The world of photojournalism, since the grand old days of Life magazine, has changed dramatically. Beginning in the late 1980s, photographers have steadily moved out of the darkroom and into the brave new world of digital media. For visual communicators, the digital technologies have intensified processes, especially given the immediacy of the digital camera.
Beate Chelette will relax and spend some quality time with her “intelligent, beautiful, opinionated” 15-year-old daughter Gina now that she has the opportunity to relax a bit. But don’t expect the energetic stock photography industry veteran to sit still for too long.
The University of Southern Mississippi came up with an interesting idea for its latest recruitment campaign; it gave video cameras to a cross-section of students and asked them to document their lives at the school. The result, USM’s Student Powered Videos (SPV) program, has been a hit — drawing media buzz and traffic to the college’s Web site.
While you probably spend most of your time as a photographer thinking about making images, occasionally an editor or commercial client may request your help in finding images — such as historical photos — to illustrate a project. Fortunately, some of the most amazing images ever captured are freely available; they’re in the public domain.
It’s no surprise that there seems to be a mad rush to become a professional photographer today. The technology is priced right. The cameras are smarter than most people care to admit. Education is available online for free. And the economy has been trending toward self-employed small business owners for the past 20 years.
For my first post for Black Star, I thought I would lead off with the subject that drew attention to me in the first place: video at newspapers.
Agencies need photographers just as photographers need agencies. So if you’re a photographer looking to work with an ad agency or design firm, it helps to understand how agencies look for you.
At my design and branding agency, we produce a fair amount of video, and we have always worked with DPs from the film world or shooters with years of video experience.
Now, for the first time, we’ve begun to look to still photographers to handle some of our videography needs. It’s not that traditional film and video shooters have done anything wrong; we’re just intrigued by the idea that photographers may bring something new to the table.
I remember the moment clearly. I had just finished playing Haydn’s Concerto In E-Flat Major For Trumpet for the first time without any mistakes.
“Now you are ready to start working on it,” my music teacher said.
When we at Stock Asylum looked back at the highlights of 2007, we found a couple surprises. For one thing, we were not able to award the honor of “best image collection” to a single distributor. We had to split the category between Getty and Corbis. Yes, Corbis is catching up.
The recent case of Virgin Mobile using a Flickr photo in an ad campaign without the model’s permission has once again raised the issue of model releases. When are they necessary, and when are they not required?
Dust has been a source of frustration for digital SLR users from the beginning. Those little specks are like blood clots in the digital workflow — slowing you down or even ruining your best work. Sure, you can remove imperfections in Photoshop, but when those specks get on your sensor, every single photo will need to be fixed until the problem is addressed.
This is a tale of two photography students. One sold some pictures to a client and was bummed out. Another failed to land an assignment but ended up feeling good about the experience. Why?
I’m of two minds when it comes to photography students taking on professional assignments. On the one hand, it is great experience and may represent the beginning of a long and prosperous career. On the other hand, most photography students have neither the technical skills nor the business savvy to compete in today’s visual-communications marketplace.
Last week, Creative Commons turned five years old — five years of phenomenal growth, thanks in no small part to advocates like the photo-sharing site Flickr.
There’s something for photographers at all skill levels this holiday season — and for all budgets. Here are a few of our favorite gift ideas, from relatively inexpensive to wildly extravagant.
I recently was asked to teach a module at a well-known college here in the UK which hands out degrees in photography.
I say “well-known” as its students seem to get a large number of prizes for shots of discontented-looking people draped in studiously languid poses in scruffy locations ranging from hair salons to bedrooms to public toilets.
Fall classes at the University of South Carolina end on Dec. 7, so I want to take this opportunity to discuss what worked well (and what worked less well) in my two visual communication courses — J337, Photovisual Communications, and J537, Advanced Photovisual Communications.
One of the biggest problems photographers face online is keeping track of all the uses of their images. The recent case of an ad agency using a Flickr image for its client Virgin Mobile highlights this all too well.
When the camera merged with the computer to give us digital photography, the skills to be a successful photographer changed dramatically. Prior to digital photography, the professional photographer only had to know how to use a camera.
Reading my way around the photography blogosphere, I’ve seen plenty of warnings aimed at amateur or hobbyist photographers urging them to never — ever — give their photos away. Most of these arguments are based on the belief that this sort of free licensing takes work away from professionals, or lowers the value of photography.
For their midterm project, I asked my students in Advanced Photovisual Communications at the University of South Carolina to write about a photography exhibition currently at the Columbia Museum of Art. This exhibition, called “Seeing Ourselves: Masterpieces of American Photography,” contains 155 photographs from the George Eastman House Collection. The exhibition has five sections: “American Masterpieces,” “American Faces,” “America at War,” “America The Beautiful,” and “American Families.” Bringing this exhibition to Columbia, South Carolina, was a real coup for the art museum — this is world-class photography, in original prints rarely seen outside major metropolitan areas.
My favorite thing to do when I was in school was the field trip. I remember going to the fire station when I was in kindergarten and getting to sit on the firetruck and see the firemen go down the sliding pole.
Jodi Mailander Farrell of McClatchy Newspapers penned an interesting piece last month highlighting art galleries in New York that are showing off photojournalism. Farrell adds that sales of photojournalism are also on the rise, in part because the images are less expensive than other art forms:
Here’s something that can benefit any photographer — professional or amateur.
That’s because it’s something that can happen to any photographer — professional or amateur.
You enjoy taking photos. You take good photos, even excellent ones that buyers are prepared to pay a lot of money for. But after a while, you find that you’re shooting the same kind of images in a similar style over and over again.
My wife Dorie was standing in line at a local drugstore and overheard a customer complain about his photos. He asked, “Why is their head chopped?” The clerk told him that the photo technician was off, but could help him tomorrow.