Skip to content

Posts tagged ‘publishing’

NYC Diary – Part 2

Wednesday 19th October

 

I attend an eye-opening all-day session watching Peter Coulson – an award-winning Australian fashion photographer.  He talks about everything from the technical aspects of post-prod to why not to chat up a model on-set.

He is accomplished in all aspects of the medium that is rare – from highly subtle play with the most basic of studio light set-ups and extensive post-prod and geeky equipment knowledge to talking extensively about the psychology behind getting the best out of a model.  He talks about the three worst types of fashion photographers – those who over-direct the model, those who under-direct and those who ask for phone numbers and ask the model to get naked for no apparent creative reason. Love his passion too – he often promotes equipment that he doesn’t sponsor or are even rivals to companies that he does sponsor simply coz he believes in the gear.

In the evening I go to the 13 year anniversary party for Digital Transitions  in downtown Manhattan (an NYC based camera equipment shop) with some colleagues.  It is held in a large darkened open-plan studio with a wide infinity curve to one side and brick walls all around. The music blaring unbearably loud. We all spend most of the night by the entrance area where we can just about hear ourselves talk.

At the entrance there is a photo booth.  We have the option of putting on colourful hats and wigs and having our pics taken under lighting and against their logo – we oblige before being told that all we have to do to receive the pics is post them on our instagram feeds.  I glance at my fellow photogs and from the look in their eyes I know we all have the same thought.. ‘You mad?! no damn way am I putting a pic of myself in a stupid hat on my instagram feed!’ We respectfully decline the kind offer and take some of our own phone pics instead.

We end up at a diner watching the last Presidential debate.  By now, even I am praying for this whole thing to end.  Can’t imagine what it must be like having to live through a whole year and a half of this thing.

Thursday 20th October

This slideshow requires JavaScript.

 

PDN Photoplus begins a proper today.  The large expansive open plan space of the Javits Conference Centre is abuzz and a throng of people come and go from the expo floor to the seminars in the lecture halls downstairs to milling around all the coffee shops that almost but not quite makes the vastness of the centre seem ram-packed.

I bring with me my large A2 portfolio folder today as well for the first in a series of portfolio reviews over the coming days.  Riding the subway with the folder I am thrown around to the apathetic amusement of my fellow passengers by a train driver who often punctures the silence of the carriage with emphatic Eminem style lyrical annoucements as we approach each station on the way to Hudson Yard on the 7 before braking suddenly each time and throwing me off my feet once again.  I am already feeling my age by now and it is only day 2.

I have mixed feelings about portfolio review events… sure they are a great way to meet key people in a sector of the photog industry with which I am unfamiliar in a short space of time and that might otherwise takes months to arrange (if at all).  But given the short 20 minute slots you have and the number of people each reviewer sees it is more akin to speed dating (as one reviewer put it).

I would go further and say that as you have to pay for these events, it puts us photogs at an instant disadvantage.  It is more like being the guy who still wears dental braces and has halitosis trying to impress at speed dating events.  All you can really hope for is to try and make a decent enough impression (in a sea of other impressions) that you are able to use and go on and build a relationship later from.  My reviews are decent enough today though.  I take great care in researching each reviewer and have very distinct aims going into each review which always helps to stand out a bit.

I briefly attend Jay Maisel’s private showing at the Javits in the eve.  Get to say hello to the great man himself who – even in a bit of a frail state is still jovial, charming and full of energy.  I pretend to steal his walking stick – I tell him I need it more than he does right now.  He laughs but I am only half-joking.

After-hours we go from gallery to gallery and party and opening.  I lose track where we go and where we are.  The amazing vastness of the NYC skyline begins to blur into a daunting mass of imposing structures as we make our way by foot through the oncoming crowds that by now hurtle at us like missile projectiles that take every bit of concentration to avoid on the garish headache-inducing streets.  I begin to feel my twice-broken ankle playing up but the free beverages at each event helps keep me just about going.

We end up in Korea Town looking for a place to have dinner.  We start to queue at one restaurant but with my ankle having none of it (what is it with New Yorkers and queuing up for what in many instances appear to be mediocre eating joints?) I suggest we go to another restaurant which is full but without queue.  Unfortunately, like the guy who picks a bad movie, I get blamed the rest of the evening.  In my experience, a sign of a good restaurant is if you see plenty of people of the same ethnic origin as the food served.  This place though took the concept of ethnic food to another dimension.  For starters I could hardly understand the English translation of the menu – mainly because we couldn’t recognise the component ingredients – so picking the dish was pretty much a case of lottery – and then the resident surliness of the waitresses made us feel as if transported to what I imagine it would be like to be dining in a small industrial town in South Korea.

