Convergence – Page 2 – Journeys of a Hybrid

June 22, 2012June 22, 2012

ASMP and Motion

I’m on the National Board of Directors of the ASMP, The American Society of Media Photographers. About four years ago, I was asked if I had ever thought about running for the board. The person who had asked me this question, knew that I had been shooting video in addition to still photography and thought that it might be a good idea to have someone on the board who had an understanding of this medium. That was four years ago, and even though I had been shooting video for over 10 years – the “explosion” of this medium (in terms of the demand) had really just started.

I did run, served three years, ran again and got elected. I’ve shared my knowledge of this medium through meetings, seminars, blogs, emails and during Q&A’s when I screen my film.

ASMP Motion at DV East Expo — Gail Mooney, Tom Kelly and Chris Hollo at ASMP booth, DV East

This past Wednesday, I spent my day manning the ASMP booth at DV East Expo. Former national board member (and now President of the ASMP Tennessee Chapter) Chris Hollo and my partner Tom Kelly joined me. We were well prepared with a large flat screen monitor displaying a loop of our members work. I was intimate with the reel as I had just finished editing it and I was very impressed with the quality of the work. It certainly was an attention grabber.

So, what was ASMP, a trade organization of still photographers, doing at a video expo? Essentially, we were there to provide a community and reach out to other professionals who are shooting both mediums and provide information about sound business practices. If this demographic does not understand the value of copyright or value the concept of licensing, then it will ultimately affect the way business is done in the still photography industry.

Some people may think that ASMP is becoming too inclusive or is creating more of a problem by suggesting that video may be the answer for its members, only for them to find out, that industry is glutted as well. The old business models of bloated production companies with fat budgets are hanging on for dear life, along with the old business models of the film industry. But if you think outside the box, especially in terms of how you structure your photography business – the opportunities are out there.

ASMP doesn’t cease to be an advocate for its still photographers who have no interest in motion – it’s actually making the entire industry healthier by educating the hybrid competition. A lot of the people I talked to yesterday, shot both still photography and video, but even the ones who just shot video – called themselves “photographers” and they all had questions about “the business”.

I’m so closely associated with “video” by members of this society; they tend to forget that I am a photographer. I don’t call myself a photographer simply because I spend 50% of my time shooting still images, or call myself a videographer because I spend the other 50% of my time producing video. I don’t want to define myself by my tools, at all. I “see” as a photographer, with the vision of a filmmaker and the heart of a storyteller. I also have a strong desire to stay in business doing what I love to do. By being an advocate for sound business practices across these mediums, I get a lot more back than I give. All photographers’ benefit, regardless of what type of cameras they shoot with.

Friend and fellow board member Ed McDonald, tells his own story about how he had become too rigid at one point in his career, as far as how he perceived himself and what kind of photographer he was. He found that when he became more flexible in how he “defined” himself, his business got better. As I think about Ed’s story, I know we have a lot in common. For me, when I stopped restricting myself to just shooting still images – not only my business got better – so did my still photography. Shooting motion has made me a better still photographer because it has made me a better storyteller.

I got an email late last night from someone I ran into at the expo. They wrote:

“Thanks for your vision and inspiration and all you’ve done for ASMP.” So simple and so poignant and I thought – “isn’t that what I was supposed to do?”

March 4, 2012March 4, 2012

Paying it Forward – It’s Amazing

I got the best email yesterday. It was from a young man who had attended a seminar I had given at Yale for ASMP on “Should I Be Thinking of Video”. I remember that evening well. I had recently returned from a 3-month journey circling the globe with my daughter creating a documentary on people making a positive difference in the world.
I was still very much in the same head-set that I had been for the past few months – one full of peace and belief in myself. I had just come off an intensive period where I was “walkin’ the walk” and I was practicing what I preached.

The young man, Brian, wrote, that he had attended my seminar with his father, who was a photographer and that he, himself had grown up wanting to make movies. So, my seminar was a perfect combination for them. Then Brian wrote “That night you inspired me.” My heart jumped when I read it. He went on to remind me of things that I had said that evening – about overcoming fears in order to realize your dreams – in my case traveling the world to make a movie. Leaving the known behind – for the unknown. Telling yourself “yes” instead of giving yourself reasons not to.

