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 In light of the demise of Digital Railroad, a few readers have written expressing concern about the future of PhotoShelter, and what their closing of the PhotoShelter Collection means. So, we thought we'd ask them how things are going, and we turned to Grover Sanschagrin for answers. 1) Some readers were concerned about the closing of the PhotoShelter Collection and seem to be confusing that with the entire PhotoShelter service. Can you shed some light on this?We closed down the PhotoShelter Collection because it wasn't cost-effective to keep it running considering the current economic climate. The last thing we wanted to do was put the PhotoShelter Personal Archive in jeopardy. This is the product we started with over 3 years ago, with over 35,000 photographers subscribing to it. It was a difficult decision at the time, but it was the right decision. Doing so allowed us to cut the burn rate - and "cutting the burn" is the key to survival right now. (Continued after the Jump) 2) So, the PhotoShelter Collection was an effort for PhotoShelter to get into the photo agency business, marketing and licensing images collectively for those PhotoShelter users that wanted to participate?Exactly. A global search across all archives has always been possible with PhotoShelter. But the Collection added photo editors, a sales staff, research people, and a beefed-up marketing department. It was free for photographers to participate, and when sales were made, PhotoShelter's take was 30%. 3) When Digital Railroad was in its' final death throws, PhotoShelter was very active behind the scenes trying to figure out a way to help stranded photographers rescue their images. Do you feel that most photographers were able to get their images off the DRR servers in time?Unfortunately, most people didn't get their images off in time. The longer someone waited to get their images, the less likely they were to experience successful transfers. The people who jumped on it the moment you started writing about it on your blog were able to get their entire archives safely ported over to PhotoShelter. 4) Of the reportedly 1,400 or so active DRR photographers, about how many are now PhotoShelter customers?This may sound like a non-answer, but we really don't know for sure which of our newest customers are from DRR. I can tell you, however, that signups have *definitely* increased. If I were to make a rough estimate, I'd say that somewhere around 35% of the total DRR population have signed up with PhotoShelter since the news first broke. 5) Prior to the demise of DRR, it was said that PhotoShelter (as separate from the PhotoShelter Collection) was a cash-flow positive business, so it would stand to reason that the addition of that 35% who migrated from DRR would make PhotoShelter even more stable moving forward. Can you expand on this?I can't really expand on that at all, at least not with the kind of specific details that I know you want. But I will say that I am proud of our management team, and that the decisions made were difficult but right, and the company, and product, has never looked better as a result. As a company that takes its archiving responsibilities very seriously, we're not interested in taking chances. We're interested in long-term survival, and putting the company in a position it can happen -- even during an economic downturn. 6) What growth areas do you see for PhotoShelter in the future?Now that the Collection isn't such a large focus anymore, we've turned our full attention to the Personal Archive. We plan to continue with our aggressive development calendar, and respond to the ideas and suggestions of our customers. Making the product stronger is our main focus. 7) We've previously highlighted the new embed-able galleries features, as well as the incredible shoot-to-live-online capabilities. Are there any exciting new features you can tip us off to in the near future?Are there exciting new features coming? Yes. Will I tell you what they are? Not exactly. I'm not sure if people realize just how amazing our engineers are, and how fast they can turn an idea into a reality. With their full attention on the Personal Archive, my job has never been more exciting. 8) What can the average photographer be expecting to spend each month on your service?We've got several different price points, starting with a Free account (with only 150mb of storage) to allow people to get in there and check it out for as long as they'd like. We've got accounts at $9.99/mo (10GB), $29.99/mo (35GB) and $49.99/mo (100GB). Adding more storage can be done on-the-fly and at extremely affordable rates. 9) Shouldn't that nominal amount either be an easily absorbable figure into a small businesses' overhead, or billable out as "online image delivery" to a client when an assignment is delivered that way? (in other words, are other photographers doing it that way?)Considering what you're getting for your monthly subscription, it's an absolute bargain. A serious photographer using PhotoShelter to drive their business has no problem covering these costs. Wedding photographers can charge a bride/groom for an online digital archive; Retouchers can avoid the costs of DVDs by selling archiving space to their customers; Photographers of all kinds can open up brand new revenue streams with print sales or by making personal-use downloads available, etc. 10) What seems to be the one stumbling block that a potential user is not surpassing that is precluding them from signing up, and what would you tell them if you were talking to them one-on-one?Many photographers think that in order to make use of PhotoShelter, they'd first have to spend hours and hours uploading their entire archive, and this is time they do not have. I regularly tell photographers to just get started today, and worry about the past later. Tomorrow will eventually be yesterday, so the longer you wait to get started, the more of a chore it will be when you finally get around to it.
I also think that many photographers look at PhotoShelter and ask themselves if it can do everything they need it to do in terms of how they are running their business, instead of how PhotoShelter can, through innovation, actually improve HOW the are running their business.
My favorite PhotoShelter user is anyone who is curious, willing to experiment and try new things, sees the Internet as an opportunity, and is innovative in their business strategy. This kind of attitude and outlook is critical to success and long-term stability - something we should all be thinking about.
