Archive for category Industry
A Photo A Day grant funding auction
Posted by Kevin Moloney in Digital, Film, Industry, Practice, Uncategorized on September 12, 2016
I’m proud to have a print in A Photo A Day’s (APAD) auction to fund their valuable “Backyard Storytelling” documentary photography grant.
Auction runs through September 19, 2016.
In an era when funding long-term personal projects is difficult at best, this fund provides for important work that would otherwise be skipped, cut short or denied the public traction it needs to inform the world. The $4,000 grant funds work within 350 miles (one tank of gas) of the photographer’s home. In past years the grant has received more than 150 entries from around the world, and winners produce insightful and genre-challenging work.
Click on the image above to bid on my personally-hard-printed archival silver print (that means darkroom, yep). It’s a limited edition of 25, matted and signed and ready for the wall. But there are many many interesting works to be had there, from a print of John Lennon by LIFE magazine photographer Bill Eppridge, to former student Chip Litherland, colleague Ross Taylor dozens of others.
Please bid on something today.
The Heyday is Now
Posted by Kevin Moloney in Digital, Economics, Film, Future of Journalism, History, Industry, Internet, Practice, Uncategorized on January 6, 2012
This is a sermon, so feel free to mutter an occasional amen or shout a hallelujah. And like any congregation of believers, you probably already know some of the things I’m going to say. But we are here to reinvigorate our faith, so please be seated while I take the pulpit, thump the mic and clear my throat.
You are living in the best time in history to be a photojournalist.
It may not seem like it considering the ever-present industry bad news. (Yeah, I just heard you mutter, “this guy is nuts.”) Old media is in trouble. New media is thrashing around for an economic model for news. Dayrates have been stagnant for a decade. Rights are being grabbed. Amateurs with cell phones are covering breaking news. Journalism jobs are going away. And this week Eastman Kodak slid closer to bankruptcy. But Horace Greeley, a 19th-century journalist and inveterate forward thinker once wrote, “The illusion that times that were are better than those that are, has probably pervaded all ages.”
So what makes now so great?
To start, you have an enormous array of tool choices. For a recent New York Times shoot I eagerly packed in my bag a vintage-1948 press camera, a medium-format TLR and a DSLR. I used all three on the shoot, swapping sheet-film holders, cranking 120 through a Rolleiflex and twitching images through the pixel array of the little high-tech wonder alongside them.
We are now deep enough into the digital age that the quality of that equipment has reached heights we could have only imagined a few years ago. And with the recent and expected announcements of new gear from the big digital players, we are in for astounding advancements this year.
But we also have the entire world of film cameras to use, with all those delicious differences in look, point of view, depth of field and other things that make various cameras see the world differently. As Kevin Kelly, author of the book What Technology Wants, recently told NPR,“I say there is no species of technology that have ever gone globally extinct on this planet.” Today we can still use pretty much all of the photographic technology ever invented.
Yes, you can buy color transparency films in 620 and 127 sizes (hand-cut and rolled by a few dedicated souls) and new single-use, screw-base flash bulbs (from Ireland), if you’re willing to pay the price. Online you can buy kits to make cyanotypes, argyrotypes and kallitypes. You can buy the chemicals to mix any developer formula concocted or to embrace the silvery glow of a daguerreotype. “Everything that we have made in the past,” said Kelly, “is still being made somewhere in the world today.” And it is available to us thanks to the reach of the very same Internet that has upended our old business models.
In some areas there is even expansion. More black and white films are available now than there were in 1990. With their manufacturers out from under iron curtains or no longer forced to compete for shelf space with the big three film makers, more than a dozen brands of monochrome film are readily available. Some have been made in Eastern and Central Europe for decades.
My favorite leisure camera of the moment is a folding Kodak/Nagel Vollenda 48 from the 1930s. It takes 127 film (thank you, Croatia) and gives everything at which it is aimed the feel of the decade in which the camera was made. It took the place of a digital point-and-shoot in my pocket. I love all of that variety. Sure, about all of it can be modeled with good digital technique, but art is in the process, not just the product.
And the latest round of digital technology has brought us fantastic ISO capability that will probably reach a usable six digits before we can say “existing light in a coal mine.” We now have rich color even on the extremes of exposure and more dynamic range than I could have dreamed a decade ago. Remember all those color correction filters we used to have to carry around just to get accurate color? Now they’re a button and knob on the camera or two sliders in your raw conversion software. Soon enough we may see professional light-field cameras that allow focus correction in post-production.
In an advancement that would make filmmaker/photographers like Robert Frank, William Klein, Raymond Depardon and Tim Hetherington jealous, we now have HD video available in our camera bodies with a sensor twice the size of high-end cinema film. The once high cost of entry into documentary film production has just dropped faster than one of Herman Cain‘s shoes.