I try and put a brave face on it but my colleagues are having none of it.

 

Friday 21st October

 

I go to a seminar with Mary J Swanson at the end of the day even though I am tired from a barrage of reviews and previous seminars and having seen her give the same lecture before on getting a photo book published.  I love her passion and there is always smthg new in her talks to take in.  She continues talking way after she is told in increasingly stark terms to stop by the conference guard who keeps walking in.  A surly tech guy even marches up to her and removes her lav mic in the middle of the seminar but she continues unphased for another 20 minutes…. After the lecture I go up and say hi and tell her that I loved her book that I had recently read.  I remind her that we first met in Paris… she jokingly tells me that her husband is in the room and I should be more discreet about some comically imagined far more intriguing meeting in the City of Love… total legend of a person.

Go to an Agency Access party in the upstairs section of a bar in downtown hosted by the charismatic Frank Meo.  I meet Bob Carey who was in town to talk about The Tutu Project and his accompanying photo book ‘Ballerina’ – a compilation of interesting self portraits of Bob in a tutu in various locations.  I love the work and concept instantly.  I put up a congratulatory high five on a great project just as he somberly tells me the project was borne out of the need to embrace and laugh at life in the face of his wife’s terrible recurring breast cancer.  I retract my high five as humanely and with as much dignity as I possibly can.  Bob gives me one of his calendars of images from the Tutu Project.  Great work for a great cause for sure – http://thetutuproject.com/

 

Saturday 22nd October

This slideshow requires JavaScript.

Finish up with reviews and seminars today and finally have some time to hit the expo floor where all the newest releases of equipment from a very wide range of companies are on show.  The floor is a dizzying mash of people and innovative displays.  One thing that has become apparent throughout the last few days is the constant crazy levels of innovation and change that as a photographer it is necessary to keep abreast of.  There are few industries where you have to evolve and transform as quickly as in photography.

 

ny_october2016_0315

When I get back to the hotel for an afternoon break, a friend who involved in organising the pspf event and is now clearing up sends me a forlorn pic of one of my cards abandoned on a reviewers desk.  I write a ‘lol’ back.  Obviously I hadn’t been that much of a hit with one of them.  I brush it off – 1 card out of the many reviews ain’t bad and I know who I did and didn’t get on with.  Constant rejection is part of the game I say.  My friend sends me proof of the bundle of other photogs cards left behind as if in some way trying to console me – but I am disinterested hoping to catch a quick afternoon nap.

But then my mind can’t help trying to recollect the reviewer I saw at that particular table.  What if it was one of the reviewers I thought I had gotten on with? A simple side thought turns into a full blown internal investigation.  After all these years of dealing with rejection I still can’t help myself sometimes.  The mental effort though thankfully soon sends me into a blissful afternoon sleep.

End up firstly at the IPA Annual Best of Show Exhibition at Splashlight Studios on Hudson Square  followed by the popular Resource Magazine party.  The fancy dress theme for the latter is Black and White.  Before I left for nyc I had quickly grabbed my one and only pinstripe suit and bought a cheap bowler hat and umbrella on the way up to the studio from one of the stalls in Times Square.  I turn up and quickly realise I am completely over-dressed.  Not many people made that much of an effort (which sod’s law is characteristically what I would normally do).  The place is quite lively.  By this time though, I am completely exhausted after a frantic few days.

ny_october2016_0312

I leave just after midnight by now beyond exhaustion.  Heading back to the hotel I pass by a McDonald’s.  I pop in.  At least I don’t have to queue up for this damn place I think to myself.  While inside I sit opposite a man sitting playing with a  cup of coffee in deep contemplation.  We start chatting.  We settle into one of those late night pseudo-meaningful life discussions.  He has just lost his job managing 5 Salvation Army shelters apparently in the neighbourhood and his sister has asked him to move out of the family home after deciding to get married.  He is contemplating becoming a major drug dealer now instead.  I have so many questions for him – like firstly how do you make the jump from Salvation Army to significant  drug dealer but being tired – keep the conversation narrow.

‘you sure it’s not just desperation talking?’ I ask.

When I leave he runs after me with my cheap umbrella I had left behind.  I really didn’t have a need for it but thank him anyways and offer to buy him a drink at a nearby sports bar.  I continue to try and make token gestures to dissuade him from his proposed life choice over a quick pint in the lively bar.  But with fatigue taking over and my initial curiosity turning to disinterest as he comes up with objective reasons as to why he should become one to my every point, I eventually say

‘well – you seem to have your bases covered – maybe you should become a drug dealer.’

