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.

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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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May 11 2010

The Best Photographers Are People, Too

Category: Books, Creative Process, Photographers, The Industry, ViewpointEthan G. Salwen @ 7:57 pm

AfterCapture Blog_100511_Identity_1“The thing I walked away with from this project is that people are people are people,” Stewart Cohen told me today of his “Identity” project. An excellent and accomplished commercial photographer, Cohen has been working on this personal project for ten years, recently reaching a major milestone by publishing “Identity: A Photographic Meditation from the Inside Out” — an elegant, labor-of-love book that includes 50 portraits of famous people who caught Cohen’s interest. Next to each full-frame portrait are words by each subject, in their own handwriting, commenting on their identity.

For “Identity” Cohen made 130 portraits, editing them tightly for the book. Although all his subjects can be labeled “famous,” they do fall into the any one, easily definable category, such as “musicians,” “scientists,” “Nobel Prize winners,” “activists” or “politicians.” Six of Cohen’s subjects point to the breath of his coverage: Bobby McFerrin, Erin Brockovich, Oscar Niemeyer, Jane Goodall, Stephen Hawking and Jack Kilby. (Jack who? He’s the Nobel prize winner.)

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“Whether your a drifter or bad-ass scientist, the human experience is the human experience,” Cohen told me. “There’s no magic. People become what they want to become.”

Continue reading “The Best Photographers Are People, Too”

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May 05 2010

Seeing Beyond the Still

Category: In Motion, The IndustryEthan G. Salwen @ 12:56 pm

The most recent issue of the “The Digital Journalist” (May 2010), which focuses on video, opens with this video by Vince Laforet.

On the vimeo.com page where the movie is hosted, Laforet explains that part of his motivation in creating “Chapter 1: The Cabbie” was to show off “the many strengths of this new breed of HD DSLR cameras, such as the Canon 7D, which we shot this film with.”

There is no doubt that Laforet has succeeded. The production quality of “Cabbie” is simply outstanding, and it will provide inspiration for any photographer exploring the possibilities of video. Laforet explains that “The camera’s low light capabilities and light weight allow you to do things you’d never think to try with traditional cameras.” Continue reading “Seeing Beyond the Still”

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Apr 30 2010

Hitler on Fair Use and Parody in Copyright Law

Category: The Industry, ViewpointEthan G. Salwen @ 6:20 pm

“Speaking of copyright,” a photographer wrote me, “This is so funny. If they haven’t taken it down yet, it’s a must see.” Indeed!

I hope you can see this because it’s beyond funny. Nothing like a crazed Hitler delivering witty commentary on copyright issues, faults of the Google/YouTube empire (”Aren’t they supposed to be all, ‘Don’t be Evil’?”) and pointing out that what might look like copyright infringement might not be or, maybe more to the point, might — when done respectfully — be the best form of promotion benefiting the infringed entity in question. (As Hitler points out, “The movie got international attention because of YouTube users’ hard work.”)

Thanks to Zacqary Adam Green (a.k.a. Plankhead) for his hard work on this one, and for making Hitler, in this scene from “Downfall”, come across as both hilarious and insightful. (Not easy.)

For more info of the viral video parodies made from “Downfall,” see this Wiki entry. (”The film’s director, Oliver Hirschbiegel, spoke positively about these parodies,” but the production company, Constantin Film, “has asked video sites to remove many of them.”)

In case YouTube/Google has zapped the above video (”I mean, they pulled out of China for shit like this.”), keep reading this post to see some key screen shots.

Continue reading “Hitler on Fair Use and Parody in Copyright Law”

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Apr 29 2010

Future Photography Industry Insights (in 50 Words)

Category: The Industry, ViewpointEthan G. Salwen @ 1:11 pm

AfterCapture Blog_100429_Future Survey_1“Future photography industry paradigms we correctly imagine today will be old news in five years, overshadowed by technological and business developments we cannot fathom. The only norm in visual communications will be constant, hyper-accelerated evolutions. Photographic professionals capable and eager to continually adapt will thrive. All others: sci-fi equipped amateurs.”

In exactly 50 words, this was my answer to the following survey question I received today:

“In 50 words or fewer, answer the following question: ‘Where do you see the photography industry going in the next five years?’”