The learning curve has become impossibly short as we can experiment furiously and see the result immediately. The digital age also means unprecedented speed of delivery. In the decade some have called the heyday of photojournalism — the 1980s — to get an image from a revolution in Iran meant sweet-talking a diplomat or a traveler into carrying your film on a flight from Tehran to Paris or New York. It was days from event to publication. Now with a satellite phone and a tablet computer a photojournalist can publish from Libya a split second after the image is made.
Combine the incredible power of digital photography with the variety of analog and you can do anything.
But what about that business model? Indeed the methods we’ve used for a century to make a living seem to be going away. They’re not dead yet, though, and that gives us time to transition and reinvent how photojournalists live on their good work. Almost a century ago a few business-minded photographers and a few German magazine editors created the freelance model we’ve used so far. They created that out of a vacuum that we don’t face.
Pieces of the solution for an economic puzzle are popping up all the time. In my 25-year career I’ve spent haystacks of money chasing personal projects that at best have returned break-even cash. We are driven to document whether we have a patron or not, and in the past that was just one of the costs of doing business. But now thanks to the Internet-made idea of crowdfunding a good project can have hundreds of patrons who may not only cover the cost of field production but also provide a little financial breathing room. Pay close attention to Emphas.is, Kisckstarter and IndieGoGo to see where that leads. Watch how photographers, agencies and collectives like LUCEO Images repurpose work for alternative venues and media, and then both make money and market themselves in the process. Frankly, you have it much easier than Jacob Riis did.
Keep your eyes on other media for answers as well. For example the music industry is in the grips of an economic chaos that looks remarkably like what the news media has been facing — loss of markets, lack of control over the means of distribution, ease of amateur production and distribution, and the free and open spreading of their product. Out of that, musician and entrepreneur Trent Reznor has figured out how to make piles of money from giving away most of his music. It’s the Nine-Inch Nail meets the Long Tail.
Like for Reznor, the Internet’s reach is a valuable tool for photographers to sell their work. Once forced to use agents and portfolio reps to market themselves, we now have — for better and for worse — the unfiltered channel of the Internet to find new buyers, collectors and clients. It is a crowded market out there to be sure. Everyone wields a camera, thinks they are brilliant and shares their images for free with everyone. But competition forces us to think harder, work harder and be better image makers to rise above all that noise. And this is not a new phenomenon.
When in 1888 George Eastman put the first point-and-shoot camera into the hands of the public, professional photographers across the land surely panicked about the loss of their businesses. But that and its cheap offspring, the Brownie camera, helped launch a century of stunning photography. Why should we be afraid of all the dilettantes? As photo blogger Jörg Colberg aptly put it, “Isn’t it funny that you never hear writers worry about the fact that everybody knows how to write?”
So here’s the most important fact to remember: Rather than killing the professional photographer, early 20th-century advancements allowed professionals to reinvent the art itself. In 1914 Oskar Barnack put some cine film in a new little camera he crafted in his workshop and the age of 35mm photography was born. Innovators like Kertész, Cartier-Bresson, Capa and Eisenstaedt were more than great photographers. They were revolutionaries who picked up surprising new “amateur” equipment, filled it with fast new films and revolutionized the way we see the world.
This is that moment all over again, where new and innovative technology in brilliant hands will change the paradigm. Like me you’ve daydreamed about shooting alongside the likes of those guys in the last paragraph and helping to redefine what photojournalism would be for a century. But this is your time, and you have the opportunity to upend everything just like they did.
Seize it. Foment revolution. Change the history of our art and our profession.
This post is a reworking of a presentation I gave at the 2011 edition of APAD’s Geekfest in Denver, and an article published in the excellent January/February issue of Photo Technique magazine.
Fame is Narrative
Posted by Kevin Moloney in Audience, Industry, Uncategorized on January 4, 2011
What makes the difference between a recognized artist and a dabbler, an amateur or a dilettante?
I am sure there are formulas, Ph.D. dissertations and many entire books on the subject. I’m not writing this as an expert, only an observer.
And I’ve been observing the case of Vivian Maier, a long-time amateur street photographer whose work was only discovered by accident in 2007 and attributed to her shortly after her death in 2009. Her images were uncovered by a few auction buyers who purchased her negatives and found themselves intrigued by the images. Through their efforts her work has since been published in blogs and international publications and exhibited by museums.
Much of what makes the work compelling is the story behind it — a reclusive and private nanny who never really shared her images and found recognition only after the end of an austere life.
That could be tragic. We all want to know in our own lifetime how our work is received. But then again she appears to have intentionally stayed out of sight. Maybe the tragedy is that we have thrust an intensely private person into the spotlight with our admiration.
