4.22.2011

The Process of Reinvention Can Be Misguided. Sometimes you just need to be relaunched.

I had coffee with my friend and sometimes mentor, Will van Overbeek, this afternoon and I was blathering on about how we needed to re-invent ourselves for the new age of photography.  (I do go on.)  This time he stopped me and offered,  "No.  You're wrong.  We don't need to invent what we do.  We're artists.  We do what we do.  What we need to do is figure out new ways to market what we do."  And he reminded me that we're not like Coca-Cola, we don't need to mess with the formula,  maybe we just need to work on new delivery systems.

As in most things, Will is probably right.

In my capacity as a supportive member of a college photography program's advisory board I watch a lot of very, very famous speakers come thru and speak to the students and the local chapters of the ASMP.  I watch them show an endless show of cool images from "the good old days" and then I sit thru the second half of the show where they routinely admonish everyone who will listen to charge stratospheric prices, jet to NY to show your book,  dig around in the change jar on your nightstand and finance your own round the world shooting trip or grab a Red video camera, a couple dozen of your best friends and start making your own movie/music video/commercial/magazine or some other such suggestion.

After hearing such from at least a dozen people who HAD stellar careers in the 1980's and 1990's I got to wondering why I don't see their names attached to big, current ad campaigns, in the cut lines in the gutters of magazines, and in all the usual places we used to see their names.  Seems that when the phones stopped ringing back in 2006 most of them waited next to the answering machines for a while just dead certain that everything was going to come roaring back.  About 2009 the realization finally sunk in that things might take a lot longer (if ever) to come roaring back.  Longer than most could wait.

But when they tried all the things they'd done in marketing past campaigns they found that success was now elusive.  The mantra of recent years is SEO and that's great if you selling commodity widgets.  You can rush to the top of the page and I pretty much guarantee that you'll attract the attention of several kinds of shoppers:  brides and bargain shoppers.  Great for wedding photographers but not so great for advertising photographers who've made careers out of differentiating their vision and offering a custom made intellectual property instead of a commodity that depends on price and availability.  (As I've said before, it's hard to scale up production on creativity....)

The other dodge of just about every photographer has been to rush to "free marketing" which means depending a mix of e-mail blasts, social marketing and a dynamic website.  Well,  guess what?  All those crowded front page websites with articles and blogs and words and links on them are design nightmares. And we're trying to sell to designers, right?  A well known photographer and workshop talent who embraced the "crowded page/Word Press/mixed blog=portfolio" websites last year reported yesterday that his page views fell by half since he changed over and drank the Kool-Aide on "dense pack" front page website design.

On the other hand mentor Will has been actually asking art buyers what they really want to see and it seems that the genre that generates the most (all) enthusiasm is not the "blog and portfolio in a blender" approach championed by SEO experts like Blake Discher from the ASMP but the good old fashioned, ultra clean design of a portfolio website.  Now that's not to say that other photographers don't flock to each other's site to see who's doing what and what kind of stuff might be best to "pay tribute to" but it does mean that the people who buy our stuff just really want to see the product (our photography) clearly and quickly and without a lot of clutter.  Probably the reason LiveBooks can still charge three or four big car payments to get you a site up and make it happy.

But the bottom line is that staying in business and pulling in jobs is harder than ever for guys who have the most tenure in the business.  We had old ways of doing things and were slow, both emotionally and logistically, to change course when the icebergs cropped up.  Doesn't mean the work isn't sellable but sometimes I feel like we put the marketing on a train to nowhere just as super highways sprang up all around the edges.

So, what are all the "super pro" veterans of our industry doing? Some have their heads down, learning new skills and producing video as fast as they can.  Others are finding new markets or brilliantly resurrecting old markets in new way.  And I salute these peers.  They've got their heads down working and you don't know who they are because they market exclusively to art directors and art buyers and not to their fellow photographers.

But a huge proportion are opting to stop shooting directly for money and to leverage their decades of name branding and affiliations with giant magazines and new organizations into the world of experiential entertainment.  And let me say right off the bat that I have no problem with people selling knowledge and cheap thrills to a legion of people who are rightfully curious about what working at that level WAS like.  But I also want to say that so, so, so many of the workshops are like astronomy.  When you look in the big telescopes you are seeing photons that left distant stars light years ago and have traveled thru time.  You are not seeing stars in real time.  You are directly experiencing past history.  And this is enchanting and fun and, at times, breathtaking.  But you shouldn't confuse it for what's happening right now.

Learning the language of the past is fun and satisfying but you should understand that it's probably not the current language nor will it be the language of the future.  If you do photography as a hobby, art or for fun then the only thing that matters when you take a workshop is whether or not it was fun, fulfilling or interesting.  If you do it for a business make sure you understand the inflections.  Make sure you can see clearly what is history, astronomy or nostalgia.  As the best coaches in sport say, "Play your own game."

Will is right.  Artists need to hew to their own vision.  We're not in manufacturing we're making a unique intellectual statement.  If one market isn't biting the logical thing not to do is to chase the same "look" as everyone else.  The logical thing to do is to find your market.

4.18.2011

An interview with Michael O'Brien in which we discuss his new book, Hard Ground.


Michael O'Brien Speaks.  Hard Ground. from Kirk Tuck on Vimeo.