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
Photo editors often get a bad rap. They're often (incorrectly) blamed for the bad contracts they are required to foist upon us. Sometimes, it's their idea, but usually, it's not. It's usually the legal department making things harder for them to get talented work to sign things like work-for-hire, and so forth. Thus, when a photo editor does the right thing, as is the case here, we feel it of value to hearld it from the treetops, so to speak. This is the case of a photo editor who licensed images through Digital Railroad for several books, with over fifty images. They'd downloaded them, and had recieved an invoice from DRR. Yet, when they were about to pay it (the books have not gone to press yet), they learned that DRR was in trouble, and likely closing their doors, so they waited before cutting the check. Imagine my pleasant surprise when they called me and shared this story, and said "we want to pay you directly, since we know that if we pay them, you'll never see the money." I was eager, of course, to help. They are also looking to finalize their contacting of other photographers whose images they had selected. We've offered to help them find anyone who they can't locate, and await any information from them on that front. So, three cheers for Brad Epstein, of Michaelson Entertainment for his effort in doing the right thing. Thanks Brad. (Comments, if any, after the Jump)
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 Friends, Romans, Countrymen! I'll take as a matter of personal privledge the opportunity to share with you my new website - www.JohnHarrington.com! I am very excited about this new site, and the bigger pictures, and ease of use for the prospective client. Why a new site now? Well, both Presidential candidates are talking about change, and we agree! So, we've put a whole new face on our website - showcasing the candidates (both of them) hard at work reaching out to their constituents, among the many other assignments we've done. (Comments, if any, after the Jump)
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 Much has been said (here, and elsewhere) about the windfall of funds that the American Society of Media Photographers received almost a year ago. ASMP did the right thing in putting out a call for member ideas for spending that money - "Call for Member Ideas for Furthering Industry Education and Advocacy!", writing: "The $1.3 million distribution has the potential to do much good in its areas of use, which are restricted to furthering industry education and advocacy." ASMP has set as a deadline of tomorrow (Monday, 10/20) as the deadline for the reciept of ideas. Here are several things that ASMP should be doing: 1) Because of the importance of the case that has made its way to the Supreme Court regarding the National Geographic's use of photographers' works from their printed edition in their CD-ROM edition, I proposed ASMP utilize those funds to "fund additional counsel to aid in the preparation of {the amicus curiae} brief..." so that the rights of all photographers and this industry would benefit from the information that the ASMP would present. (Greenberg background here). (Continued after the Jump)
 2) There seems to be some movement in the possibility of being able to register with the copyright office works that are published and unpublished together, in one registration. Currently, you must register them seperately. The ASMP could fund a study into the benefits of this combined registration type, that would be of value in making the case for a combined registration. There are a great many challenges for a segment of the photography community that may not be able to determine which images meet the test of "published", and which do not. further, the ambiguity of the language in the era of the internet further confuses people. Surely, more people would register their work if this were the case. (ASMP FAQ on this here).
 3) There are a great many endeavors that PLUS - the Picture Licensing Universal System cross-industry organization is working on. PLUS has recieved support from large corporations to fund the majority of it's development, and with the downturn of the economy and consolidation in the industry, PLUS is likely to face funding challenges. Because of their cross-industry consensus, the furtherance of the PLUS Licensing Glossary, the PLUS Registry (which has an significant importance in response to the expected Orphan Works legislation), are projects that, without a doubt, meet the test of "furthering industry education and advocacy", especially when facilitated by an unbiased organization like PLUS.
 4) And here's the big one - fully fund an ASMP Strictly Business 3 program. I was a part of the SB2 program, and a protege of the SB1 program 15 years ago. One of the repeated messages we as presenters heard was "please repeat this more often." We were able to do just four cities, and each event was well attended. Consider a 10, or even a 20-city tour? Economies of scale would make each city less expensive, to be sure, and the ciriculum from SB2 could be utilized, further minimizing the planning necessary. I'm not plugging this so I can hit the road again (but I'd consider it), but if ASMP wanted to take my piece of the curriculum and have it used as the basis for a new presenter on those topics, I wouldn't have any problems with that. The SB2 program was open to ASMP members and non-members, but there was a price difference. Perhaps the pricing at the same level for both this go-round would resolve any concerns about benefits specific to ASMP. In fact, you could slash in half the price of the entire weekend, making it even more available; offer scholarships, or, maybe make the entire weekend free? I know, it sounds crazy, but it's worth looking into.
So there you have it - four ideas for the American Society of Media Photographers to spend their $1,300,000.00 in windfall funds. I'm sure others have been sent in. If you have your own ideas, hit this link - suggestions@asmp.org - and let them know. You have one day left to propose your ideas. As the e-mail notes - "Just be sure that your suggestions conform to the parameters of 'furthering industry education and advocacy.'"
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 I'm not trying to mirror this great article - Ask Sports Shooter: Assisting by Jordan Murph, over at SportsShooter, but it got me to thinking. We use A LOT of assistants. So many, that we have former assistants running the office, managing all our post production, and as our special projects manager. When we travel, we've picked up local assistants in dozens of cities nationwide. We sure do see our fair share. One special shout out to one awesome one - John Birk. He's Philly-based, but is more than happy to travel. He's got it down. Cleans sensors (after asking if you want him to), anticipates what you need before you need it, and knows when to speak, and when to keep quiet. Oh, and he knows carry-on regulations so well he saved me from having to check my ThinkTank Airport Security full of cameras/lenses with a size change for a recent trip to the Baltics. AND, oh right, he can get you gear shipped to you when you have a problem...wait, this isn't about John, but you should use him in Philly for sure. This is about what makes a good assistant, and the path you can travel when you start that way. (Continued after the Jump)
In addition to that link, here are two good books with information - The Photographer's Assistant Handbook , and then there's The Photographer's Assistant . Both are excellent resources, but you'll have to look past the references to film, as they were written in 2000 and 2001 respectively. Yet, the message points on things like "be seen and not heard, oh, and really, don't be seen either"; "when 'we' forget something, the assistant was the one who forgot it"; and "when the client asks your opinion, yours is whatever the photographers' is, even if the photographer hasn't given his yet", and so many more things.
If you're looking to find an assistant, visit this link at the ASMP website which lists all their chapters nationwide. Each chapter not only has a "Find a Photographer" listing, but most, if not all, have "Find an Assistant" listing, or they have a list of assistants on their website. No list? Call one of the photographers there and you'll find they know who the best ones are. So too, APA has a link to locate an assistant on their national website - here.
 Make no mistake though, the Photographer's Assistant is NOT an Assistant Photographer. An assistant photographer is often also called a second photographer, a backup shooter, and so forth. If you are working for a photographer and you have a camera in hand that will deliver images to the client, you're an Assistant Photographer. If you are unpacking gear, setting up lights, driving, getting food, making photos/video of the shoot in progress and/or the setup for the photographer's use, holding an umbrella over the client's head, pulling power, and so forth, then you are the photographer's assistant.
 Then there's the second, and the third. On large shoots, you have the First Assistant, Second Assistant, and sometimes a Third Assistant. After that, anyone assisting on set is usually called a Production Assistant. The First Assistant often travels with the photographer, and knows what the photographer wants, needs, and so forth. The second sometimes travels, but is often picked up locally. When you're the second assistant, you do what the First tells you. When you're the Third, again almost always picked up locally, you do what the Second tells you. Neither the Second nor the Third should be going to the photographer for anything. Go to the First.