Tragedy (and overcoming it) makes a powerful narrative. And that narrative, as much as her work, is what is propelling Maier onto the world stage as an artist. Other tragic photojournalism figures have caught our attention this way, from Robert Capa’s companion Gerda Taro to João Silva. Capa, Chim and Werner Bischof have tragic narratives in tandem with their great images. The story of young Dan Eldon’s death in Somalia would have lingered in our hearts and minds for a relatively brief amount of time. But he left behind his own narrative journals, and those were aired by his mother and sister in an excellent documentary on conflict photographers.
Drama isn’t the only propeller of narrative, though. Character plays an important part too. It’s very hard to think of a canonized artist who was not a great character. Georgia O’Keefe, for example, caught the public’s attention intensely after her work was interpreted as sensual or sexual despite her objections. With that interpretation, she became a character in the art world and more famous as a result. Then after moving to New Mexico in the 1940s she created an entirely new character of the reclusive desert artist. Rarely is her work seen without either persona in mind by the viewer.
When we decide to become photojournalists we are often choosing a character already — one of a world-traveling bon vivant as Andre Friedman and Gerta Pohorylle created in the invention of Capa and Taro. Or we imagine ourselves grizzled war correspondents like Ernie Pyle, artful cowboys like Bill Allard, sensitive investigators like Donna Ferrato, or artists of the ephemeral like Sylvia Plachy or Martine Franck.
Of course art is important. No amount of character can be made up for (for long at least) by a lack of talent. This brings me back to Vivian Maier. In a very recent article in Chicago Magazine, Colin Westerbeck, a former curator of photography at the Art Institute of Chicago and coauthor of an outstanding tome on street photography, said in an interview, “She worked the streets in a savvy way,” he says. “But when you consider the level of street photography happening in Chicago in the fifties and sixties, she doesn’t stand out.”
No, she doesn’t. The work is familiar even where it is compelling. It lacks, perhaps, the higher purposes of academic art where the artist strives for a statement, an irony, a challenge that may only be evident to academics or those who bothered to read the analytical preface of the book. In addition, she cannot control how the work is being edited now, so we see her gems mixed with frames she might have discarded.
I believe Maier’s work is art because of its absolute purity. I’ve been watching her images appear on John Maloof’s blog since before her fascinating narrative began to unfold, and they had me from the start. Hers is the work of an artist who worked only for her own satisfaction. The opinion of friends, relatives, editors or critics was never sought. The images are wonderful because they are done only for her personal pleasure, yet they still surpass the work of a million other amateurs working contemporaneously.
Yes, she is an artist with a great narrative.
As much as we would hope our being defined as “artists” is a result of our work alone, the art is only a sliver of the formula. What is accepted as art and who is defined as an artist is as much about marketing our narratives as it is about anything else.
In marketing that narrative we must also craft our work to the expectations of the critics, the editors and collectors who will buy it, or the academic analysts who will deconstruct it.
For ourselves, though, we need to stay pure and chase what intrigues and satisfies ourselves — all those others be damned — as Vivian Maier did.
You can help support John Maloof and Anthony Rydzon in their efforts to make a documentary film of Maier’s life at Kickstarter.com.
Supporting Photojournalist Causes in Haiti
Posted by Kevin Moloney in Industry, Professionalism, Uncategorized on January 25, 2010
Haiti could be the story of the year, and scores of international photojournalists are there now, more than a week after the devastating earthquake. Their work has been powerful and has unquestionably influenced the amount of aid headed there in the aftermath.
Though some journalism about the disaster (as usual) has been an embarrassment, overall the coverage has made me proud of my profession. Those photographers will eventually leave gratified, exhausted and permanently affected by their work.
But for the rest of us who are not there I suggest we support causes and charities that matter to us as photojournalists.
Here are a few photojournalist-related favorites:
L’Hôpital de la Communauté Haïtienne is a hospital run by an aunt of photojournalists Phillippe and J.B. Diederich, and the sister-in-law of their father, journalist Bernard Diederich.
Images without Borders includes sale prints by former student Tomas van Houtryve as well as other international photojournalists who have worked with Doctors without Borders.
Another one of very great importance is Internews, an organization that trains and supports local journalists around the world. Basic support of democracy, information and the Fourth Estate does not come from international journalists who parachute into the disaster. It must come from the locals who work the streets of countries like Haiti every day. And though those parachute journalists certainly help draw attention and support from the wider world, it is local information, delivered on the spot in local languages that can save lives immediately. Help Internews help Haitian and other local journalists get back up and running on their life-or-death jobs.
Read or listen to Bob Garfield’s interview last week with Mark Frohardt, the group’s vice president for Health and Humanitarian Media, on NPR’s On the Media…
…and then send a bit of help to any of the above.
To my readers I apologize for the sparsity of posts of late. Jobs of shooting and teaching now matched with study of my own has my schedule thoroughly filled. I hope you’ll stay tuned for monthly posts.