He laughs seeing the funny side but also gives a knowing nod to himself.  I instantly panic.  What if he cites this moment in some future indictment or some forthcoming ‘Mr Nice’ style autobiography as the very moment he turned to his nefarious ways?  I quickly console myself that the incongruous sight of a dark skinned bearded man with an English accent in a pinstripe suit and bowler hat in a McDonald’s or sport’s bar would be interpreted at best as a symbolic hallucination – some sort of fictitious Dark Angel who finally sent him over the edge to begin his East Coast spree of mayhem.

I make my excuses and leave but not before buying him one last drink.  I make sure it’s a double.

 

Monday 24th October

I am back at the MoMA in the afternoon.  This time I pay particular interest to the exhibition on refugees – or rather a look at how ‘contemporary architecture and design have addressed notions of shelter in light of global refugee emergencies’.  (Insecurities: Tracing Displacement and Shelter’).  There is not one face or portrait of a refugee in the display being more a focus on the structures in which they are housed in camps worldwide.  At the entrance of the exhibition though there is a bland list of record of all the deceased refugees who died attempting to make the often perilous journey to Europe by boat or by other means.

I am increasingly uncomfortable with the display.  I can’t help but think of this as a good example of how art and documentary photog don’t mix.  The gap between serious subject matter and abstract conceptualisation is just too stark for me.  I leave realising how much I had under-rated the ‘Kai Althoff: and then leave me to the common swifts’ exhib and go back to the comfort of Nan Goldin’s video display next door.

 

Wednesday 26th October

I pop into Polaris offices one last time.  This time I have a long pleasant chat with James McGrath – the News and Assignment Ed there.  I have begun to grasp the extent to which the whole industry has changed beyond recognition from even a few years ago.  How hard going it all is.  But I can’t get away from this type of photog.  It will always interest and excite me.  We talk about possible work going forward.  Reportage and documentary photog proper will always somehow be part and parcel of my professional DNA.

 

Thursday 27th October

 

I am meant to be flying out the day before but extend my trip for one last meeting in DC for a mag that I have always wanted to be involved with.  With my finances depleted, I decide to make an exhausting overnight bus ride to Washington DC that is the beginning of a non-stop 50 hour expedition that would eventually see me back in Cape Town.

It begins at 3.45am at the Port Authority waiting to catch the Greyhound.  I was a bit wary of going by coach and especially coming to the Port Authority in nyc – made infamous to us foreigners by things like John Oliver’s segment and the Simpsons.  I was not to be disappointed. In the queue waiting to board, a trangender person starts screaming

‘You think you can buy this pussy dear – this pussy ain’t for sale!’ to some unseen person.

This goes on for at least 20 minutes as we wait to board.  On the bus, the driver barks orders about use of mobiles and to keep any noise level down in a tone more akin to what I imagine would be barely acceptable on a prison transportation bus rather than on a coach trip with paying customers.

In DC I bide my time at the pleasant Founding Farmers restaurant.  Outside while puffing on my e-cig, I chat to a friendly man of burly build who I later realise is wearing an earpiece synonymous with secret service security detail.  I wonder who he is protecting inside.  I unwittingly put on my best British accent as I always do when I feel my olive toned skin and beard might come into question as has done on many occasions – especially at airports – in the past.  He is unaware of my silly paranoia borne out of one too many movies.

I meet up with the affable James Wellford who I had last met while he was photo ed at Newsweek years back.

After the meeting, I go on to meet up with an old friend from Reuters now based in DC as a freelance.  We had first met in South Sudan while the war raged there in early 2014 and hit it off pretty quick.  We were both disillusioned with the dangers involved in this type of work and the poor pay – and in fact it was my last ever conflict zone.  I was forever grateful to him too for having fought hard on my behalf to get me paid my dues for exclusive video footage that had been used extensively on international rolling news services by an increasingly frugal Reuters dept ever eager to report back cost-cutting successes to their managers on high.

We end up having an epic night making the most of a surprisingly diverse and interesting DC nightlife.

I end up missing the Greyhound return coach at 2am and have to get the train at 3am back to nyc – at annoyingly extra expense.  The trip is far more pleasant though and I am actually able to sleep a bit.  I make my way back to the hotel – pack quickly and get to check-in for my flight back to South Africa with only minutes to spare.

By this time my ankle is in full-scale rebellion and my back has joined the revolt in total  solidarity at all my shenanigans.

 

 

 

 

 

 

 

Advertisements

‘Publish your Photography Book’ by Darius D. Himes & Mary Virginia Swanson and general notes on getting my own photo book published

ny_october2016_0080

I recently finished the excellent ‘Publish your Photography Book‘ by Darius D. Himes and the irrepressible Mary V. Swanson, who I have had the absolute pleasure to meet on 2 occasions and is one of the true characters of the photography world.  You can see her authentic energy and passion for the photography book interwoven into the fabric of this excellent book.

