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?
Most nature photographers enjoy escaping the hustle and bustle of city life by wandering through the wilderness with camera in hand. We peer through viewfinders, absorbed in perfecting a composition and often unaware of what is happening around us. We haul around hundreds or even thousands of dollars of valuable photography equipment. Our vehicles sit unattended at remote trailheads for hours on end. We are, unfortunately, prime targets for opportunistic criminals. In this article I’ll share several tips to help you stay safe while enjoying your photographic exploits in the great outdoors.
The first step to a safe wilderness experience is an easy, but often overlooked one. Always tell someone where you are going and when you will return. Do a little research to determine what law enforcement agency has jurisdiction in the area you will be exploring and provide their contact information to friends, family or your significant other. Fairly new on the scene are personal locator beacons (PLB) and SPOT personal satellite messengers. These devices use satellite GPS signals to pinpoint your exact location and when triggered, automatically notify rescue authorities.
Statistics have shown that criminals more often prey upon people who are traveling alone. Though we often go alone into the wilderness to escape being surrounded by people, it also makes us more vulnerable. Take a friend into the backcountry and your odds for survival in the event of an accident increase dramatically. And, by traveling with a friend, criminals automatically rank you a lower priority target.
Trailheads are notorious for vehicle burglaries due to their often remote location and the lengthy period of time your car sits unattended while you’re off hiking. Though there is no way to prevent a break-in there are things you can do to lessen the odds of it happening to you. Never leave valuables in plain sight. Stow your iPod in the glove box, carry your camera gear with you or leave what you don’t need at home, and hide cd’s, GPS devices and other valuable items out of sight. Even pocket change visible in a cupholder is enough to entice a hard-up criminal. Another option is to consider installing a lockable system like those produced by Truck Vault.
A popular ploy used by thieves is to hang out at the trailhead, act like another hiker and chat with you about your itinerary for the hike. In telling them your plans you are also disclosing how long you will be away from your vehicle. Watch for anything out of the ordinary as you pull into the trailhead, be it a suspicious person or a window that has been smashed out of another vehicle. Always lock your car, regardless of whether you will be photographing a few feet or a few miles from the parking lot.
Statistically speaking, cops who are fit, maintain a neat uniform and project confidence are less likely to be assaulted in the line of duty. The same theory applies to you. In law enforcement it’s called “officer presence”. In civilian terms, it’s “I’m not a target so don’t even think about it, punk.”
Police officers are trained to be hyper aware of their surroundings at all times. Doing so helps prevent them from being surprised by an attack and allows them to provide detailed descriptions of suspects. Make a mental note of people you pass on the trail. What are they wearing? What color and length is their hair? How tall are they? Do they appear unusually nervous, fidgety or interested in you or your gear? Do they have anything on or around them that could be used as a weapon? Notice and remember these details in the unlikely event that you might need to act defensively.
While it is normal for non-photographers to be interested in your gear and ask questions about it, you should be cautious about discussing the monetary value of your equipment with strangers. Someone asking odd questions or who appears to be sizing up you and the environment might only be interested in making your camera, their camera. I was photographing mountain goats on Colorado’s Mt. Evans with a 100-400mm lens when a vehicle stopped on the road below me. The driver exited and slowly moved toward me. I assumed he was interested in seeing the goats from my vantage point until he reached my position and immediately began to ask questions about my gear. He said, “I bet that’s an expensive lens.” I shrugged it off, saying “not really, there are lenses that cost 20 times as much!” Something about the guy didn’t sit right with me. I packed up my equipment and walked back to my truck, all the while looking over my shoulder and listening for hurried footsteps behind me. Was he viewing the goats and simply making small talk with me, or did he have other dubious intentions? Who knows, but when your sixth sense kicks in and something doesn’t feel right it probably isn’t. Listen to your inner ninja!
As photographers we often find ourselves peering through viewfinders or with our heads under a dark cloth, completely oblivious to that which is happening around us. To a lion we would surely appear to be the weakest gazelle. Much of the joy I derive from photography comes from working compositions and losing myself in the moment. One need not forego this pleasure by constantly worrying about being attacked. Let your other senses pick up the slack while your eyes are busy. Listen for footsteps, be aware of changing odors and periodically lift your eye from the viewfinder to have a look around. You can quickly get back to the fun stuff once you determine there are no immediate threats.
For example, on a trip to photograph ice in the Colorado River north of Moab I stumbled upon a homeless camp tucked into a thick stand of tamarisk. The camp appeared to be unoccupied but signs of recent activity were present. Patterns along the riverbank and towering cliffs reflecting in a thin layer of ice caught my attention. I set up my tripod and explored the photographic possibilities, all the while listening for any sounds of movement and occasionally lifting my eye from the viewfinder to ensure the safety of my surroundings. Other situations that demand an increased level of awareness include wandering into an area frequented by drug users or prostitutes. If you find discarded syringes littering the ground it’s highly likely that you’re right in the middle of a “safe haven” for dopers. Get out. As you wander farther into the wilderness your concerns may change from nefarious people to marauding wildlife. Educate yourself about local wildlife. Know how to avoid them and what to do if involved in a confrontation with an aggressive animal.
It is doubtful that you will ever find yourself in a situation that calls for physical retaliation against an attacker. However, you should be mentally and physically prepared to defend yourself should such a situation arise. Police academies around the world stress the importance of a “survival attitude” to their recruits. This consists of “when/then thinking”, or playing through hypothetical situations in your mind and deciding how you will react to them. In every situation it is critical that YOU come out the winner.
Most of us carry a dynamite weapon every time we go out – our tripod! Even a lightweight carbon fiber tripod is capable of inflicting serious injury upon an attacker. Other weapons are readily available in the wilderness, i.e. large stones and fallen tree branches. Be aware of what you have at your disposal so that you are prepared and can act swiftly to combat an attack, regardless of whether the aggressor is a human or an animal. However, you should only resort to physical force to defend yourself or another person from serious bodily harm. Should someone attempt to rob you of property or money your safest course of action is to simply hand it over to them. Gear can be replaced. Photography and outdoor gear is usually covered under renter’s or homeowner’s insurance. Lastly, using physical force to defend property may not be justified in your state. Any use of force that results in injury to your attacker could result in you being sued civilly and/or criminally charged. Learn your state law.
Since you located the name and contact information of local law enforcement before beginning your adventure, reporting suspicious activity will be a snap! Cops can’t be everywhere at once. If you don’t bother to report a suspicious incident, they have no way of knowing that a situation exists that requires their attention. You aren’t bothering them and your report just might save someone else from becoming a victim.
Keep these tips in mind next time you head out to burn through some memory cards. You can confidently wander into the wilderness and lose yourself in the experience knowing that your enhanced awareness makes you a safer and more secure explorer.
You can learn more about Bret, view his wonderful images, read his blog here: Bret Edge Photography
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.
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.
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
There was a time, many years ago, when my world revolved around being an outdoor athlete. I was a rock climber, trail runner, backpacker, mountain biker, long distance hiker, canyoneer, and kayaker. Sometimes I would combine them all when doing adventure races. I spent most of my free time training. I was obsessed with going far and getting there fast. I spent a lot of time in the outdoors, but it went by so quickly that I rarely had a moment to enjoy a sunset or notice the coyote yipping in the distance.
And then it happened. I fell in love with nature photography. I gave up adventure racing. I spent more time photographing and less time training. I stopped counting miles traveled each week and started counting rolls of film exposed. Everything just sort of slowed down.
Looking back I realize that photography has taught me some valuable lessons. I’ve learned that when you don’t train on a daily basis the size of your waistband increases. Actually, I’ll blame that on age. More importantly, I’ve learned a few things that are helpful to me as a member of the human race and I think they’ve made me a better husband, brother, friend and an all-around better person.
1)Have Some Patience - Through photography I have learned the art of patience. I have learned that it is okay to slow down. It’s not about the miles covered or the peaks bagged. It’s about getting up early and sitting in the desert watching an entirely new day develop in front of me. It’s about plopping down on a rock and waiting for the light to work its magic upon the landscape. It’s about slowing down and enjoying a moment, whether it’s while you’re creating art or spending a few unexpected minutes with your family. Life is entirely too short to spend it rushing from one place to the next.
