Leica has released a selection of the work so you can take a look for yourself from the comfort of wherever it is you are at the moment.
The photo series, which is on display now, was inspired by Kravitz’s nomadic lifestyle. It features “intimate portraits, laconic snapshots, carefully observed scenes from the street and well-composed moments in hotel rooms, all captured during his time on the road,” according to Leica.
When advertising and editorial clients meet in person with photographers, they want information they can’t learn from viewing a photographer’s website or Instagram feed, as we explain in our recent story “You Got a Meeting with a Client. Now What Do You Do?” To make the most of those meetings, photographers should prepare what they want to say about their work and how they shoot.
Advertising photographer Caleb Kuhl showed Jennifer Lamping, senior art producer at RPA in Los Angeles, a memorable portfolio with a bright yellow cover. Kuhl says that when he meets with an art producer, he explains some of the technical or logistical challenges of a particular photo. “I try to drop that bug in their ear that I can do that, that I understand production and I’m not just some dude with an iPhone on Instagram,” he says. When ad agency art directors or art buyers flip through his book and “come across a particularly difficult shot, or something that took three assistants, I can talk about that process. I can educate them about what went into it: Here’s the technical aspect.”
He adds that he often has to show his book to several ad agency creatives and account managers at a time in a conference room. He has learned he can’t wait until they ask him questions before he speaks. “They don’t necessarily ask or want to know. You have to take the opportunity to present yourself.”
Lamping affirms Kuhl’s strategy. “If you come in and you’re quiet and you don’t really talk much and you have to get prompted with questions to say anything, or if you don’t seem very flexible or interested in being there, that conveys a lot that doesn’t make you want to work with that person.”
See the full story for more insight about what clients are looking for when they meet face-to-face with photographers.
Street photography is just about as old as photography itself.
In this video, Guy Jones compiles a collection of street images taken from 1838 through 2019 and pairs them with the music of the age. It’s journey that illuminates the photographic styles, personal fashions and urban evolutions around the globe.
1838-2019: Street Photography - A Photo For Every Year - YouTube
Book publisher MACK announced today that Jerome Ming’s book Oobanken has won the 2019 First Book Award. Ming’s book is comprised of black-and-white images of scenes constructed by the artist using common objects and, sometimes, people and animals. The photographs were made while Ming, who is currently based in South Africa, was living in Yangon, Myanmar. The photographic narratives draw on “fragments of [Ming’s] personal history, of memory and imagination,” according to MACK’s description of the book. Ming has said in a previous artist’s statement he made the images while living in relative isolation in a compound, as Myanmar was opening its once-isolationist society. “As the country further opened to the outside, with embargoes lifted and sanctions eased, uncertainty about the future and yet unknown prospects were concerns quietly considered as my work progressed with Oobanken.” In one photograph, a severely dented spoon is held up by a mismatched pair of clamps. Another image shows a black rabbit sitting on a board in front of a white cloth backdrop in a makeshift, outdoor portrait studio.
The judges for the award were MACK publisher Michael Mack; Tate Modern assistant curator Sarah Allen; Financial Times director of photography Emma Bowkett; photographer and writer Stanley Wolukau-Wanambwa; and Wilson Centre of Photography director of special projects Polly Fleury.
Given annually since 2012, the First Book Award is open to photographers who are pursuing publication of their first monographic photo book. Previous award winners are Hayahisa Tomiyasu, Emmanuelle Andrianjafy, Sofia Borges, Ciarán Óg Arnold, Joanna Piotrowska, Paul Salveson and Anne Sophie Merryman.
The Wilson Centre for Photography and Kraszna-Krausz Foundation provide support for the First Book Award.
The International Center of Photography (ICP) and London-based book publisher GOST books has announced a new prize to promote the publication of a first book by an unpublished photographer.
The winner of the ICP/GOST First Book Award will have their first photo book designed, edited, printed and published under the ICP/GOST imprint. GOST will handle distribution and provide the opportunity to exhibit the work at a venue to be announced. The winner will also receive a portion of personal copies of the book from the first print run. The deadline for entries is September 2.
Judges for the prize have not yet been announced.
The ICP/GOST partnership is the latest to sponsor a first book award competition.
The fee to submit a book project to the ICP/Gost First Book Award is $35 (or $25 if you enter before May 31). Considering how many photographers are paying book publishers to publish their books, that’s a bargain.