While some in the industry give downbeat accounts of the state of the photo book publishing world, from the outset ‘Publish your Photography Book’ is positive and charts in great detail the structural changes that the photo book publishing (and indeed the publishing industry as a whole) has undergone in the last two decades – especially with the onset of PoD (Print on Demand) technologies.

From the very first sentence there is a sense of optimism and a belief that the dynamic nature of the industry will lead ultimately to a healthier and re-vitalised landscape in coming years:

Talk to anyone who has been involved in the photography world over the last ten to fifteen years and they will affirm that the photography book market has exploded…Never before has there been such widespread interest in the printed image.’

In consideration of the question:  ‘Will books fade?’  The book states:

‘The short answer is no, not a chance… Books are conveyors of ideas, mementos of civilisation & harbingers of change…’

The book is highly informative as well and a must-read for those seeking to publish their own photography books.  It opens up and explains the inner-workings of the photo book publishing industry and process required to attain that goal.  From encouraging the photographer to ask themselves the tough questions required before beginning the process and breaking down what makes a successful photo book and what doesn’t – to the in’s and out’s of the submission process and inner-workings of a publishing house – right through to the design and production process and the specifics of a successful marketing strategy for the book itself.

It also includes very useful testimonials from a wide range of well-placed people in the industry – from the likes of Robert Morton, Michelle Dunn Marsh, Denise Wolff and Rixon Reed to photographers themselves like Alec Soth and an in-depth interview with Alex Webb and Rebecca Norris Webb on a rare collaboration between photographers on their book ‘Violet Isle’.

The book has certainly helped me to chart a course for my own work and to start to clearly see how I could take either of my long-term projects forward.  I have been in touch with a few publishers who have shown initial interest.  The main obstacle at the moment is finding an audience for the very niche subject matter of my current work. I’ll give an example in the form of a convo I was recently having from one very helpful and interested publisher who I met last year at Paris Photo in LA:

Hi George,
So nice to hear from you.  Hope you are doing well.  I love your photos.  If you are interested in submitting a book proposal that would be great….My concern here is where is the market for the book?  As you must be aware book sales have been tough in recent years.  Are you represented by major galleries, do you have exhibitions lined up? 
If you can help us identify the market for a book that would be a very big help.
Let me know your thoughts.
Best

I have only recently began presenting myself to the outside world as a book and gallery photog and need to find a voice and audience within that world.  That will take time.  More importantly, I have to engage a local audience in South Africa – with which my work is more relevant firstly, before being able to engage with the international market more fully.

‘Publishing your Photography Book’ has helped a great deal in understanding the goals I have to set myself if realising my long-term projects as photo books is to be realised.  While in NYC, I am mostly looking to engage with contacts – both old and new – to find interested magazines and editorial space (both published and online) for them and to begin conversations with as many publishers, consultants and galleries as possible with a view to engaging them in the long-run if I succeed in building an audience for the work.

I cannot re-iterate more the basic given that completing a long-term photo project is only the beginning of a very long process that requires just as much energy and passion as constructing and putting together the images themselves.  ‘Publish your Photography Book’ is a great and essential resource for anyone setting out on that long journey themselves.

 

Palm Springs Photo Festival, and the Good, Bad and Surprisingly Pleasant thing about Portfolio Reviews – Part 1

This slideshow requires JavaScript.

Well, just spent a hectic but awesome week in Palm Springs, California at the 10th Annual Palm Springs Photo Festival.  I have now done 3 or so festivals (of which only another in New York in the US) and must say this was by far the most relaxed and enjoyable and inspiring on a personal level.  It was a complete whirlwind of a week, spending anything up to 15 hour days non-stop with workshops, reviews, networking, symposiums and presentations.  Apart from the workshops (which I’ll come back to in subsequent blogs) the highlight had to be the daily presentations by some of the biggest and historically-significant photographers such as Mary Ellen Mark, William Albert Allard, Dan Winters, Jock Sturges and Frank Ockenfels.  Seeing Mary Ellen Mark’s presentation in particular made the largest impression even though I must say I had seen and heard a lot of the stories about her seminal work before.  Seeing her talking about it in person though was an experience of note.  Along with Don McCullin and Lee Miller she is one of three photographers who inspired me most to become a photojournalist and get into photography in the first place.  I have posted her talk on my fb page if anyone is interested.  At 75 years of age and looking painfully frail I imagine this might be the last time I would get to see her talk and just being there to witness it was an honour in itself.

