Category Archive: Worth a look
You may be familiar with Jens Olof Lasthein‘s work after he won the 2010 Oskar Barnack Award for his pictures from Abkhazia. I was looking through his portfolio yesterday and fell in love with Lasthein’s series “Cows At War”. It’s a flash site, so there’s no way to link directly. Click on “Works”, then “Cows At War.”
The series shows cows and a few dogs and horses in the middle of war-torn Abkhazia. It’s an unexpected and humorous reminder that the ordinary persists throughout even the most difficult circumstances. There may be bullets flying and bombs exploding, but a cow will just keep chewing its cud through it all. In the same vein, you might recall Todd Heisler‘s What Has Four Legs and Follows Me?
A few weeks ago Ryo Futamura of Japan’s Einstein Studio wrote in about their latest publication, Nice to Meet You. The mission of the organization, through publications and contests such as this, as Futamura told me, is to find and show the world young and talented photographers in Japan.
Nice to Meet You is a small magazine highlighting winners of the Japan Photo Award (previously known as the Einstein Photo Award). As you can see above, the work selected is a bit of a grab bag, but much of it is intriguing. I’m particularly interested in the images because they look so much different from what I think of as “Japanese Photography” (which is mostly just Daido Moriyama‘s harrowing work). Futamura said that many of these photographers have had difficulty getting their work out to audiences outside of Japan, and even within the country, the market for this type of work is quite small.
While it will be hard to get a copy of Nice to Meet You unless you’re in Japan, you can see work from all of the artists on the publication’s site. Here are a few that grabbed my eye: Daisuke Matsumoto, Hideki Masuda, Junicci Hayakawa, Arata Kato, Yasuhito Hatajima, Yuya Kaai.
In our first year at dvafoto, I wrote about Kim Rugg, an artist who rearranges the letters on newspaper front pages in alphabetical order. In another imaginative approach to the object of print journalism, Lauren DiCoccio has taken to embroidering snippets of newspapers and magazines (among her many other projects) and the results create a beautiful preservation of the periodical publication. In sewnnews, DiCoccio covers sections of the New York Times in muslin and embroiders sections of the cover photos and headlines. In 365 Days of Print, she isolates small segments of the page and renders the text in thread. In National Geographics, she creates thread and fabric idealizations of issues of the yellow-bordered magazine. Throughout these projects, threads dangle and the embroidery seems almost unfinished.
You can always count on Bryan Formhals and La Pura Vida Magazine to find and share interesting photography. I, frankly, don’t know how he keeps up with it all. Now, LPV has started a podcast featuring interviews with photographers, and it’s definitely worth a listen. The conversations so far are free-flowing and informal, delving into photographers’ processes, motivations, and lives. The photographers featured so far run the gamut in style and subject matter, but they’re always interesting.
Fader magazine has just published new work by Daniel Shea focusing on the effects of gun violence on Chicago’s youth. It’s a beautiful and sensitive approach to a difficult topic.
The essay, Chicago Fire, grew out of previous work Shea did for the magazine and is the centerpiece for Fader’s photo issue this year. As photo editor Geordie Wood explains on his tumblr, the work was shot over 4 weeks and aims to show what life is like for youth in Chicago’s South Side. The magazine will devote 16 pages to the photos in print, and more photos will be published on Fader’s website this week. There’s also an interview with longtime Chicago crime reporter Alex Kotlowitz about violence in the city over the past 20 years.
We’ve written about Google Street View-based projects before. Rather than look for serendipitous street photography, Clement Valla‘s project Postcards from Google Earth looks for errors in the algorithm and finds images where roads, bridges, and buildings bend and melt around the landscape in a surreal way. While the website doesn’t have much information, an article at Rhizome explains the process and thoughts behind the project.
“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.
We linked to a few of these images on twitter a few months ago, and the video above offers a deeper look at photo collector and editor Thomas Sauvin‘s project rescuing discarded negatives from Beijing’s recycling centers. The result is Beijing Silvermine (video by Emiland Guillerme above) a glimpse inside the lives of ordinary Chinese people, mostly in Beijing from 1985 to 2005, when digital photography overtook silver-based negative film photography. I’m often intrigued by photography that isn’t intended for the public, and this obsessive project has fascinating results. You can see more images at Shanghaiist and the Guardian.
(via LPV on twitter)
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.