2)Be Persistent - What would it be like if every time we took out our camera white puffy clouds filled the blue sky, dramatic light poured down over the landscape and an eagle glided through our frame? Sure, at first, it would be awesome but after a while it would become really boring. Okay, I admit – it probably wouldn’t. But the reality is that we often have to visit a location over and over before Mother Nature feels we’ve earned the right to witness her awesomeness. Those who persist will eventually be there when all the right conditions collide. Persistence reaps rewards not enjoyed by those who are easily discouraged. Know what you want and don’t be afraid to go after it with all you’ve got.
3)See TheLight - Before photography consumed my life the only purpose light served was to illuminate the trail, rock or river before me. My first “a-ha!” moment occurred in the Sonoran Desert outside Phoenix. I was out for a trail run after work in the Squaw Peak Preserve when the setting sun backlit the translucent needles of a field of cholla cactus. It literally stopped me in my tracks. I stood there, jaw slack, staring at these beautiful cactus glowing in the late afternoon light. How many times had I run or biked this trail and never had I noticed how beautiful they were? I had only been concerned with keeping them out of my skin (not always successful). For the first time I stood there wishing I was peering through a viewfinder. Since that day I’ve had hundreds more moments just like that one. Each and every one has been just as special as the first.
4)Don’t Neglect The Details - It’s difficult to appreciate a tiny wildflower or the beautiful texture of juniper tree bark when you’re flying by in the middle of a long trail run. After moving to Colorado in 2002 I set a goal to spend more time developing my ability to find and photograph intimate landscapes. In my pre-photography days I never would have slowed down long enough to study a stand of autumnal aspen trees looking for the perfect balance of color, light and symmetry. Photography helped me to discover that if you enjoy life’s little details you’ll be even more appreciative of successes on a grander scale.
5) Art As Therapy - The year 2001 was not a stellar one for me. Early in the year I went through a difficult break-up, the events of 9/11 deeply affected me, my Mom passed away in November and I really didn’t enjoy my job. I was sinking into depression and it seemed I was on a path spiraling quickly downhill. I decided to move from Phoenix to Denver and use all the new free time associated with being single to immerse myself in photography. Eventually, my mood improved. It seemed that creating art was cathartic. By the end of 2002 I felt like I’d come back from the brink of a place I’d rather never revisit. Putting all my energy into art was a most intense therapy. Now, when I need to clear my head, I head out to the desert to scout a new location or make a few images. After a few hours I’m back in the land of the rational.
There are no accidents in life. I never suspected that picking up a camera would change my life. But it has, and I believe I’m a better citizen of the earth because of it.
Editor's note: We welcome Bret Edge as a contributor to our blog! We'll have more from Bret in the coming weeks and months. Bret is an adventure photographer based in Moab, Utah. His work has appeared in many publications, including Backpacker Magazine and Popular Photogaphy. Bret also conducts workshops and private instruction in the Moab area.
You can learn more about Bret, view his wonderful images, read his blog here: Bret Edge Photography
I’m sometimes asked what custom function settings I select on my Canon EOS 1D Mark IV camera, so I figured I’d share this information so that you can compare my settings with your own. I have also made my custom settings file available below for you to apply to your own camera if you want to try this. First, here are my settings.
Martin's Canon EOS 1D Mark IV Custom Settings
This equates to the following custom settings:
C.Fn I: Exposure
1 – Exposure Level increments = 0 : 1/3-stop set 1/3-stop compensation
2 – ISO speed setting increments = 0 : 1/3 stop
3 – Set ISO speed range = * : Highest ISO set to H2 (51200). Lowest set to L (50) – I don’t use H3 (102,400)
4 – Bracketing auto cancel = 1 : off
5 – Bracketing sequence = 1 : -, 0, +
6 – Number of bracketed shots = 2 : 5 shots
7 – Spot metering link to AF point = 1 : Enable (use active AF point)
8 – Safety shift = 0 : Disable
9 – Select usable shooting modes = * : M, Av, Tv, BULB (I turn P off, because I will never use it)
10 – Select usable metering modes = – : Disabled; all metering modes available
11 – Exposure mode in manual exposure = 0 : Specified metering mode
12 – Set shutter speed range = – : Disabled; settable shutter speed range is 1/8000 sec. to 30 sec.
13 – Set aperture value range = – : Disabled; maximum aperture to minimum aperture of lens attached
14 – Apply shooting/metering mode = – : Disabled; Pressing the <*> button will lock the exposure (AE lock).
