I Don’t Want to be the Smartest One in the Room

My mom used to tell me, “You don’t want to buy the nicest house on the block.” She didn’t just say it when I was buying real estate, but used it as an analogy when she was dispensing other words of wisdom.  Maybe that’s why I grew up not wanting to be the “smartest person in room.”

When I was very young, I used to create characters that I wanted to hang out with.  One was my imaginary friend Peteso who was a “newspaper boy” in China, doing dare devil stunts on his bicycle as he delivered his papers.  There were plenty of others, each one bringing something exciting to my more mundane life of a typical 5 year old child.

By the time I got out of college, I had traveled the world, building all sorts of relationships with people from many different cultures who had broadened my mind as to how I saw the world and myself.  I gravitated toward people who were NOT like me.

When I first began my career as a photographer, I had the great fortune of having  an incredible art director, Adrian Taylor as my mentor.  Adrian had a colorful career as an art director for magazines like Holiday (the original) and Travel & Leisure, which is how I connected with him.  Adrian took my partner Tom and I under his wing when we were first starting out.  He encouraged us by believing in us and he made me always want to put everything I had into an assignment and improve with each one.

We learned a lot from Adrian, but perhaps one of his greatest gifts was to include us in lunches, dinners and parties with some of the best photographers of that time – Arnold Newman, Slim Aarons, Pete Turner, Al Satterwhite, John Lewis Stage, Fred Maroon and countless others.  Being in the room or literally “at the table” with these legends and listening to their stories and advice was probably the best thing that could have happened to me. What I learned from these photographers is the kind of stuff you don’t learn at a photography school.  And it wasn’t necessarily things like business tips or photographic technique.  They talked about their passion and their ideas and it awakened me to the possibilities within myself.

I’ve been preparing a presentation that I’ll be doing for ASMP at the NAB Show (National Association of Broadcasters) next week. As much as I’m grateful to be able to share my knowledge at this prestigious conference, I have to remind myself that it’s only possible because I’ve lived my life, putting myself in situations and environments where there are people who are much smarter than me.  In fact, for me the best part of NAB is to sit in on some of the panel discussions with the movers and shakers of the industry and listen to what they’re talking about.

These days, when I fantasize, I no longer create make believe characters to hang out with.  Instead I imagine myself at a table, having a discussion with people who intrigue me on some level and expand my mind to a place it hasn’t gone before. And then I set out to make my fantasy come true.

Five Things Photographers Should Do if They Want a Future in Photogaphy

An RKO publicity still of Astaire and Rogers dancing to “Smoke Gets in Your Eyes” in Roberta (1935) (Photo credit: Wikipedia)

Understand there’s no such thing as “just do it”.  Nobody “just” does anything; even the folks that make it look that way. I used to watch old Fred Astaire movies and he always made dancing look effortless and easy. But he worked every day of his life on perfecting his skills. It takes a lot of hard work to make a life “your own”, rather than follow a more conventional path.  If you want to sustain yourself financially with a profession like photography, you have to be prepared and willing to do what it takes to make that happen.

Don’t just say no – come up with alternatives. About a decade ago, photographers started rallying together to stand up and say no to bad contracts.  It didn’t work and still doesn’t because there’s always going to be somebody that will say yes.  The problem with “just” saying no is that photographers are only focusing on the problem and not coming up with better options or solutions.  These days photographers have the benefit of technology that has made possible a variety of new options photographers can use to promote and market their work. If we all start focusing on what we can do, instead of just saying no to bad deals, we’d all be better off.

Collaborate/Partner with other creatives.  Photographers have always been fiercely independent creatures.  That has its benefits creatively but can be a real detriment in business.  These days it is a lot easier to connect and collaborate with others, even virtually, and in the process we become stronger as a team of creatives.  Think about teaming up with people who are good at skills you don’t possess, whether it is video or CGI or graphic design.

