Jain Lemos » Photography and Publishing

I’ve finished viewing the entries of the 175 top finalists for this year’s Photolucida Critical Mass. Each artist submits 10 images and a statement. This year the judging scale was:

NO (= 0) “Someone may be interested in this work but it’s not me.”
YES (= 1) “I’m glad that I’ve seen this.”
YES + (= 3) “Strong work, but not quite wowed by it.”
WOW (= 7) “Amazing — I can’t wait to show this to someone.”

I like the work of Jason Demarte, Lauren Henkin and Ara Oshagan. I’ll share more artists with you and explain what I liked and didn’t like about their submissions in some future posts.

BROKEN LINKS FIXED!

Toward Los Angeles, Calif., March 1937. By Dorothea Lange.

Yesterday, Jamie Williams and I arranged for a private print study session at The University of Arizona’s Center for Creative Photography. We selected a box of gelatin silver prints by Dorothea Lange, and a Magnum group portfolio. This image was one of my favorites of the whole lot we viewed, about 50 in all, with the patient help of Art Historian Shana Lopes.  I say patient, because Jamie and I wanted to see many of the prints in the best light and position, and Shana was more than accommodating.

The Center has 80,000 works by 2,000 photographers. We know we’ll be back for another session soon. The Center is also exhibiting a large Robert Mapplethorpe show in the main gallery and we toured the walls with plenty of opinions!

About eight months ago, Los Angeles-based photographer Stephanie Diani hired me for one of my super-duper Comprehensive Brand Reinvention Consultations. Stephanie’s portfolio was solid. Her notable list of clients and awards told me she was established.

But now, Stephanie was ready to kick her profile up several notches. We made a plan! To begin, I wanted to know:

1. What makes Stephanie tick? What makes her rattle? I put her through some fun (but not overly woo-woo) exercises.
2. Which words “fit” Stephanie? We came up with a big list of concepts that more accurately introduce Stephanie and her work to clients.
3. Did Stephanie’s existing images fit these concepts? I analyzed her various portfolios. Armed with our new “idea” of Stephanie, it was clear to see what was working and what wasn’t.
4. How would her portfolio benefit if we pulled it apart, reorganized the mix, and applied stronger sequencing to her best images?

Once we had the essentials together, it was time for action. I helped Stephanie complete two new self-funded projects for her portfolio. Here is one of the images from her “Man Made God” study:

"An Ending" from the series, "Man Made God" by Stephanie Diani.

During this process, positive things started happening for Stephanie.

Stephanie’s second new project, “Scenes from a Marriage,” immediately received recognition and won a Jurors’ Selection Award in APA’s  2009 “Tell us a Story” annual photo competition.

We obtained credentialing for Stephanie to continue shooting on her project, “Dames: Legends of Burlesque.” She was hired for new shoots, foreign publications licensed her images for excellent fees, and she’s been approached by top-tier agents for representation. Her phone is ringing.

Ta da! Stephanie’s new website is launched and looking terrific.

As we start on the next marketing phases, expect to be seeing and hearing a lot more about Stephanie and her work!

The New York Times Magazine photo editors were duped by Edgar Martins, who now admits he uses Photoshop, as revealed in his interview posted on Arte Photographica. He did not apologize — it was a “misunderstanding” of sorts — and spins a wild tale that goes nowhere to explain his audacity.

Is his career over? No. Unlike Bernie Madoff, his shell game scam will make him even more sought after; the value of his altered prints, made during the era when they were said not to be, are already no doubt worth considerably more than before. Only a few of us will hand down the 150-year death-in-photojournalism prison sentence. Am I surprised? Not at all. I wanted to give him a chance to explain what happened. Instead, with his statement, he proved he is not a worthy person. If he wants to call himself an artist, a photographer, he can, but he has broken our laws. He’s just a flimflam man.

Someone told me that it wasn’t as though he Photoshopped a child being killed in a war zone then claimed it was authentic. True, this story was illustrative to begin with. And for all his previous work he so righteously said was unaltered, well, I guess he wanted to make a joke of the whole issue, thinking he was more clever than we are. Maybe he is.

How does that saying go again? You know the one. Laughing all the way to the bank.

