license clearly states no third-party use. Fast-forward: I recently discovered these same images on various sub-contractors’ websites.”

Carr goes on to explain that:

“Without registering the work prior to the infringement, I simply do not have the big stick to bring to the table.”

The Reality

As Carr points out, there are some many factors working against photographers when in comes to copyright infringement in the digital era, especially:

Continue reading “Why and How to Register All Images with the Copyright Office”

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Apr 20 2010

Have You Gone Skitch Mad Yet?

Category: Business Strategies, Resources, WorkflowEthan G. Salwen @ 9:55 am

AfterCapture_Blog_100420_Skitch_aAt the risk of beating a dead horse — that’s a truly creepy visual that I never really thought about — I’m once again going to highlight Skitch, straight-out begging all you Mac users to download this amazingly useful, fun (and free!) app.

Just play with Skitch for a few minutes and you’ll be hooked — seriously hooked.

You’ll see that as fun as Skitch is, it’s an truly amazing tool for photographers.

I tried to hard sell you on Skitch with a my show-don’t-tell Skitch post. Then I tried to soft sell you with another post highlighting Skitch. And yet I’m back at it. Why? Because I’m using this brilliant little app almost every day, and it continues to blow me away.

Just now I sent off this Skitch-made graphic in an email to a friend as part of a digital workflow question. Less than three minutes to create — from start to “send.”

AfterCapture_Blog_100420_Skitch_1

This is a hell of a lot better than a long, confusing email in which I try to explain this file structure, don’t ya think?

(Keep Going: There’s a Skitch Dead Horse Surprise at end of this post!)

Continue reading “Have You Gone Skitch Mad Yet?”

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