New Gallery: Wildlife Foundation Image Library

I finally had some breathing time this month to upload photos for a picture gallery of a non-profit foundation project that I just loved working on. Over a year ago I was contacted by a former colleague who realized that his organization really needed to showcase the tremendous work it does, for members, supporters and the general public. Since then, I dropped in during different seasons to document the beautiful landscape in a creative photojournalism style for an image library for its internal and external communications. Their annual report is about to be published, which I’m excited about because it makes ample use of this imagery. I also shot some aerials and edited a video for the organization’s anniversary, which can be found in the motion-video category of my site, but also on their foundation’s page. Give them some view-love:-) if you have a few minutes. For visual consistency, I gave the images a creative treatment that reflects the feeling and mood that I experienced in my wanderings there, which was often during the Golden Hour. Hope you enjoy!

How to Make the Most of Your Next Trip to Cuba

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Next month over the Thanksgiving holiday, I’ll be leading a group to Havana with School of Visual Arts colleague Jaime Permuth for a week long exploration of the capital city and the surrounding area. Our last trip was fantastic. I’ve been going there for years, but I was amazed we were able to photograph things I hadn’t ever seen.

Now that everyone is talking about going to Cuba, the question you might ask is:

Would such a trip be right for you?

I would ask it a different way. If you’ve never been part of a destination photo workshop before, the better question might be:

What kind of a visitor do you want to be?

Your experience could be wildly different from someone else, depending on the answer.

I’ve experienced Cuba in very different ways. I was a family member looking to reconnect. I was in a months-long people-to-people exchange. I was a student in Havana. I worked in a news bureau. I led a New York Times Journeys in which I gave hour-long talks ranging from revolutionary photography to Cuban healthcare. Now I’m leading groups for SVA. So I’ve seen and experienced Cuba in different ways and through the eyes of visitors alongside me.

As a visitor to a country, do you enjoy a little bit of surprise and risk or do you want everything planned out?

Do you seek to “get in there”, or do you keep a safe distance?

Are you seeking creative opportunities or more rigorous intellectual stimulation?

The New York Times Journeys trip I helped lead earlier this year was by most measures rigorously intellectual. Everyone was ushered around to a schedule of speakers in a big, modern air-conditioned tourism bus with a Cuban guide who spoke on many topics. It was a comfortable, safe, experience. Meals were pre-arranged with tables waiting for us when we arrived, facilitating discussions. The group was an older crowd, smart and very well traveled. We had amazing access to officials. The group asked good questions, and were fascinated to know more.

But for some it lacked flexibility and the time to explore on your own, to see and meet people on the street or in their homes. You often heard: “Let’s go! The bus is leaving!”

The SVA trip a few months later was very different. With photography being the priority, it was more experience-driven, rather than intellectually-driven. The SVA goal was to get you seeing, talking with, and photographing the Cuban people in real-life environments. You are in the streets and in people’s homes, making friends and learning the realities of the Cuban experience with your camera.

I have a cousin there who is a producer for commercials and music events, so she draws on her network of contacts to make things happen. Visiting a ballpark and getting access to a dugout (during a game no less) was not originally on our schedule, but for a few participants that’s all they wanted to do. So we made it happen.

One participant on our last trip needed help finding a long lost family member. My cousin and I helped to connect them in the evening and it was awesome. I absolutely related to seeing the family ties that bind.

But perhaps the most instructional moment for me, which also motivates this post, was watching one participant in our exchange jump onto the back of an open-bed truck with a big group of guys to have a photo made.

It was a hilarious moment. Everyone in the truck went wild to have their picture taken with him (it might have helped he was wearing a Yankees cap). You just don’t expect a tourist to climb on the back of a truck and to rev everyone up for a group photo.

As a photojournalist, I’m using to keeping something of a professional distance between the subject and me. (As a group leader, I was afraid the truck would take off, leaving one less student). It’s my fly-on-the-wall orientation.

But my friend blew up that distance and my concerns, showing me something I had forgotten about any cross-cultural exchange.