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There are a few questions that I can’t find answers to:

1. I’ve read he shoots 4×5 film, is that what he used for this assignment?
2. Did Martins submit his images as film or as finished digital files?
3. Where is the lab he uses to develop his film? Who paid for that processing?
4. Where were the scans made of his film?
5. Did anyone at the NYTM see his original film?
6. While he was on the road shooting, did he send in any images midstream, or did he finish, go back to his studio, then submit them all as a package?
7. Did he indicate on each image whether or not that particular frame had been altered?
8. He implies that he gave the magazine choices (what he calls the misunderstanding). Did editors knowingly pick images that were altered and run them anyway because they were the best?
9. Have we asked Kathy Ryan (or whoever was responsible) what happened and what her involvement was in this assignment?
10. Does Kathy claim she looked at the final selects for the article in the final layout for approval, under the impression at the time that they were not altered but created in camera?
11. Can Kathy verify that in her initial conversations with Martins about the assignment, that they discussed his methods and the magazine’s policy for acceptable alterations?
12. Is this policy included in the contract that Martins signed?

From: Jain Lemos
Sent: Wednesday, July 08, 2009 11:24 AM
To: Edgar Martins
Subject: Edgar, are you releasing a statement re NYT images?

Hi Edgar,

Well, it’s a super long shot, but I thought perhaps you might respond to me on the record about what happened with the NYT Magazine pulling your images of the abandoned construction projects after questions were raised about possible manipulation.

Maybe I feel a connection to you because I am Portuguese-American. My grandfather was born in Flores. A little story about his unusual journey to America is here on my blog: Chase your DNA.

But also I felt compelled to write because I don’t think we have heard your side of the story. I’ve been working in photography for many years and, of course, respect Kathy Ryan’s integrity. I am interested to know what really happened so I can tell your side of the story via my blog. It is hard for me to believe that you represented your work when submitted for the story as not being digitally altered if it was. But, perhaps if you didn’t tell and you made a mistake, maybe you will explain that to us so this does not become a negative for all of your fine work, past and future!

Thank you for your time if you have read this. I hope you realize I am here to help you if I can and am not looking for anything in return.

~ Jain

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From: Edgar Martins
Sent: Thursday, July 09, 2009 7:55 AM
To: Jain Lemos
Subject: Response

Hi Jain,

Absolutely!

However, I will not be able to do share my views with you for a few more days.

I have been informed of the discussion that is currently taking place concerning the feature, which I had anticipated to some degree, but which I have not yet been able to acquaitance myself with it, as I am travelling and so unable to access the internet. (Yes, believe it or not there are still places in this world with limited or no internet connection..)

I will no doubt be discussing this issue you with yourself, your readers and readers from other blogs fairly soon.

In the meantime let the debate rage on… no doubt this will open up a healthy dialogue about Photography, its inexorable links to the real & its inadequacies. Or so I hope…

Warm regards,

Edgar Martins

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Update July 10: I investigated, and here is my judgment.

It is so splendid to receive great news as I just did from Dr. Susan K. McConnell, photographer and Professor of Humanities and Sciences at Stanford University:

Dear Jain: Yesterday I spoke with the senior photography editor at [a nationally prominent] magazine and I now have an official, contract-bound, paid-up-front honest-to-God assignment for the story in Namibia that we discussed earlier this year!!!! Whee ha! Too exciting! Your help was instrumental in enabling me to prepare a website to pitch my ability to shoot this story. I am so grateful! With thanks and all best wishes — Susan

When I reviewed Susan’s photography in February, I felt she had many elements of her story ideas ready to go. Then, putting her materials together with just the right “slant” and presentation were necessary keys to landing the assignment. Whee ha, indeed. Way to go, Susan! I am thrilled for you and looking forward to seeing and sharing everything after publication (per Susan’s contract, we can’t name the magazine until after the story runs).

"Eyes" by Mary Ann Melton, from her series: Images of Mystery and Wonder.

A few years ago I had an idea for a project to photograph locations known as spiritual vortexes, described here by Shirley MacLaine. When I was working on the proposal, I had difficultly finding examples of the type of photography I was envisioning.

There was a considerable amount of aura photography, most often done at parties with Polaroids. Here is a Google Image page of what those look like.

Once compact digital cameras became mainstream, I saw a rise in Orb photography. I met a woman who has traveled the world stopping in many sacred sites to photograph Orbs. She claimed you can’t catch the Orbs unless it is nighttime and you are silly-happy. Her pictures were interesting but more personal and depicted those in her group as they drummed and danced. She said “pro” cameras can’t see the Orbs. Other schools of thought on Orbs claim the opposite. I have seen success shooting Orbs with all types of cameras.

Then there are the ghost photos posted on the “world’s largest” ghost photo website, but this type of imagery isn’t exactly what I had in mind either!

At last I am seeing a few portfolios with better attempts to shoot phenomena. I am delighted by the work of photographer Mary Ann Melton in her ongoing series, “Images of Mystery and Wonder.” Mary Ann’s images are taking a leap into a dimension that I have read about extensively. For example, consider this discourse on “seeing” light from the dictated portions of the Lectures of Rudolf Hermann Lotze (1817-1881)*:

Q: We object to the faculty of sense that it shows us colors and tones which exist nowhere outside ourselves, but are only affections of ourselves: it is therefore constantly deceiving us; for the waves of light and sound which constitute what is truly objective, it does not permit us to see.