The question was sent to me (and many others) by George Varanakis, publisher of “AfterCapture,” who is working on the July 2010 “State of the Industry” issue of “Rangefinder” magazine. It’s a great question to speculate upon and basically impossible to answer, especially given the bold (in bold) 50-word limit. (The question alone is 13 words.) Continue reading “Future Photography Industry Insights (in 50 Words)”

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Apr 19 2010

Craig F. Walker Wins (the New) Pulitzer Prize in Feature Photography

Category: Photographers, The IndustryEthan G. Salwen @ 9:19 pm

AfterCapture_Blog_100419_Pulitzer_1On April 12, the 2010 Pulitzer Prize in Feature photography was awarded to Craig F. Walker of “The Denver Post.” As the prize citation notes, Walker won the award “for his intimate portrait of a teenager who joins the Army at the height of insurgent violence in Iraq, poignantly searching for meaning and manhood.”

Winning a Pulitzer is a big deal. There is no doubt that Walker’s work is  worthy of recognition. What is more confusing is exactly what makes photography eligible for a Pulitzer Prize, how this relates to digital journalism and how Pulitzer judges chose winning images in relation to online presentations.

This post is about the Pulitzer Prizes in photography — thus “(the New)” I put in the title — and not about whether Walker’s work deserves the prize. I want to make that clear. For more than two years Walker photographed a young man named Ian Fisher as he went from considering joining the military and his induction into the Army through his training — which included a number of personal problems — to his eventual deployment to Iraq and his return to the States.

Not only did Walker photograph Fisher at key moments during a 27-month period, but he recorded his family, friends and many aspects of the modern military not often seen. It is a truly compelling body of work.

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The main reason I know that Walker’s body of  work is compelling is because of an online, multimedia site hosted by “The Denver Post.” By heading to “Ian Fisher: American Soldier” I was able to delve into Walker’s work far, far more in depth than I could have by merely viewing the 20 images presented in the “Works” section connected to Walker’s citation on The Pulitzer Prizes site.

Confusing Evolutions in Pulitzer Eligibility

I first heard about Walker’s winning work from a post on 10,000 Words. The post’s introduction says: Continue reading “Craig F. Walker Wins (the New) Pulitzer Prize in Feature Photography”

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Apr 05 2010

Cameras Controlled by Bodily Input

Category: Technology Insights, The Industry, ViewpointEthan G. Salwen @ 9:06 am

AfterCapture_Blog_100405_Body Sensors_1I recently read yet another fascinating piece on new frontiers in technology related to new ways of controlling electronic devices. As the BBC News piece reads, “Tapping your forearm or hand with a finger could soon be the way you interact with gadgets.”

Since I’ve been reading about other versions of related technology, I’ve been trying to think up a great post in which I say something insightful (or at least witty) about how this relates to photographic technology.

But, um, I’m not coming up with anything particularly good, but I decided to share the news piece with you anyway, and to put the question out to you: Have you read forecasts about how such technology will relate to our image making in years (or months) to come? If not, do you have any insightful (or witty) thoughts on the topic?

Sure, there is one idea that is a given. To paraphrase the hundreds of future-thinkers that know more than I do: Photography will soon will involve technology in ways that we simply cannot imagine.

That’s the “problem.” How can we imagine what we can’t imagine. And why do we need to? — especially when we are trying so damn hard just to keep up with today’s technology. (Or, in my case, yesterday’s technology.) Continue reading “Cameras Controlled by Bodily Input”

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Apr 02 2010

The Fine Art of Photojournalism Multimedia

Category: In Motion, Technology Insights, The Industry, ViewpointEthan G. Salwen @ 3:27 pm

Photojournalism has never been as “straight” as most people seem to assume, especially those outside the specialty. With the advent of digital multimedia as a way to share still photojournalism, increasing numbers of photojournalists seem quite comfortable pushing the line between “straight” photography and fine art image making.

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One amazing example can be found on the website of photojournalist Antonin Kratochvil, whose work is represented by the photo agency VII.