Meeting my fellow photographers from all walks – all connected by their dedication to the cause and seeing their work was almost as important and inspiring as well.  Sometimes stuck out in a small village outside Cape Town I really miss contact with my fellow peers from around the world so just getting to hang and talk photography was such a great experience in itself.

On a professional level, the workshops and showing my new work was the main reason for flying all the way from Cape Town to attend.  I have done a few portfolio reviews and had general conversations about their worth with people who sit on the other side of the review table and had my doubts before as to what I would ultimately gain from them.  It is great that you have so many prominent members of the photog community that you might want to see in one place, but the fact that they are seeing anything up to 30 photographers in a day in small 20 minute segments doesn’t help you stand out and puts a photographer at an instant disadvantage.  I had been told by a reviewer that in general a photographer is lucky if he gets one good contact to begin building a positive relationship with from all the reviews he might do.

Going in therefore my expectations were already low.  But my experience after 10 reviews during the week was very positive.  I think having done them before and knowing exactly what I wanted from them really helped.  I was there to show a new style of work and artistic and conceptually-based long term projects, to get feedback and advice and to maybe start relationships to build on in the long-term with prominent members of the art and book world of photography – an area where I haven’t had much contact in the past.  Firstly the general consensus was that the pieces worked and were strong (the Karoo project as I clearly stated from the outset was early in development and needed a lot more work but had good foundations but the Hangberg work was perceived as ready to go).

On the downside, the socio-documentary based nature of the work and South African content means that avenues especially in the gallery world in the US are limited.  I knew that already but what came out of the reviews is that it is not necessarily impossible.  What I will need to do (and something I knew before) is to start by approaching local globally esteemed galleries in South Africa and use such representation to build up interest elsewhere.  As I said when this was brought up in the reviews, I essentially want both projects to be airtight and completely ready before approaching galleries in SA and I was more at Palm Springs to get the necessary feedback and use the general consensus to help in the development of the projects.  And on that level, the reviewers connected with this approach and helped enormously.

In terms of starting relationships though I was more than pleasantly surprised with quite a few giving me their details and asking me specifically to keep them informed on developments.  One really cool guy and also large and esteemed book publisher, who I thought would not develop into much, gave me his personal mobile phone contact details and allowed me to call him for advice as the projects progress.  I think a lot of that as well has to do with the way photographers connect with the reviewers.  I was particularly relaxed and often joked with them and just talked about all things even outside photography.  I even talked about growing olive trees with the book publisher I just mentioned which is his passion now for a good 3/4 minutes of my review.  When meeting Holly Hughes (PDN Editor-in-Chief – a highly respected and important mag for us photographers based out of NY – I advise all photographers who don’t already to read it regularly for advice, great work and keeping up with what is going on with all fields in photog- it is in fact my homepage) asked what I wanted out of the review I immediately joked back – well to publish all my work of course! I didn’t obviously knowing that is not what these reviews are about.  But breaking the ice in such ways is a good way to settle in and hope to build later on a serious working relationship.  One reviewer who I particularly wanted to see and who I found out later had told someone independently he thought mine was the best portfolio he had seen, ended our pleasant session by saying ‘Now get the hell away from my desk!’ – I responded with feigned puppy dog eyes ‘But I thought you liked my work?!’ to which he replied ‘Nah – not that much – now go!’.  We both laughed as I walked away.

Ironically where I had most success in actual direct leads for work was the editorial side of things which I wasn’t really at the festival to focus on.  I bumped into a couple of editors I had done jobs for before (and whom I had never met in person).  It is so important – even in the inter-connected digital age to do things the old fashion way and meet face to face.  Tracey Woods of Essence Mag in particular was great to bump into.  I had shot Michelle Obama as part of the press pack for her when she visited SA a few years ago.  Had a few long chats and even pitched one of my older stories I have done (the Life After Rape portrait series).  Not saying it will be published but the interest was there and it is now up to me to follow up.

I even had interest to publish one of my long-term projects in a US-wide magazine.  I didn’t really go for meeting mag editors at the reviews thinking that publishing such art-based projects might hurt my chances later to get them into the gallery and book publishing world.  That turns out to be a load of nonsense.  I should have therefore done more meetings with mag editors but have enough contacts anyway worldwide in that area to go back to SA and do that myself.

All in all, I came away very positive from the reviews and networking.  But this is well and truly just the beginning of a long journey.  The groundwork has been laid but it is wholly in my court how and where I take this and build on the positives that came out of the sunny desert of California in the awesome shadow of the San Bernardino Mountains.

%d bloggers like this: