November 1, 2011 by pmelcher.

Tired of hearing how photojournalism is dead ? Tired of going to photo festival where everyone whines and dines ? Not sure if crowdfunding is for you ? well, a new photography festival has been created for you.

Brainchild of ex director of photography for Paris Match, Didier Rapaud, the Festival of Saint Brieuc ( that’s in Brittany, France) is offering the first photo festival where any worldwide photographer can submit their project and receive substantial funding. You have until November 21 to submit your project ( there are no set topics) and the winners will be announced on December 2011. Next year, on October 2012 , the works of the winners will be shown to the public in various locations around the region.

Besides being a breeze of fresh air in the dusty photo festival , this festival also brings originality as it brings funding from local companies. For the first time, photo journalists are introduced to companies that are interested in funding original work. In a time of global recession,when magazines worldwide are cutting back on their assignments, it is surprising, and very much welcomed, to see private companies willing and eager to support the work of photographers.

So, without any further delay, head on to their site here and submit your project. You might just get that $25,000 you needed.

Photoreporter, Festival of photojournalism in Baie Saint-Brieuc

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October 21, 2011 by pmelcher.

Drop everything you are doing, you are taking a spaceship. Not the kind that goes up for a few minutes and brings you back down. No, you are talking the Major Tom kind, destination Mars.
You have not much time to pack and the agency, in its infinite kindness, let’s you take one photograph. Only one. Choose carefully because it could be the only one you stare at for a very long time. You might even need it to explain earth to some wandering martian.
Think you know which one to take ? OK. Now look at what 100 photographers from around the world ( mostly photojournalists) have chosen.

The result is quite telling. A majority seem to take family pictures, like a trucker going on the road. Otherwise pick from their own portfolio, probably satisfied with their own work, and finally the last group will take classics, Eugene  Smith being the top pick.
O ya, there are two that picked an image of the earth. A souvenir !
What is interesting here is how the mind works. Choices here are mostly emotional, thus the family pictures. Emotional too is the choice of their seemingly favorite pictures taken from their own work. Probably because it brings them back to a place and time of reassurance. But others have chosen highly disturbing images ( mummified faces kissing). Will they really want to stare at it for 100 years of solitude ?

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October 5, 2011 by pmelcher.

Goksin was a tall man. In a country where most men are small (you have Napoleon and two world wars to thank for that), he was even taller, towering easily in the  crowded office of the company he build and named after himself.
But Goksin was tall for other reasons. He was always above anyone else when it had to do with news photography. He was always looking further and higher than anyone else. He was a giant.
The ancient Greeks believed that sometimes the Gods would come down to earth and take human form to play tricks on us. If the Greeks had a God of photography, he would have certainly resemble Goksin, and acted like him. He had an uncanny ability to outwit, outsmart and outperform anyone in his field always delivering the “plaque” to the amazement to everyone. He knew photojournalism better than anyone and knew the impact of photography better than any editor in chief.
Like the Greek gods, he had an acute sense of humor as well as deep warm love for his fellow human. His generosity knew no boundaries. But more so than anything, no one could escape his charm.
In a few seconds of meeting him, you would fall into his inescapable charm and forever remain at his service, which you did with immense pleasure. It is hard to beleive that he ever heard the word “no”.
He was an unbelievable worker to the point that most of us thought he would die behind his desk. He had a foresight like no one else and believed in you more than you ever could.
There is hardly no one in the photo world today that he hasn’t touch and inspired and we are all his forever in debt children.
To say he will be missed is obviously an understatement but he has left so much to so many people in this business that it is hard to say he is gone. He continues to live in agency owners who thrive to replicate his style, he lives in the inside voice of thousands of photographers around the world who keep on hearing ” a little more” every time they are on a shoot. He lives in photo department everywhere when editors look for that images that will end up as a double page spread and sell more copies.
The passion for photography that Goskin had was unlimited and we are forever in debt to him. He was that shoulder we all stand on.  We will have to learn how to live like orphans because today we lost all lost a father.

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September 25, 2011 by pmelcher.

The real story behind the evolution of photography is its pauperization.

In its early days, photography was for the wealthy and educated. The equipment needed was expensive and the skills involved needed formal education. Furthermore, the financial risks involved in being a photographer - variable income- meant you had to have some other resources.

Even if they weren’t rich themselves, they were rich kids. And for a long time, it remained unchanged. Until rather recently when colliding advancement in technology - all pretty much unrelated to photography- open the door to lesser financially fortunate people from around the world.