We’re all mostly looking for moments that bring people together – to forget our differences and the monotony of day-to-day life. If it’s a crazy, unexpected spectacle, all the better. Months later, I still think about that experience and smile at the joy it brought everyone.

Will there be another such spectacle on our November trip?

Who knows, but when it comes to making the most of any trip to Cuba, it’s your readiness to enjoy the unexpected that can make all the difference.

Printed Portfolio or iPad? It Could Depend on Your Genre…

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When I first started attending portfolio reviews as a commercial and editorial photographer a couple years ago, I was faced with the question: Printed portfolio or iPad? I wanted to position myself among others who I perceived were mostly using books, so I created a printed portfolio. I even enlisted a friend who is a wood artisan, to create a gorgeous portfolio book made of black walnut. I loved it (and strongly recommend his work). I had something that was unique. On a conceptual level, it suggested the “real nature” of the “real people” that I generally work with. 

I spent days printing work at great expense, after making difficult choices about what to include and what not to include, mindful that a reviewer has a compressed period of time while turning oversized pages.

I wanted to distance myself from the digital media of an iPad. I thought printed material would convey a certain seriousness of my work as an artist, which is also something I had read in some interviews of portfolio reviewers.

But in the end, I decided to use an iPad Pro. Why?

Having gone through a few reviews with both a printed book and an iPad, this is what I’ve personally found:

  1. You can’t control for the light in the room when viewing prints. There’s no doubt that prints can be impressive. But if you’re stuck in a dark corner with a reviewer, your prints could appear dark and suffer from the lack of radiance they had while making your gorgeous print. If you’re stuck in an incredibly bright part of a room, your prints can look washed out. At least when you’re printing for a gallery show, you have some control over user experience. You can’t really say at a review, “Well, trust me, this looked fantastic in the room where I printed.”  Yes, it’s true that the iPad can have glare, but usually by tilting the screen, using a non-glare surface screen, that goes away. I personally haven’t found that to be an issue. I’ve certainly found that colors on an iPad will often sing more than on a printed page.
  2. Having a reviewer slow down to see every detail of your large print may work for your genre but it may not. In fact, it can steer the conversation away from the strengths of your abilities. I’ve observed that a reviewer will take more time and consideration with a print than a screen they can swipe. This is great if you’re the kind of photographer who invests hours or days into making a single image with detail, complexity and a level of production that you want the reviewer to notice and appreciate. But if you’re a storyteller like I am, “real moments” are more important. You might want someone to see a number of photos on the way to a mood, feeling or sense of intimacy. I also like to show I can work quickly, creating image libraries with emotion and action.
  3.  An iPad offers more potential to customize your presentation. This is more important when you attend a portfolio review event with multiple reviewers.  I happen to have many bodies of work, some with more commercial flavor, some with more editorial flavor and others in between. But at reviews, you can’t bring five printed books with you easily (just the optics of that raises eyebrows) but you can quickly customize your portfolio based on the research you’ve done. Easily customizing your galleries helps keeps your conversation on target with your reviewer and leads to less confusion about who you are as a photographer.  
  4. If you have a lot of work to show, an iPad is less overwhelming. At my most recent review, I showed far more work on my iPad than I ever could have shown via a printed book, and it still wasn’t enough for some reviewers who enjoyed the pictures and wanted to see more. Conversely, some reviewers appeared overwhelmed when a photographer’s voluminous portfolio book landed with a thud on the reviewing table. I would think the more you can show while respecting a reviewer’s time, the better. 
  5.  If you have motion to show, you’ll have an iPad there anyway. 
  6. There will be reviewers who enjoy printed books, and there will be some who like iPads. But will it really affect whether you get work? I’m guessing the greater influencers are whether they have need for your type of photography, whether they like your work and whether they trust your skill sets. I would think your conversation and your personality, more than the style of presentation, would give someone a greater edge.