Brian said that he had recently landed his first job of his career as a structural engineer. He loved it, but he also had a great desire to travel. That night he went home and furiously “googled” anything about traveling the world and beyond. He came across the website of “Engineers Without Borders” and as serendipity would have it, they were having their monthly meeting that week.

To make a long, but interesting story, short, Brian went to that meeting that week, and talked with some people during a break who were organizing a trip to a village in India.

Then they invited him to go with them in February. He was astounded. And then he did the same thing many of us do in similar situations – he started giving himself every rational reason why he shouldn’t/couldn’t possibly do something like this. In Brian’s case – how could he ask his new boss for 3 weeks of time off?

That night when Brian heard me speak, was about a year and a half ago. In the email he sent to me yesterday, he talked about spending the last year editing his 15 hours of footage, down to a 40 minute piece. He told me that it hadn’t been easy and that he frequently read my blog posts where I had written about my similar experiences with post-production – magnified. What I had shared had helped him through it – angst and all.

My favorite line in his email read:

“So, I’m finally done with my movie, although there’s things I wish I had done differently, I did my best and I’m glad it’s finished! The final product is one thing, but the journey to get there is another, and the past 18 months have been such an amazing experience for me! I owe it all to you! Sorry for the long email but I’ve been waiting 18 months to tell you my story!!”

Brian just launched a Kickstarter campaign to send another engineer to Nepal for a similar project. You can find out more about it here: http://www.kickstarter.com/projects/videotaping/welcome-to-abheypur-the-movie

I think back on that evening and the year and a half in between. I’ve gone through two tough winters, doing the kind of work that needs to be done, but nevertheless takes its toll on my heart and my soul. That evening, my spirit was alive and well. Brian and others felt it and it moved them to a place they wanted to be. And now, after a tough winter, that same “energy” has come back around to me through Brian’s email. It has reminded me to stay the course and stay on purpose. Thanks Brian.

January 23, 2012

Licensing Video?

There are probably people who would argue with me as far as the practice of licensing video being the norm in the world of video production, other than the licensing of stock motion footage. Perhaps that may be true in some business models and certainly true in older business models, but I can tell you that has not been my experience.

I should clarify that I do not position myself as a “hired gun”– meaning a camera operator who turns over their footage at the end of the day. I choose to assume the role of producer and maintain control over my intellectual property or the finished video product. I cannot do this in the traditional motion picture industry but that business model is changing due to technology and the influx of indie filmmakers who are making their own rules and bringing their films to market themselves. And for the most part – I can’t do this in high-end broadcast spots when working with a middleman – or ad agency where ultimately their end customer maintains all rights.

However, the demand for video has skyrocketed in recent years and with that has created a new client base who are using video in new ways and on new platforms. I am establishing my own set of rules accordingly. One of them is licensing the finished product just as I did my still images. I can only do that with video productions that I have produced and hold the copyright to.

Typically, I will separate the licensing of my still images from the video product as well as the creative fees. I may be shooting both mediums on the same job but I handle the licensing differently. I have found that video has a shorter shelf life so I am not as concerned about the duration of the license (length of time) as I am with still imagery. But I am concerned about it’s “reach” which these days is global – thanks to YouTube.

Another thing I do is I make sure that it is stated in my contract and/or estimate that the license for the entire video production does NOT include permissions and/or licenses to any still images that are made from frame grabs pulled out of the video footage. Putting this up front in the estimate has actually proved beneficial because if a client does anticipate the need for still images – they will hire me to create stills – rather than take them from frame grabs.

We are living at a time where just about everyone’s business models are changing. So, if someone tells you that licensing video isn’t the norm – outside of the stock motion footage business – think again. What is the norm these days? It may be the precedent we are setting now.

December 30, 2011

Closing Thoughts and Best of Best

It’s been a very full year for me. I mean that in every sense of the word full – full of new experiences, full of hope, full of achievements – but also full of my share of rejections and disappointments. I’ve shared a lot of these experiences through this blog.

There have been times I haven’t written in a while because I didn’t feel like I’ve had anything worthwhile to say. And there have been times when I did write but I probably shouldn’t have because it wasn’t worth reading. I always told myself that when I didn’t feel like writing in my blog, that I just wouldn’t do it. So if there are long periods of time when I haven’t posted a new entry – it’s because for whatever reason, the desire may not be there. I have always appreciated the comments and feedback.