Many photographers got their start as assistants, but not all. Then, there are people who never want to be photographers but really just love assisting - these are known as "professional assistants". To each their own, I say. Here's a 30 second vignette - Photography Assistant, but here's a really funny (and true) video about being a PA on a movie - PA Stories Episode 1 - The First Day; then there's the video "A Foot In The Door" with a hilarious "Mocha Run" scene.
What does a photographer's assistant make? It ranges from about $100 a day, to upwards of $300 or so. And that's usually for a 10-hour day.
The bottom line - you're there to make the photographers' life easier; make the photographer look better; remember everything that the photographer forgot; know what the photographer needs before they need it; load and unload all the gear - yourself; get up early & stay up late; make sure the photographer is awake; and whatever else the photographer says to do. Seriously, that's not an exaggeration.
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
"A proverb is no proverb to you till your life has illustrated it."
~John Keats(1795-1821)
Poet
Indeed. "Nothing ventured, nothing gained."
Enter Silicon Alley Insiders' piece - Sorry, Startups: Party's Over (10/9/08) which demonstrates the need to lower your burn-rate the "equivalent to 'raising an internal round' through cost reductions to buy you more time until you need to raise money again; hopefully when fund raising is more feasible." When will that happen? (Continued after the Jump)
Who the hell knows. It ain't gonna be soon, that's for sure.
All this belt-tightening is hitting many of us. For example, I've had on the burner a project to install a 20Kw generator to operate my business in the event of a power loss. Clients in California don't understand when there's no power in our offices in DC because of foul weather. While we are proceeding with the planning and estimation phase, until we see what the future holds, we won't be signing on the dotted line. When we have that available revenue, the plan will be in place to execute.
"Everyone must row with the oars he has."
You can expect colleagues looking to get the next line of equipment coming out to delay until there's more stability, and clients are calling more frequently.
Clients too will be delaying non-critical projects, which means fewer assignments for everyone.
"A penny saved is a penny earned."
But be patient, as:
"All good things come to those who wait."
And lastly:
"The early bird may get the worm, but the second mouse gets the cheese."
As your life begins to illustrate these proverbs, Enjoy your weekend.
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 "I trashed my entire LinkedIn profile. Just got rid of it." Why, I asked. "Because people, other photographers, were contacting my clients through my LinkedIn profile." This photographer, who has asked to remain anonymous, reflects a growing concern about the privacy and interworkings of social networking sites like LinkedIn, Myspace, and Facebook, among others. (Continued after the Jump)
It would go without saying that if you're working for a company with many employees, you might have clients as your friends/connections. Yet, how are you using the tool? It is a dangerous toy - a place to pass the time, or a communications solution for the newly graduated generation? There are many types of people who use facebook (The Multiple Facebook Personalities, 4/15/08), but instead, there are people with more than one persona on these sites. Having more than one account is a violation of Facebook's Terms of Service, and you risk having both closed. Yet, if you feel you must be on it, maybe you should think about it further.
Many people on Facebook, for example, have been on since college, and they have pictures of them partying, and otherwise just being unprofessional. They remain connected to their past, and keep up with everyone that way. But do you really want your new boss, colleagues, and clients seeing those images? Of course not.
With your boss, or other professional colleagues on Facebook, do you really want your high school friends to be able to contact your employer, or post photos of you that your boss might see from the past weekends' homecoming celebration you were supposedly home from work sick for?
When it comes to freelancers - specifically photographers, it's easy to see nothing wrong with connecting to them. Then going further, it seems a no brainer to connect with your clients. There's where the problem starts. Your friendly photographer colleagues should know that it's wrong to connect with your clients. Yet they don't. Or, they do, and don't care. Further, what if one of your clients is Time, and the other Newsweek? ExxonMobil and Sunoco? Will that create a problem? Surely it could. Do you want to risk it?
I am on Facebook (my profile), and that's where my friends are. I am also on LinkedIn (my profile), and that's where I would be comfortable linking with clients. I try not to have the two cross, but I know that it's happened, and there's the risk. If you want to share with your clients - and prospective clients - what's going on in your world, have a blog that you share your day-to-day assignments and thoughts on. Be sure it's being written with your professional end audience in mind.
Surely some etiquette is in order. Suffice to say - don't go shopping for new clients on social networking sites when those new clients could well come at the expense of your friends. That's not very friendly. Think twice - no three times - before posting embarassing photos of your friends on a public social networking site. It was funny in college - now, not so much. If nothing else, make the photos private.
Above all, be good. Be thoughtful, and do no harm. To yourself, or your friends.
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
A lot goes into that first call. Not the call you make, but the call you earn. Before your phone rang, lots of things had to happen - the client had to decide they needed a photographer, and where there's an ad agency, PR firm, or design firm involved, they had to convince their client they needed photography. Then, they had to decide on candidates for the assignment. And that's where you come in. (Continued after the Jump)
There are five stages that your clients go through during the entire process:1. Anticipation
2. Trepidation
3. Inspection
4. Fulfillment
5. Evaluation Lets look at those closer.
Anticipation:
A prospective client is anticipating that you can deliver, based upon your marketing materials - portfolio, website, business card, presentation in person, phone skills, and the appearance of your contract. Based upon this, they book you.
Trepidation:
Depending upon how you did in the Anticipation phase, the degree of trepidation can vary. Were you a yellow pages or search-engine find, a referral from a trusted source, or had they used you in the past? Even so, there is a period where the client is worried about the quality of the end result, even when you are a repeat vendor for them.
Inspection:
During the shot, and afterwards, they look through your results, contemplating the circumstances that went into the shoot, and thus, the results. Was it a rainy day when the shoot called for blue skies, but you had to shoot anyway? Was the model late? Were the VIP's that were the cornerstone of the event absent, and so the client-handshaking with a VIP is missing from the event images? Or, did everything go smoothly, and the client has the highest of expectations after the fact relative to their expectations beforehand?
Fulfillment:
Did you deliver as promised? Are they satisfied with the results? Is their client satisfied with the results? Did what you do meet - or better yet - exceed expectations? You should always strive for a "that photographer sure exceeded my expecations" response. You need to win over even the most critical of clients, so they may become your staunchest advocates.
Evaluation:
Would they hire you again? Would they casually recommend you to a colleague? Would they enthusiastically recommend you to a colleague? Or, in the best of scenarios, without provocation, would they go onto their listserv and shout your name from the treetops "...boy, I just finished this shoot with John Harrington, and if you ever need a photographer, he should be on the top of your list of people to call..." ? Wouldn't it be great to have an evangelist like that? They do exist. Have you experienced it yet?
