Jan 17 2011

Judy Herrmann: Reinventing Creativity

After Capture Blog_110117_RF1110_Judy Herrmann_Reinventing Creativity_1“If you really want to earn a living as full-time, self-employed photographer, you’re signing up to work in an industry where you have to watch for every opportunity and be ready to take advantage of them,” says commercial photographer Judy Herrmann. “There is creative vision — a photographer’s artistic voice — and then there is vision for business and career. These two things have to work together, but they are not the same.”

I featured these thoughts from Herrmann in “Judy Herrmann: Reinventing Creativity,” a recent profile for Rangefinder that focuses on Herrmann increasing efforts — through workshops, consulting and her new blog, 2 Good Things — to help creative professionals gain more satisfaction through their carriers, making more money doing more of what they truly love.

“Reinventing Creativity” is probably the most important article I wrote in 2010, but — dangit! — I probably gave it the worst name.

A much better, if less flowery, title (that would have really pissed off the design team) would have been:

“Judy Herrmann: How To Reinvent the Business and Creative Aspects of Your Photography Career in a Harmonious Manner, Over Time, In an Ongoing Process, To Earn More Money and Feel Profoundly More Satisfied In Life.”

That’s what Herrmann’s insights are all about, and there are a few things that make them particularly valuable.

One is that Herrmann is full-time working photographer, and has been for two decades, and her increased interest in supporting other photographers with the challenges of business-creative success comes from an honest passion to help. She says providing consulting services to photographers “is one of the few things in my professional life that actually gives me a deep sense of meaning.”

Another reason Herrmann’s guidance rings true is that she is deep in the reinvention trenches herself, and has been since she was 27-years-old. That’s when she forced herself, for the first time, to figure out how to make more money with more satisfaction through her photography. (I reported on this in “Triumph Over Fear” for Rangefinder a few years back.)

That’s right. I have been talking to Herrmann about this topic for years now, and distilling her insights into less than 2,000 words was painful. This woman has so many valuable insights to offer professional photographers that I’m just dying for you to be aware of her. And then — damn me! — I gave her article a crappy name.

Luckily, you can get in touch with Herrmanns’ ideas directly through her posts on ASMP’s Strictly Business Blog. Good stuff, like “‘If you don’t know where you’re going…you might not get there.’ – Yogi Berra” and “Looking Forward, Looking Back.”

After Capture Blog_110117_RF1110_Judy Herrmann_Reinventing Creativity_2Another reason Herrmann’s reinvention insights rock is because she is adamantly adverse to serving in a counseling capacity. “I make it clear that I am not a therapist,” she told me. “This is not psychiatry. What I’m really teaching people is problem solving. It is defining a problem very, very clearly and then brainstorming solutions.”

“What I’m trying to do is to give people an arsenal of tools,” Herrmann explained. “My goal is to make my client not need me any more.”

One place you can learn from Herrmann how to not need Herrmann is at the ASMP’s Strictly Business 3 conferences (Philadelphia, February 25–27; Chicago, April 1–3).

Yet another reason Herrmann’s strategies are so valuable is that she is not formulaic in her approach for working with photographers. She says, “I don’t think there exists a one-size-fits-all answer to this kind of problem solving.”

Can you see why I think it’s so important to learn about Herrmann’s business reinvention processes?

So, poopy title aside, I urge you to download “Reinventing Creativity” and soak up Herrmann’s ideas.

To be clear, I am not concerned about drumming up consulting business for Herrmann (although, um, I do get a percentage of all fees she earns resulting from this post).

What makes Herrmann’s insights so invaluable is that they don’t depend on her or, for that matter, any other career consultant. Like all great ideas, Herrmann’s strategies are a distillation of other people’s great ideas. And like all great ideas, you can put them to use for yourself on your own.

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Oct 18 2010

Multiple Set Ups Keeps Subjects Comfortable and Candid

Category: Creative Process, In-Camera Techniques, PhotographersEthan G. Salwen @ 12:30 pm

AfterCapture Blog_101018_Cohen Tip_1During portrait sessions we should always be sure to photograph subjects in multiple locations with different lighting set ups. Yes, this gives us more images to select from, but the biggest benefit is that it helps keep our subjects relaxed — a real maker or breaker in people photography.

This great advice comes from Stewart Cohen, whose life and “Identity” book project are the focus of a recent article by yours truly, in Rangefinder. I write:

For his still portrait work, Cohen uses multiple locations whenever possible and sets up a variety of lighting situations, even when time is tight. “This makes such a difference when working with people,” Cohen explains. “People react differently in different situations. It keeps the interaction flowing, keeps the subjects involved. Shooting frame after frame of a person in the same situation can be awkward for the subject.”

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Oct 11 2010

DigitalRetouch Indicted For Killing Super Models

Category: AfterCapture & Rangefinder Articles, The IndustryEthan G. Salwen @ 9:20 am

AfterCapture_101011_DigitalRetouch_1Actually, no indictment is needed. For one thing, the killing is figurative. More important, DigitalRetouch takes full, gleeful credit for what they have done. All of this I explain fully in an article for the last issue of AfterCapture. In “Transforming Celebrities Into Super Models,” I share the story of how fashion photographers Andrew Matusik and Stewart Price teamed up in 2004 to join the ranks of the elite retouching forces that are ensuring that regular-ole-looking celebrities have nothing to fear from would-be super models.

