Posts Tagged ‘jerry monkman’

Is there a future for the solo nature photographer or photojournalist?

Thursday, July 29th, 2010
Rock climbers on Cathedral Ledge.

A couple rock climbing near the top of Cathedral Ledge. Echo Lake State Park in North Conway, New Hampshire. White Mountains.

This last April I attended the American Society of Picture Professionals’ reinvention weekend in Boston, and the major theme was finding ways for those working in the picture industry to keep working while the landscape of the industry is rapidly changing.  Both stock and assignment prices have been deteriorating for years, if not decades, challenging both stock agencies and photographers to change business tactics in order to survive.  It’s no secret what is causing the decline in prices – digital technology. To some extent, digital cameras have leveled the playing field on the content creation side of things.  More importantly, digital distribution has drastically reduced the cost of selling images.  On the stock side of the business, digital distribution (first in the form of royalty-free CDs, then with the advent of microstock) has enabled stock companies to be profitable without charging large rights-managed fees as the administrative costs of managing a large stock library have been drastically reduced due to digital image management and distribution.  Lower stock prices have also led to lower assignment fees, both on the commercial and editorial side of the business, though to a greater extent in the editorial world, as newspapers and magazines are downsizing and going out of business.

I’m not a doom and gloom kind of guy, but it’s hard to ignore the trends in the industry.  As a nature and adventure photographer and editorial shooter, my big question going into the ASPP conference was this, “Is there a future for the solo nature photographer or photojournalist?”  The romantic image of the lone wolf photographer spending weeks in the field funding his or her work through the sale of stock and assignment fees is definitely under assault.  After the conference, I got the sense that the answer to my question is “probably not,” though the experts seemed to be unsure how the marketplace will shake out. I’m cautiously optimistic, but I’m pretty sure the “lone wolf” approach is dying out and that the new paradigm is going to be collaboration – with other photographers and creators, with NGOs, with foundations, and so on.

I’ve collaborated with NGOs for most of my career, both for funding and for discovering the conservation stories that are relevant and newsworthy.  This collaboration has definitely kept my business afloat during the recession, but it is clear to me that I need to take this idea to a higher level by working with other photographers and other creators to create feature-rich, story-driven multimedia content.  This is a big change from how I usually work (I rarely even work with an assistant) but it is a way of working that I’m embracing and excited about.

Why am I excited that this approach can work? Simply because of the success stories that are emerging in the midst of this downturn in the industry.  At the ASPP conference, we learned that this collaborative approach is already working from speakers like Brian Storm, whose company MediaStorm is leading the way in partnering photographers with other professionals to create powerful, multi-media stories.  If you haven’t yet seen what MediaStorm is creating, then you haven’t seen the future of photojournalism.  We also learned about VII, a photo agency where some of the world’s best photojournalists work together to create equally powerful multi-media stories.  Both companies use a new model that uses multiple content creators working together to create stories that the big media companies won’t spend the money for.  My impression is that no one is getting rich, but these companies are giving photojournalists the opportunity to do what they originally set out to do in their careers – tell important stories.  These stories are getting told in new and on non-traditional ways – through print, multi-media, exhibits, etc. Funding these projects requires a new model as well.  No longer are the magazines, newspapers, and big news organizations footing the bill.  Instead, money comes from a diversity of places: NGOs, foundations, media companies, print sales, book sales, etc.  Photographers need to pay attention to this new model.  The old way of paying the bills with assignment fees and residual stock income is just getting harder and harder to do.

Conservation photographers like myself should also check out the work of the International League of Conservation Photographers.  ILCP is setting the bar very high for collaborative conservation photography projects with their Rapid Assessment Visual Expeditions. These R.A.V.E.s are intense, short-term photo projects where a group of the world’s best nature photographers descend on a location and quickly create a body of work that is used to bring about environmental change.  Another collaborative conservation photo project seeing great success is Stephan Widstrand’s Wild Wonders of Europe, and the newly launched Meet Your Neighbours (led by Niall Benvie and Clay Bolt) project seems destined for similar success.

So…if you’re a photographer, are you willing and ready to change?

Until next time…

-Jerry

The Appalachian Trail in Maine.

Monday, June 7th, 2010
Near the Appalachian Trail in Maine.

Near the Appalachian Trail in Maine.

I spent two days backpacking on the Appalachian Trail in May.  It was my first time spending a night in the backcountry this year, and it felt great to be out. The smell of balsam fir was intense along this section of trail, conjuring all kinds of great memories of hikes past.  I was working on a project that has great potential.

Paper birches next to stream.

