Category Archive: business
A Pew Research Center study shows that photographers have been hit hardest by US newspaper layoffs since 2000. There has been a 32% reduction in writing staff (from ~25,500 to ~17,500 writers), but newspaper photographers’ numbers have decreased about 42% (from 6,171 to 3,493). Newspapers frequently cite changing technologies or ease of training writers to take photos or video as they report the news. Over at Sun-Times/Dark Times we’ve seen just how bad that can get through comparisons between Tribune and Sun-Times coverage after the Sun-Times laid off its entire photography staff.
I always find it curious that newspapers are quick to train writers to serve as photographers in these situations, and that almost never goes the other way.
Conflict reporting is a dangerous undertaking increasingly dominated by the work of freelance journalists (as high as 80% of journalists working in Syria are freelancers), most of whom lack the legal, financial, and security resources of large news organizations while working in risky environments. Vaughan Smith, of London’s Frontline Club, and a group of freelance photographers and other journalists have organized the Frontline Freelance Register to address the issue of freelancers putting themselves at risk without the institutional backing of large news organizations (two French freelancers freelancers were just abducted in Syria; James Foley has been missing for 204 days as of the writing of this post). The FFR is billed as “a representative body for freelance journalists exposed to risk while gathering news” and will work to establish and promote industry-wide safety standards and best practices for journalists working abroad in difficult and dangerous circumstances.
If you work in dangerous environments, you can apply to join the FFR here.
Related: RISC trains freelance conflict journalists to treat life-threatening injuries in the battlefield.
“instead of trying to pick apart the meaning and motivation behind photographs, these articles will try to find out how photographers are actually surviving in 2013. I want to talk concretely about the challenges facing photographers, and the conditions that affect their work, both in the personal and professional sense of the word.” -Dan Abbe, Why How You Living?, American Photo
We’ve been on the subject of business in photography recently. American Photo has embarked on a fascinating series profiling photographers around the world and how they cobble together a living. Called “How You Living?” the series takes a candid look at what photographers do to get by. Here’s a short explanation about the motivation behind the series. The crux of the interviews, though, is something not often talked about in photography circles: how do you make a living? The short answer is that there are very few people who make their living entirely from taking pictures.
Only a couple of the photographers make some or a substantial part of their income by using a camera. Others fit in photography alongside full-time jobs, freelance design work, teaching, or whatever else it might take. For those of us making a go of freelance photography, this might not be news, but it’s refreshing to hear photographers speak openly about how they make things work. For those of you just starting out, know that you’ll probably need to supplement your photography with other work (or less interesting types of photography) for some time. I know I certainly did.
This is making me panic as a Photo Journalism major. -top voted comment discussing Who Pays Photographers? at reddit
Pricing journalism always feels like a dark art. Following the online payment for journalism back-and-forth last week, Manjula Martin started collecting payment rates for writers at the Who Pays Writers? tumblr. Following that lead, one of our friends set up Who Pays Photographers?, a collection of anonymously-submitted reports of rates paid for (primarily) assignment work. Not long after the site took off, I got a call from the creator concerned about the popularity of the site (averaging 15,000 unique visits a day), and we talked a bit about what purpose the site might serve and how to make it a reliable resource. You can submit rates anonymously through the site.
An interview at PDN tells a little more about what goes into collecting this information and the goals. You can see all of the submitted rates paid to freelancers around the globe, from Gazeta Wyborcza’s $26 day rate to Forbes’ $1250 day rate including assistant and digital fee. The entries also have notes about contractual terms and the time it takes to receive payment. It’s not always a rosy picture, though that’s hardly a surprise.
The response to Who Pays Photographers? has been generally positive, spreading quickly via twitter, facebook, and reddit. At reddit and elsewhere, though, people have been dismayed by the low fees for most photojournalism.
I’m of the opinion that Who Pays Photographers? is an incredibly important resource. While many organizations and blogs work hard to educate freelancers about the business of photography, the actual fees paid for assignment or stock are often kept secret by photographers (though some do publish rate cards). The best way to improve our lot is to be honest and open about what it’s like to work in photography, and a major part of that is a conversation about money, since we all know exposure doesn’t pay the bills.
Make sure to submit some of the rates for your assignment work. I have already, and you should, too.
At Popular Science, we’re pretty good about paying for work; I’ve certainly never asked someone to write a piece for free (photography, sadly, is a totally different story. I feel for photographers!). -Popsci.com editor Dan Nosowitz in a discussion between editors on paying writers
There’s been a lot of talk in the past few days after Nate Thayer posted on his blog about an Atlantic.com editor asking him to write for free. There’s a good summary of the events here. To any freelancers, it’s a common enough occurrence. If you haven’t seen Fuck You, Pay Me, start there. The Atlantic has issued an apology to Thayer, no doubt due to the attention given Thayer’s blog post.