If you do decide to bring an iPad, however, here are a couple tips I hope will be helpful:

  1. Be sure to completely charge the iPad, and to bring a portable battery charger or long battery cord. Or both. Like with any photo shoot, back-up your back-ups.
  2. Bring a soft cloth to wipe off fingerprints from the screen in between reviews.
  3. Turn off all notifications, update the system software and put the iPad into airplane mode. The last thing you need is a text or system message to pop-up during a review.
  4. Turn off the auto-lock, so you won’t have to deal with punching in your code in front of the reviewer. If you end up chatting for a few minutes in between viewing images,  the iPad may decide to take a breather.
  5. I personally use Foliobook, but there are many different types of iPad apps out there for photographer portfolios.

 

Don’t Fly Through Fireworks and 16 Other Ways to Avoid Crashing Your Drone

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It’s the Fourth of July and there was a UAV flying over our town’s parade. Maybe he was taking a lead from that viral video of a drone flying through fireworks on the Fourth of July that made a stir awhile back. Was it a hobbyist flouting laws this time or a professional with permission? I was too busy selling lemonade for the Cub Scouts to investigate.

Either way, I’m hoping they’ve taken all the necessary precautions.  As I grow my experience with UAVs, my caution has only grown. It’s not just about protecting your investment, it’s protecting people on the ground, including the pilot. I know of a photographer whose octocopter took a chunk of skin off his leg, to the extent that he’s written them off as “flying chainsaws.”

I’m sure others have more tips to add, but from what I’ve learned, here are 14 observations about how to avoid a drone crash that could do damage to yourself and others on your very first flight.

1. Treat Murphy’s Law as if it ends with heavy fines passed by the FCC. To avoid the worst that can happen, learn all you can about flying and your drone in particular. Consult all the manuals and follow all federal and local laws. The Know Before You Fly is a great website to start with.  An educated pilot is a better pilot and a more skilled aerial photographer/videographer.

2. Don’t ever panic.  The physiology of fear will cause you to either freeze up or freak out.   I’ll never forget helping a friend fly a drone. When it started to veer away, he threw the controls in my hands and shrieked, “Get it under control!”  It’s up to you to have steely nerves even when everyone around you is flipping out – not unlike Denzel Washington in the movie “Flight”. (Just don’t get coked up beforehand).

3. Eliminate reflections on your control screen. I’d suggest either using a hood, or even better, a non-reflective screen protector for your tablet or phone. Or both. Either way, I’ve had to make split-second or fast decisions while flying and making pictures. Making those crucial decisions while struggling with reflections is like trying to see the road at 65mph while driving into sunlight.

4. Remember that inasmuch as you should always fly line-of-sight (LOS), you can’t gauge the distance of obstacles from a distance. Always refer to the live view which you use for photos and video, but don’t trust that either. The wide angle view of the camera lens can fool you, the delay of transmission can delay imagery if you’re flying fast, and power lines can escape notice of your screen’s resolution until it’s too late. 

5. If your flight path is straight, don’t assume you can fly UAV backwards to retreat safely. If your drone ever flies out of your LOS – never on purpose right? – there is a very good chance that, whether by wind or by controls, its flight path has subtly shifted. Flying it backwards in retreat could fly it right into an object you passed safely on the way out. I narrowly avoided making a drone into a Christmas ornament on a 100 foot tree this way.  

6. Don’t rely on DJI’s safe flying website. It’s helpful, but if you want even more detail about determining safe flight paths, consult SkyVector.com. Yes, it really is intimidating, I totally agree, but we’re all pilots now.

7. Don’t fly over people, especially crowds. It may not be news yet, but the FAA has stepped up its enforcement of risky UAV behavior by making examples of those who flout laws, especially on the East Coast.

8. An obvious one, but don’t fly over places that might generate electromagnetic interference or interfere with signals to your craft. You don’t want to have switch flight modes mid-air when the GPS mode loses its bearings.

9. Set an appropriate altitude for the Return to Home or Failsafe mode of your drone.  You don’t want your UAV to automatically fly into anything on the way back to the home point. 

10. Moreover, make sure your home point is set correctly every time you fly.  You don’t want the Return to Home function to send your drone to the home point from your last flight. Keep as much clear airspace around your home point, because the UAV won’t necessarily navigate automatically back to the precise spot of departure.

10. Wear bug spray before you fly outside. If you’re outside photographing in a rural area mosquitos will come over and feast on your hands and face while you’re trying to fly an expensive object in the air. It really can be a dangerous distraction.

11. Perform test runs in the days leading up to your flight. Update the flight app, calibrate the compass, the gimbal, the batteries and even the cardboard box if you could. You’ll likely find that there are new updates to firmware that could be useful or warning alerts you should investigate. I would check forums to see if there are complaints before you update because you know how that goes. You don’t want to be struggling to revert back to a previous version of system software on the day of a flight.

12. Batteries, batteries. Make sure they are securely positioned in the drone. Vibrations from flight have been know to exacerbate loose connections, causing a drone to lose power mid-flight. That would be a bad thing. Also make sure your batteries are retaining charge well. Checking up on your batteries every dozen flights is not a bad idea.

13. UAV’s can defy even those with the most experience, so resist the urge to be daring. The minute you get over-confident about its safety or your control is followed a few minutes later by the sounds of you screaming inside, “ABORT! ABORT!” 

14. Avoid wildlife. I was flying once in a private nature area and a few birds parted from their flock to flirt with my drone.  I’m hundreds of yards away and I was trying to shush it away like teenage boys from my daughter. “Go away! She’s not your type!

15. Just like any vehicle, I would recommend not flying angry, drunk, scared, or with too much swagger.

16. I would also agree with what Know Before you Fly tweeted today on our nation’s holiday, “Leave the fireworks to the professionals this holiday weekend & keep your drone at home, #KnowBeforeYouFly on #July4”

  

Why Photojournalists Understand the Needs of Production

During a recent panel discussion of art producers at a photo community meeting, a questioner in the crowd asserted that Instagram photographers (the kind who only work with phones) and photojournalists were ignorant about the needs of production. It was as if both lacked an appreciation of the complexity of producing a shoot.

At best, the analogy was a woeful overgeneralization. At the very least, it was uninformed. At the time, I figured it was the wrong time to divert the discussion

But it’s an unfortunate perception that breeds distrust and missed opportunities.

Ironically, what I’ve been most buoyed by in my commercial work have been the logistical similarities of producing shoots from my background in photojournalism.

As an example, recently I was looking over a spreadsheet with a photojournalist friend on a huge budget shoot for a well-known international magazine. 

It was the kind where you are your own cost-control expert, combing through budget line-items looking for efficiencies to keep a client calling you back. It was fairly typical planning for that kind of trip. 

His spreadsheet rated locations around the world, according to a dozen different criteria. He had consulted with top-level scientists around the world to confirm his perceptions and findings. He had articulated his vision on a creative call (or, conference call with editors and writer) and all were excited about the project. 

The project would take him to many rural areas off the grid. These were the kind of places where a random police officer could shut down the entire shoot with arbitrary and opaque laws, confiscate all your equipment and/or detain you and your crew unless you had cash available for “instant permits“. 

He needed to find experienced producers (orfixers) way ahead of time to help avoid any problems. The best are natively bilingual, with deep contacts, a nuanced understanding of the culture and an appreciation of the needs of photographers. The worst are government snitches who’ll sell you out if you’re in touchy areas around military installations or persecuted communities.

Moreover, he needed a location scout to vet identified places. Locations often hold more promise in theory than reality. You can’t waste valuable time and money to discover that what you expected to find only happens there in a different season.

If he were to lose power, or even lose one piece of equipment, the whole trip would be torpedoed, since he’s in the middle of nowhere and can’t send an assistant to a rental house the next country over. His backups needed backups. 

Food and catering?  On-the-go packaged protein would replace any available street fare that could sicken his team for days, an intolerable outcome, especially at a distance from healthcare. But then, he’d already arranged to be evacuated by helicopter in case of a medical crisis.

On his way to a “hero shot” he’ll have to streetcast talent (or, subjects) willing to be photographed. As many pre-interviews he can get done, the better. Even in news environments, you’re something of a casting agent looking for the most visually-compelling individual that fits the dimensions of the story.  

If it’s a portrait, he’ll ask them about props or clothing that reveal more about their lifestyle or character. Unlike the commercial world, you can’t rely on post-production to change colors of clothing or to remove an unwanted object later from a photograph. For reasons of journalistic ethics, you have to get it right in-camera, the first time. A certain amount of color-grading could be acceptable depending on the magazine.

Even if he finds the right subject, he’ll have to use every technique in his interpersonal toolkit for them to avoid the deer-in-the-headlights look, abject fear, or amusement at facing a foreigner and his team.

All the while, he should keep his art director (orphoto editor) updated so that everyone involved in the project could sleep safely on the days before and during the trip.  That requires communication, so he’ll probably bring a satellite phone just in case.

Of course not all photojournalists run productions like these.

These complex productions are often run on deadline on a news cycle. They’re competing with other photojournalists in the field like a crazy Survivor game where brand reputations are at stake. 

Moreover, in addition to news and news features, photojournalists also run fashion productions. Some run lifestyle productions. Others run food productions. Some construct sets for studio shoots.

It just depends on what lifestyle section, fashion supplement, special section, multimedia project, magazine shoot and/or budget they may be working with. In the end, you get it done, with little pretense and fanfare. 

I’ve had experience with all of these kinds of projects before moving to the commercial and advertising world, where I’ve discovered the sheer joy of being able to hire people to do the work that I used to do alone.  

But there is a tension I’ve found as productions grow in size.

When you scale up a production crew, it can exert a form of gravity on a set that interferes with the ability to create the authenticity in which moments can occur.Experienced photojournalists possess a sense of story that comes with shooting them on a daily basis. They also have an anticipatory sense of the moment, and the ability to capture it. So they know that if a real person finds themselves surrounded by strangers, trust can dwindle, and intimacy can fly out of the room like a butterfly.

So for valid aesthetic reasons on some types of projects, a photojournalist may not be inclined to want a big production.

Either way, a frank discussion needs to happen with the art buyer – about what level of production is required, and what kind of results are expected. The benefit of clarifying these issues is that you work with a photographer who is adept at communicating story and its emotional core.

For the photojournalist, emotion is the currency of meaning. In the back of their mind, they’re always answering the compelling reader question, “Why should we care about your story and what you have to say”?

There is great diversity in the term “photojournalist”.

For those who are savvy to this, there are many opportunities that are yet to be explored.

Brand Storytelling Video – “Behind the Idea”

I’m delighted to announce a new “motion” category on my site, starting with two videos recently completed for Richards Patent Law. You would think, a law firm? Yet this firm has an appreciation of visuals and most importantly, the power of storytelling.

They gave me the creative freedom to profile two of their very cool clients, Gramovox and Everpurse. Brand storytelling in the legal world. The videos will be part of a series called, “Behind the Idea” where viewers are given a backstory about the businesses and how RPL helped them protect and develop their innovations.

I’ve been asked, who did the interviews, storyboarding, creative direction, sound, video, editing, coloring and titles? Just me this time. Pete Noback narrowed down the music choices to find the right tempo for the pieces. Going forward, I’ll be collaborating with a crew, but I wanted to get a greater sense of all the needs of production for the coming series.

With my background as a photojournalist, this kind of storytelling is a natural fit. It’s not just telling a story. It’s figuring out what the best storyline and honing the elements to reach an intended audience, while determining visuals to illustrate the necessary concepts. It’s very gratifying to see video projects come together, and to experience wonderful serendipities of words and visuals during the editing process.

It’s not documentary in the sense of unvarnished reality, but for the ring of authenticity we stayed close to environments that are/were part of their natural experiences.

As you can imagine, when dealing with real people and not models – especially busy entrepreneurs, there’s not a whole lot of time for several repeated takes.

You make choices and work with what you have, or what you can imagine, to fill the gaps.

Below are the first videos in the series:

 

 

The Elusive and Sometimes Funny Quest for the Perfect Photographer Job Title

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On the hunt….©2016 Alex Garcia

Are you a Chief Visual Brand Storyteller?

An Editorial and Advertising Photographer?

A Senior Visual Content Specialist?

A Multimedia Photojournalist/Video journalist?

Or, maybe “Lead Picture Guru”?

If you’re a professional photographer, you’ve probably pondered, paused or even struggled to figure out how you should describe yourself on your business card, social media profile, or during an elevator pitch.

How you refer to yourself often depends on your audience. But in person or especially online, you’re both unsure of their specific need and their sophistication with imprecise job titles.

If I introduce myself with the term “photojournalist”, someone may see me as the crazed Dennis Hopper from Apocalypse Now or clueless Jimmy Olsen from Superman, depending on their Netflix history. Getting past the strange depictions of photojournalists out there, there is a huge creative difference between a photojournalist who uses studio lighting for location portraiture, and a conflict photographer who is a pure documentarian. 

I may introduce myself as a “storyteller” – if they understand its potential for advertising and marketing. If not, I might get invited to the next meeting of the National Storytellers League

Of course you have a niche but you’re also quite capable of applying your talents to other projects. Labels can seem limiting to the person who does many things well.  

But there’s that persnickety little acronym, SEO. Why turn away traffic when keywords can make the difference of being found, even within online directories? For kicks, you can call yourself “Lead Bottle Washer” at “XXX Pictures”. Or maybe “Visual Widget Maker”. I’ve even seen “Photographer Extraordinaire” and “Creative Genius” while browsing social media. They’re funny relief from titles that can seem bland and rote. But searchbots being robots, they don’t get the joke. 

Most would agree that in the marketplace, it’s not enough to be a “photographer”. Top dollar and creative respect goes to the specialist.  Photography has become differentiated, specialized and segmented, so the market has responded.  There are specialties of specialties. 

As trends continue, it won’t be enough to say you’re an adventure photographer. You’ll have to say something like, “I’m an extreme polar arctic photographer specializing in aerial drone photography shooting 360 degree virtual reality – in HDR! 

To which a client may say, “Oh that’s too bad, I have a huge project for an extreme polar arctic photographer specializing in aerial drone photography shooting 360 degree virtual reality – in black and white! Can you recommend someone?”

As your business grows, your photographic specialty and the market ideally mesh in a glorious symbiotic relationship. You have all the business you need. No fuss, no hassle. That is, until your high-key, sun flare, blown-out photos become dated, forcing you to regenerate like Dr. Who.

So my best (and perhaps unsatisfying) advice is this,

Be specific, but not too specific.

Be general, but not too general.

Of course, this is all coming from someone whose business card succinctly reads: “Alex Garcia: Photographer”. 

I’ll explain more in person…

A Healthy New Gallery

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I just added a fifth photo gallery to the “Health and Wellness” section of my site, in this case largely consisting of healthcare photography. With just three sections overall on my site, the 5 health documentary photo galleries weigh pretty heavily.

Hmm, funny how things work. As the son of a Cuban doctor and a pre-med in my college days, I swear I’m not overcompensating for not going into the medical profession (or at least I think I’m not). None of my brothers became a doctor, but I did give it a try until I realized that the creative-associative way of thinking was how I was wired.

In the grand mysteries of the subconscious and the laws of nature (and the creative process I’ve written about), I’m sure there’s something that would explain these rather unusual convergences. What many photographers find is that projects choose them, they don’t really choose their projects.

Largely. I have realized moments where project ideas that I subconsciously let pass were then picked up by other photographers – almost as if life was allowing me first rights of refusal before showing what could have been.

Free will happens.

As 2016 gets underway, I look forward to more blogging (I’m shy about making resolutions…), so thank you for those who have stuck with me during my semi-hibernation from the blogosphere:-)

 

 

Come to Cuba with me and the New York Times!

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As an independent photographer, little did I realize that you don’t actually have to be on staff at the New York Times to be a guide for a Times Journey. A friend there recommended that I reach out to be one of the “experts” for their educational trips to Cuba. To my delight, based on my background and experience, they accepted. I will be on the Feb 19-27 trip, giving short talks about various topics of Cuba while we make our way to various destinations. I say “our” because you’ll be there, right?

A Times Journey is very cool. The excursion brings you to a locale based on their institutional knowledge and contacts of the location. In Cuba, it’s 9 days and 8 nights. On the link above it takes you through what will likely be the itinerary, day-to-day, in Cuba. I looked through the itinerary and was impressed. I’ve lived in Cuba for some ten months starting since 1995 and was intrigued with some of the places that they’ve arranged.

For example, I don’t know how you could possibly get a tour of Granma, the party newspaper, without an organization like the New York Times arranging that kind of meeting. We’ll also visit the beautiful and eerily prehistoric Viñales Valley, as well as visiting Las Terrazas, a sustainable community in the mountains of Sierra del Rosario and a Unesco‐designated Biosphere Reserve. We will be busy meeting interesting people, including tobacco farmers, a world-class artist, Afro-Cuban dancers, a famous chef, an art historian, gender rights activist, architect and planner. In between we’ll be seeing the colonial architecture, the lush countryside and above all the people. I’ll see if my cousins and uncle can stop by… Once you get a flavor of Cuba, I think you’ll be planning your next trip.

If you’re a photographer, not only will you be getting an education from a New York Times tour, but photo advice from me in a small group setting. It’s not a photo trip per se, but we’ll have lots of time together, as I’ll be with the group throughout the trip, except when people want to go out on their own.

Obviously, above are the plans but they can change since there’s some time between now and then. That’s part of the adventure, right?

If you’re thinking about it, don’t take too much time to decide. The January trip is already sold out. One of my former editors at the Tribune already signed up, and I imagine Cuba is in everyone’s mind to visit, especially during the winter. (I don’t get paid anything for recruiting students, or by how many sign up – I’m only letting you know as a courtesy)

If I can answer any questions, shoot me an email!

Joining the NPPA Board of Directors

It’s an honor today to be appointed to the board of directors of the National Press Photographers Association by president Mark Dolan. I’ll be serving out the term of a director who is leaving.  The NPPA has been a powerful voice for photographers, finding itself on the front line of issues affecting the livelihood of photographers.  Most of the photography community at large probably isn’t even aware the debt it owes to the advocacy done by NPPA and its general consul Mickey Osterreicher on such contemporary legal issues such as Orphan Works and drone photography.  It’s a privilege to be a part of the organization, and I’m grateful for the invitation.

My involvement, which I’m sure was Mark Dolan’s intention, was to bring more voices of independent professionals into the room at a time where there are less and less photographers who are full-time staff photographers.  After I decided to leave the Chicago Tribune, I came to acutely understand the challenges of being an independent contractor while staying true to oneself as a storyteller. I join the ranks of many other photojournalists who either left their companies, took buyouts, or were let go.  The challenge for the NPPA is to help those photographers who wish to continue their important documentary work when the business model is in a tailspin.

NPPAboardSome perspective about the value of photojournalism – at a recent portfolio review, I met with several art buyers from ad agencies who with few exceptions started our conversations professing an admiration for photojournalism. They, like the world at large, understand that photojournalists are non-fiction photographers whose images have the ring of truth. Their clients and audiences are becoming more sophisticated about imagery and are demanding less spin and more authentic documentary storytelling. Like what happened in the wedding market, real-life documentary is a trend in the commercial world. This should come as some encouragement for those wondering if there a ways to sustain one’s career as a narrative storyteller.

From my perspective, there are economic trends in the market that cut both ways for photographers. But some may not wish to go down any commercial or corporate route, preferring to double-down on the editorial world. Others pursue the wedding market to support their photojournalism. The challenge is to support, encourage and strengthen the work of photojournalists however they wish to stay in business. As someone who has worked more than twenty years at newspapers, I hope to bring some ideas and energy to the association’s mission.