Archive for February, 2009

Q&A: How does competition affect you?

February 26, 2009

That’s the question we’ve posed to some creative professionals (photo editors, photographers, art buyers, etc.) this month. We hope their answers will not only be enjoyable to read, but informative and thought provoking as well. I plan on throwing out many more questions like this in an effort to bring you all something valuable for your inbox and this blog. I hope you enjoy reading on! Feel free to email me with any comments or if you’d like to contribute to the next round.

- Jacqueline Bovaird, Assignment Representative


Click here to view our assignment email, which contains abridged versions of the answers below.

How does competition affect you?


Field and Stream Logo

AMY BERKLEY, PHOTO EDITOR, FIELD AND STREAM MAGAZINE:

I do look at other men’s magazines (like Esquire, GQ, Best Life, Wired, Texas Monthy…etc.) I do this to be inspired as well as see who shoots for them because I am always curious about that sort of thing. However, I definitely choose my photographers based on their talent and if their style is appropriate for the look of F&S. I don’t ever think that looking at other magazines is harmful. It pushes you to be the best and keep competitive. I think any photo editor who isn’t looking at other magazines isn’t feeding their brains. A magazine, as our former Editor In Chief, Sid Evans, used to say is like a living organism…it is always changing, should always be changing on some level. So I am always thinking that way and trying to push it forward to get better and better!

Ryan Schude, Glasshouse Assigment

RYAN SCHUDE, PHOTOGRAPHER:

Competition is almost always helpful. It generates more interest into whatever you are trying to push as well as constantly raising the bar for quality. Many times I become concerned that there is a larger supply of photographers than the demand for photos, not to mention those that provide an inferior product at a lower price to a consumer that isn’t concerned about the difference. The hope is to stand out from this group by offering a style that isn’t available to the masses and therefore avoid the negative aspects of competition.

Miha Matei, Glasshouse Assigment

MIHA MATEI, PHOTOGRAPHER:

I think competition is very healthy, because it forces photographers to be on top of their game, promotes creativeness and encourages us to put out the best work that we can. In terms of money, I think it’s a sensitive subject, because if photographers
underbid on assignments it lowers the standards for everybody. I’m a big believer in the idea that you get what you pay for. If a photographer feels that he or she is well compensated they will put forth more effort than if they feel like they are giving the client a bargain on their work.

Erica Beckman, photographer

ERICA BECKMAN, PHOTOGRAPHER AND PHOTO EDITOR, WALL STREET JOURNAL:

As both photographer and photo editor it’s great to have the bar raised by your peers.  Competition gives you that edge that motivates and inspires you to work harder to push boundaries, focus and/or take risks, which can be very healthy.  It doesn’t have to involve undermining or usurping other professionals in the field: some of my greatest friends and mentors are also my competition.

Derrick Gomez, Glasshouse Assignment

DERRICK GOMEZ, PHOTOGRAPHER:

(excerpt from full essay here…. read it! It’s amazing!)

Personally, for me its not about competition being objectively helpful or hurtful.  The answer to that question would rely on whether or not the respondent is an optimist or a pessimist.  Photography is competitive, now more than ever.  And a week from now, it will be more
than that.  Its inevitable. The only thing we have control over is how we react to the situation.

More competition is the basic direction the world of media is moving towards.  There is no getting around it.  So you either adapt to survive, or you miss out.  The increased competition should not be viewed as healthy or hurtful, but rather an exciting change of pace
and an incredible opportunity.

SHEILA HO, ACCOUNT MANAGEMENT, INTERACTIVE MARKETING/ADVERTISING, FULLSIX:

FullSIX logo

I’m in interactive marketing so I don’t see directly any sort of client competition that would otherwise come into play with my performance or approach. What I/my company does is work with clients to build databases and communities through website (marketing) features to connect with their consumers. We create an intimate or exclusive virtual community that acts as a bridging link between a company and their customers as well as a communications outreach tool to attract prospective demographics.