A: Such is undoubtedly the state of the case, but color and sound are no worse, because they are simply our sensations. The rather do they constitute the precise purpose which external nature meant to reach with its waves of ether and of air. It could not accomplish this, however, of itself alone; but for its fulfilment had rather an absolute need of spirit, in order that the latter might realize in its own state of sensation the beauty of shimmering light and ringing sound.

Yes, the need of spirit in photography. To my mind, it’s a key element of all great imagery. This doesn’t necessarily mean the shooter must be religious or have faith. It’s our attempt to prove the unique and undeniable “spark” in all matter. We know our eyes can see more than film or sensors. But when the otherwise invisible light can be realized outside of ourselves and recorded as evident within the subject itself, that is the challenge of photography.

*Outlines of Metaphysic. Translated and Edited by George Trumbull Ladd, Professor of Philosophy in Yale College. Boston: Ginn & Company, 1904.

Santa Monica Pier Outing, Photo by Jamie Williams

Last fall, I worked with Tucson photographer Jamie Williams on a new campaign for promoting the California Travel and Tourism Commission. Jamie is featuring some of the California images on her website as well as sending out a series of email promos with behind-the-scenes antidotes of our project. Here is what she wrote in her email today about one of our locations:

California Tourism: Behind the Lens
20 days, 30 locations, 1500 miles, 12,000 images

Santa Monica was probably the most challenging location for this project. At 9:45 pm the night before our 5:00 am call time – one of the models canceled. In 20 years of being in this business I’ve never had that happen. My amazing producer had a new model booked within 15 minutes.

That situation was incredible, and I got a lucky break. We had just returned from dinner and I decided to check email. Jamie didn’t mention that this was on ELECTION DAY! And we were staying at THE hotel in Century City hosting the celebration party. The place was mobbed and the Fire Department was on overload. Obviously, the model we had booked (I had reconfirmed with her around noon that day) was out celebrating Obama’s win! She didn’t even have the decency to call or text but instead sent a brusque email: “Sorry, I can’t make the shoot tomorrow, my agent has me booked on something else.”

I called Jamie in her room and she couldn’t believe it either. I know better and should have had back-up talent on stand-by, but I didn’t this time. I went back to my casting files to look at the other final candidates for this scene. I closed my eyes and said a prayer asking for help to choose the perfect replacement. At 10PM with a 5AM call, this beautiful Goddess Walking the Planet, Mylinda Royer, answered my call and arrived to save the day . It was one of those happy-ending crisis. Jamie had the best day with Mylinda and Sharif, as you can see here!

Nijmegen, Photo by Renée Sturme

So writes Renée Sturme on her blog, Fashion Fillers. From her small home town in The Netherlands, Renée shops the online vintage underground and whips out dangly earrings, necklaces and charms. Her snaps show promise, too, like this street scene in Nijmegen, a 2000-year-old Dutch city I know little about.

In this interview with a Chinese fashion magazine, she was asked what she would like to do in the future: “I wish I could work for big brands. At the same time, I would like to be a stylist, photographer, jewelry designer, shoe designer and clothing designer. Though I know it is impossible so I need to choose.”

Geez, that’s only six career directions and she is eighteen! I think Renée is doing everything right so far. In fact, she is putting the rest of us to shame (probably because we managed to live through the now vintage 60s and 70s!). She has a natural ability to attract publicity and any of her daily distractions are put to use in her own clever branding campaign.

I have a tower of topics I’ve been saving to post and it all came tumbling down today. Here is what landed on top of the pile:

Thanks to John Thomas for pointing me to this Photoshop demo gem on YouTube. The hair extensions are particularly amazing. (P.S. John, I’m a Rangers fan, too! Hooray, they had a big win last night for game one/round one of their Stanley Cup playoff match vs. the dreaded Caps.)

If you have been creating short videos and using YouTube for distribution, you might not have heard about Vimeo. Quality sets them apart and if this is the type of showcasing you are using to present your work, you might do well to take advantage of their platform. Watch this photo promo from stock veteran Jack Hollingsworth titled, “See the World” and get a load of the snappy music, too. Go ahead, smile and enjoy yourself for a few minutes!

Jack uses fast transitions and smart sequencing in this 3:18-minute video. Note how the colors of each image connect to the next as he throws in grayscale shots as palette cleansers. Those of us with years of photo editing experience can, and do, look at images this fast. There are at least 300 photos in this piece so in about 200 seconds, we can gather practically all the information we need about the photographer’s style and the photography’s overarching message and usage potential.