15 – Flash sync. speed in Av mode = 0 : Auto
16 – AE Microadjustment = none set
17 – FE Microadjustment = none set
C.Fn II: Image/Flash exposure/Display
1 – Long exposure noise reduction = 1 : Auto; for 1 sec. or longer exposures, noise reduction is performed
2 – High ISO speed noise reduction = 0 : Standard
3 – Highlight tone priority = 0 : Disable
4 – Auto Lighting Optimizer = 3 : Disable (I don’t want anything automatic happening!)
5 – E-TTL II flash metering = 0 : Evaluative flash metering
6 – Shutter curtain sync. = 1 : 2nd-curtain synchronization
7 – Flash firing = 0 : Enable
8 – Viewfinder info. during exposure = 0 : Disable
9 – LCD panel illumination during Bulb = 0 : Off
10 – INFO. button when shooting = 0 : Displays shooting functions
C.Fn III: Autofocus/Drive
1 – USM lens electronic MF = 0 : Enable after One-Shot AF
2 – AI Servo tracking sensitivity = * I change this depending on the subject, between minus -1 click to +1 click
3 – AI Servo 1st/2nd image priority = 0 : AF priority/Tracking priority
4 – AI Servo AF tracking method = 1 : Continuous AF track priority (closer subject ignored as obstruction)
5 – Lens drive when AF impossible = 0 : Focus search on
6 – Lens AF stop button function = 7 : Spot AF (used to use ONE SHOT <-> AI SERVO toggle)
7 – AF Microadjustment = None set
8 – AF expansion with selected point = 3 : All 45 points area
9 – Multi-controller while metering = 1 : AF point selection
10 – Selectable AF point = 0 : 45 points
11 – Switch to registered AF point = 1 : Switch with Multi-controller
12 – AF point auto selection = 2 : Quick Control Dial direct:enable/Main Dial:enable
13 – AF point display during focus = 0 : On
14 -AF point brightness = 0 : Normal
15 – AF-assist beam firing = 0 : Enable
16 – Orientation linked AF point = 1 : Select different AF points (set multiple points per camera’s orientation)
17 – Mirror lockup = 0 : Disable (I add this to My Menu, so that I can access it quickly when necessary)
18 – Continuous shooting speed = * : H is set to 10 fps, and L is set to 7 fps
19 – Limit continuous shot count = – : Disable (I stop pressing the shutter button when I’m want it to stop!)
C.Fn IV: Operation/Others
1 – Shutter button/AF-ON button = 2 : Metering start/Meter + AF start (shutter button does not start focusing)
2 – AF-ON/AE lock button switch = 0 : Disable
3 – Quick Control Dial in metering = 0 : Exposure compensation/Aperture
4 – Assign SET button = 6 : Menu display
5 – Tv/Av setting for Manual exposure = 0 : Tv = Main Dial/Av = Quick Control Dial
6 – Dial direction during Tv/Av = 0 : Normal
7 – Av setting without lens = 1 : Enable
8 – WB + media/image size setting = 1: LCD monitor (pressing <FUNC> button displays menu screen)
9 – Lock/Voice Memo button function = 2 : Play memo (hold: Record memo)
10 – Button function when Quick Control Dial OFF = 0 : Normal (enable)
11 – Start movie shooting = 0 : Default (from LiveView)
12 – Focusing Screen = Standard focusing screen (Laser-matte)
13 – Timer length for timer = – : Disable (default 6 sec, 16 sec and 2 sec)
14 – Shortened release time lag = 0 : Disable
15 – Add aspect ratio information = 0 : Off
16 – Add image verification data = 1 : Enable (I don’t use this system, but you never know when you’ll need it)
Looking at Hands
Save Your Settings and Try Mine
If you want to try my settings the easy way, Save your own settings first, then download my settings file below, and apply that.
To save your settings:
Go to the Custom Functions menu and select [C.Fn settings register/apply]
Turn the Quick Control Dial and select [Register], then select [Set]
Turn the Quick Control Dial and select a Set from Sets 1, 2 or 3, to save your settings to, then press the Set button on your camera
Select [OK]
You might also want to save your setting to a memory card. I do this anyway, and make a local copy on my hard drive. I also copy these to my SD card, as I don’t format that as often as my CF cards.