- The internet, at first, made all the connections possible. It took a while to grow, mostly due to the cost of computers and connections but now, almost anywhere in the world, it’s dirt cheap.

- The dropping cost of memory, making it much cheaper to shoot digital then film.

- The cheap accessibility to market. What photo sharing companies like Flickr did, unintentionally, is connect buyers with new sellers.

-The incredibly low learning curve. No need to know anything about photography to be able to take amazing images these days: Instagram will do it for you.

Finally, automated translation has practically eliminated language barriers all over the world.

The result ? First in developed countries and then very quickly in less developed countries, more and more individuals took to their cameras as a new or additional source of income. Most pushed by a desperate need to generate income rather than an urge to express any artistic impulse. Because of their already low level of income, any revenue is good revenue. Clearly visible in microstock ( the extreme majority of participants are from emerging countries with low per capita) it is now spreading to non commercial stock areas of photography like news. They will happily accept any payment regardless if it is a fair price or not. Some publishers and photo agencies have realized the saving potential and have blissfully tap into this cheaper market.

Obviously, photographers living in developed countries, like the Western Hemisphere, have to face much high cost of living and cannot compete. Thus, they have to retreat in areas not available to rest of the world. For example, a US sport photographer can still command higher fees since his coverage cannot be done from another country. However, he is slowly being pressured downward by his local peers who have been pushed out of their market by cheaper competition.

The barriers of entry have fallen at such level that almost anyone can now pretend to be a photographer. With rising unemployment worldwide, more are stepping in the hope to generate some income, pushing aside established professional. Since in a depressed economy like ours the key differentiator is money, it’s the cheapest that wins the day.

In order for the situation to change, a few things would need to happen. First, obviously, the worldwide economy has to pick up, eliminating those who are necessity photographers by integrating them into other full time jobs. A more advanced type of photography should emerge, necessitating advanced skills to perform. Finally, a disassociation of the means of communication, wether technological or cultural. None seem likely to happen soon.

Posted in license, web 2.0, technology, commercial stock, Good Enough, Social Media, prosumer, flickr, news, Royalty free, editorial, transaction, photojournalism, finance, Microstock | Print | No Comments »

September 12, 2011 by pmelcher.

Taking a cue from the succesful microstock model here is where photojournalism is heading.  It is happening under our eyes, right now and in four steps.

The decline of traditional photojournalism.
Nothing really new here. Rising cost of living (travel, lodging, food) has made it almost impossible for current print and web publishers to send top talents on stories anymore. The profit margins are not there anymore. Although there is a bucket full of very talented photojournalist available, there is just no funds to make them do what they do best. Furthermore, with the deaths of traditional photo agencies who used to pay for half of the costs, there is just not enough financial support to keep it going. It’s not photojournalism that is dying, it’s the funding that is going dry.  Furthermore, photo editors that championed the great stories have long gone, either retired or pushed out due to corporate restructuring or cost saving measures.

The rise in volume of the me-too photojournalism.

Here again, nothing we haven’t heard or seen before. Automated cameras that can nail an image in the even poorest conditions has helped introduced a new wave of photographers that can, and will snap at anything and everything and force distribute it via every channel possible. Force distribute because we really do not want to see it but thanks to Twitter, Facebook, Flickr and other social media, we get to see them anyway. The poor state of our economy has not help, obviously, making this forced free lance job even more appealing to many. It also has become easier to get published, at least once, giving everyone the false impression that this is easy. Anybody can become a photojournalist these days : you just need to be where the media attention is focused upon.

The death of the photo agency.
Photo agencies used to be the gateway to the media. With trained professionals, they filtered out the bad from the good and edited the work of the talented to make it even more compelling. They would also seek out news stories and send the best photographers to cover them, not only creating the news, but partly covering  for the costs. It was a gamble, where talented journalists would scout newspapers worlwide for that snippet of information that could be turned into the major news of the week thanks to the talent of a brilliant photographer. Those editors are gone now. Gambling on stories is just not an acceptable business model in our corporate world. Photo agencies are not agencies anymore, they are image distributors.

Speed vs quality.
Thanks to digital, the key decision element for an image to be published is how fast they get to a desktop. Thus a bad photographer can very well become successful if he is the fastest.  More and more, this is what we, viewers, are being served with : the first images rather than the best. Thus the key to becoming a published photojournalist is where you are and not who you are.