In terms of competition, it is helpful to know what sort of website marketing and community sites other companies are offering their consumers and effective ways to draw in sign up/registration but the approach is not to define, analyze and punch out competitors as it is to create the most effective, aesthetically appealing and user friendly website that will appeal to, engage and interact with users on all platforms.

Jesse Dittmar, Photographer

JESSE DITTMAR, PHOTOGRAPHER:

As an emerging photographer, competition both humbles and motivates me. I take a lot of time to see who else out there is working hard and making it. It provides me with a great idea of what is successful in the photography business, and how my work might fit in, or stand out, in comparison to my peers. But, looking at other photographers work can be overwhelming. There are so many different ways to solve photographic problems that it is easy to lose a voice while being exposed to the sheer volume of photographers I compete against. Its extremely difficult but essential to get over this. At the end of the day, when I suppress the anxiety for how vast this industry is, competition is another force that drives me to keep working, learning, and pushing as hard as I can.

Thank you everyone who participated!! Keepa look out for next month’s question and email blast!!

If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this discussion.

212 . 462 . 4538  |  jacqueline@glasshouseassignment.com

10×10

February 16, 2009

If you don’t know the name Jonathan Harris, I suggest you fervently read on. I ran into this website today and am instantly obsessed with the idea and the performance of 10×10. Rather than summarizing it for you, here is the text from the site (here).

10x10

“10×10™ (‘ten by ten’) is an interactive exploration of the words and pictures that define the time. The result is an often moving, sometimes shocking, occasionally frivolous, but always fitting snapshot of our world. Every hour, 10×10 collects the 100 words and pictures that matter most on a global scale, and presents them as a single image, taken to encapsulate that moment in time. Over the course of days, months, and years, 10×10 leaves a trail of these hourly statements which, stitched together side by side, form a continuous patchwork tapestry of human life.

10×10 is ever-changing, ever-growing, quietly observing the ways in which we live. It records our wars and crises, our triumphs and tragedies, our mistakes and milestones. When we make history, or at least the headlines, 10×10 takes note and remembers.

Each hour is presented as a picture postcard window, composed of 100 different frames, each of which holds the image of a single moment in time. Clicking on a single frame allows us to peer a bit deeper into the story that lies behind the image. In this way, we can dart in and out of the news, understanding both the individual stories and the ways in which they relate to each other.

10×10 runs with no human intervention, autonomously observing what a handful of leading international news sources are saying and showing. 10×10 makes no comment on news media bias, or lack thereof. It has no politics, nor any secret agenda; it simply shows what it finds.

With no human editors and no regulation, 10×10 is open and free, raw and fresh, and consequently a unique way of following world events. In 10×10, we respond instinctively to patterns in the grid, visual indicators of relevance. When we see a frequently repeated image, we know it’s important. When we see a picture of a movie star next to a picture of dead bodies, we understand the extremes that exist in our world. Scanning a grid of pictures can be more intuitive than reading headlines, for it lets the news come to life, and everything feels a bit less distant, a bit closer to heart, and maybe, if we’re lucky, gives us pause to think. ” Read more here about how it works.

Amazing right? What do you think? Click here to see what’s up right now.

New Work From Ryan Schude

February 11, 2009

If you’re like me, the emergence of a new Ryan Schude image makes your day. Well for you, my loyal blog readers, I give you a preview of Ryan’s new creation!

Ryan Schude

What do you think? Yes, yes… you’re welcome. To check our Ryan’s portfolio on our site, click here. To go to his site directly, click here.

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If you have any questions, comments, or complements about Ryan or any of our other photographers contact his rep, Jacqueline Bovaird.

212 . 462 . 4538  |  jacqueline@glasshouseassignment.com

Paolo Pellegrin’s “Great Performers” looks better online?

February 9, 2009

While I never thought I’d say this, I’m starting to enjoy photo essays online.

(Gasp!)

I know I know… it is almost painful to say out loud. Stop judging and just hear me out! This week’s New York Times Magazine’s gorgeous photo essay “Great Performers” by Paolo Pellegrin may just be what converts me to the dark side. In the printed edition from this past weekend, Paolo’s images are, of course, beautiful. However, it is the digital presentation (here) on the NYT website which, I feel, really shows them off.