To save your settings to a memory card:
Select [Save/load settings on media] from the third Set-up Menu (yellow wrench/spanner) and press the Set button on your camera
Select [Save]
I usually select [Change file name] and enter a name for that camera and/or settings set (1, 2 or 3).
Once you have your own settings backed up, download my settings file and copy it to a memory card, and put that into your camera.
Note that this is a compressed zip file that will expand to a file called MBP1DMIV.CSD.
To Load settings:
Select [Save/load settings on media] from the third Set-up Menu and press the Set button on your camera
Select [Load] and select the file MBP1DMIV.CSD from your memory card
You will only be able to restore this file to another Canon EOS 1D Mark IV.
Remember, this will change how your camera operates unless you have yours set up exactly the same as mine. You can easily change back to your own settings if you do what I said above, but if you are not comfortable with any of this, don’t do it.
Other Useful Settings:
Here are a few other settings like I ensure I use, but that are not custom functions and are not included in the settings file above.
Histogram = RGB. I always use the RGB histogram. It is so much more useful than the standard brightness histogram, although you can now see both when cycling through the information screens with the Info button
Color Space = Adobe RGB. This has no real bearing on my workflow, as I use RAW with Lightroom/ACR, but I like to leave this on
Live View Settings:
Grid Display = Grid 1. The 9 rectangle grid, for rule of thirds reference in Live View
Expo. Simulation = Enable. This is now on by default, but I ensure it stays on. I use Live View a lot!
Additional Information:
I arrived at my current settings based on thorough reading of the 1D Mark IV’s User Manual and the following documents from Canon, as well as a lot of tweaking based on trial and error during shooting.
Here’s my first short movie “Meguro River Sakura” shot on my Canon 1D Mark IV, along with just a little bit of background information on the project.
It’s High Definition video too, so if you hit the full screen button to the left of the Vimeo logo in the player below, the video will expand to fill your screen. Turn up the sound too, and sit back and enjoy.
This first short movie started out as practice using my new Manfrotto 519 Pro Video Fluid Head. I didn’t want to just point my camera at any old subject and waft it around to get used to the tension etc. of the head, so I decided to give myself a project. As the cherry blossom (sakura) was in full bloom last weekend, I decided to shoot enough footage to make a story out of it.
I started from a distance, where you can see people gathered and looking, photographing something from a bridge. The next shot is a little closer, and we can see the traffic of the busy road between me and the people gathered on the bridge. Then I pan across to reveal the cherry blossom. The music starts, and we get another 7 minutes or so of imagery from the afternoon.
I ensured that I got wider shots, long lens shots. Shots of the various ways in which people enjoy the Sakura. I was very lucky too. People turned up on jet-bikes and in boats. There was a group of “salary men” having a hanami, or cherry blossom viewing party, and a lady in a kimono, among other things.
I imagined that I wanted to try to capture people leaving and going home as the ending, but as the afternoon progressed, I realized that if I held on for another few hours, I’d be able to shoot the red lanterns that would illuminate as it got dark, and a few shots of these from various angles could become my closing scene.
On the actual shooting, the Fluid Head took a bit of getting used to, and I was also pulling focus myself, without the aid of any additional equipment on the lens. I did use a Zacuto Z-Finder DSLR Optical Viewfinder to help me see the focus better on the LCD screen. This works great.
I shot about 22GB of video over six hours, and used up two fully charged 1D Mark IV batteries. I edited the video down to 8:29 minutes in Adobe Premiere Pro CS4.
The resulting short movie may not be Star Wars, but I think it all came together pretty well for what was essentially my first bit of practice with video, other than shooting what I call “moving stills”, which are 15-30 second clips while I’m shooting stills, that I intend to embed in still photography slide-shows at some point. On my Hokkaido workshop this year though, one of the participants showed me how to pan with a large thick elastic band around the lens, and I realized just how much a little bit of movement of the camera helped to improve video footage.
Is there a future for the solo nature photographer or photojournalist?
Thursday, July 29th, 2010A 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
Tags: Business of Photography, conservation photography, jerry monkman, mediastorm, multi-media, photography, photography business, photojournalism, vii
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