Where does it lead us to:

Where everyone can be a shooter, with no money to be spend on travel, no editors acting as gatekeepers and speed as the key factor, the decision us easy;

Forget the photo agency as an agent of talented photojournalists. The key now is to have a lot of contributors worldwide and hope that one will be at the right place at the right time. With photographers everywhere chances you will get the right image at the right time will increase, like buying a lot of lottery tickets.
In the film age, the cost of film, processing, shipment was too prohibitive. Now, you can receive and store million of images for a buck or two.
This well know photo agency recently proudly claimed representing 40 photographers in Gaza only. For a territory 140 square mile ( 360 Km2), that is one photographer per 3.5 square mile.

Thus, taking a queue from the microstock model, photojournalism is now switching to the volume based model. While profitable for a photo agency, it is devastating for photojournalism and photographers themselves.

Posted in technology, magazine, Tweet, Social Media, Corpocrates, Good Enough, newspaper, TIME, editorial, getty, transaction, finance, photojournalism, wire service, Microstock | Print | No Comments »

September 7, 2011 by pmelcher.

“Thoughts of ” is relocating or expanding :

On Facebook :  Thoughts of a Bohemian page  for the daily snippets

On La Lettre de la Photographie for 2 columns a week. One column is dedicated on the best there is to discover about photography on the web while the other, brand new, is about the world of photojournalism and photo agencies. You can read it and subscribe, for free, here : La Lettre de la Photographie.

what about about the typos ? they will follow me everywhere I go…

Obviously this blog will remain open, while quite not as often,  for longer thoughts and  hair raising revelations

Posted in magazine, celebrity, license, multimedia, Plus, technology, Corpocrates, Good Enough, Waste of time, Social Media, Search, No sense, finance, transaction, editorial, news, wire service, photojournalism, keyword, web 2.0, prosumer, getty | Print | No Comments »

July 21, 2011 by pmelcher.

They say that 95 % of communication is non verbal. This is the realm of photography. It explores and transports through time and space the world that resides outside the Word. Confusingly enough however, we tend to give much more credit, and emphasis, to the written/spoken word.

Our newspapers and magazines spend more space on word than they do on photography, forgetting so often the famous adage that an image is worth a thousand words. We seemed convinced that if we do not read it, or hear about it, it cannot really be real. So, an amazing amount of energy, time, and money is spent on collecting data that can then be transmitted via words when a few images could easily, and more powerfully, do the same. Centuries of dubious philosophies however, started by Plato himself, has taught us not to believe in what we see. A concept that  we still carry well into the 21st century.

However, how many times have we witnessed a scene without hearing a word and immediately understood what was going on : people arguing on a street corner, a women paying for cloth in a store, a kid receiving his first ice cream of the year, all do not need a word for us to understand fully. No explanation needed.It is, in fact, how we understand our world best. Dogs, our best friends, can communicate with us without a word. 

That is what photography is all about, the third language ( words and music being the first two). If your photographs explain, then they have done their duty. If they just replicate, then they are no better than a mirror, or worse, a photocopy machine. No one has every been ecstatic in front of a well done photocopy.

 Photography is about the 95% of our communication that is non verbal. Not a word and yet a universe of comprehension. A vehicle of understanding that even Plato would have enjoyed.

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May 23, 2011 by pmelcher.

 A couple of events rattled the world of photography recently, with no particular effect. Unaccustomed to be put into question, photographs of news event have continue to pour into our field of vision, with little regards for what just had happened. Here’s the narrative:

A little while ago, a bunch of very aggressive US Navy Seals dropped from the sky into a previously quiet compound and killed most of the people inside, including the number 1 most wanted person in the US, if not the world. No need to elaborate more on the event, besides asking why we are style fighting in Afghanistan, if the target of that mission is now eliminated. No, what happened next is what matters. After weeks of speculations and pointless editorialism, president Obama, acting as the Daddy  of us all, decided NOT to release any images of the attack or the dead body of Osama Ben Laden. We are not mature enough, he said, to handle pictures like that. Only he and it is presumed, a few of his staff members could see the images. End of story. Go play somewhere else.

Problem is, people do not beleive anything if they do not see it. Photography has become proof. Even thought we are fully aware that our eyes can be misleading and that photography can lie, we still need to see to beleive. One can tell you the most credible story , you will not beleive it until you see it for yourself. We do not beleive words, we beleive images. Photography has become proof. The interesting part of this, is that proof in of itself is not even truth. It is just the confirmation of a thought. It’s the exclamation point at the end of an argumentation.  A proof is nothing more than a rhetorical tool that confirms a point. But a proof can lie, it just needs to confirm. Photography can lie too ( ask Photoshop) but we still rely on it to confirm.