Take a piece of paper, and print out those five words, and place them in a prominent place near your desk. By understanding the phases of a client experience, you can ensure that you are firing on all cylinders and meeting and exceeding expectations in each phase.
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 Last night, we surpassed 1.2 million pageviews for the blog, and hope that everyone who's been here has learned a lot! Here are the top 10 posts, in order of pageviews, during that time.
- Nikon vs. Canon - Introduction - Our head-to-head comparison of our two newest cameras, back in December of last year, the D3 and the EOS 1Ds Mark III.
- Photo Booth Rig - The 'in detail' demonstration of a really cool photo booth where people can make images of themselves, and get a print, in under a minute!
- State of the Union - From the Photographer's Perspective - a look at how the photographers covered the event (including me), as well as some insights into the work environment and challenges we all face.
(Continued after the Jump)
- A Must Watch - Do You See Yourself? - Harlan Ellison's on fire in this 3:24 piece excerpted from the upcoming feature documentary on him "Dreams With Sharp Teeth"
- The Conundrum of Doing Nothing - This post, in such a short period of time saw a grassroots spike in readers. The bottom line - doing nothing can be very profitable!
- US Presswire - Introduction - Many of you apparently 'saw the light' and spread the word about this in-depth piece on how bad shooting spec, especially of sports, is for you. It wasn't without it's detractors, of course.
- Orphan Works 2008 - A Wolf In Sheep's Clothing - The orphan works dilemma needs to be solved. Just not this way. Museums and libraries find their missions frustrated by an inability to identify and contact rights holders
- Anatomy of an Assignment: 3 Minutes and Counting - This post will always hold a special place for me, as it was the basis for the AssignmentConstruct site.
- Free Not Working for Thee? - I hear a great deal from photographers who are asked to work for free, or whom were replaced by someone willing to work for photo credit, and paying to shoot something (by way of paying un-reimbursed expenses associated with the no fee shoot).
- The Art of the Retoucher - This was a very early post, about how amazing retouchers work, and links to some of their samples.
So, you chose them - send the links to your friends, and share the knowledge!
Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.
 If you're looking for a resource for information on the business of photography, this book must be on your bookshelf. I've had several previous editions, and now the 7th is out, and available for pre-order. The last one - ASMP Professional Business Practices in Photography: Sixth Edition , was published on September 1st, 2001. We all know, A LOT has changed - in fact, the world changed just 10 days later. This edition - the 7th, will rock your world, right now - guaranteed. So - hit this link: ASMP Professional Business Practices in Photography, 7th Edition and go get it! If you're an ASMP member, check your e-mail, or log-in to the ASMP website members area for a special discount code to get it from the publisher at a discount, and get it from the publisher direct - ASMP Professional Business Practices in Photography, 7th Edition. So, why, you might be wondering, would *I* promote another book on the subject of business practices for photographers? (Continued after the Jump)
It's simple - I want you to have as much knowledge on the subject as possible. Am I concerned that you might buy this book instead of mine? Not at all. First, my book lists for just under $30, and on Amazon it's just under $20. This book lists for the same price, and I'd guess that Amazon's price will be somewhere around mine. If, combined, you don't have about $50 to spend getting your business practices in order, then you're not thinking straight. You'll easily earn that pittance of an expense back within two weeks of having spent the dough.
On Amazon, my book frequently gets paired with Michael Grecco's book, and Joe McNally's book, as well as Dick Weisgrau's book, and others. Nothing would be better than if this book, and mine, got that pairing.
Natch - it is!
Here's what ASMP wrote about the book:
This classic guide is the ultimate source on key business practices and industry standards from the foremost authority in professional photography.
From standard practices in stock and assignment photography to special one-time decisions such as acquiring a digital workstation, this “business bible” provides the latest answers to any legal or business question an aspiring or professional photographer can ask.
With in-depth chapters, over two dozen industry experts offer practical guidance on such topics as estimating prices, formalizing agreements, using electronic technology, and much more. This completely updated Seventh Edition also features dozens of ready-to-copy legal and business forms, helpful checklists, and an extensive cross-media bibliography. Here's the Table of Contents:
PART I THE BASICS
Section 1 Understanding LicensingChapter 1 Industry Overview: Understanding Licensing—the Key to Being a Professional Photographer by Susan Carr
Chapter 2 How to Price Professional Photography by Susan Carr
Chapter 3 How to Write a License by Jeff Sedlik
Chapter 4 Selling Your Pricing Structure by Susan Carr Section 2 Copyright—Protecting your Assets
Chapter 5 Understanding Copyright by Richard Weisgrau and Victor Perlman
Chapter 6 Registering Your Work by Stan Rowin
Chapter 7 Metadata Basics by Judy Herrmann
Chapter 8 Using Metadata is Key to Photographic Professionalism by Ethan Salwen
Chapter 9 Enforcing Copyright: Dissecting the Infringement Case by Nancy Wolff
Chapter 10 Smoking Guns—How to Handle Clients Who Exceed Prior Licenses by Henry W. Jones, III
Chapter 11 Frequently Asked Questions by Stan Rowin Section 3 Assignment Photography
Chapter 12 The Assignment Photographer by Susan Carr
Chapter 13 Interviews with Assignment Photographers by Leslie Burns-Dell’Acqua
Chapter 14 Making Strides with Your Fine Art Career by Amy Blankstein
Chapter 15 Moving into Motion by Ethan Salwen
Chapter 16 Book Publishing by Shannon Wilkinson Section 4 Stock PhotographyChapter 17 A Brief Explanation of the Business of Stock Photography by Betsy Reid
Chapter 18 Stock Licensing Models by David Sanger and Betsy Reid
Chapter 19 Editorial + Commercial Stock: Worlds Apart by Rivaldo Does
Chapter 20 Stock Contracts: Look Before Your Leap by Robert Rathe