I spent day one in a light drizzle, which provided great diffuse light for photos like this one of paper birches next to a stream.  To keep my gear dry, I used that most advanced piece of equipment known as an umbrella. I use various camera and lens covers in the rain, but I still find that I prefer to use an umbrella clamped to my my tripod.  The only other accessory I used for this shot was a polarizer, which I consider to be required for shooting forest scenes like this in order to really bring out the colors of the forest.

 

Camping on the Appalachian Trail in Maine.

Camping on the Appalachian Trail in Maine.

Luckily, day 2 was sunny and breezy so my clothes and camping gear dried out pretty quickly.  I used a Lensbaby for the above shot. I’ve always found it challenging to shoot camp scenes in fresh ways, and the Lensbaby was a fun way to mix it up a bit.  While my socks dried out in an hour or two, they were soaked again pretty quickly as the trail that day was covered in about two and half feet of wet snow above 3700 feet. It’s melting fast though and the trail below the snow line was a running freshet for about half a mile.

Near the Appalachian Trail in Maine.

Near the Appalachian Trail in Maine.

This boggy area was filled with fresh moose sign.  I spent about five hours hanging out and waiting for moose with no luck though.  I could also see the bog from much of that day’s hike, but no moose sighting.  Maybe there weren’t enough flies yet to drive the moose out into the open.  Still it was a cool place to hang out, knowing that they were around somewhere.  After the hike, I drove to Bar Harbor to shoot a photo tips video for the Appalachian Mountain Club. 

Until next time…

-Jerry

Find out more about Jerry at his website, and follow him on Twitter at @jerrymonkman

Maine Coast Portfolio – The Acadia Region.

Tuesday, May 18th, 2010

Acadia Sunrise

The sun rises above fog as seen from the summit of Cadillac Mountain in Maine's Acadia National Park.

The Maine Coast, including Acadia National Park has been inspiring artists for more than 150 years.  In the 19th century, before the area had been designated a national park, Hudson River School painters like Thomas Cole and Frederick Church painted here, bringing back to the cities of the northeast canvases of iconic scenes from Eagle Lake, the Beehive, and the Porcupine Islands.  Throngs of tourists followed and the popularity of the area continues to this day.  In the 20th century, the park was photographed by America’s best landscape photographers, including Ansel Adams, David Meunch, William Neill, and in the 21st century, the park is still a mecca of sorts for photographers, with numerous photo tours visiting the park each year and plenty of tripods to be seen at popular spots like the summit of Cadillac Mountain and Otter Cliffs.


If you are planning a trip to the Maine coast this year, here are some tips for making your photo journey a success:

Timing. While you can make beautiful images of the Maine Coast throughout the year, my favorite months to shoot there are June and October.  Summer weather peaks in August, but so do the crowds and hotel rates, so I prefer to visit in June.  Not only is it a quieter experience, but you are also more likely to find wildflowers to photograph – woodland flowers in early June, and meadow and wetland flowers like lupines and iris in mid to late-June. Fall colors peak in the region in mid-October – just be sure to book your lodging ahead of time as many hotels and campgrounds are closed after Columbus Day.

Blue Flag Iris

Light. Like most places, the Maine Coast looks great in that golden light that occurs for an hour or so around sunrise and sunset.  With 3000 miles of twisting coastline, it is possible to find great sunrise and sunset locations with water in the scene.  In Acadia proper, the pink-hued granite of east-facing shorelines look best at sunrise as the light enhances the color of the rock.  Of course, that only happens in clear skies, and on the coast of Maine fog is just as common in the morning as sunshine.  Fog can be your friend, enhancing classic coastal scenes, but if it is too thick you can drive to the summit of peaks like Cadillac Mountain in Acadia or Mount Battie in Camden.  In the right conditions, you will be blessed with a dynamic scene of texture-rich undercast and rugged rock outcrops bathed in warm sunlight.  If the fog hangs around or the day is overcast, head into the woods.  Coastal woodlands of spruce and cedar are lush, with branches draped in lichen and the forest floor carpeted with moss and ferns.  This kind of scene looks great in the diffuse light of a foggy day – just be sure to use a polarizing filter to reduce glare on wet foliage, enhancing the green colors of the scene.

 

Acadia Birches

Subject Matter. Rocky coasts, crashing surf, small working harbors, and lighthouses are the most popular subject matter to photograph on the Maine Coast. Remember to shoot both the big picture and the intimate details – wildflowers, lobster buoys, lichens, skiffs, etc.  The possibilities are endless.  Wildlife is a tougher subject to capture.  Acadia is not like western parks, where there are meadows regularly filled with cooperative wildlife.  Your best bet to shoot wildlife is on one of the puffin tours out of Cutler and Jonesport, Maine which will get you out to Machias Seal Island where you can photograph Atlantic Puffins, Arctic Terns, and Razorbill Auks from a blind.  Another option is a boat tour out of Bar Harbor, where you'll have the chance to photography harbor seals and possibly bald eagles and ospreys.