Walk the Walk – Don’t Just Talk the Talk.  If you have something to say, then by all means say it.  Don’t be a whiner or hang around other whiners and say, “somebody should do something”.  If you don’t like what is happening around you – then do something about it. I am on the board of directors of my trade association, ASMP (American Society of Media Photographers).  I feel that my role on the board is to share my knowledge and skills at this “table” so our members may benefit and the industry stays healthy.  I can only do that if I have something to share and that means I need to be walking the walk – not just talking the talk.  If you are an ASMP member and feel you have something to share with your colleagues, I encourage you to run for the board and become part of the solution. You can declare your candidacy up until December 31^st.

Don’t aspire to be part of the status quo.  That just doesn’t work in photography.  You need to be better than the rest to stand out.  What does that mean and how does one do that?  There’s only one way – listen to the voice inside you – and shut out the “noise”.  If you can remember to be true to who you are, you’ll knock the socks off the status quo.

 

Stressing the Story

Years ago, a colleague wrote an article about me for a trade magazine and entitled it “Gail Mooney – Past and Future Storyteller”.  Before that was written, I had never really thought of calling myself a storyteller, even though I had lived my entire life pursuing “the story”. In fact, it was because of my infatuation with people’s stories that I became a photographer and filmmaker. The pursuit of the story is what has driven me in making my own choices in life

But having a love for the story is far different than being able to tell a story. Regardless, if the story is told through still images, movies, songs, poems or books, the story must come through in order to resonate with an audience. I’ve been reading a lot about screenwriting lately, and how a story is written and structured for the movies.  Certain things must take place within the structure to make a story work.

• Characters should be well defined and developed in the first third of the film.  The audience will need to get enough information about the characters in order to care, one way or another.

• Stories should have conflict and contrast – just like life.  In every good film there is usually a low point right before a character prevails or a situation turns itself around.

• Cinema has a language all of its own in how it tells and drives the story. The choice of lens or the way the camera is moved and from what angle, conveys to the audience a feeling. Make conscious choices and decisions as to what cinematic tools you use and why.

• They say editing is the last line of defense for the story.  Every cut an editor makes has a profound effect on how the audience will feel.  An editor is able to tell a story in a hundred different ways, based on what clips they choose, how they cut them together and their selection of music.

I was very fortunate when I first started learning video.  I took the Platypus Workshop with PF Bentley and Dirck Halstead and they always stressed  “the story”.  I remember that I couldn’t even begin to shoot my project until I got my “commitment” (story) ok’d by Dirck or PF.  In order for them to commit to my story, I needed to commit to it first and they knew I wouldn’t be able to do that until I knew the story well enough to tell it.

Knowing and communicating your story in any medium simply means always being present in what your doing.  When the choices and decisions become obvious and effortless, then you know that you are telling the story you meant to tel

Paying it Forward – It’s Amazing

I got the best email yesterday. It was from a young man who had attended a seminar I had given at Yale for ASMP on “Should I Be Thinking of Video”. I remember that evening well. I had recently returned from a 3-month journey circling the globe with my daughter creating a documentary on people making a positive difference in the world.
I was still very much in the same head-set that I had been for the past few months – one full of peace and belief in myself. I had just come off an intensive period where I was “walkin’ the walk” and I was practicing what I preached.

The young man, Brian, wrote, that he had attended my seminar with his father, who was a photographer and that he, himself had grown up wanting to make movies. So, my seminar was a perfect combination for them. Then Brian wrote “That night you inspired me.” My heart jumped when I read it. He went on to remind me of things that I had said that evening – about overcoming fears in order to realize your dreams – in my case traveling the world to make a movie. Leaving the known behind – for the unknown. Telling yourself “yes” instead of giving yourself reasons not to.

Brian said that he had recently landed his first job of his career as a structural engineer. He loved it, but he also had a great desire to travel. That night he went home and furiously “googled” anything about traveling the world and beyond. He came across the website of “Engineers Without Borders” and as serendipity would have it, they were having their monthly meeting that week.

To make a long, but interesting story, short, Brian went to that meeting that week, and talked with some people during a break who were organizing a trip to a village in India.

©Brian Skelcher

Then they invited him to go with them in February. He was astounded. And then he did the same thing many of us do in similar situations – he started giving himself every rational reason why he shouldn’t/couldn’t possibly do something like this. In Brian’s case – how could he ask his new boss for 3 weeks of time off?