Chapter 21 Going Portal: Clearing Defi ning Stock Photography Portals by Ethan Salwen
Chapter 22 Interviews with Stock Photographers by Leslie Burns-Dell’Aqcua Section 5 PaperworkChapter 23 Why These Forms are Critical to Your Business by Richard Weisgrau and Victor Perlman
Chapter 24 Sample Forms—Estimate, Confirmation, Change Order, Delivery Memo, Invoice, Indemnification
Chapter 25 Terms and Conditions for Your Business Paperwork by Richard Weisgrau and Victor Perlman
Chapter 26 Smooth Sailing: Avoiding Business Conflicts by Jay Asquini Section 6 Releases
Chapter 27 Why You Need Releases
Chapter 28 What’s In a Release
Chapter 29 Property Releases
Chapter 30 Special Considerations for the 21st Century
Chapter 31 Trademarks
Chapter 32 Ideas For Getting Signatures
Chapter 33 Frequently Asked Questions About Releases
Chapter 34 Sample Releases
Chapter 35 Your Professional Team: Attorney, Accountant, Estate Planner and Insurance Agent by Alan Rabinowitz
Chapter 36 Preserving Your Visual Legacy: Estate Planning for Photographers by Aaron D. Schlindler
Chapter 37 ASMP Prosurance by Scott Taylor
Chapter 38 Is Your Assistant an Independent Contractor or an Employee? by Mark Tucker
Chapter 39 Guidelines for Assistants by Pamela Kruzic Section 8 Digital Business Essentials
Chapter 40 Digital Asset Management by Peter Krogh
Chapter 41 Universal Photographic Digital Imaging Guidelines
Chapter 42 Digital Technicians by Ethan Salwen PART II CRITICAL SKILLS
Section 9 MarketingChapter 43 7 Steps to an Effective (and Doable) Marketing Plan by Leslie Burns-Dell’Acqua
Chapter 44 Websites by Leslie Burns-Dell’Acqua
Chapter 45 Website Success Case Study by Blake Discher
Chapter 46 Website Usability Considerations by Blake Discher
Chapter 47 Art Directors Voice Their Do’s and Don’ts by Elyse Weissberg
Chapter 48 Reps and Marketing Assistants and Consultants, Oh My! by Leslie Burns-Dell’Acqua
Chapter 49 Reinventing Yourself by Elyse Weissberg Section 10 Negotiating
Chapter 50 Negotiating Principles by Michal Heron and David MacTavish
Chapter 51 Negotiating the Assignment Deal by Richard Weisgrau
Chapter 52 Negotiating Quick Tips and Telephone Cheat Sheet by Blake Discher Section 11 Customer Service
Chapter 53 Working WITH Clients by Leslie Burns-Dell’Acqua
Chapter 54 Turning Projects into Relationships: Give Them an Experience by Leslie Burns-Dell’Acqua Section 12 Managing Change
Chapter 55 Value Your Work: An Educated Photographer Is Your Best Competition by Emily Vickers
Chapter 56 The Sky is Falling, Grab Your Camera by Judy Herrmann
So, what's stopping you? Go - hit this link: ASMP Professional Business Practices in Photography, 7th Edition and get it! I did - the second I read the e-mail.
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 | My literal interpretation of "up" and "dig."
This industry continues to overflow with acronyms. It started with ASA, then we graduated to ISO, then there was APO, then DAM, not to mention all of the associations - NPPA / ASMP / APA / EP / WHNPA / BAPLA / ASPP, and so on and so forth. Why do we need another? Well, to put it simply - we do - and essentially all the anagrams that represent photographic organizations are on board with UPDIG - UPDIG is short for Universal Photographic Digital Imaging Guidelines. Before you think you know how to handle your images, stop and think that you might learn a little (but more than likely, a lot) by reading through the information they've put together. (Continued after the Jump)
Late in the Fall of 2004, David Riecks was tasked by Susan Carr to see about forming a group consensus on digital standards, and the auspicious project was formally started in early 2005 amid a vacuum of information on best practices guidelines for digital imaging. David Riecks, stepped up to created UPDIG's first website, and in the Spring of 2005 Richard Anderson, who is on the national board of ASMP came on-board to organize and write The Guidelines, along with Greg Smith, who is the Business Practices Committee chairman for the NPPA. The consortium continued to grow (see all the organizations that are a part of UPDIG here), as noted on the ASMP website here - "when leaders and representatives of nearly a dozen photographers groups from around the world gathered for a "Digital Summit." They agreed that Guidelines and Best Practices were needed, should be easy to understand, and should offer options for different workflows aimed at different outputs...". APA heralded the effort here "...15 clear and understandable guidelines as well as a best practices document prepared by the the UPDIG working group of photographic international trade organizations...APA is proud to play an active role on the UPDIG working group." Even John Nack of Adobe wrote here "UPDIG describes itself as "A working group of digital imaging professionals and allied trade groups and manufacturers, dedicated to promoting worldwide standards in the commercial application of digital imaging....If that describes your trade, the site is well worth a look."
So, well, what are the 12 guidelines? (Note - there were 15 to start, they were boiled down to 12.) I think you'd be best served to read them directly on the UPDIG site, (here's the executive summary - Quick Guide) and here are the 12 guidelines:- Color Management
- The best ways to use and embed ICC color profiles (and what they are if you don't know)
- Monitor Calibration
- The importance of hardware calibration and profiling; as well as information on monitor soft-proofing
- Color Spaces
- Understanding the various camera settings for color spaces as well as the color spaces for image editing; offset printing; CMYK conversions; and photo lab prints
- File Formats
- Why should you shoot in your camera's RAW mode; the value of DNG, and the various formats for the web and for printed output
- Naming Files
- Best practices for cross-platform file naming; and avoiding duplicate file names
- Resolution
- How to describe; optimizing for the screen; for inkjet prints; for continuous-tone printing; for offset printing
- Sharpening
- Capture sharpening; process sharpening; sharpening tools; dealing with noise; output sharpening
- Metadata
- IPTC Creator and Copyright; keywords; the importance of metadata
- File Delivery
- Media; methods; file info; ReadMe files
- Guide Prints and Proofs
- Archiving
- Workflow
- Matching to needs; what it should do; choosing the right tools
If you're looking for answers about how to best handle your workflow - This is THE place to start. And since technology evolves, so too will the efforts of the working group to change with the times.