Sean Penn, Paolo Pellegrin, NYT

Digital versions of printed photo essays almost always allow for more images than is conceivable in a printed layout and many times you can view the images larger than they appear printed. All this taken into account, I am still so enamored with the process of turning the pages and the brief moments I spend on Sundays away from my computer. These particular downfalls of online magazines are often compensated by the NYT with audio commentary and seamless display, letting the images take rein over words in all their full-screen glory.

Penelope Cruz, Paolo Pellegrin, NYT

Robert Downey Jr., Paolo Pellegrin, NYT

While I’m certainly not announcing that my preference for printed matter has shifted dramatically, this recent development makes me think that when the inevitable happens and all magazines become web-only, it might not be so bad.

Kate Winslet, Paolo Pellegrin, NYT

Kat Dennings, Paolo Pellegrin, NYT

What do you think?? If you have an opinion, please leave a comment!

Check out the NYT presentation here.

Questions to Manjari Sharma

February 5, 2009

As promised, here is work from the amazing photographer Manjari Sharma. As I mentioned in a previous post, Manjari and I met at a studio party and found we had oodles of common interests. Already impressed with her evident compassion for her work, Manjari then sent me some images from her most recent trip to Brazil, which blew me away.

Travel photography is a beast all it’s own. How can you possibly take a photo which hasn’t been taken before? Well… my answer is: It’s not about finding landmarks others haven’t, or being the first one to photograph something. In my opinion it is all about the rhythm of a place in combination with the photographer’s own take on the world.

Manjari Sharma, Water

This particular series of Sharma’s photos make me desperate to know more about the culture and the history of the place. Luckily, Manjari Sharma was kind enough to answer some of my questions about her work, which I think you’ll all find interesting.

ENJOY!

Let me know what you think! Does this qualify as travel photography simply because it is not in our own backyard? What’s your definition?

Manjari Sharma, Water
How does your specific background in photography influence these images?

My strength has always been composition. A big success of these images is paying homage to the reduction theory. Which basically stands for taking a given scenario and de-cluttering the image. You keep breaking it down until you get to it’s essence. I use this analogy from watching my mom make her own clarified butter, also known as “Ghee” in my language.

Manjari Sharma, Water

Manjari Sharma, Water

The water here seems so imposing and powerful, much more so than your figures. Do you feel people are living their lives in harmony with the water or at odds with it?

I feel there is balance; Sometimes a harmony, Sometimes contemplation, Sometimes confrontation. Mostly it’s a study of a relationship in between man and nature and how we relate with what we are mostly composed of. Water.

I feel that there is a dialogue and a message that I have always believed in that comes across strongly in these images and that is, the will of nature will always prevail. Often times man has tried to fight that theory but we find ourselves surrendering and assimilating.


Manjari Sharma, Water

This work is so different than the other projects on your website. Do you see your style and your images evolving or is this evidence of a different side of your work that might not normally be seen by clients?

There has been traces of this style of shooting throughout my photographic life, I just had not embarked on a series yet. After the completion of this project this was even more apparent to me than ever. Recently in 2008 I presented my work at Pecha Kucha which is a great avenue for artists to get together and take a look at cross disciplinary work.
My subject was mostly scale and the juxtaposition of little to large. So far I’ve had a smattering of images in this style, but this cohesive body is certainly a first.

Manjari Sharma, Water

Info on Manjari Sharma from her website:
After working with India’s premier publications The Times Of India and Better Photography, chasing image making is what brought Manjari to the United States in 2001. In 2004 she graduated from Columbus College of Art and Design in Columbus Ohio, her first home in the US. In Columbus Manjari assisted many respected commercial shooters and also photographed some extremely passionate musicians. Manjari moved to India to travel through her homeland for 6 months voyaging an extensive part of her country and reconnecting with her roots, she moved to New York City in late 2007. As Manjari currently freelances in New York City, her recent achievements include eight honorable mentions in the IPA Lucie Awards, she has already worked for well known clients such as AOL, American baby, Penguin Books and has worked with acclaimed photographers such as Steve McCurry, David Alan Harvey and Eric Ogden. Manjari’s travels have taken her to Malaysia, Thailand, Singapore and recently to Brazil.

Don’t forget to check our Manjari Sharma’s new site here!

The Art of Life in the Age of Digital Reproduction

February 4, 2009

Tim Leberecht

Design Mind

While not a member of the Net Generation (the 88 million Millennials for whom social networking is a birthright) myself, I have many friends and co-workers who qualify, and I am constantly baffled by their ease and eagerness to narrow- and broadcast their lives through digital media and with post-privacy transparency. The audience size doesn’t matter, it can be narrow or broad, but cast it must be, even if it is often mundane. And yet, it is one of the ironies of such “ego-casting” that the status updates, which become critical life signs, the activity metrics of one’s public life, do not begin with “I” but mostly appear in third person on Facebook and Twitter and the likes.

picture-2

This is because all these outlets treat the amateur publisher as a dramatic person per se: “Anthony is happy.” – “Tim is working on an economic stimulus plan.” – “Sarah loves Tea Leaf Green.” When the Net Geners aggregate their social media publishing output into one FriendFeed, the effect becomes fully obvious: here we have the constant flux, the permanent Now as manifest and yet as fragmented as it can be. “It ain’t why, why, why, it just is,” Van Morrison sang, and another famous Irish artist, James Joyce, based on the concluding free-flow monologue of his Ulysses, would likely agree with the inevitability of “the river of life” as a never-ending “stream of consciousness” that affirms nothing but the fact that one is alive: “Yes.”

Self-portrait

February 3, 2009

THE WORD ACCORDING TO WIKIPEDIA…

A SELF-PORTRAIT IS A REPRESENTATION OF AN ARTIST, DRAWN, PAINTED, OR SCULPTED BY THE ARTIST. ALTHOUGH SELF-PORTRAITS HAVE BEEN MADE BY ARTISTS SINCE THE EARLIEST TIMES, IT IS NOT UNTIL THE EARLY RENAISSANCE IN THE MID 1400S THAT ARTISTS CAN BE FREQUENTLY IDENTIFIED DEPICTING THEMSELVES AS EITHER THE MAIN SUBJECT, OR AS IMPORTANT CHARACTERS IN THEIR WORK. WITH BETTER AND CHEAPER MIRRORS, AND THE ADVENT OF THE PANEL PORTRAIT, MANY PAINTERS, SCULPTORS AND PRINTMAKERS TRIED SOME FORM OF SELF-PORTRAITURE.

picture-1
Angelina McCormick, Self-portrait, photograph (2006)

THE PORTRAIT OF A MAN BY JAN VAN EYCK OF 1433 IS THE EARLIEST KNOWN PANEL SELF-PORTRAIT. HE PAINTED A SEPARATE PORTRAIT OF HIS WIFE, AND HE BELONGED TO THE SOCIAL GROUP THAT HAD BEGUN TO COMMISSION PORTRAITS, ALREADY MORE COMMON AMONG WEALTHY NETHERLANDERS THAN SOUTH OF THE ALPS. THE GENRE IS VENERABLE, BUT NOT UNTIL THE RENAISSANCE, WITH INCREASED WEALTH AND INTEREST IN THE INDIVIDUAL AS A SUBJECT, DID IT BECOME TRULY POPULAR.

Sneak peek… Photography by Manjari Sharma

February 2, 2009

The photography world is so saturated with travel imagery, it isn’t often that a photographer’s travel work really blows me away. This weekend, I met Manjari Sharma at a party and am completely floored by her recent photos from Brazil. Manjari has been kind enough to speak to me about her work and allow me to share her words with Stone Thrower. Check back soon for more images and insight into this incredible project. Until then, here is a sneak peek!

Manjari Sharma

More to come! Can’t wait that long? Check out her site.


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