Here are the top 5 posts as far as number of hits:

My DSLR Kit for a Three-Month Road Trip

Gearing Up With HD DSLR’s

Standing on a 10-Foot Frozen Wave

Putting Together a DSLR Video Kit – and Why

Cultural Context and Photography

As you can see, the blogs about DSLR (for video) gear is where the interest was. But I’d have to say that out of those 5 posts, “Standing on a 10 Foot Frozen Wave” was my favorite. For me, it’s all about the story. And as Orson Welles once said “If you want a happy ending, it depends on where you stop the story”.

Happy New Year everyone.

December 14, 2011

The Problem With (Most) Video/Motion Workshops

This has been something that has been weighing on my mind for months now – ever since the seemingly “overnight sensation” of people giving video workshops as well as the growing number of still photographers that are feeling the need to take these workshops.

The biggest problem that I see with all the video/motion workshops that are out there is that they oversimplify video production and take the approach that the single independent still photographer can learn and do it all – produce, operate the camera, capture good audio and manage the post-production and edit. I suppose to be fair – while it may be true that the independent still shooter can learn all facets of video production, that is not the best approach as far as setting up a viable business model for a video production company.

Video is a collaborative medium. While I may be able take just about any video production from soup to nuts single handedly – I know that the production would suffer if I did. I learned a long time ago to build a team of good sound people, editors and even camera operators that I can draw on to hire on a need be basis. They make the production and me look good and that’s what keeps my clients coming back. It also allows my business to grow because I can take on more projects. If I’m not entrenched in all aspects of the production. It frees me up to start production on another project while still in post-production of a previous project. If you are a one-man band, you not only don’t have this option but you actually make yourself look small in the process.

Video and motion have many facets to them. I advocate that the best business models are when one positions themselves at the top of the content creation ladder by overseeing the production of the whole and hiring the appropriate crew that will facilitate the process. By recognizing the differences between this business model and the “solo” model that most independent photographers work under, you’ll have a much better shot of maintaining ownership of your work and creative vision as well as having the potential to grow your business beyond your own singular capabilities.

The other problem with workshops that over simplify the process of video production by promising that you will be up and running after a one day workshop is that they are centered around learning the gear and the software which changes by the month. If you learn just the gear du jour and not focus on the business of video production you will be in competition with other independent dabblers and that’s a quick way to the poor house in terms of sustainability.

A week doesn’t go by when I don’t get at least a dozen calls or emails from still photographers who feel they need to get into video and are overwhelmed by the learning curve. I tell them that the best thing they can do is NOT to try and learn all these skills themselves and that in fact that will only delay their entry into the video production, business if that is what they are after. A better way is to keep your focus on your vision, apply that to a sustainable business model that will incorporate video and collaborate with others who will make you look good and help you grow your business.

December 2, 2011

Five Top Tips for Emerging Photographers

I talk to a lot of young aspiring photographers these days and invariably I am asked, “What advice would you give someone who is just starting their career in photography? – Is there a future? – Can I make a living?”

I don’t have a crystal ball but I do have 35 years of experience behind me but yet the enthusiasm and outlook of a 25 year old. I remind myself of what I learned from my mentors when I was just starting out. One mentor, who shaped my career, was art director Adrian Taylor of Travel & Leisure Magazine. Adrian taught me a lot – about magazines, about the story, about style and taste and most importantly he gave me the confidence to believe in myself. Adrian gave two young, naïve photographers, my partner and myself a chance and in return – we always gave it our all every time we set out to shoot a story.

With that said, I would not be where I am today if it had not been for mentors like Adrian Taylor and my greatest joy at this point in my life is to pay that forward to photographers just starting their careers.