One of the most interesting things to come out of the discussion, though, is a branch thread (?) involving editors and writers from a number of well-known online and print publications on the subject of paying writers for work. It’s called How Much Should A Writer Be Paid, If Anything. The quote above, about the sorry state of payment for photography for online journalism, is cherry-picked from well down in the discussion, but the rest is definitely worth a read for insight into how online publications compensate their contributors. It’s a very interesting look behind the curtain of pageviews and budgets.
And while the situation for writers isn’t rosy, the quote at the top shows it can be even worse for photographers (as we all know). I was happy to read last year (search for “Well, I think it has to do with paying people”) that the NYT’s Lens blog has started paying photographers. Ironic for this discussion, the Atlantic’s In Focus blog, one of the premiere photography showcases online, doesn’t pay photographers last I checked (see update below; the blog does pay for wire service subscriptions). As more and more media entities get into the online photography game, it’s important to make sure photographers are paid fairly for their work.
Update: Thanks to In Focus editor Alan Taylor for adding to the discussion with his comment down below.
I met Camille Lepage in South Sudan last September when I arrived in the capital Juba on a two-week assignment. She had already been living there for almost two months, and has been there ever since. She was a huge help in getting our story off of the ground and filling my colleague and I in on how South Sudan works, with all the necessary tips and tricks that help make things happen there. And there are a lot of tips and tricks needed.
At the time she had just finished a stint at a local newspaper, The Citizen, and was starting work as a stringer for AFP. Since I met her, she has traveled all over South Sudan and the border region and begun to produce impressive stories on her own. I wanted to feature her project “The Silent War” from South Kordofan, which was was photographed in October and November last year and published this week in Le Monde. We also wanted to ask her a few questions about what life is like as a freelance photographer in South Sudan.
Dvafoto: When did you arrive in South Sudan?
I arrived in South Sudan in July 2012, just after finishing my degree in journalism at Southampton Solent University in the UK.
What was the main story you wanted to cover when you set out?
The wars at the borders with Sudan really pushed me to come to South Sudan. They are going on in complete silence and I have always wanted to cover underreported (if reported at all) wars or humanitarian crises, so I figured going to South Sudan, which was a new nation under construction, would probably be a good way to start. On top of that, I thought it was very unfair that a one year old country was constantly referred to as doomed or failed so I wanted to see it for myself and perhaps bring some new light on it.
How has the story you’re pursuing changed?
I think I really have two main focuses. The first is the humanitarian crisis in both Blue Nile State and South Kordofan where locals are being bombed by the Sudanese government, where NGOs and journalists are forbidden. Since June 2011, it has led hundreds of thousands of people to be displaced to other countries. I didn’t think I would spend so much time and energy on this, but after having spent 3 weeks in South Kordofan last November, I know I have to go back as often as I can. I also want to make my way to Blue Nile, which is trickier and much more costly too. Also, I can only go to those places during the dry season, when roads are practicable, so from November to May. I also need to finance those trips by working for NGOs at the same time, it’s a little challenging.
The second story is on the quest for identity of South Sudan and how a country that has been at war for decades can become a united nation. I’m looking the obstacles such as lack of infrastructure, which results in the lack of health care and sparks tribalism around the country but also the way forward, like a youth which wants peace and education.
How are your pictures getting out? Where are they being published?
I started freelancing with AFP when I arrived so through them they are often published in The Guardian, Time Magazine’s Lightbbox, BBC, sometimes on the NYT Lens Blog etc. For my personal projects, I’m pitching them to pictures editors here and there, the South Kordofan story was published in Le Monde, but I’m hoping to have it published in other places soon. The other one isn’t ready at all, so I’ll wait until I feel I have some good material to pitch that too.
In general, what is life like for a photographer like you in South Sudan?
Life isn’t easy, really. Everything is very expensive here, I used to rent a tent at a hotel for 600$ a month. Now I live in a local house far from the town and without electricity, but it’s only 200$ a month. I obviously don’t have AC or a fan, so the temperature can go up to 38 degrees at night. I got used to it though, and now whenever I go to the field, which should normally be more rough, I have more comfort. I always think it’s quite amusing.
At the moment, we are only two photographers in the country so we can quite easily get assignments with NGOs and UN agencies, but I only do so to pay my bills and finance other reportages.
At first, people here are seriously reluctant to be photographed. They get very very aggressive, I even had my life threatened a few times when I wanted to photograph people. I’ve learnt how to approach them, so it’s becoming easier and easier every time. But it takes time!
Are there many other photographers there? Are they staying as long as you?