“If it doesn’t look like we did anything, then we did our job,” Matusik told me, which might seem like an obvious comment about retouching, but which Matusik says is a lesson that many photographers still need to learn. In the article I note that Matusik “believes strongly that any specific techniques are far less important than a retoucher thinking like a photographer and seeing like an artist.”

AfterCapture_101011_DigitalRetouch_2“Transforming Celebrities” was a great assignment. I had already written an article about Matusik for Rangefinder, and I really digged his work, attitude and perspectives. This piece gave me a chance to meet Price, and to learn about the ins and outs of retouching without getting into the ins and outs of specific techniques. Naively, I hadn’t realized there would be so much meat to the critical subject of retouching, and I appreciated the chance to learn and share.

If you are interested in retouching — for relatively light skin correction the most complex composting, of which Matusik is a unique master — you’ll likely enjoy “Transforming Celebrities.”

Excerpt on the Killing

“We contributed to the death of the supermodel,” says Matusik, referring specifically to DigitalRetouch as well as excellent retouchers throughout the industry. “Fashion magazines would always feature models on their covers. Models are freaks of nature—skinny, perfect skin, unusual symmetry.” He explains that Continue reading “DigitalRetouch Indicted For Killing Super Models”

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Oct 08 2010

Stewart Cohen: In Search of Identity

Category: Books, PhotographersEthan G. Salwen @ 10:43 am

AfterCapture Blog_101007_Stewart Cohen Identity_1Stewart Cohen is a photographer here in Dallas but of world renown and he’s come out with a new book that’s got portraits of folks,” says the hyper-happy Good Morning Texas reporter as he cheerfully plugs Cohen’s book as a great, last-second Father’s Day present. (Clip below.) “Portraits of folks.” I like that. I bet Cohen did, too.

I’ve interviewed Cohen a number of times and I am always refreshed by his utterly mellow, down-to-earth manner. A commercial photographer specializing in people, Cohen earns top dollar on big jobs for big clients. Before I first talked to Cohen I assumed he might be the rushed and frantic type. However, he invariably picks up the phone with a relaxed, friendly “What’s up, man?”, and he makes it clear that he’s genuinely interested in the answer.

AfterCapture Blog_101007_Stewart Cohen Identity_2Cohen’s book with “portraits of folks” is called Identity: A Photographic Meditation from the Inside Out (Dream Editions Press). It’s a labor-of-love, personal project that Cohen worked on for ten years, only seeing it come off the press earlier this year. I tell the complete story of Cohen’s project in “In Search of Identity, written for the latest issue of Rangefinder. I first discussed the topic with Cohen in 2007, and I think the long-term reporting paid off. Not only am I able to share with you Cohen’s perspectives after he has gone to press, but I refer back to Cohen’s earlier perspective — when he thought he ready to go to press, but when, it turns out, he was not even ready to stop photographing for the project.

"T. Boone Pickens" by Steward Cohen.

"T. Boone Pickens" by Steward Cohen.

Throughout “In Search of Identity” I weave in a profile of Cohen, highlighting his career and trying to illuminate a bit of his identity. If you are serious about commercial portrait photography, I’m sure you will appreciate Cohen’s story, and how he remains dedicated to improving his craft after nearly three decades on the job.

I open the piece with a description of Cohen’s image of Erik “Lizardman” Sprague, and then share a quote from Sprague featured in Identity: “I generally find the claim of being unique to be rather trite since we are all by nature individuals and thus unique.”

I continue by saying:

“Sprague’s words lucidly challenge the Continue reading “Stewart Cohen: In Search of Identity”

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Feb 12 2010

Fear: A Critical Topic Impossible to Discuss?

Category: Creative ProcessEthan G. Salwen @ 3:38 pm

AfterCapture_Blog_100210_Fear_1_RF1108_Fear_Salwen.pdf (page 1 of 4)How we address our fears is critical to our creative and business success. I clearly see this trait of dealing in all successful photographers, and I have questioned many of them on the topic. I have wanted to say something insightful on this fear theme, but I am not sure I have gotten beyond clichés.

In “Triumph Over Fear,” an article I wrote for Rangefinder, I did my best to explore some of the implications of fear as part of success in photography. My strategy was to share the stories of four photographers. This seemed the only honest, valuable way to explore the topic.

However, I admit, it was hard not to try to write the article in such a way that it suggested: “Embrace your fears, even appreciate them. What you are afraid of makes you stronger.”

See how lame that sounds? It’s not like I’m Franklin D. Roosevelt inspiring a nation. What the hell do I know? It scares the shit out of me just to learn new keyboard shortcuts — and I’m not kidding. Continue reading “Fear: A Critical Topic Impossible to Discuss?”

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Jul 21 2008

Finding Creative and Financial Rewards in Black & White

Category: Business & Marketing, Creative Process, PhotographersEthan G. Salwen @ 9:11 am

ACMF_080721_kuruvita_01_home13-1Philip Kuruvita has a thing or three to teach us about the creative AND financial rewards of working almost exclusively in black & white. Such lessons are invaluable now that clients of every ilk are steadily gaining interest in B&W imagery.

Maybe “hunger” is a better word than “interest.” There are few wedding couples and portrait customers that do not want at least a few B&W images. It’s quite typical for entire ad campaigns to be “shot” in B&W. And of course, the hybrid B&W/color images with almost surreal blending of hues and tonality are becoming a staple in the ad world.

Of course, RAW files allow photographers to easily produce images in color, B&W and a multitude of B&W-color hybrids from one capture. So it’s not surprising that Continue reading “Finding Creative and Financial Rewards in Black & White”

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