Tuesday 11th October 2011
Case Study of a professional contemporary photographer.
I chose to study Brian Griffin because of his incredible success with many corporate businesses. We were told to research the biography of our chosen subject and answer the following questions:
1. What education or training did he/she undertake?
- Brian Griffin was educated at Halesowen Technical School in Birmingham from 1959-1964. He then progressed to Manchester Polytechnic School of Photography in 1964 until 1969. It was during this time that he largely expanded his knowledge of various art movements, including the Renaissance, Symbolism, Expressionism and Surrealism. He began work as a freelance photographer in 1972, and has completed many projects for various magazines, some abroad but mainly in Britain.
2. How is their location related to their success?
- Griffin was born in Birmingham. Many of his exhibitions are held in British Museums, including the Victoria and Albert Museum and the National Portrait Gallery in London. His knowledge of his hometown helped in his project 'People and The City', which helped Birmingham win the the European Capital City of Culture in 2008. Griffin is also celebrated by three complementary exhibitions in his home city, including Face to Face, a major retrospective exhibition of his portraits. His exhibition The Black Country - based on his childhood memories - is currently at the College des Bernardins in Paris.
3. Have they won any competitions?
- He received the Freedom of the City of Arles (Rencontres d’Arles) in France in 1987. This is a yearly exhibition which has been running over forty years in France and has established many photographer's careers. Two years later The Guardian newspaper hailed him as ‘Photographer of the Decade’. Shortly after receiving this accolade Griffin gave up stills work to concentrate on making a series of award-winning films, adverts and pop videos.
Griffin picked up his camera again in 2003 and began a series of major corporate commissions including a massive project to document the people who built Britain’s first high speed railway. His 'People and the City' project helped Birmingham's bid to win 'European Capital City of Culture' in 2008, a prestigious award that only happens every 12 years. The award created more than 10000 jobs and generated over £130m for the regional economy.
He was the first photographer invited to work on The National Portrait Gallery/BT Road to 2012 Project, beginning the definitive photographic record of the people behind London 2012. His work on previous large-scale projects includes Broadgate in the 1980s and photographing the workers and management for the Royal opening of the High Speed One project into St Pancras station.
4. Who are their clients?
- Brian Griffin's photographic clients include a variety of celebrities and icons in the music industry, as well as several corporate companies and magazines when he worked as a freelance photographer in 1972.
He began a series of stills and films with Sir Paul McCartney in 2004, and worked on many other pop videos, films and advertisements in this time, before picking up the camera again and shooting a project for 'Road to 2012', photographing key characters working behind the scenes at the Olympics.
Lady Egremont with Saw.
Pilot
Sir Michael Gambon: Artist
5. Have they published/exhibited work?
Griffin has eight published selections:
1978:
1986: Publication of Open.
1987: Publication of Portraits.
1989: Publication of Work.
2000: Publication of Film Stills.
2006: Publication of Baugur The Movie.
2008: Publication of The White Glove.
Two of these were nominated awards, including 'Photographic Book of the Year'
Selected Collections:
| Victoria and Albert Museum, London. |
| Arts Council of Great Britain, London. |
| British Council, London. |
| West Midlands Arts. |
| Stills gallery, Edinburgh. |
| National Portrait Gallery, London. |
| City Museum, Braga, Portugal. |
| Museum Folkwang, Essen, Germany. |
| Birmingham Museum and Art Gallery, UK. |
| Art Museum Reykjavik, Iceland. |
6. Discuss the style of their photography. What kind of people does it appeal to?
Griffin has worked with many various styles of photography, ranging from fashion and portraiture and his own personal projects to commisioned work which is aimed at a large audience, for example his work for the London 2012 olympics and the work he produced which helped Birmingham win the European Capital City of Culture award in 2008. He has produced images for magazines and advertising campaigns in Britain and abroad, such as Smirnoff, British Airways and Sony. He is known for his innovative portraiture, and his long association with the music industry.
'The Soil Cleansers' - London 2012
ODA
7. Has their work changed much over time?
Since starting work as a freelance photographer in 1972, after attending school at the Manchester Polytechnic School of Photography, where he was largely influenced by the Renaissance and other art movements which he found in the College library. He proceeded to carve himself a diverse career which has encompassed both commercial and fine art photography, film, audio-visual performance, fashion photography and books, including corporate images for his book and exhibition The Water People for Reykjavik Energy.