That night when Brian heard me speak, was about a year and a half ago. In the email he sent to me yesterday, he talked about spending the last year editing his 15 hours of footage, down to a 40 minute piece. He told me that it hadn’t been easy and that he frequently read my blog posts where I had written about my similar experiences with post-production – magnified. What I had shared had helped him through it – angst and all.

My favorite line in his email read:

“So, I’m finally done with my movie, although there’s things I wish I had done differently, I did my best and I’m glad it’s finished! The final product is one thing, but the journey to get there is another, and the past 18 months have been such an amazing experience for me! I owe it all to you! Sorry for the long email but I’ve been waiting 18 months to tell you my story!!”

Brian just launched a Kickstarter campaign to send another engineer to Nepal for a similar project. You can find out more about it here: http://www.kickstarter.com/projects/videotaping/welcome-to-abheypur-the-movie

I think back on that evening and the year and a half in between. I’ve gone through two tough winters, doing the kind of work that needs to be done, but nevertheless takes its toll on my heart and my soul. That evening, my spirit was alive and well. Brian and others felt it and it moved them to a place they wanted to be. And now, after a tough winter, that same “energy” has come back around to me through Brian’s email. It has reminded me to stay the course and stay on purpose. Thanks Brian.

Licensing Video?

There are probably people who would argue with me as far as the practice of licensing video being the norm in the world of video production, other than the licensing of stock motion footage. Perhaps that may be true in some business models and certainly true in older business models, but I can tell you that has not been my experience.

I should clarify that I do not position myself as a “hired gun”– meaning a camera operator who turns over their footage at the end of the day. I choose to assume the role of producer and maintain control over my intellectual property or the finished video product. I cannot do this in the traditional motion picture industry but that business model is changing due to technology and the influx of indie filmmakers who are making their own rules and bringing their films to market themselves. And for the most part – I can’t do this in high-end broadcast spots when working with a middleman – or ad agency where ultimately their end customer maintains all rights.

However, the demand for video has skyrocketed in recent years and with that has created a new client base who are using video in new ways and on new platforms. I am establishing my own set of rules accordingly. One of them is licensing the finished product just as I did my still images. I can only do that with video productions that I have produced and hold the copyright to.

Typically, I will separate the licensing of my still images from the video product as well as the creative fees. I may be shooting both mediums on the same job but I handle the licensing differently. I have found that video has a shorter shelf life so I am not as concerned about the duration of the license (length of time) as I am with still imagery. But I am concerned about it’s “reach” which these days is global – thanks to YouTube.

Another thing I do is I make sure that it is stated in my contract and/or estimate that the license for the entire video production does NOT include permissions and/or licenses to any still images that are made from frame grabs pulled out of the video footage. Putting this up front in the estimate has actually proved beneficial because if a client does anticipate the need for still images – they will hire me to create stills – rather than take them from frame grabs.

We are living at a time where just about everyone’s business models are changing. So, if someone tells you that licensing video isn’t the norm – outside of the stock motion footage business – think again. What is the norm these days? It may be the precedent we are setting now.

A Solo Act

Video is very much a collaborative effort, and that’s exactly what I love about it. I’ve made some wonderful connections and partnerships while creating my documentary, Opening Our Eyes.

But every now and then, I find that I need to go “solo”.  I am a storyteller and a bit of a wanderer by heart and it had led to an interesting life – a life full of people, cultures and far flung destinations around the world. I have found that when I travel solo, I become more absorbed into the culture of where I am. I have no one with me to distract me or draw my attention away.

I’ve spent many years, traveling, observing and shooting stories for magazines all over the globe. In looking at my old work or even when editing new work, I’ve noticed a similarity in “feeling” among many of my images. There’s a quiet contemplative mood that shows through. In my people photos this “mood” is apparent in the connection that I make with my subjects – whether in a posed or candid photo. With my landscapes there’s more of a serene, yet melancholy moment.

I’ve come to realize that this “feeling” in many of my still images come my perspective as an”individual” who is solo when shooting. I can always tell which images I’ve shot when I’ve been by myself as opposed to those shot when traveling with a group. It’s hard to put into words, but when I’m alone and I’m exploring, I shoot differently. I see differently. I interact differently and people react differently to me.