Learn video – Video is no longer a “specialty niche” or in fact a separate genre at all. In the very near future – which is already upon us – a photographer will need to know how to shoot both stills and motion – or partner with someone who does.
Stay true to what your inner voice is telling you. For example, if your passion is to be a photojournalist, don’t listen to people who are telling you that photojournalism is dead and that newspapers are a thing of the past. While “printed” newspapers may be dying out – journalism and photojournalism is not. Don’t let others’ dogma determine what your path should be.
Collaborate with your peers. When I was first starting out, photographers kept their clients, their techniques and their ideas to themselves. But I have found that whenever I have collaborated with others – we all push the bar to the next level – each bringing their own strong suits to the project. As a subject of my film Opening Our Eyes told me “We’ve got to shine each other up.”
You don’t need the validation of others to proceed with your idea and make it into a tangible plan and product. As far as publishing and/or distribution is concerned – the gates to the kingdom are open and the kingdom is the entire world. We are living in a time of empowerment for the individual and for a content creator that is profound. If you are willing to do the work – the rewards are bountiful.
Act on the ideas that don’t go away. It’s easy to let resistance sabotage you. Resistance comes from many places – your loved ones, friends, your peers – but mostly yourself. Stop talking yourself out of ideas and start acting on the ones that just won’t quit you.

I have made my work my pleasure in my life. I have always found it difficult to separate the two. When you feel that – you’ll know you are on the right path.

November 2, 2011November 2, 2011

The Money Game

I’ve learned a lot about the “entertainment” industry in the process of creating our documentary Opening Our Eyes. But I was a bit surprised to learn how one show derives its content. I won’t mention specifics, because I don’t believe that this particular way of doing business is unique to this one show.

A couple of days ago, I received an email from one of the subjects in our film asking for my counsel about a high profile program that is syndicated on various cable channels. The show essentially does short segments on organizations and/or companies that have stories of educational value.

I looked through the electronic info kit that they had sent and it sounded great, because they guaranteed placement for the 5-6 minute piece within the program, which would run on a couple of large cable networks. They also guaranteed a 1- minute spot on CNN and Fox News. Plus the production company would deliver a file ready for web so that an organization could upload it to their site and/or deliver DVD’s to potential funders or clients.

I continued to read the attached PDF’s which listed the production requirements and workflow that would take place if “they” were selected to be profiled. But what stood out and surprised me was the line that stated that a payment of almost $30,000 would be required, if they were chosen to participate. Quite honestly, I was a bit shocked. Here was a production company that was creating a syndicated program and expecting the subjects to finance it.

I’m almost certain that this company also makes a hefty sum from the cable networks who in turn get money from their advertisers. That doesn’t surprise me a bit. But I didn’t know that it had become part of the game to make revenue off the subjects of the stories!

Perhaps that might not sound all that bad because it’s just business in a free economy, but quite honestly it has really changed my thinking about networks that run stories about people, organizations or institutions that have educational value. Now when I watch a show like this, I will question the credibility of the causes and organizations that are being profiled, because I know that this “door to distribution” is only open for those who can pay. And that doesn’t necessarily mean that the stories they run are about the most deserving subjects or even the most compelling stories. It simply means that the people behind these stories had the funds to “pay to play”.

I think back on all the extraordinary people that we met last summer while making our documentary. Most of them would be hard put to find this kind of money and if they did they would probably put it right back into their causes and the people they are trying to help – not a production company that is making money off both ends. I went in the “red” doing this documentary with the hopes that it will cause a shift in the way we think and that it will move people to action to make a difference in the world. I figured that’s the least I could do – use my skills as a storyteller to create a film that would raise awareness and help all our subjects and their programs.
Would I like to make money on this film? I’d be happy if I broke even. I’d be even happier if this film was seen by hundreds of thousands of people. But I wouldn’t dream of charging my subjects money.

Ronni Kahn of Oz Harvest told me “Just go out and do something – not for the money not for the recognition but for the sake of doing”. I suppose that’s exactly what Erin and I did. And that in itself has been the biggest reward of all.

October 23, 2011

Being Yourself

Yesterday, I gave a talk and showed a bit of my film, Opening Our Eyes,

Opening Our Eyes One Sheet Poster 27x40" — Movie poster for Opening Our Eyes

at the PACA conference in New York City. I had been asked by ASPP to speak about the making of the film and my plans for distribution. To tell you the truth, even though I’m always thrilled to show and/or talk about the film, I was a bit nervous with this crowd. PACA stands for the Picture Archive Council of America and its member include some of the biggest stock photo agencies in the world, including Getty, Corbis, Masterfile and Alamy. I was nervous because part of my message was that I no longer needed the validation or others to get my stories to market.

I thought my message would be somewhat threatening, because I was telling the audience that content creators no longer needed the traditional gatekeepers of the past, to get their stories “out there.” That because of technology, it was possible for the individual to have a global reach and if one is willing to do the work – the prize is all theirs – meaning the monetary rewards.

