The Current Commercial Environment

This week we explored commercial environments in photography and looked at whether there is a difference between commercial photography and art.  Although there is a clear difference in their intended audiences and market, the end result is the same, the aim is to gain income from the work.  This means that ultimately all photography could be considered as commercial, and it is not just confined to editorial or advertising markets.  What is also important to remember is that it is always the client who sets the rules for photography because they want content that matches their brand and their budget.  With the rise of digital technology and social media this has created an increased demand for images and quality content but it has also made the market far more competitive. 

In the publishing sector, many publications no longer have printed editions and have instead created online publications.  Their revenue has decreased and therefore so have their budgets, meaning that editorial work is now sparse and often poorly paid.  The rise of mobile phone technology and citizen journalism has also meant that many publications no longer need to pay for images and instead publish submissions from their viewers at no cost to themselves, further impacting on this market.  In an interview for the British Journal of Photography, Emma Bowkett, director of photography at the FT Weekend Magazine describes how online publication has changed the type of content needed and says:

“There has been a shift of focus from print to digital in newspapers and for our magazine, the challenge is to bring long-form journalism and visually rich content to this platform. We are working more with data and video to create a reader experience that is way beyond what we could achieve in print. It’s an interesting time for experimentation.” (Bowkett, Emma. 2017)

Advertising work has also had to change and adapt to the demand for online content and a changing audience.  The style of advertising has changed to reflect global brand identities and the aim of creating brand loyal communities.  There has also been a shift to using stock images for advertising campaigns rather than commissioning work, however, there is still a good market for photographers.  Stock photography is a potential commercial market for photographers to consider, however, it is important to consider the type of licensing and payment that will be received through this type of commercial market, and also what type of photographs are sold as all control over the use of these images is lost once sold as stock photography.  It is, however, a good market to consider as a supplement to earnings. 

One area of commercial photography that is still a good market and which is showing interesting and dynamic trends, is that of fashion photography.  There has been an increasing trend towards a merging of fine art and fashion photography which has resulted in some incredible editorial work.  A fine art fashion photographer whose work I admire is Lindsay Adler, an artist who has established herself firmly within the industry as both a photographer (doing commissioned fashion and editorial photography, as well as selling fine art prints) and an educator (selling books, tutorials and workshops).  She is an example of a photographer who has fully understood the modern commercial market and has created multiple income streams and a successful personal brand. 

Queen of the Desert © Lindsay Adler

References: Creative Brief Emma Bowkett. 2017. The British Journal of Photography, 164(7858), pp. 84-85.

Journal Reflection – Positions and Practice,Week 3

This week the focus of our learning was around the changing world of photography, with constantly evolving digital technology, especially the smart phone and it’s link to social media. This has had a tremendous impact on photography and on the associated industries with the rise of the phenomenon of ‘user-generated content’ and citizen journalism.

There were interesting discussions about this in our weekly forum and opinions are varied about whether this is a positive or negative phenomenon. In my opinion the use of smart phones has made photography accessible to most people, breaking down barriers to this medium and encouraging people to explore visual documentary of their lives and the world they live in, as well as being able to share these images. 

This leads into citizen journalism which I do believe has its place in these times – modern media seems to have become increasingly more biased  and narrow in scope which is why citizen journalism can provide real time, on the ground footage of events that might otherwise not have been shared.  The lack of editing and technique gives it a sense of immediacy and gritty realism which can have a strong emotive impact. 

On the negative side, there can be an element of sensationalism where people are constructing scenarios, or taking unnecessary risks to get more views or likes.  This can lead to a lack of context to the images and also a lack of respect or sensitivity towards the situation being photographed.  There have also been a number of incidents where people have died or been injured while taking selfies in an effort to get the best locations or views.

Although I am not interested in selfies or sensationalism, I must admit that I am an avid ‘Instagrammer’ and took to it very readily.  Personally, I have had very positive experiences and have found it to be quite valuable in terms of networking and creating an online presence.  Instagram’s estimated value, which appears to be rising rapidly, is a reflection of the growth in popularity of this medium as more and more people seek visual content rather than written word.  I think professionals have quickly realised that if you are in any way involved in visual media, then Instagram is the platform to be using. 

Snapshot of my Instagram feed @juanita_mckenzie_

 

Rethinking Photographers

There are many opinions about photographers (some positive, some negative) and they’re not always accurate. The perception of photographers and what they do is heavily influenced by the media and other mainstream ways in which photography is portrayed, for example in news, film and advertising. These are often based on stereotypes, particularly those around gender stereotyping. Sometimes photography is portrayed as being an exciting, adventurous and highly paid profession with an accompanying lifestyle, or it can be portrayed as a ruthless, voyeuristic and dishonest profession.

This excellent video created by Mishka Henner and David Oates looks at the way photographers have been portrayed in film by creating a clever montage. Their introduction to the video is very apt:

“Voyeur, hunter and investigator are just a few of the roles that have characterized the photographer when depicted in modern cinema. In Photographers, hundreds of scenes involving this now ubiquitous character are remixed and re-sequenced to expose the clichés, tropes and accidental truisms associated with the medium. As the sole subject of the film, the photographer is turned from observer to observed.”

Advertising for cameras has always portrayed the camera equipment as being the key to successful photography, however, now more than ever with such rapidly changing digital technologies, there is a constant emphasis on the value of the equipment in creating professional images. The aim is to encourage purchasing and upgrading to new equipment and to do so means creating a hype around the value of the camera, rather than the value of the photographer. This puts tremendous pressure on photographers to keep up with the newest and latest equipment in order to compete with what is out there and also diminishes the value and skill of the photographer.

Smart phone technology has gone hand in hand with the rapid rise in social media use and has created a digital culture of image sharing and content creation. The capabilities of smart phone cameras have been developed to the point that many people no longer use cameras and indeed that’s the way the technology is marketed. There is a tendency for the technology to be marketed in such a way that it implies anybody with a good camera or smartphone can be a good photographer. This has resulted in our day to day lives becoming saturated with average images that can completely obscure real photography and visual arts.

I have chosen to work with digital technology and use a DSLR camera because of the image quality and the immediacy, however, there is a part of me that wants to explore analogue as an artistic medium and return to the older technology for the enjoyment of the process and the distinct style of analogue images. There is a growing trend towards retro cameras with new Polaroid type cameras and other retro styles becoming very popular. Personally, I would prefer the original technologies rather than new versions created to look old as it lacks authenticity.

I have readily embraced social media as a means to showcase photography and have enjoyed the experience so far. I have learned that there is a lot more required than good photography in order to succeed on social media, so this can be challenging initially when starting out. There are many large accounts on social media that are about content creation and I have repeatedly seen that the most successful ones are those that have strong personal branding.

I believe these days it is essential for photographers to have an online presence as this is where the audience is located, and also where the photographer’s work can be found by potential clients. The caution is that it is a highly competitive and saturated market, so it is essential to plan content and share high quality, memorable images that will not only stand out from the rest, but will also showcase the photographer’s personal style.

It is a constantly changing visual world with rapid advancements in digital camera and smart phone technology and the subsequent rise of social media. Photographers could easily become lost amid the constant visual noise so they need to always be creating, adapting and competing in this digital arena. The perceptions are quite often that photographers are not highly skilled and people are not always willing to pay for photographic services or products when they believe they can do just as well themselves.

It really is essential that photographers rethink where they are positioning themselves in the market, what they are offering and how they can adapt to the changing terrain of visual art and technology. It is also vital that photographers think about their personal branding, what visual language they are using and how they are being perceived.

Artistic shot of me photographing street art in the rain. Photo by K.Magro