The only explanation offered within the multimedia piece “Road Work” is the text that says, “by U.S. Army Staff Sergeant Jack Lewis.” Presumably the haunting, personal narration is by Sergeant Lewis, and presumably it is based on his real experience, and presumably the images in the piece were made by Kratochvil. Continue reading “The Fine Art of Photojournalism Multimedia”

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Mar 08 2010

Black Star Rising: An Amazing (Not-Just-PJ) Photo Resource

Category: Resources, The IndustryEthan G. Salwen @ 1:30 pm

AfterCapture_Blog_100308_BlackStarRising_1Sure, you know that “Black Star” equates to photojournalism, but did you know that Black Star hosts a Web Site stuffed full of truly valuable information for working photographers of all manner?

Well, I didn’t, and it’s my job to know. But (not that I should look for excuses!), perhaps my oversight of “Back Star Rising” (the Web site resource in question) came from the fact that photojournalists often seem so “out there” from what the rest of photographers are doing.

In any case, you don’t need this post to find the value in “Black Star Rising.” Just head on over there and take a gander.

If I’m assuming to much about your knowledge of Black Star, let me share a bit of the agency’s history, as explained by the site:

“The list of those who in the early years signed a contract with Black Star reads like a Who’s Who of photojournalism in the following decades: Walter Bosshard, Robert Capa, Ralph Crane, Herbert Gehr, Fritz Goro, Andreas Feininger, Ernst Haas and Philippe Halsmann, to name but a few.”

“According to photo historian Marianne Fulton, Life brought Black Star 30 to 40 per cent of its business. Black Star, in turn, contributed to Life becoming the most popular magazine in America for nearly three decades, with tens of millions of readers.”

You can see why I equated Black Star to photojournalism. And you will certainly see why Black Star Rising rises far beyond the needs of photojournalists alone. Here are a few recent blog posts:

“Writing Your Photography Marketing Plan: Setting Goals.” By Matthew Kauffmann.

“Get Trippy with Black-Light Photography.” By Jeff Wignall.

“Eye on Image-Making: Sales Is Not a Four-Letter Word.” By David Weintraub.

This is good stuff!

AfterCapture_Blog_100308_BlackStarRising_2Regular categories include: Advice for Clients, Art of Photography, Business of Photography, Photography Law, Photojournalism, Stock Photography, Teaching Photography, Video and Multimedia, Video Blog Posts.

This is good stuff!

Did Black Star Get a Rise Out of You?

Presuming your not a photojournalist and also presuming that you ran to check out “Black Star Rising,” let me know what you think. Do you like the site? How does it relate to your specialty?

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Mar 05 2010

Still, Video and Social Media: Gail Mooney Will Open Our Eyes

Category: Creative Process, Photographers, The IndustryEthan G. Salwen @ 10:30 pm

AfterCapture_Blog_100305_Opening Our Eyes_1“We are two people — a mother and a daughter — embarking on a journey around the world to document and film the stories of individuals — ordinary people who are following their own dreams, passions and ambitions and doing extraordinary things.”

This is from the Gail Mooney’s new website, “Opening Our Eyes: Global Stories About the Power of One.” As the site explains, Mooney — an accomplished documentary photographer and filmmaker — will be heading around the world with her daughter, Erin Kelly, to gather the material they need to create a feature length film.

This is a project worth keeping tabs on. For one thing, it’s Mooney’s latest personal project, which are always impressive, as she uses them to push her photography forward, both creatively and in terms of business.

“Opening Our Eyes” is particularly interesting to those of us in the industry because Mooney will be pushing her limits in terms of working in both still and motion, employing light and affordable equipment. In short, she will be heading into waters that many of us will heading into ourselves — still & motion — and she does so with the insights of an impressive background in traditional still and motion.

Mooney is in a perfect position to show us how to capture both great stills and motion, ensuring that both get put to the best use. (To see what Mooney’s capable of, check out her shorts for “The Delta Blues Musicians” and “Freedom’s Ride.”)

Freedom’s Ride from Gail Mooney on Vimeo.

This is not to suggest that “Opening Our Eyes” will be about photography for photographers. Hardly. As always, Mooney will focus on the story — on her subjects — focusing on the task of best communicating that story to the most appropriate audience. Continue reading “Still, Video and Social Media: Gail Mooney Will Open Our Eyes”

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