I had a tough time slot to speak – right after lunch – I knew that I would be dimming the lights for the film and that is never a good thing to do in that time slot. But, Tom Kennedy had given his very inspirational talk about new media and new opportunities in the marketplace. I had heard Tom’s talk as part of ASMP’s SB 3 series this past year – and I knew that my presentation was a great follow up to his – and in fact it was almost like a case study example of what Tom was talking about.

My presentation went amazingly well and as I looked out into the dimly lit audience as the film was playing – I couldn’t see any closed eyes. I felt that I made a connection, and that perhaps in some small way, I had made a difference. Maybe, I just got people thinking about what they could do to make a difference in their own lives. And maybe I had influence beyond that. But, I know that I stayed true to myself. My intent was not to come off as threatening – but I did want to make people feel a tiny bit uncomfortable. It’s when we get uncomfortable that we push ourselves to a better place.

My message was simple. Someone doesn’t need to lose – in order for someone else to win.

October 5, 2011October 5, 2011

New Opportunities for Photography

For this post, I’m going to use a very broad definition for “photography”. I will define photography as any image still or motion shot by any camera – still camera, video camera, hybrid or even and iPhone.

The business of photography has changed with technology. To start with it demands more than just “still captures” in terms of content. These days, our clients are asking us to create stills and motion content and sometimes even 3D. On top of that technology has made it possible for almost anyone to take a reasonably good picture or video.

So where does that leave us as far as new opportunities in the business of photography? While some look in their rear view mirror and lament the passing of the good old days, I for one have my eye on the possibilities that are open to anyone willing to do the work.

My top 5 pick of opportunities out there:

Once Magazine – An online photo magazine made for the iPad. Photographs and video look great on the iPad and Once, magazine shares subscription revenue 50/50 with each issue’s contributors. You no longer need an assignment to shoot those long run stories you love and monetize them.
Crowdfunding – With Kickstarter, RocketHub
Distribution – Film DIY, Distribber
Funding and marketing – Sokap
PR and Marketing Tools – Topspin Media
Portal for e-commerce (also integrated websites) – Photoshelter

That’s a start. It’s never before been more possible than it is now to create, promote, market and monetize your “photography.” Be smart. Be authentic. Be courteous. Have a plan and be prepared to do the work. Anything is possible. Validation for your project is no longer necessary.

If you appreciate what I have shared – here’s one last link, a shameless plug to our funding campaign on IndieGoGo for our film, Opening Our Eyes. If you can, please contribute. If not, please pass along the link.

Marian Kramer, one of our subjects in the film says:
“We all just have to shine each other up.”

October 3, 2011

Top 5 Business Mistakes Photographers Make With Video

In the last couple of years in the photography world, it seems like everyone is scrambling to learn video. In particular, still photographers are jumping into this “genre” because their hybrid cameras have the capability of shooting motion.

There are hundreds of seminars teaching the gear, but few point out the differences, when it comes to the “business of video”.

Here’s 5 mistakes I see still photographers make when they leap into motion:

1. They throw in video as part of the deal and don’t charge for it. I hear about this a lot. A client and photographer are on a still shoot and the clients sees that the photographer is shooting with a hybrid camera and asks the photographer to shoot some video clips. The photographer obliges because he/she can and the money is left on the table. Remember when still photography went digital and photographers became the labs but didn’t charge for the post-production?
2. They don’t update and upgrade their insurance policies. Video production shoots are not covered on most still photographer’s policies. Be prepared for a jump in what you need to spend on insurance to be adequately covered on video production jobs.
3. They don’t consider the ramifications when they are working with SAG or AFTRA talent and they are asked to also shoot some video of the talent on the job. This crosses the line as far as the unions are considered. While it may be OK for SAG/AFTRA talent to work on a “still” set – when you go into video mode – it’s not OK.
4. They think of themselves as just shooters. This is typical and is fine in the still photographic world, but in the collaborative world of video production, a shooter is a hired gun with no ownership in the intellectual property. I like to position myself higher up the ladder as a producer and maintain control over the job and the content.
5. They look at video as a separate genre. That’s changing radically as video is no longer a separate niche and genre, but part of almost every photography market from editorial to architecture. Even ad agencies are starting to merge their motion and still departments.