CASE STUDY NUMBER 2
MAGNUM PROFESSIONAL PRACTISE NOTES - 3RD/4TH DECEMBER 2011
Lecture 1 - FIona Rogers, Cultural and Education Co-ordinator at Magnum Photos
Magnum Print Sales traditionally come from the editorial market, for example galleries in London and Paris have four exhibitions a year. The types of clients they deal with are individuals who like a specific image - people who want to invest in a particular image, for example the Young Collectors Market, who stereotypically involve city people with plenty of expendable cash, who see photography as fine art. These types of clients prefer structured photography.
Then there is the affordable art market, which involves contact editions. Websites such as 20x200 (http://www.20x200.com/) work with this market, often providing two or more different sizes of an image and promoting work not seen in the collectors market at reasonable prices.
The established collector is another type of market. Elton John owns over 200,000 photographs in his collection. These people advise institutes on their collections.
There is also the commercial galleries, which represent photographers. For example the Atlas Gallery in London (http://www.atlasgallery.com/atlas.php)
Museum and institution collectors class it as a privilege for a photographer's work to be displayed in the institution, and often it is done for free. There is a strict policy as to what work is displayed.
Interior designers and consultancies are better for young artists because it is easier to sell their work for display in hotels or high-end restaurants. This moves away from the conventional exhibitions and it means that their work is often going to be bought by clientele eating in the restaurant or staying in the hotel.
There is a secondary market for photographers in the form of auctions and auction dealers, such as the Phillips de Pury and Company auction house (http://www.phillipsdepury.com/auctions.aspx) however this is not often classed as a primary option because work can often be sold for much less than the photographer was wanting to make. This can often rattle the photographer's nerves about the seed value of their work, and can often cause conflict between the photographer and the auction. Photography in auctions is rare and not often valued at a very high price. The photography department at Christie's was closed to make way for a dedication to fine art (http://www.christies.com/departments/photographs-72-1.aspx)
Speaking the language
Mediums:
- Silver Gelatin is cheap to produce from negatives
- C type/ Cibachrome
- Inkjet/Giclee/Archival Pigment (discussion raised about the idea of vintage versus contemporary)
- Bromide
- Dye Transfer
- Resin
- Platinum
Collectors like to buy work that is true to the medium, for example 35mm coming straight from the negative, not a scan.
Magnum Photos have been working for 65 years. Before the archive was digitalised, small sets of 8x10" prints were sent to the newspaper and handled to be printed.
Magnum cherished prints when the archive was digitalised in the 1990's. Collectors making an investment made it from the vintage print markets.
Editioning
An open edition is an uneditioned print that is not tracked.
A stepped print has been made in multiple sizes, depending on the size of the print. Can involve the pyramid structure, which is a method used by photographers to have control over the structure of prints.
A limited print is often requested by young collectors with expendable cash who are interested in investing. If a photographer decides to limit his prints, he needs to stick to his structure.
*QUESTION: How does limited editions exist with copies available on the internet - facebook, flickr etc...?
*ANSWER: THe copies that exist on the internet can not be classed as a print, only a copy of the print and never an original.
Types of Editoning
A big print will only be printed in a low edition, often only 2 to 5 prints ever created.
A small print will be printed in a larger edition, often in the numbers of 10 to 25 prints.
The affordable option is a small print of one specific image in an edition of 100. Sometimes Artist Proof's are available to buy. These prints are set aside from the editional structure.
An example of an editioned print is Jonas Bendiksen's 'Satellites'
(http://inmotion.magnumphotos.com/essay/satellites)
The photographs were 24x36" archival giclee prints made in an edition of 20.
Editions 1-5 were sold at 2000 euros, 6-10 at 2500 euros, 11-14 at 2800 euros, 15-17 at 3200 euros, and 18-20 were sold at over 6000 euros.
Photographers have control over the prints and the price increases as the print becomes more popular. However there is still a strict hold over the amount of prints made.
How do I apply this to my work?
Consider the context of photography. For example Phillip Jones Griffiths 'Vietnam Inc' was not intended for gallery use. Robert Capa's work on the Spanish Civil War and his photograph of the 'falling soldiers' was speculated by viewers about the idea of the subject, and the particular 'decisive moment'
There was also speculation about Aintoine D'Agota's photograph 'Insomnia and Open Association With Drugs and Prostitution' - should this be made available in the open market?
Types of Presentation
There are several different types of presentation, such as:
- The traditionally framed 'Museum Mount'
- Traditionally framed 'Filleted Mount'
- Glass types - UV and Perspex being the most popular
- Aliminium Mounted
- Diasec Mounted
- Boxed Sets
- Self Published Books
Jim Goldberg's exhibition 'Rich and Poor' was mounted to create a 'floating' effect. (http://www.magnumphotos.com/c.aspx?VP=XSpecific_MAG.BookDetail_VPage&pid=2K7O3R151ZH9)
Summary of Lecture
Consider your work and it's target audience.