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 Many a time I have been working an assignment that had me properly attired wearing jeans and a polo shirt. Usually, it was at a very informal outdoor event, where even wearing Khaki's and a button down would make me look out of place. Then, I get a call for an unexpected assignment in an office building. Proper attire? Nothing less than Khaki's and a button down, preferrably a suit, and were I without a tie, I would be out of place. Carrying a set of appropriate clothes to change into is just as second nature as carrying equipment - stowed in my car - that would allow me to take other assignments should the call come in for it. For newspaper photographers, these multiple-assignments-per-day issues arise, and most are prepared to handle the variety that is their everyday life. Messages like "dress the part", "dress for success", "dress for the job you want, not the job you have", and so forth all carry the same message - your attire matters, and says a lot about you. What does wearing jeans and an untucked shirt say about you when you're shooting a wedding at a top notch hotel? (Continued after the Jump)
It says you're either inconsiderate, or just plain stupid.
Yesterday, I was making a delivery to a client at the same hotel where I had done an assignment for them the night before. I'd seen the rehearsal taking place, and so, when I arrived to make my delivery, I saw the photographer doing all of the posed images, so, curious that I am about who it was (I thought, perhaps a friend I knew, but it was not) and how they were working, I observed. However, as I continued to observe, I discerned that he was wearing jeans. Then I realized he didn't even have his shirt tucked in.
Yet, he was in a five star hotel here in DC, and everyone else was dressed to the nines. The bride and groom were all in their glory. This image was made with my iPhone (I hadn't planned to be making images, just a delivery) as family members in the wedding party were being photographed.
As I was leaving, I passed the bride, and asked who her photographer was, and she told me. So, I did a little research, and he doesn't have a website that I could find, and there is little else on the web about him (but I did locate some videos of him showing off his new apartment). He seemed nice enough, and had pro-level gear, but he just didn't didn't have the right attire.
If you're thinking of finding some excuse to defend this wardrobe malfunction, understand that I don't care that he was doing these images before the ceremony, and that maybe he would tuck his shirt in once the ceremony was about to begin. It remained that he was engaged in work and interacting with the entire bridal party and parents while looking disheveled. Bad form. Bad bad bad.
Oh, and it does get worse. The shirt was unbuttoned a button or two too many in the front, and his footwear choice was white athletic shoes. Somebody needs to read Dressing the Man: Mastering the Art of Permanent Fashion !
Previously I wrote about other attire issues - specifically the wearing of flip flops (Leave The Flip Flops For The Politicians, 5/23/07) and discussed just how bad that is. So too, jeans on assignments like this. You are a professional, act - and dress, that way!
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 Sometimes, Brevity has it's place. To that end: YEAH, WHAT HE SAID: Free is Killing Me!(Comments, if any, after the Jump)
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I find I get a great deal out of my reading. I can't imagine the person who just doesn't enjoy reading. Learning from the wisdom of others holds an infinite amount of genius - at your fingertips. Today, I was reading an article which referenced a book - The 48 Laws of Power . Law 13 notes that in order to get what you want, you have to appeal to people's self-interest, not their mercy. Really? (Continued after the Jump)
Yes, Really. Those most pre-disposed to responding to a merciful call either wear a habit, a Roman collar, or are otherwise faith-based.
When was the last time you heard a colleague say they got the assignment because they threw themselves on the mercy of the client - "oh please, hire me. I need to make rent this month!" Nope. Doesn't work that way.
Instead, you have to appeal to their self-interest. Will the work you produce bring to life the vision that the client sold to their client, and make your client look good? Will the imagery you produce sell more product, and bolster the company's bottom line? Will the work you deliver make a subject more attractive, or is it a magazine cover that causes an increase in newstand/single-copy sales?
If you're saying "oh, I'm a documentary photographer working for XYZ humanitarian causes, it's not about that." Really? Yes, it is. It's about the self-interest of the organization in utilizing your images to promote their cause to the world, or validate the efforts of those financing the trips/outreach - so that they continue to give.
If you're saying "I work crappy assignments so I can save up and take trips that are meaningful to me, and hopefully, through my work, make a difference when I can shed light on the plight of the {fill in the blank} people." If that sentence applies to you, and you felt a kinship with it. Read it again, focusing on the phrases "meaningful to me; though my work; I can shed;." That's all about you feeling better about yourself, with the resulting benefit being your work sheds that light.
The sooner you can focus your outreach to clients on what your work can do for them to make them: look better; sell more magazines; further the cause; or improve profits, the sooner you will win those assignments.
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Photographer Thomas Barwick produces a great deal of images. Getty Images has 3,479 images available online via their Digital Vision brand, and other brands - including Photographer's Choice, where he may well have paid to put the images up. Mr Barwick's work here stands as evidence of the value of actual assignment photography, rather than stock. Doing a "search within" for the phrase reveals 193 images include a laptop. Having a look at those images reveals that he probably lined up the whole class - boys, girls, brunette, african american, glasses, no glasses, and with teachers, among them. Unfortunately, for two PC part manufacturers, and I stress "PC", they both were fishing from the wrong ocean of images. First, they were images of a Macbook, second, well, you take a look.... (Continued after the Jump)
 They tried - probably attempted to secure exclusivity to the image they wanted, because the actual images they each used appear to be off the website, just this one. This is the only image on the Getty site. Note the position of the youth in the background. This is the link to the images on the Getty site, and the image is available on a CD, likely with others from the same shoot of the boy.
 Next up, is one of the variations from that same shoot. ASUS used a different image and cropped out the ports, because they obviously were not PC ports, they're Macbook ports. Here's the ASUS official product page.
 Then there's the MSI computer. Note that they've modified the ports on the side of the Macbook, and added in the MSI logo. Here's the MSI official laptop section, here.
ASMP has a great recouce that goes further in-depth on this subject - check out their website here -Rights Managed Stock vs Royalty Free Stock. I wrote about this previously, back in November - (Black Friday? Try, "You Get What You Pay For" Friday!, 11/23/07).
The evidence mounts - assignment photography, commissioned for the client, and precluded by others in the same field, or altogether, is worth a great deal. If nothing else, it's worth it to avoid the embarassment.
Via: Zeke K & Jeff Kowalsky/Engadget/ eepc.de
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 Most assuredly, the AP has a new contract. We first reported about it here ( A New AP Contract Emerging? - 5/14/08), and more than one copy came our way from several readers. Of note in their paperwork, was the disparity between pay from bureau to bureau. You have until June 1, or about 2 weeks, to indicate your intent to object to this or sign it. If you don't sign by June 1, you won't be getting any more AP assignments. (Continued after the Jump)
Interestingly, the AP notes in their cover letter "We urge you to read the agreement closely and to seek expert guidance before signing if you desire." Yes, be sure to talk to a lawyer, and your insurance agent (regarding indemnification, if for nothing else), before signing.