We were four only a few months ago, now we’re two only. I think just like most foreign correspondants, stringer photographers stay between one and two years. There are also some people who come over for a one week or two on assignment.
What is the benefit to staying longer?
You get a much better understanding of the place. Especially in a country like South Sudan where everything is logistically complicated, you need to know the rules, to understand the ‘un-said’, discover how to approach people, to make them trust you too. After six decades of war, the South Sudanese are very suspicious of spies, and they remain in this ‘war spirit’ when you know at any time things can go wrong if you say something they didn’t want to hear. On top of that, it’s really a fascinating place, they are so many stories to tell, and it takes time to get proper insights of it.
What is one story that you wish you could be covering in South Sudan that you so far have not been able to, due to access or due to resources?
Apart from the Blue Nile story that I previously mentioned, I’ve been meaning to go and spend some time with the Murle tribe in their cattle camp in Jonglei state. Cattle camps are huge areas where armed kids are keeping hundreds of cows (cows show the wealth of a family and often are used for securing a bride). Traditionally the Murle go and raid other camps to steal their cattle either as an initiation into adulthood or to simply increase ther ‘wealth’. They often end up in very violent fights between the tribes unfortunately. The Murle are also said to be sterile, so at the same time they steal children from other tribes; but there is very little documentation on the Murle, so I’d like to see it with my own eyes. I haven’t managed to cover it yet as the UN are forbidding journalists to go to Jonglei state because of security issues, and no NGOs are able to facilitate journalists to go there because the area is too sensitive.
What is your background in photography, where is your home?
I don’t really have any photography background. I studied print journalism, but was more than often interested in the visual part in each story. It clicked about one year ago, what I was really into was photojournalism and I decided to go for it. When I arrived in South Sudan, I introduced myself as a photojournalist, despite my very meagre portfolio at the time. I think people didn’t take me very seriously at first, but I worked hard and still do, so I think they see me a little differently now. and I’m from France!
After submitting pictures from Aleppo this week Rick Findler was told by the foreign desk that “it looks like you have done some exceptional work” but “we have a policy of not taking copy from Syria as we believe the dangers of operating there are too great”. -Sunday Times tells freelances [sic] not to submit photographs from Syria
The British newspaper, The Sunday Times, has told a freelance photographer not to submit photos from Syria because the risk of working there is too great. After sending pictures from Aleppo, Syria, to the paper for consideration, conflict photographer Rick Findler was told that the paper has a policy not to look at non-commissioned reporting from the country. It’s an interesting development for the photojournalism industry, especially since closures of foreign bureaus have increased news publications’ reliance on freelancers for international reporting. Conflict reporting is a dangerous and expensive operation, and when things go bad freelancers lack the institutional support afforded to staff reporters.
Speaking to the Press Gazette, The Sunday Times policy deputy foreign editor Graeme Paterson cited just these concerns in explaining the paper’s policy against hiring freelancers to cover Syria or license their work from the region even after the reporter has gotten out of the country. Speaking on the matter, Paterson said, “…we take the same view regarding freelancers speccing in material. Even if they have returned home safely. This is because it could be seen as encouragement go out and take unnecessary risks in the future. The situation out there is incredibly risky. And we do not want to see any more bloodshed. There has been far too much already.”
This was a very interesting year for me, definitely the busiest since I moved to Belgrade, Serbia in February 2009, filled with lots of travel and some interesting assignments. Notably I had the chance to visit Africa for the first time, on assignment in South Sudan, and received the Burn Magazine Emerging Photographer Fund Grant for my ongoing project “Only Unity”.
I started the year in England, then was in Sarajevo for a story about the 20th anniversary of the start of the war there. My mother came to visit me in Belgrade in April, but our trip was interrupted by Presidential elections in Serbia, which I covered for the Wall Street Journal. That assignment led to one of the strangest days of my career, when I photographed both Serbian President Boris Tadic and former NYC Mayor Rudy Giuliani hours apart in the same TV studio (see the WSJ article about Giuliani in Belgrade).
Soon after I was documenting the destruction of the Belville Roma settlement. My friend Darko Stanimirović and I handed out disposable cameras to residents of the camp so that they could document the eviction themselves. We published a multimedia piece at Newsmotion.org with these community pictures alongside Stanimirović’s audio recordings, a text by Alan Chin and some of my pictures as “The Sound of Barking Dogs: The Eviction of the Roma from Belville”.
In September I was in South Sudan reporting a story about the future of the Jonglei Canal and the issues of water rights for the youngest country on the planet. The project was commissioned by Austrian magazine 2012, an interesting one-year-only magazine published by Red Bull Media House. I have included a few images from the project here, but for now the only other pictures online are the tearsheets from ’2012′ which you can see on the clips section of mattlutton.com.