The second story is more recent and involves a very important Frenchman, a hotel room and a cleaning lady. The events are well known so no need to repeat them. However, what is less known, at least on the US side of the Atlantic is the reaction caused by one photograph : That of the person being walked out of a Police station with handcuffs in his back. The French press and the French people went haywire. How can you publish such a photograph ? What about the presumption of innocence, what about the respect of one’s private life, what about….on and on and on. See, in France, you are not allowed to publish such images : by law. Actually, the French law has lots to say about what images can be, or not, published. A little too much, actually. But this is not our point here.

What is however is the photographic proof. In this case, this was also the first image of this man after his arrest. We all had heard or read the stories but hadn’t seen much. Finally, we see the culprit in a photograph and all is confirmed. Ok, yes, he got arrested. But for the French, that is too much proof. We didn’t need to see that, they scream. The Americans couldn’t care less as they see thousand of equivalent images a day. Why is it that this time, the photographic poof was seen as too invasive? As if this was too much proof. Photography , suddenly, went beyond its duty to confirm.

The implication are the same for both images. Actually, in the case of the death image, it has potentially more impact on the world than a man in handcuffs ( that couldn’t be seen, by the way, as they were in his back).  Few jurors actually will base their judgment upon seeing this image and if they do, they shouldn’t be jurors. Are some photographs not to be shown, even if they depict reality? Is Obama right ? Are  we so immature that, as someone famously said , ” we can handle the truth ” ? Or at least, we can’t handle it if involves someone we know, if it is too close to us.

We see thousands of images a year of people in much more degrading situation as these yet we do not seem upset about it. Actually, we have entire photo festivals made entirely around these images. Indeed, those are in far away countries with people we do not know and couldn’t care about. It’s almost fiction, it is so far away. We seem ok with those proofs.

The good news about these two ‘affairs’ is that apparently photography still carries a very strong emotional impact. Photojournalists, rejoice : your images can still boil up people’s blood. As long as proof is still very much in demand, you will be needed. More than that, your images could stir up more controversy that the event you covered does.

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April 27, 2011 by pmelcher.

You say photojournalism is dead. You say , where are all the good stories gone. You say, it used to be that we could see great photo essays in the pages of our magazine. You say a lot of things. But what do you do ?

Well, here is a suggestion : go to kickstater.com or emphas.is and indulge yourself in becoming a donor in photography.  Jump in with your two feet into the now and present and put your money where you mouth is. Support, sponsor, donate and get involved. Got your tax refund check ? take a small portion of it and spend it in high high luxury by helping out a photographer that has all the right tools but is just missing a few dollars.

There is no scam here, not wasted energy, to false promises. Be your own photo editor and pick the stories you like and make them come to life. You have no idea how good it feels. Do it for yourself, for the next generation that will see and enjoy them, do it in memory of those who died to keep this trade alive. Do it because you can and you should. Do it to make the naysayers shut up and the temple merchants disappear.

Do it because you want to see more . Don’t wait for stories to come to you. Make them happen. Be an instrument of change. You have absolutely nothing to loose. Do it often, even if its a few bucks here and there.

If you are not sure, here is a suggestion:

You already know you will not regret it.

Posted in multimedia, technology, Social Media, web 2.0, photojournalism, transaction, finance, slideshow, editorial | Print | No Comments »

April 19, 2011 by pmelcher.

Always a late entry in the continuous flow of photographic awards, the Pultizer is still a very a very, very honorable one to receive. Mainly because it is one of the oldest ( the oldest ?), but also because it is so tied with sister, the written press. This year’s crop has made no discovery of young talented 20 year old who grabbed his camera and got the scoop of the year. None of that.  Rather, the jury went for established professionals with years of industry background and strong financial backing. Is that wrong ? Not at all. photography should not be about who you are, how you did it, but  about what you show: the photograph.

This year’s winners also show that while newspapers might be a dying breed, newspaper photogrpahers are certainly not. They still photograph world events with the same passion and commitment as ever.

That is exactly what the venerable Pulitzer showed this year . One little thing, however : Can someone redesign the site so it does look and feel it was made in the 70’s ? especially, can we make a little effort to display the photographic winners a tad better ?

See winners here :  Breaking News : Pulitzer 

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