Please be sure that you understand the full implications of Facebook’s Terms of Use (ToU) when you post images on their site.

This is a separate issue from the outrage over Facebook’s change to their ToU policy which indicated they “owned” your profile. On pressure, they went back to their previous ToU. However, that policy remains unacceptable to many picture professionals. Even if you “retain full ownership” in the content you post, you still give them rights to perpetually copy, display, excerpt, distribute, etc. your work as they see fit!

Facebook’s Terms of Use as it stands today (emphasis mine):

When you post User Content to the Site, you authorize and direct us to make such copies thereof as we deem necessary in order to facilitate the posting and storage of the User Content on the Site. By posting User Content to any part of the Site, you automatically grant, and you represent and warrant that you have the right to grant, to the Company an irrevocable, perpetual, non-exclusive, transferable, fully paid, worldwide license (with the right to sublicense) to use, copy, publicly perform, publicly display, reformat, translate, excerpt (in whole or in part) and distribute such User Content for any purpose, commercial, advertising, or otherwise, on or in connection with the Site or the promotion thereof, to prepare derivative works of, or incorporate into other works, such User Content, and to grant and authorize sublicenses of the foregoing.

Jim M. Goldstein, a San Francisco-based photographer, has become the voice of reason on this issue. I chatted with him the other day and encourage everyone to read his blog posts and watch his full comments in his interview (video) with KPIX. Here is an excerpt:

“Facebook’s “not nearly as horribly shitty as the new one” ToU is still exceptionally unfriendly to photographers and other creatives. It still over reaches (just slightly less now) and I can’t help but think reflects a very distorted internal culture driven more by corporate lawyers and less by community managers. While the actions taken to revert the ToU stem a more immediate PR nightmare and exodus of users, photographers should NOT be under the impression that everything is now fine with Facebook. Facebook’s assumption of rights to the work submitted by copyright holders or 3rd parties posting digital assets (photos, videos, music, etc) that they just happen to like, but don’t own needs to be fixed and fast.”

I had a vision that somewhere inside the new stimulus spending would be a small mountain of assistance within The American Recovery and Reinvestment Act for nature photographers, especially after meeting so many of you at the NANPA conference in Albuquerque last week. I contacted Victoria Hutter at The National Endowment for the Arts to ask about how they plan to allocate the new money they are receiving. I explained that many photographers are in dire need of financial help in order to continue with important projects documenting nature, conservation, animal behavior, travel, culture, climate change and other relevant cause topics and programs.

I went on to say that many publications and organizations previously assigning and/or acquiring photography have either folded or suffered severe setbacks, leaving photographers to abandon projects because they cannot afford to continue without the backing of traditional outlets for their work. I stressed how we need to quickly find alternate resourcing. Will the NEA help us?

Here is Ms. Hutter’s response:

Dear Jain: Thank you for your thoughtful note. Unfortunately, the NEA does not award individual grants, except through literature fellowships, since we were barred from Congress by doing so in 1997. So I’m afraid we won’t be able to assist your colleagues. In addition, if you look through our web site, you’ll note that 40% of all grant making funds goes to state arts agencies, plus we serve such a wide range of organizations that focusing on one group, such as nature photographers isn’t practical.

But I wish you all the best in your efforts.

After thanking her, she added: States and locals are definitely your better contacts for this. In case it’s helpful, here’s a list of state arts agencies: www.arts.gov.

Onward.

(Related, but twice removed: Chief Official White House photographer Pete Souza is on the job. A link to a photo gallery tracing the path of the ARRA is here, but I couldn’t get it to launch. Maybe the story hasn’t started just yet. )

Swing Time by Allen Bryan

Today you will stop to experience the Comforts of Home. I reviewed Allen Bryan’s exceptional collage photographs while judging entries in Photolucida’s Critical Mass competition last fall. In his artist’s statement about the series, Allen explains the images are, “…disquieting panoramas to examine the belongings of the phantom occupant who may return at any moment.” When I spoke with Allen last week, he called himself an emerging photographer, but clearly he has mastered the art on many levels. He told me he now looks for empty spaces and furniture to shoot, without anything in mind until he begins to compile his rooms, never knowing where he is going to end up.

There are currently eighteen images in the series, and Swing Time is one of my favorites. There is the perfect balance and blur on the child swinging and the hand reaching in to the bowl. The large piece of plywood lines up with the swing as though it is a slide into the room with a mattress landing. I could certainly go on! Here is the link to see the Comforts of Home series. Which rooms do you like, and why?