I also spent a total of four months in the United States, and was able to finally visit the area of the former Republic of Serbian Krajina in Croatia to document the remnants of Serbian life there. I was invited to be on the jury of the Organ Vida international photography festival in Zagreb, and was a speaker and juror at the “Foton” Makarska Photo Days Festival.
The biggest news of the year for me though was the Burn Magazine Emerging Photographer Fund Grant, which I received in June for my project “Only Unity”: Serbia In The Aftermath of Yugoslavia.
The response to the project has been very exciting, and I’m eager to finish the work this year. If you would like to know more, have a look at one of the interviews I did last year following the announcement: “Award-Winning Project Documents a Fractured Serbia” with Pete Brook at Wired’s Raw File blog, “Picture Story: Holding up a Mirror to Serbian Nationalism” in PDN Magazine (subscribers only unfortunately, see what it looked like in print here), and my chat with fellow EPF-finalist and friend Ian Willms on “BOREAL Spotlight: Matt Lutton, “Only Unity””.
Thanks again everyone for continuing to follow Dvafoto and supporting all of the photographers we feature here. I wish you all a fun and successful 2013!
Yesterday James Estrin, co-Editor of the New York Times Lens Blog and Staff Photographer for the Times, announced that they are inaugurating the first New York Photography Portfolio Review, a two-day event in April 2013. It will bring together 160 photographers, in two one-day sessions, with more than 50 prominent reviewers, including a diverse selection of photo editors, agents, publishers, curators and buyers. The event will include private portfolio reviews, discussions and workshops.
They’ve also announced that the event will be free to attend for invited photographers, a step away from other major portfolio reviews in the US and Europe which can cost hundreds of dollars. The event, on April 13 and 14 at the City University of New York Graduate School of Journalism in New York City, is divided in two sessions: on Saturday the 100 invited photographers will all be 21 years or older, and on Sunday all 60 photographers will be aged 18-27. To attend you must submit a portfolio by February 13, and invited photographers will be informed by March 8, 2013.
This is such an interesting event that I wanted to pose a few questions to Estrin, and he agreed to fill us in.
Dvafoto: Whose idea was this project, and how does it fit Lens’ and the NYT’s goals?
Estrin: I’ve always thought that the web, and social media were very powerful tools for communication, but significantly different than actual human interaction. Real Analogue interaction can have important and profound consequences.
I came up with the idea for the review with Lens co-editor David Gonzalez.
We have been lucky that our marching orders, from our boss [assistant managing editor for photography for the New York Times] Michele McNally, have always been to make the very best blog we could. Make the best editorial judgements that we could make, be willing to be smart, try to be principaled and don’t worry about traffic or business. So if this event can help the photo community, and create opportunities and discussion, then it fits into our mission. There are many ways to communicate.
Why did you choose to make the event free? This surely bucks the trend of most portfolio reviews and events for photographers these days.
It’s free because we wanted to create as many opportunities for photographers, regardless of background, to share their work.
There are fine portfolio reviews that charge- most of them non profit either by design or execution. I reviewed this year at Review Santa Fe and also at Lens Culture Fotofest in Paris and I think both were very was helpful for many photographers as well as for myself as an editor. At the same time I think we all have a responsibility to our fellow photographers, particularly the youngest new photographers amongst us.
Many people helped me when I was a young freelance photographer. I wouldn’t be here without them. I always remember how difficult it was to show my work in the pre-digital era, and how alone I often felt. There is an important tradition of experienced photographers helping newer ones.
Why the age categories? Will there be a different curriculum for each session?
The age categories are because I wanted to make sure that we did the utmost we could for up and coming photographers.
All photographers 21 and older can go on Saturday and I think the opportunities will be great. But on Sunday you have to be 18 -27 and there will be many workshops as well as reviews. By the way a very accomplished 21 -27 year old photographer could apply and get in for both days.
Ultimately, we just wanted to do some good, have fun, and help our colleagues in any way that we can. So we asked what would be a meaningful thing to do.
My colleagues from the New York Times, National Geographic, Time, Aperture, Abrams books, PDN, and many museums, magazines, galleries and blogs have generously agreed to share their time. We are adding new reviewers daily.
Thanks to James Estrin for answering some of our questions and for organizing this fantastic opportunity for photographers.
The deadline for submitting your portfolio is February 13, 2013 on the entry page. Good luck to everyone applying!
The Daily Show’s John Oliver looks at investigative journalism in another classic Daily Show “what the hell is happening around us’ takedown. I think it is an instant classic.
Brad Adgate: “But you don’t have to fly to some remote location to interview someone. You can just sit and use skype and save money that way”.
John Oliver: “But Brad, I don’t know how many child soliders in Sierra Leone use skype.”