I've consolidated sections 7, 8 and 9, because they have some fairly standard language in them, and my comments/suggestions in those sections are somewhat limited.
In the end, there clearly was an attempt at doing more for the photographers. Perhaps it was because the AP was competing with Reuters for freelancers, who already pays royalties. Perhaps it was because there was ambiguous, or aged language in the last contract that needed updating. Perhaps it was because they just couldn't get consistent image quality from their freelancers (setting aside competition from Reuters) with the previous low rates. Perhaps it was the AP making an effort to be more thoughtful about the realities of being a photographer. Likely, it was a combination of all of the above.
Continue Reading:
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 There's discussion about a new Associated Press contract floating around (UPDATED: We critique it here - The 2008 AP Contract Analysis - Introduction, 5/19/08), and we'd like to set our eyes (or sights) on it. There's rumors of a long overdue royalty for re-sales, but it's still a work-made-for-hire for the entire assignment, apparently, not just on the selected image(s). These are, just rumors, until someone sends it to us. (hint hint). Then, we'll take to reviewing it's terms, and let you know if we think it's a good better deal than the current one. Which begs the question - this can't be that they're giving photographers a resale percentage out of the goodness of their heart, could it? Or, perhaps it's because they're not getting the level of consistent talent from their stringers? We'll wait to answer those, and other questions, and hopefully get a chance to talk to those at the AP who've put this one together, to understand their thinking behind it. (Comments, if any, after the Jump)
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 I was doing my weekend read of the tree-killing newsprint that arrived soggy on my doorstep today, and ran across a quote that spurred this piece. It's from Wal-Mart's chief operating officer, when asked about it's competitors offering free generic drugs, he responded: "Free is a price that is not a long-term sustainable position." Enter a few interesting insights that came this way from the Flickr forums, and Craigslist: (Continued after the Jump)
Over in the Flickr Forum (where I visit far too infrequently!), is a post - Email I got ... business related....help!, which includes, in part:We have a cool opportunity for a photographer who wants to make some great marketing contacts....This is our First Annual Golf Classic fund raiser, so we need someone who’s going to do an exceptional job, yet can give us very competitive pricing (since money for luxuries like photographers is sparing)... [we] would like to own the photos after the event......We would also like to be able to provide high quality photos...to the guests throughout the day...To let you know what you’re quoting: I have received many, many responses, some of which are offering to do it for FREE just for the contacts; yet, we are willing to pay something, looking for a premium photographer, so please at least make your quotes competitive." Zing! They're asking for all three -good - "need someone who’s going to do an exceptional job", cheap - "many responses, some of which are offering to do it for FREE", and fast "provide high quality photos...to the guests throughout the day".
Next up is this zinger from bottom-dwelling Craigslist - "6/24: CELEBRITIES IN BOSTON - WE NEED A PHOTOGRAPHER - HIGH PAY! (BOSTON)":The photos to be taken are unexpected by the person/persons that you are taking the photos of. The person/persons have a celebrity status and the photos taken will be used in a magazine (both print and online). There may be high traffic with other photographers present on this day and time so we ask the following of you if you are interested in this assignment:..You must be experienced...You must have your own equipment/supplies and staff...This is great experience for you as a photographer. You will have the right to use these photos for your own personal use including your portfolio, but you will not be able to sell or transfer the photos to any other source...We are willing to pay no less than $100.00 per photo and up to $150.00 per photo...The photos must each be unique in settings, backgrounds, and pose...All photos will remain your property until we select the photos we would like to puchase...Once the photos are taken you can upload them to a common public server / hosting website, we would prefer you to upload them to photobucket.com. There seems to be no end to these "opportunities", and no end to suckers lining up to take them.
There's something called the "Project Triangle", and it helps people think through their end-goals. Also of interest is the notion of "project scope", where the area of the triangle inside it is considered the "scope", i.e. "I can do one portrait for the good-fast-cheap" you're looking for, but if you want 10, well, the scope is too big for the same figures to apply. Author James Lewis calls this the PCTS relationship, for "Performance, Cost, Time, Scope." So, perhaps for the fees and turnaround needed, to produce one quality portrait I can do it. But if you want four portraits, the fee and time needed will have to change relative to the scope you've expanded this project to.
It can be light-hearted from time to time, when encountering a prospective client who cites price, to say to this person "I can give the images to you good, fast, or cheap - pick two." Heck, you'll likely not do the assignment anyways, but you can enjoy the conversation none-the-less. And maybe, if you send your estimates for "good and fast", they might just go with you.
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 I used to take offense and get all worked into a lather when I heard stories about reporters being given cameras. I'd rant and rave, and now, I just laugh. A tossed-back head type of a laugh, usually coupled with a hearty "good luck". How else to respond to such an absolutely absurd suggestion? A second place to this is the eye-roll that takes place when someone asks, of a non-Holga/lensbabies-type image, "what camera did you use". Ok, when it looks like a Holga or Lens Babies, I get that you *might* want to know if it was done that way, or in Photoshop. But now I just roll my eyes when I hear this question. Next up is my "welcome to the real world" sentiment when I hear that an editor thinks they can shoot an assignment. (Continued after the Jump)
Now, don't get me wrong - I know many editors who were amazing photographers, and either their knees, wrists, back, or a combination thereof got a bit worn down, and they opted for the steely grip of a two-buttoned mouse over the elbow-to-the-gut wrist-inverted pose that is required when you're shooting with a 300mm 2.8 sans stick(s). Or, they decided that the cool breeze from central a/c coupled with the office latte machine and reasonable (or atleast predictable) hours was more conducive to the family life they promised their spouse when they said their "I do's". This is, usually, when the spouse starts asking when the 'for better' part is coming along, as the insane hours had the marital gearshift stuck in the 'or worse' direction.
It's those editors who are new to town and somehow believe Google Maps when it says you can get from point A to cross-town point B in 25 minutes. Or, it's the editor who doesn't know that there's a problem with 1100 West Capitol Street or 111 First Street. (hint: in DC, #1 doesn't exist, and there are four of #2). Lastly, it's the editor who complains that you didn't get the shot, and brushes aside excuses like: 1) You didn't tell me that the concert promoter expected me to sign a form which gave all rights to the photos I would shoot for you to the band, for free; 2) I got arrested trying to make this photo and have been 'indisposed' for the last four hours; or 3) the subject decided once I got there that they didn't want to be photographed, so they left to get ice cream with their girlfriend.