Dinghies in Southwest harbor

Favorite Locations.  Almost any road off the beaten path will take you to beautiful scenery on the Maine Coast.

Here are some of my favorite spots to shoot in the Acadia region:

Classic coast: Great Head and Ocean Drive in Acadia, Great Wass Island near Jonesport, Isle au Haut.
Working Harbors: Stonington, Southwest Harbor, Castine, Bass Harbor
Mountain Summits: Cadillac Mountain, The Beehive
Woodlands: Sieur de Monts, Great Cranberry Island, Isle au Haut
Lighthouses: Bass Harbor Head Light, West Quoddy Head Light

Hazards. The Maine Coast is rarely dangerous, but you should keep a few things in mind during a visit there.  Tides are large in most of Maine (from 10 to 20 feet,) and rocks exposed at lower tides can be very slippery, so slippery that it is almost impossible not to fall.  The most common injuries in Acadia are falls on and from rock ledges.  In big surf, stay well away from the edge of these ledges.  Rogue waves sweep people away several times per decade in Acadia, most recently last summer.  Other than avoiding falls, just be prepared for wet weather as well as biting insects in summer.  Also be prepared to protect your camera gear.  If you use your tripod in salt water, be sure to rinse it in fresh water afterwards.  In wet conditions, you will want to stow your camera or protect it with some kind of covering, whether cheap plastic bags, or gear specific protection like the Vortex Media SLR Storm Jacket or one of the coverings made by LensCoat. If you go out on the water in a kayak, store your gear in a dry bag, or consider purchasing a lower-cost underwater housing by Ewa Marine if you plan to shoot while paddling (or have really good gear insurance!)

With his wife Marcy, Jerry Monkman has written and photographed three books about Acadia, most recently "A Photographer's Guide to Acadia National Park," available here.

Jerry is also leading two workshops in Acadia in 2010, one in June and one in October.  More information can be found here.
 

Real World Freelance Photography

Monday, April 19th, 2010

A photographer on Seboeis Lake near Millinocket, Maine.

When I first became a full-time nature and adventure photographer nine years ago, I expected I’d spend most of my time exploring beautiful places and having wilderness “wow” moments most days.  I knew I would need to also spend time in the studio running the business side of my career, but I had no idea how all-consuming that could be become.  After my first year shooting full-time, I analyzed how I spent my time and realized I had only been out shooting around 50 days in the past year.  I was a photographer, yet had taken pictures less than two months out of the year!

Part of the equation was the fact that I was a new dad, but more importantly, I  let myself get wrapped up in dealing with the more mundane aspects of the job – marketing, figuring out what my website was about, and at that time, filing and scanning slides.  It is so easy to let those things take over, especially when you are first starting out and feeling the pressure of “making it.” 

Of course, nine years later, that pressure hasn’t gone away, and is worse in some ways due to the state of the industry and the fact I now have two kids.  But…I’m a photographer and to succeed as a photographer I need to be constantly making new pictures and letting my craft evolve.  The day to day business stuff is very important, but without the pictures and the craft, it’s a waste of time.  Over the past several years, I’ve worked hard to develop efficiencies in my business and hired outside help so that I can get the business stuff done and still take pictures.  I now get out and shoot around 120 days/year. I wish it were more, but that seems like a good number to me.

That still leaves about 130 – 150 days when I’m in the studio instead of out shooting, but since I live in New England, about half those days aren’t worth being outside anyway!  What I did for a day a few weeks ago is fairly typical:

Signed and matted a print for client coming by.

Met with our accountant to go over 2009 taxes.  By the way, he said not to worry too much about owing anything – one upside of a down economy!

Uploaded 280 new images to our Photoshelter site.

Exported a Lightroom catalag with 500 images to a thumb drive which I mailed to my part-time keywording assistant.

Chatted on the phone for half an hour with one of our best conservation clients.

Printed and cut 10 prints for above client for an event they are having later this month in Maine.

Selected images and created a Photoshelter gallery for the 2011 Wilderness Society calendar.

Set up a video shoot for later in the week.

Went to the post office (twice).

Scheduled a personal Lightroom consultation for next month with a former workshop student.

Provided high-res links to a commercial client.

Tweeted, Facebooked, LinkedIn-ed and spent the usual minutes studying my bit.ly results, YouTube counts, and Google Analytics for signs that what I’m doing is making a difference (it is.)

Ate dinner, rode bikes with the kids, put them to bed, and processed and captioned about 30 new images while watching Chuck (House was a rerun.)

Crashed at ten.

Pretty typical day.  Glamorous, huh?

Until next time…

-Jerry

Find out more about Jerry at his website, and follow him on Twitter at @jerrymonkman