“I’m most compelled by people who reach out in a very professional manner and exhibit good communications skills,” Denny says. “I like to see that somebody has personalized the email to me. I want to know: Why are they reaching out to me among thousands of photographers they could email? I would like them to be informed about the work I do and what king of help I might need.”
A resume isn’t necessary, Denny continues. “Keep the email brief. Tell me your skills, and where you went to school. That’s all I need to know right off the bat.” Her other advice is to spell correctly (especially her name), and avoid getting too personal or sentimental in the email. “I’ve had people tell me [in introductory emails] too much about their struggle to find work. That might come up in a conversation when I meet them, but leading with that is not good,” Denny says.
Denny notes, “The number one thing I’m always asking prospective assistants, especially those who have just graduated from art school, is whether or not they now how to run Capture One [and] whether they know how to shoot tethered to a computer…If I were just graduating from art school I would try to get work as a digitech, because it is so much more lucrative than any other kind of assisting, and in more informal shoots I often need somebody to run [Capture One] on my computer for me.”
While some commercial shoots have the budget to hire crews that include several assistants and PAs, Denny notes, “Often the shoots I’m doing are scrappier than that, and I need to ask my assistant to wear a couple of different hats.”
See the full story for a lot more insight and advice from other photographers about how to get work as a photo assistant.
In ancient times, humans would sacrifice animals and burn entrails in an often desperate attempt to divine the intentions of their mysterious gods. Today, we engage in our own series of baroque rituals hoping to curry favor with an equally mysterious and mercurial force: Instagram’s algorithm.
While its specific operation is a closely-guarded secret, it’s not completely opaque. The social media scheduling tool HootSuite has published a detailed explanation of how it believes Instagram’s algorithm functions based on a briefing they’ve received from Instagram itself, plus their own research.
Here are some takeaways.
The algorithm uses “ranking signals” to help organize which posts appear where on your feed. So what are those signals? According to Hootsuite, there are three big ones: relationship, interest and timeliness.
The relationship signal consists of cues that tell Instagram that you’re engaged with another user, including likes and comments on their posts, DMs, tagging and whether or not you’ve turned on notifications for that user’s content. The interest signal is just that, an educated guess on the content you’re likely to want to see based on your past behavior on the app. Finally, the timeliness signal prioritizes posts of more recent vintage.
Hootsuite also dispels a few myths about how the algorithm works, including the idea that using Instagram Live and Stories will somehow make your posts more visible. “[T]he feed’s algorithm doesn’t discriminate based on how often your account makes use of other tools within the app,” Hootsuite says. You’re also not getting a broader reach if you’re verified or a business account.
That said, there are some things you can do to increase your visibility. Hootsuite advises you to post often, post video (not because the algorithm likes video but because people like video) and encourage your followers to turn on their notifications for your posts.
Lens, the photo blog of The New York Times, will stop publishing at the end of May and go on a “hiatus” for an indefinite period. Meaghan Looram, director of photography at The Times, announced the news today in a note to staff. James Estrin, who has co-edited Lens with David Gonzalez, David Dunlap and Josh Haner, shared the note on social media.
Looram says in her staff note that the decade-old blog was founded during a “different era.” She explains, “Digital platforms were presenting new challenges to the industry, and Lens provided one of the few dedicated showcases for photography. But since then, the means of consuming photography have changed and expanded. We believe that this is the perfect time to take stock of and celebrate what Lens has achieved and to give serious thought to how to better position Lens for the future.”
She says the goal is to have Lens “evolve into an unrivaled source for those who want to read about and think about photography” and “We want to reach new readers.”
Though Looram described the change as a “hiatus,” she also struck a note of finality. She bid “a final nod” to the producers of caretakers of Lens. She also said, “There will be time to celebrate Lens and its wonderful run,” suggesting an ending more than a hiatus.
Since its founding, Lens has helped boost the careers of many emerging photographers and also highlighted forgotten or under-appreciate projects from throughout the history of photography. Lens is one of the few photo blogs to pay the photographers whose work it features. Looram also notes, “Lens took the lead in guiding the public conversation on the increasingly critical issues of diversity and representation with stories that showed how digital technology has empowered a new generation of photographers.”
The annual New York Portfolio Review, which Lens runs at the School of Journalism at the City University of New York, will continue, Looram says.
A 2014 Lens feature on photographer Zun Lee’s work on black fathers, which Lens had previously showcased.