Great work doesn't always have to be made for an art market.
Quality of the image, process and presentation matters.
Find the right context - exhibitions, online sales, interiors shop.
Appropriate editioning - Medium, framing ASK FOR HELP.
Dealer or gallery?
QUESTIONS:
* To what extent is editioning legal?
- No limit of prints but stick to your number - don't tell a client there will be only so many prints then change your mind.
* Secondhand Market - Do Photographers have control over sale?
- No, difficult market for photographs. Auctions attract buyers with reduced prices.
*What value does AP have if working on film?
- Artist Proof is always going to be the most precious edition. Some collectors don't buy work from a pyramid structure on principle. There is no difference in value if the AP is made on inkjet or fibre based.
* Personal preference of photography between inkjet and silver gelatin.
- Institution sale - sign the document for rights to be given t go in the internet. A disclaimer allows institutions to create copies but NOT to be made for advertisemen
INVEST IN ACID FREE ARCHIVAL PEN TO SIGN PRINTS WITH.
Rhiannon Reid - Client Engagement Manager at 24 Productions
The main clients that this company deals with are based in commercial photography and production. This includes advertising, corporate and fashion or music based industries.
There are several different types of production:
- ATL - Above The Line advertising, which involves advertisement on the TV, in the cinema and online adversiting.
- BTL - Below The Line advertising focuses direct means of communicating to consumers. This involves direct mail or email advertisements.
- Retail - this involves in store media such as window advertisements, posters, promotional banners etc...
- Public Relations advertisement involves promotional activity in the newspapers and press.
- Internal use in company publications and the intranet.
What are the fees for this kind of work?
- The important thing to remember is to be realistic about what is available and achievable. Be flexible with your clients, and remember to market yourself.
This can be done in various ways:
- A traditonal portfolio
-iPad - there is some debate about whether this is a professional way to present your work. Some employers do not accept iPads as a form of display.
- Self published books are often cheap and easy to do. Websites like Blurb exist to allow people to publish their own books and present this as a form of advertisement.
- A website is a popular way of marketing. Remember to make it simple, clear and easy to use.
QUESTION: Should traditional portfolios make way for the iPad in the modern century?
- It is often wise to have seperate forms of portfolio to show.
- Photographers have been known to lose their identity by trying to 'cover' lots of bases and please different people.
- 'Quality over quantity' - some employers prefer to see a few well presented, high quality photographs in a professional looking portfolio box rather than hundreds of photographs displayed in a slideshow.
- Think about your audience - consider tailoring your portfolio to meet the needs of the employer.
Books
When preparing a book be considerate about the design.
It has also been known for a photographer to make a set of books with a strong theme running through, or he can create one book about one particular project.
A good example of a website is Ben Duffy Photography : http://www.benduffyphotography.com/ - his work is clearly presented with simple layouts on the website making it easy to use.
DO NOT PRESENT A BROKEN WEBSITE
Keep your website updated with clear instructions on how to contact you.
We went on to discuss some advertising campaigns the company was interested in, such as:
- Donovon Wylie's documentary of the expedition climbing Ana Doblam for Invesco Perpetual.
- Burberry's campaign 'The Art Of The Trench', a living celebration of the Trench coat - http://artofthetrench.com/
Some of the campaigns used involve much smaller crews than others, even involving citizens in street shots to save money.
However larger campaigns can cost over £100,000, such as the Bench SS12 Campaign in Barcelona.
We were then set a production task which was a genuine report filed for the BSFA Annual Report. We had to create a shot of an American family at home, watching the TV. On the TV a company advertisement is showing. The family should be an elderly couple with a grandchild and a dog. The image should feel like an authentic American home in the winter with a snowy exterior through the window. To be shot in the UK in September.
This was a diagram that was drawn up to describe what the company was looking for.
So how was it done?
- Scout locations - research various American style homes and present options to client, then send scout out to shoot chosen house.
- Casting - call in castings from various agencies. Client and photographer present at shortlist of potentials.
- Dog selection and booking.
- Prep stylist - ensure the interior of the home felt authentic and props were in keeping.
- Hair and makeup stylists - wardrobe and look needs to have a US feel.
- Special effects - snow outside and around window.
- Transport - driving crew and equipment to and around the location.
- Backdrop - green trees used for the garden.
- Lighting and photography equipment
- Food and refreshments
The approximate production cost came to £19,200
Lecture 3 - Lawrence Watts - Head of the International Picture Desk at ActionAid
Bingo, Dongo, Quango - Photography and NGO's.