For those of you who are unfamiliar with Michael's work, here is his website:  http://www.obrienphotography.com/  I met Michael in the 1990's when he moved his family to Austin, Texas after having done a six week assignment here for National Geographic.  He is an icon in the industry having done the ground breaking, "What's on your Powerbook?" campaign for Apple, Inc.  A beautiful and timeless campaign for Bank of America and countless amazing photographs for magazines, from Texas Monthly to Life.  And of course, National Geographic.

I decided to interview Michael after the publication of his new book, Hard Ground.  It's an amazing book. I hope you enjoy hearing Michael talk about what he does, how he does it and the thought processes behind it.

I'm so honored that he made time to do this interview with me.

The book is called, Hard Ground.

4.17.2011

Mini-Camera Review, Social Photography Commentary.....

Dave Steakley's shoes.  Perfect with a black tuxedo.

Belinda and I went to the $300 a person, super deluxe, wonderfully fun, fund-raiser for Zach Scott Theatre last night at the downtown Hilton.  The event is called, Red Hot and Soul, and this year's theme was the 1960's.  Bee hive hairdo's and Sgt. Pepper outfits we well represented as were pink suits for men and "Madmen" fashion for women.  The culturally clever even made reference to, La Dolce Vita, with some pretty stellar sunglasses.  Tons of great music.  Mercifully short speeches.  And best of all,  NO SILENT AUCTION.

Since I wasn't working I didn't take a serious camera but I did take along a camera I almost condemned.  See,  I was just about to send Olympus back their ZX-1 for a list of what I considered, "design faux pas".  I'll list them and we'll get that out of the way:  1.  You charge the tiny battery in camera with a USB charger.  All cameras should come with chargers that allow "out of camera" charging.  And the camera size shouldn't be so small that it compromises battery performance.  2.  While we're on the subject of small !!!!!!  Things can be too small.  I don't have big hands but I felt like my hands were the size of catcher's mitts when handling this one.  And the buttons.......they are made for ants.  3.  The camera is way too thin, front to back to hold comfortably.  Really.  Were they trying to become two dimensional?  And is that a selling point?  This is why serious photographers opt for a Canon G12 instead of the S95......there's more to hold onto.  And finally, of course, #4.  The menu and interface operation still sucks.

But I stuck it in my pocket with an EV-2 finder on the top and we went downtown.  I had the camera set for auto-ISO, AWB, and auto flash.  Sometimes I turned off the flash.  

So,  I wrote all that negative stuff above.  Why am I still writing?  Because I like the photos I got out of the camera.  Because it locked focus in a very dark room very quickly.  Because the flash was nuts on every time.  Because I could use the eye level viewfinder from my EP-2.  Because it has a raw mode.  Because it has a built in neutral density filter.  And because the battery didn't run out.

I'm keeping it for another few weeks and then I'll decide if it really deserves a big review or not.  I will say that Belinda thought it was wonderfully small.  And it's a good reminder that not everyone is looking for the same things on their cameras.  

The Winner of the Best Hair.

Kissy Face with the managing director, the artistic director and the two incredibly dedicated board volunteers who filled the giant ballroom to its fire code limit with generous donors and fans of live theater.


And...what does a grisled old pro like me do on a night off?  Well I certainly take a moment to check out the photographers (there were three) who were working the venue.  While I am the official photographer for the Theatre I only do the shows and the creative marketing campaigns.  I don't do the "grip and grins."

Above is my favorite photographer of the night.  Dressed in a black shirt (approved) and black paramilitary cargo pants (neutral)  he got extra sartorial points from me for the matching it all up with a good pair of black shoes.  Lost points for wearing at least five big pouches all over his tactical belt.  But what amazed me was the size of his flash reflector.  Instant award for the biggest one I've ever seen.  Black Rapid (camera suicide straps)  on one each of a 5Dmk2 and 1Dmk4.  The only two lenses I saw him use were the 24-70mm and the 70-200.  I'm dying to know what was in the five cubic feet of bag space hanging all over his belt........

I'm dying to see the photos.

Added at 6pm CMT:  The interview with Michael O'Brien goes up at 1 am Monday morning.  Thanks.

UPDATED:  The photo gallery from the photographer has been posted and it's pretty darn good.  Guess he had some magic in those little bags!

4.16.2011

Take me to the river.

Leica R5.  180mm Elmarit 2.8.  Tri-X.  Pedernales State Park.


Notes for photographers:  Time spent Tweeting is time lost  for photographing.

Time spent retouching is time lost photographing.  Time spent researching equipment is time lost for photographing.

Time spent measuring performance is time lost for photographing.

Time spent talking about gear is time lost for talking to subjects.

Fall in love with your subject.  Then you have a reason to photograph.  Fall in love with the process of photographing and you're short changing your subject.

Use alternative processes if they are really what your vision is all about.  Learning lots of alternative processes?  You're just bored.  See:  Fall in love with your subject.

Two thumbs up for my friend AM (anonymity requested).  I saw his book last week and was stunned at how good his interior architectural work and wide angle landscape work is.  Rare for me to like photos without people.  AM pulled it off well.  Also told me he uses HDR......I didn't believe it.  He uses it in the service of his vision and not the other way around.  And he does it with such a skillful approach I couldn't see his hands on the button.  Here's a link:   http://www.mostlyfotos.com/  And here's a shortcut to the architectural stuff I liked: http://www.mostlyfotos.com/search/label/Architecture

AM changed my jaded perspective on HDR.  I no longer think that all of it looks like Technicolor Vomit.  And I'm also amazed that the stuff I liked so much was shot on a Sony Nex-5 with a 16mm lens...  Great Job.