The SB2 Video's have finally hit the web, here is the first installment, my video presentation of business basics. I asked my business team of adviser's what advice they would offer to emerging photographers. This is what they said, here is the link
My Team: Carl Caputo, Caputo Insurance; Cindy Moore, Esq.; David Oster, C.P.A.; Donna Dooley, Financial Advisor.
Monday, April 13, 2009
Thursday, April 9, 2009
Mentor Appreciation Week - Art Kane
I have been fortunate to have had very good mentors and teachers throughout my discovery and practice of photography. Sometime in the near future I will share some of the stories and learning experiences that these mentors shared with me.
Today, I would like to briefly celebrate the life of Art Kane, born Arthur Kanofsky on April 9 1925, he died February 21 1995 here is the NY Times Obituary.
Here is the link to the Art Kane Portfolio
Here is the link to the Art Directors Club page featuring Art Kane
Here is the link to the story of the picture A Great Day in Harlem
Here is the link to the "A Great Day in Harlem" film by Jean Bach
Here is the link to Harper's Magazine Art Kane & Andy Warhol portraits
Here is the link to a film made about the Ghost Army, which Art served in WWII
Now that we got that out of the way, what about the mentoring story.
I was Art Kane's First Assistant, in the mid 1980's. He taught me many things over the course of our friendship here are a few of those lessons.
Art said that good photography, will tell more than one story, and if it is really good will reveal much about the photographer.
Another variation of that concept, A good art director/designer will make a good photographer look good. A bad art director/designer will make a great photographer look bad. A great art director/designer will make a good photographer look great. He always said to only work with great art director/designer. And I do.
Edit with your gut, not with your head. Photographers tend to over think their photographs, to the seduction of the making of the pictures, or the subject, the lens we just bought, or the trendy technique. He never seconded guessed his edits.
As a former art director, Art approached each assignment or project first with a concept. He carried a pad with pen sketches and had the visual for the photograph pretty mapped out. But as true as he was to the original idea - layout, he always reminded me that even though it was good to have an idea going into a shoot, don't be afraid to change your mind once you get there. Many times after a editing a shoot, I would go back to his original sketch, something he rarely did, many times the photographs matched the sketch.
And finally, when shooting, editing or presenting your work, think like a filmmaker. If whatever it is, is not moving the scene or films intention forward, take it out. Art and I went to films, talked about films and referenced films throughout our friendship. He introduced me to BLADERUNNER, which we referenced in a number of his projects.
Thanks Art, I still have a lot to learn.
Today, I would like to briefly celebrate the life of Art Kane, born Arthur Kanofsky on April 9 1925, he died February 21 1995 here is the NY Times Obituary.
Here is the link to the Art Kane Portfolio
Here is the link to the Art Directors Club page featuring Art Kane
Here is the link to the story of the picture A Great Day in Harlem
Here is the link to the "A Great Day in Harlem" film by Jean Bach
Here is the link to Harper's Magazine Art Kane & Andy Warhol portraits
Here is the link to a film made about the Ghost Army, which Art served in WWII
Now that we got that out of the way, what about the mentoring story.
I was Art Kane's First Assistant, in the mid 1980's. He taught me many things over the course of our friendship here are a few of those lessons.
Art said that good photography, will tell more than one story, and if it is really good will reveal much about the photographer.
Another variation of that concept, A good art director/designer will make a good photographer look good. A bad art director/designer will make a great photographer look bad. A great art director/designer will make a good photographer look great. He always said to only work with great art director/designer. And I do.
Edit with your gut, not with your head. Photographers tend to over think their photographs, to the seduction of the making of the pictures, or the subject, the lens we just bought, or the trendy technique. He never seconded guessed his edits.
As a former art director, Art approached each assignment or project first with a concept. He carried a pad with pen sketches and had the visual for the photograph pretty mapped out. But as true as he was to the original idea - layout, he always reminded me that even though it was good to have an idea going into a shoot, don't be afraid to change your mind once you get there. Many times after a editing a shoot, I would go back to his original sketch, something he rarely did, many times the photographs matched the sketch.
And finally, when shooting, editing or presenting your work, think like a filmmaker. If whatever it is, is not moving the scene or films intention forward, take it out. Art and I went to films, talked about films and referenced films throughout our friendship. He introduced me to BLADERUNNER, which we referenced in a number of his projects.
Thanks Art, I still have a lot to learn.
Monday, April 6, 2009
Mentor Appreciation Week - Kurt Markus
April is a crazy month for me, with in a short period of a few weeks, My friends Paul (April 5) and Ian (April 2) in New York, My dad (April 6), and two of my mentors, Art Kane and Kurt Markus (also April 6) and me on April 10 have birthdays. That is a lot of Arian's to contend with.
Anyway, it seems like the perfect week to talk about mentors. Using two of my own as examples of why mentors and mentoring is important in the artist's development.
Kurt Markus, is a photographer based in Kalispell, Montana. Kurt and I met back around 1988. He had recently released a book, After Barbed Wire, to great acclaim and his photography of cowboys and horses was segueing to models and fashion. His photo agent referred Kurt to me as a photo assistant, familiar to the challenges of shooting Fashion in NYC.
Kurt's career, like many of the photographers I worked with was not the photo-school path, Kurt had many different paths before photography, the one I choose to follow was that he was a writer / editor of Western Horseman. Knowing of Kurt's writing career, really sets the tone for his photography career. Kurt has a deep understanding of photography's history and it's place. He understands and has control over this interpretation of life and light.
And that is what Kurt taught me, by example his, "code of a photographer." His version of Gene Autrey's Cowboy code. His respect for his subjects, his production team, his locations, and his work is something I have adopted.
Another lesson is one of simplicity, his selection of light, his selection of composition, of location, of gesture. Simpler is better.
Having worked for a conceptual creator in Art Kane, it was a valuable lesson to realize that a photographer does not always have to go into a photograph with too much of an idea. But a sensitivity to the space, light, subject may be enough.
a valuable lesson, for today's emerging photographer, was the importance of the craft of photography. Sometimes, it is trendy, especially in the fashion photo world, to not have a complete understanding and practice for the craft of photography or it's history. Kurt respected both.
To my good friend and mentor Happy Birthday. April 6
Anyway, it seems like the perfect week to talk about mentors. Using two of my own as examples of why mentors and mentoring is important in the artist's development.
Kurt Markus, is a photographer based in Kalispell, Montana. Kurt and I met back around 1988. He had recently released a book, After Barbed Wire, to great acclaim and his photography of cowboys and horses was segueing to models and fashion. His photo agent referred Kurt to me as a photo assistant, familiar to the challenges of shooting Fashion in NYC.
Kurt's career, like many of the photographers I worked with was not the photo-school path, Kurt had many different paths before photography, the one I choose to follow was that he was a writer / editor of Western Horseman. Knowing of Kurt's writing career, really sets the tone for his photography career. Kurt has a deep understanding of photography's history and it's place. He understands and has control over this interpretation of life and light.
And that is what Kurt taught me, by example his, "code of a photographer." His version of Gene Autrey's Cowboy code. His respect for his subjects, his production team, his locations, and his work is something I have adopted.
Another lesson is one of simplicity, his selection of light, his selection of composition, of location, of gesture. Simpler is better.
Having worked for a conceptual creator in Art Kane, it was a valuable lesson to realize that a photographer does not always have to go into a photograph with too much of an idea. But a sensitivity to the space, light, subject may be enough.
a valuable lesson, for today's emerging photographer, was the importance of the craft of photography. Sometimes, it is trendy, especially in the fashion photo world, to not have a complete understanding and practice for the craft of photography or it's history. Kurt respected both.
To my good friend and mentor Happy Birthday. April 6
Friday, April 3, 2009
NEW ASMP Strictly Business Blog_My Online Watercooler
Here is what I have to say today on the ASMP Strictly Business Blog
Tuesday, March 24, 2009
Thursday, March 19, 2009
Omnicom Group Passes the Buck
Welcome to business 3.0, that must be it, this ain't your daddy's business anymore. Now it seems that the little guy is supposed to finance the big guy. Maybe this is what they (the smarter guys in the room) were calling the "new" bank, I look in the mirror and see they must be talking about me.
Well at least it seems like the middle guys the ad agencies think they want to pass the risk onto the production companies and the photographers. Many trade groups and pundits have spoken out against this new model, here is what the American Society of Media Photographers had to say.
Omnicom Passes the Buck
It has been brought to the attention of the American Society of Media Photographers (ASMP) that the Omnicom Group, the world’s largest advertising agency holding company, has changed its terms and conditions in an effort to limit their agency liability and in so doing transfer that liability to independent photographers and producers. Basically, by disclosing their agency status and for whom they are acting, the advertising agency is only liable to the extent that their client has specifically paid them for any amounts payable to you. Additionally, ASMP has been informed that reps are being told that there will no longer be any advances on assignments.
These new policies are most probably the result of the market and governmental pressures experienced by major corporate clients such as GM who in their effort to avoid bankruptcy are now prioritizing their financial obligations and will make payment according to those priorities. In other words, some suppliers will be waiting significantly longer to be paid depending upon the client’s priorities. That being the case, agencies do not want to be left on the hook for reimbursement of monies expended on behalf of their clients, especially where the fear of bankruptcy exists.
These terms and conditions are simply not in the best interests of photographers, producers or clients. This action, clearly taken in anticipation of increasingly difficult financial conditions is a unilateral effort to shift the burden onto those who are least prepared to bear it. Should an independent photographer of moderate means be the banker for a Fortune 100 company? By eliminating their customary role as intermediate financier, agencies are removing value from the value-added chain, and that will ultimately lead to an overall dampening effect on commerce.
Meanwhile, there is no incentive for the agencies to make photographer friendly changes to their terms and conditions as long as photographers are willing to accept the current terms. Notice of these changes should be included in your blogs and discussed on related lists and social networking sites. The issue needs to become viral and requires significant support from key photographers in order to gain traction and effect change. If it is business as usual for the agencies, then nothing will be accomplished.
ASMP would recommend that photographers include in their paperwork a statement making it clear that there will be no grant of copyright license until all related assignment invoices are paid in full. Images should be registered with the Copyright Office immediately upon completion of the shoot and prior to first publication and/or possible infringement so that in the event that legal action – a last resort – is needed, recovery of statutory damages and court costs will be possible.
In addition, the Association of Independent Commercial Producers (AICP) recommends the following:
“If an agency's internal policy insists upon these payment terms (sequential liability), the production company should:
a) Make sure the advertiser ("client") also signs this agreement. If it is a rider, the terms of payment and the full contract price should be added to the rider.
b) Be provided with the advertiser billing and contact information.
c) Copy the advertiser on all invoices.
d) Notify the advertiser of payment due as soon as terms of the contract (payment dates) are not met by the agency.”
As a possible course of action, since the agencies are shifting liability to their corporate clients, perhaps photographers should consider approaching the clients directly for advances and or other payments prior to the beginning of the assignment.
Ultimately, this is a case of the supplier beware!
A Photo Editor said," It certainly seems to
be the trend these days where citizens are held responsible for
corporations that can't pay their bills but an advertising agency
eliminating their traditional role as financier for advertising
campaigns maybe signals an impending overhaul of the way business is
conducted. "
My Friend John Harrington over at Photo Business News & Forum had this to say, " it is important that you understand how companies are attempting to negotiate with you either beforehand, or afterwards in unfoavorable purchase order language that changes substantively the terms under which your initial contract was agreed to. On more than one occasion I have had to have Purchase Order language modified to be consistent with the intitial contract."
And Nick Parish last week wrote in CREATIVITY ONLINE, ""If there is a problem here with people assuming risk and liability we need to come up with a collective solution to that," says Miller. "It's interesting to see what did go on in U.K. and will be interesting to see if production companies here act the same way on an absolute basis."
The production companies say the changes would erode their business model and force them to bear the weight of a client default more heavily than at present. Spokespersons from Omnicom and WPP did not respond to requests for comment.
"How can an ad agency go to a client and demand that they pay them up front and then stick this to us?" asks one head of a high-profile production company. "I didn't realize we were also in the banking business. When no one can finance anything, they're asking us to do it."
Well at least it seems like the middle guys the ad agencies think they want to pass the risk onto the production companies and the photographers. Many trade groups and pundits have spoken out against this new model, here is what the American Society of Media Photographers had to say.
Omnicom Passes the Buck
It has been brought to the attention of the American Society of Media Photographers (ASMP) that the Omnicom Group, the world’s largest advertising agency holding company, has changed its terms and conditions in an effort to limit their agency liability and in so doing transfer that liability to independent photographers and producers. Basically, by disclosing their agency status and for whom they are acting, the advertising agency is only liable to the extent that their client has specifically paid them for any amounts payable to you. Additionally, ASMP has been informed that reps are being told that there will no longer be any advances on assignments.
These new policies are most probably the result of the market and governmental pressures experienced by major corporate clients such as GM who in their effort to avoid bankruptcy are now prioritizing their financial obligations and will make payment according to those priorities. In other words, some suppliers will be waiting significantly longer to be paid depending upon the client’s priorities. That being the case, agencies do not want to be left on the hook for reimbursement of monies expended on behalf of their clients, especially where the fear of bankruptcy exists.
These terms and conditions are simply not in the best interests of photographers, producers or clients. This action, clearly taken in anticipation of increasingly difficult financial conditions is a unilateral effort to shift the burden onto those who are least prepared to bear it. Should an independent photographer of moderate means be the banker for a Fortune 100 company? By eliminating their customary role as intermediate financier, agencies are removing value from the value-added chain, and that will ultimately lead to an overall dampening effect on commerce.
Meanwhile, there is no incentive for the agencies to make photographer friendly changes to their terms and conditions as long as photographers are willing to accept the current terms. Notice of these changes should be included in your blogs and discussed on related lists and social networking sites. The issue needs to become viral and requires significant support from key photographers in order to gain traction and effect change. If it is business as usual for the agencies, then nothing will be accomplished.
ASMP would recommend that photographers include in their paperwork a statement making it clear that there will be no grant of copyright license until all related assignment invoices are paid in full. Images should be registered with the Copyright Office immediately upon completion of the shoot and prior to first publication and/or possible infringement so that in the event that legal action – a last resort – is needed, recovery of statutory damages and court costs will be possible.
In addition, the Association of Independent Commercial Producers (AICP) recommends the following:
“If an agency's internal policy insists upon these payment terms (sequential liability), the production company should:
a) Make sure the advertiser ("client") also signs this agreement. If it is a rider, the terms of payment and the full contract price should be added to the rider.
b) Be provided with the advertiser billing and contact information.
c) Copy the advertiser on all invoices.
d) Notify the advertiser of payment due as soon as terms of the contract (payment dates) are not met by the agency.”
As a possible course of action, since the agencies are shifting liability to their corporate clients, perhaps photographers should consider approaching the clients directly for advances and or other payments prior to the beginning of the assignment.
Ultimately, this is a case of the supplier beware!
A Photo Editor said," It certainly seems to
be the trend these days where citizens are held responsible for
corporations that can't pay their bills but an advertising agency
eliminating their traditional role as financier for advertising
campaigns maybe signals an impending overhaul of the way business is
conducted. "
My Friend John Harrington over at Photo Business News & Forum had this to say, " it is important that you understand how companies are attempting to negotiate with you either beforehand, or afterwards in unfoavorable purchase order language that changes substantively the terms under which your initial contract was agreed to. On more than one occasion I have had to have Purchase Order language modified to be consistent with the intitial contract."
And Nick Parish last week wrote in CREATIVITY ONLINE, ""If there is a problem here with people assuming risk and liability we need to come up with a collective solution to that," says Miller. "It's interesting to see what did go on in U.K. and will be interesting to see if production companies here act the same way on an absolute basis."
The production companies say the changes would erode their business model and force them to bear the weight of a client default more heavily than at present. Spokespersons from Omnicom and WPP did not respond to requests for comment.
"How can an ad agency go to a client and demand that they pay them up front and then stick this to us?" asks one head of a high-profile production company. "I didn't realize we were also in the banking business. When no one can finance anything, they're asking us to do it."
Tuesday, March 10, 2009
what is social networking all about ? and should I ?
This is a remixed video on research by Karl Fisch, Scott McLeod, and Jeff Bronman.
Here is a commentary on Social Media.
Finally, a link to a very funny video about Social Network sites, from the Smithsonian
The ASMP responded to the "New Facebook Terms & Conditions," which Facebook later reversed to the previous T&C. Due to public outcry the are reviewing those terms.
Facebook's new approach as written in the Chicago Tribune by Wailin
Here is PhotoAttorney Carolyn Wrights post on the FACEBOOK issue
Subscribe to:
Posts (Atom)
Posts