NGO = Non Govermental Organisation
India has 1 NGO for every 400 people
Bingo = Big International NGO
Dongo = Donor Organised NGO
Quango = Quasi-Autonomous NGO
Operational NGO is for emergency relief/welfare
Campaigning NGO's look for large scale damage. They deal with human rights and womens issues, organising press work and event organising.
Healthy relations with the public is essential in this sort of work.
Large NGO's can work with a bigger budget. 1/4 of the income of Oxfam is dominated by the government of the EU.
So why do NGO's need photography?
Photography is needed to educate people about what is happening in the world. It creates an understanding of the work that NGO's do to help others, and creates power to add to a statement, using visual imagery to 'move' people.
The most impact is received when NGO's work with a professional photographer. Well structured, composed photographs can compliment work very well, and photographers based in America or the EU can get more coverage.
Woman are more popular in NGO commissioned work, due to the issues about womens rights etc...
Generic photographs are often avoided due to concerns about stereotyping.
How do NGO's use photography?
- Media/External Websites
- Distinct Style
- Fundraising
- Banner ads/widespread use
- Small/large scale exhibitions
- Specific donors
How do NGO's commission photography?
- Strict Budget
- Detailed Plans - Autumn time
- When/Where to commission
What happens in emergencies?
Images are used to visually describe an emergency. People want to see images of what is happening almost immediately. This means lots of sources are needed - who is reporting and where?
What is happening 3/6 months to one year on? Coverage on developmental work is needed to show what is happening, if people donate they want to know that their money is not being wasted.
Why work with NGO's?
- NGO photographers are in high demand
- Experiences - photographers want the sort of work in their portfolio that is not what everyone else has - something different to show.
- Motivation
- Heavy briefing
- One of the few sectors still commisioning photography
- working to make a difference.
How do I get a commission?
- Know the NGO - read, research, understand campaigns, what type of photography they want and use.
- THIS ISN'T A KICKSTARTER - not a funding body, don't turn down small commissions
- Pressured staff
- Silence - be patient, contact again
- Timing - think about when you are contacting people
- Your portfolio - make it RELEVANT
- Photography plus - confidence, interest, knowledge, additional skills
- Think TRAVELLING - frequently moving - basing yourself in a particular place?
- Personality - how do you act with other people/in stressful situations?
Lecture 4 - Rebecca Swift - Commercial Photography
This industry deals with mainly licensed/stock photography. It is important to think across business models, hand the image in to an agent who licenses it - this means you will not lost copyright of the image.
It is also important to constantly be producing work.
A traditional stock model involves one image of a specific price and the amount of time used.
A royalty free sells an image based on the file size - 72dpi if it is intended for web use only, whilst a larger file size is needed for printing.
A subscription to Microsoft is ideal for presentations, clip art etc...
The largest advertising industrial company is Getty images, who's turnover of images produced totals approximately $1.8b.
Concepts
What concepts are you using when shooting?
Single image needs a story and a concept.
The single most used image on the internet is of a fish leaping out of the bowl - many concepts are applied to it, such as freedom, escape, individuality, courage etc...
A good image can be applied to many concepts, it can be relevant to many ideas. Take the idea and develop it to make it your own personal image.
Analysis - Look at things and understand how that can be visualised.
What is successfu to a modern person?
There is no definition in the online dictionary for the word 'Aspirational'
How can an image evolve?
An image can evolve as long as there is a different idea to add to it.
Yoga (students and teacher) - Businessman - Yoga on desk - Shoes off - Loosened tie - Away from desk - Yoga in corridor - Outside - Garden - Beach
What can you offer to commercial photography?
Art buyers love unique - give the impression of originality.
Add perspective.
- You WILL be expected to provide model/stock release forms
- Electronic/Digital iPod signatures
- Access to locations that are difficult to get to
- Won't be able to use photographs for advertising without mode release forms
- If money is not being made through your image, it is classed as editorial.
Is stock photography right for you?
- There is lots of paperwork involved.
- Responsibiity of legalities
- Large department deals with court cases.
- Lots of small sales.
Does your work belong in a specialist library?
What is your percentage cut?
- Lots of companies will offer smaller cuts but bigger global visualisation.
Getty images will submit your work now for a contributor community.
Send an online gallery link - this can be up to 40 images.
Lecture 5 - Dewi Lewis Publishing
Cornerhouse Manchester
1st book to be published was a joint production with Paul Graham 'Troubled Land'
The company was established in 1994 as an independant publisher. It is based in the Manchester, UK. Around 180 titles are currently in print, most of these being distributed worldwide. 18 to 20 books are published every year, titles including:
- Small World by Martin Parr
- Dark Days by John Darwell
- Shutting Up Shop by John Londai
Economics of publishing
- Print runs
- Retail price
- Publication costs
- Returns
- Funding the book
Print runs
- 1000-2000 copies - maybe lower!
- Co-editions/external funding can be critical
- Extra international publishers can reduce costs of printing
- No text means that there is no language barrier - the book can be printed on a worldwide basis.
- 5 times mark up if needed - £25 retail price for a £5 production price
- Has to reflect different markets
- Impact of exchange rates - $40 = £25 retail price
Publication price
- Retailer discount charges averages about 45-50%
- Wholesaler discount runs up to 65%
- Distributor costs - most publishers will use 3rd party distributors
- Royalty - 10% of total sales income
- Production costs
Marketing
- Advertising
- Editorial coverage
- Exhibitions
- Book launch
- Photographer involvement
Brand recognition
- Penguin = most recognised brand of publishing
- Almost NO advertising of photography books in printed media
- Editorial coverage is the best option for marketing photography books
Regional press will spark only local interest.
1. Where are you from?
2. Where do you live now?
3. Strange hobbies/interests?
Books sold at exhiitions does not motivate publication.
Open eye sells approximately 10 copies of a book at an exhibition
Impressions gallery sells approx 10 copies
Host gallery sells approximately 25 copies.
Submitting work:
What are publishers looking for?
- Surprise
- Fresh approach/project/individual voice/something the photographer really believes in
- International perspective - something in the contents which echoes to people from other countries.
- Something that people respond to - etc 1985 the miners strike in the UK had no interest to people living in Italy.
Time Scales
- Projects related to particular event, such as the world cup - photographers asking for publication of a project.
Photographing during the world cup means that the book will not be completed until several months later. Topics are difficult to keep time scales, a particular project will have to be thought of about 2 years in advance. You will NOT be the only one with this project.
It depends on the publisher how long it takes for the book to be published after material has been distributed.
Distributors often need around 6 months.
Publishers often need about 3 months.
However there are exceptions. For example, if someone has been the personal photographer to the Pope for about 10 years. If He died, a book could be published in 10 days as it would be guaranteed to sell millions of copies all over the world. This would be an exception as expenses to publish would be guaranteed to be paid quickly.
However, otherwise several months would be needed in significance to a particular event. Strategies for a project to be relevant are needed.
How to submit your work:
- Portfolio review system
- Open submission
- Possible grants from various arts councils
- Photofest in Norway - approximately $850 submission fee excluding hotel and costs for 15/16 sessions
Blurb books are very repetitive and not always a great favour to the work.
A book dummy = photographs in a sequence that tells the story of the project.
Negative to overdesign books - simple is better.
NO EMAIL AND NO LARGE FILES!
Servers are dumping larger files.
Electronic portfolios are good for slideshows or PDF files.
The portfolio needs to flow - a beginning, a middle and an end. Why those images are in that exact position?
It is important to have images for information - that image will strengthen others that follow.
Most importantly - IS THERE A GOOD IDEA?
The Brothers - Elin Hoyland
This was submitted to portfolio reviews as a book result. It was a personal project that Elin Hoyland took on about two brothers from an isolated village in Norway. Neither of them were married, both lived in the family home their whole lives.
The book was a 96 page handbook, printed in duotone (two blacks to create greater depth in black and white images), quarter bound. It was published in April 2011, with a reprint in early September after a complete sell-out.
The relationship between the brothers was inspiring to Elin Hoyland, and she creates sense of feeling and understanding of family relationships despite never the viewer never having been to Norway.
There are major problems with converting book form to an app for the iPad. External links are unnecessary in photobooks.
When editing - 30 images should be edited down to 18/20 then added to.
What are the key points to success in publishing books?
- Stand in the place. If you follow trends for commercial reasons you can expect failure.
- Optimism.
- Funding - younger photographers/publisers often have to find their own funding, this can cost between £10-14000.
35.4% of sales are made through Amazon.
Seek specific advice.
Lecture 7 - Tony Bell, Editor of The Observer.
- Began on Observer Sport Monthly
Editorial photographers often only have a short time to shoot - often only about 10 minutes.
They are often faced with difficult shoots and have to think of original ideas. Many portrait photographers work on trend or deadpan portraits.
Michael Menn - writes biographies of dead celebrities claiming to have known them personally.
The photographer shot a portrait of him with a spotlight in his living room - this tackled a difficult shoot. He also used a red carpet to create visual irony.
Rachida Dati wore leather trousers to a shoot which took place in a room with low ceilings. This is also visual irony as it is not the standard portrait of a politician.