It's like this: You can't know war until you've fought in it; you can't know parenting until you've been a parent; you can't understand death or divorce unless it's smacked you upside the head on some idle Wednesday; and you can't know what goes into - and can go wrong with - and assignment, unless you've been on the street trying to make something out of - literally, nothing.
Enter Reuters. Reuters' blog has an interesting entry, which is worth a read: Stepping into photographer’s shoes…, (4/25/08). In it, one of Reuters intrepid editors, who no doubt has gotten upset with the failings of an assigned photographer in the past, gets put out on an assignment. Not because she wants to, but because she has to, as a part of her "performance target" for the year (as, apparently they all are now required to do). Her name is Shahida. I'll apologize now to Shahida for my criticism of her experience, because it comes about 1/10th close to what we go through for our editors, but serves as a lesson worth reading.
First things first - Shahida gets to pick a day when she's working for her first foray out as a photographer. In other words, she left the desk, and is being paid her salary, while making photos. This isn't reality. There's nothing on the line, like - 'miss the shot, you don't get paid for the day', or 'miss the shot, get yelled at because the other wires beat you', or 'miss the shot and the A1 front page story now has missing art', kind of pressure.
Next up - Shahida was overconfident in her first outing, and she was looking for static images of old and new buildings. This isn't iStockphoto you're producing image for, it's Reuters - the highly regarded wire service! Anyone I know would get laughed off the phone if they, well, phoned in a performance like that.
Then, Shahida encountered the human condition, as it is prone to wanting it's privacy. "Go get me people in suits, and be sure to get their names..." now seems a bit harder than before? I guess that's the point of this exercise.
In her post-mortem of failed assignment #1, Shahida tells herself to plan ahead, be mindful of the weight of your gear, and that an assignment (even as simple as this one) requires time, patience, and a fresh mind.
Plan ahead - yes, good idea. Did you just think you could go out and make images that were worthy of a being wire image?
Mindful of the weight of the gear? I presume this will give you some compassion and cause you to not ask "why didn't you chase after that guy to get a shot" - because I was carrying 100 lbs of gear, and they outran me. Lesson learned.
Time/patience/fresh mind? Right, so don't go giving a photographer four assignments and expect the same talent and attention on the first as you do on the fourth, unless they have atleast 10 years under their belt. Also, don't go repeatedly calling the photographer asking "have you got it yet". We know the pressure of the assignment - it's weighing on us. Your phone calls aren't helping. In fact, they're a distraction.
Outing #2 for Shahida wasn't much better. She thought she could outrun a train, even having "dressed comfortably", and carrying "a lightweight backpack." She wasn't discreet (or, perhaps aggressive) enough and got the boot from railway station. Her lesson - "a little bit of research beforehand doesn't hurt." Uhhh, that's a given. Again - lesson learned. Maybe next time Shahida will help her assignee out, and do some research and include it in the e-mail to the photographer? What, no? Heck, can't I just dream a bit for all the future photographers to be assigned?
Outing #3 is sold as the point where "thing really started to come together". Uh, no. Not from what's shown on the blog anyway. But, she did learn that what the photographer sees on the LCD screen is small, and can't always yield information we need - like sharpness. In her case, sharpness may not have been an issue, but what about the photographers you're working with? And, you were able to get back to that office to view your files, not on a laptop in the bright sun trying to make out color and tone. Count your blessings on that one. There was, of course, the distraction and fear of barking therapy dogs. Please remember this when the barking is from police/military/guards with guns, or protestors weilding sticks. Your fear of "stepping on a dog's tail" does not equate to our fear of having thugs stealing your gear and giving you a beat-down, or worrying as you are being detained if you swapped the CF card with the images you want for a blank image card that is going to get confiscated.
I laughed the other day - out-loud, when I learned that the fabled photo editor at the Washington Post, who, it has been reported, left his perch atop the Photo Department at the Washington Post, to "get back to shooting", had an encounter with the reality his team worked in for years. As the story goes, on one of his first days out (if not the first), for a weather feature, Elbert was decked out in his new "photo clothes", and headed out to make some art. Upon returning, perspiration making it's way through his attire, his colleagues wanted to see what he had made. Elbert demured, saying he didn't think he had anything worthy to share. Come on - for a weather feature? So, back out he went, for a second attempt. Coming back again, exhausted and his now nice outfit in need of a heavy wash cycle, something akin to "it was a hard assignment" passed his lips. More than one of his former team mates (and I use that term, which suggests a high level of morale in the department), whom he had chewed out for missing a worthy picture in the past, chuckled under their breath. Welcome to the real world Mr. Elbert. Atleast Michel DuCille had come from the street to take over for you, and put in some solid time covering Katrina, so I know he knows what reality looks like! Next time you're in a press scrum doing the back walk, remember - knees bent, no cameras behind your back to fall on and break (and jam into your kidneys), and work with your colleagues so everyone gets the shot - get in, get the photo, and get out before you take a tumble. Maybe this story, as recounted, isn't exactly as it transpired (but I believe it to be), but it's worthy to make the point about an editor's newfound perspective. Now only if this clarity had come along a decade or so earlier.
Interestingly, Shahida (and other Reuters desk positions) was the beneficiary of US/EU outsourcing, and Elbert has downsizing/buyouts to thank for his current state of affairs - the idea being something like "I want to end my time here as a photographer", and so, he has - he's among those partaking in the latest buyout, according to sources. Two peas-in-a-pod, on opposite sides of the globe, one getting their sea legs, one sun-setting themselves before the ax falls of someone else's doing.
Don't get me wrong, I'm not complaining about what we do. I just enjoy anyone's newfound respect for the profession. Don't give a photographer a pencil and expect cogent questions during a press conference, and then have it turned into a solid lede, or even a quality product post-jump . Don't give a reporter a camera and expect images that will keep your readers buying the paper. And don't give your photographers both still and video cameras, and expect both to come back equally well shot.
Hopefully, the Reuters "performance target" will make more understanding editors out of their staff, with a newfound respect for those filing the images. One can only hope.
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In light of the demise of Digital Railroad, a few readers have written expressing concern about the future of PhotoShelter, and what their