So, I will always make room for both ways of working in my life – collaboratively and as a solo act. Each one brings its own rewards into my life and to my craft.

The Problem With (Most) Video/Motion Workshops

This has been something that has been weighing on my mind for months now – ever since the seemingly “overnight sensation” of people giving video workshops as well as the growing number of still photographers that are feeling the need to take these workshops.

The biggest problem that I see with all the video/motion workshops that are out there is that they oversimplify video production and take the approach that the single independent still photographer can learn and do it all – produce, operate the camera, capture good audio and manage the post-production and edit.  I suppose to be fair – while it may be true that the independent still shooter can learn all facets of video production, that is not the best approach as far as setting up a viable business model for a video production company.

Video is a collaborative medium.  While I may be able take just about any video production from soup to nuts single handedly – I know that the production would suffer if I did.  I learned a long time ago to build a team of good sound people, editors and even camera operators that I can draw on to hire on a need be basis.  They make the production and me look good and that’s what keeps my clients coming back.  It also allows my business to grow because I can take on more projects. If I’m not entrenched in all aspects of the production. It frees me up to start production on another project while still in post-production of a previous project.  If you are a one-man band, you not only don’t have this option but you actually make yourself look small in the process.

Video and motion have many facets to them.  I advocate that the best business models are when one positions themselves at the top of the content creation ladder by overseeing the production of the whole and hiring the appropriate crew that will facilitate the process.  By recognizing the differences between this business model and the “solo” model that most independent photographers work under, you’ll have a much better shot of maintaining ownership of your work and creative vision as well as having the potential to grow your business beyond your own singular capabilities.

The other problem with workshops that over simplify the process of video production by promising that you will be up and running after a one day workshop is that they are centered around learning the gear and the software which changes by the month.  If you learn just the gear du jour and not focus on the business of video production you will be in competition with other independent dabblers and that’s a quick way to the poor house in terms of sustainability.

A week doesn’t go by when I don’t get at least a dozen calls or emails from still photographers who feel they need to get into video and are overwhelmed by the learning curve.  I tell them that the best thing they can do is NOT to try and learn all these skills themselves and that in fact that will only delay their entry into the video production, business if that is what they are after.  A better way is to keep your focus on your vision, apply that to a sustainable business model that will incorporate video and collaborate with others who will make you look good and help you grow your business.

There Are No Prince Charmings or Overnight Successes

I think we all buy into a lot of crap in our American culture – in a lot of cultures actually.

Let’s start with “Prince Charming”. Young girls grow up believing in the fantasy that there is ”the ideal man” out there who is perfect in every way. And young boys grow up with their own version of this fairytale.  It’s really too bad because it’s all those flaws and differences that make us all human and drive us all crazy, that are the very things we should embrace. In our expectations for perfection and our intolerance for less, we often see only the “blemishes” or the cons and overlook the overall person.  We fail to see that it is all of those things that go into the make up of a person’s character. It took my husband and I many years to figure out that the very things that annoyed us about one another – our differences – made us stronger as a couple.

There is no such thing as an “overnight success”.  We believe that because in our culture we only hear about the successes.  For some reason we don’t look at the big picture and everything that led to that recognition. Success is an interesting concept to me anyway.  Many people define it by winning or attaining financial wealth.  Ultimately, it’s defined by a final destination rather than the journey.  Is it really about the final destination? If so how does one determine if only one win is enough or how much money is enough?

Talk to anyone who has risen to celebrity status and they will talk about the ups and the downs and the constantly evolving journey. A lot of musicians, who have had big hits and have gotten rave reviews, don’t always get the same glory the 2nd, 3rd or 4th time around. Their careers are made up of the highs and the lows and everything inbetween.

I’ve had my share of highs and lows.  Last week I got my rejection notice from the Sundance Film Festival for my film, Opening Our Eyes.  Rather than be despondent about it, I will frame this email rejection as a reminder to myself that I entered and had the courage to try.  There were over 11,000 entries and only 16 documentaries will be shown this year. I am proud to be in this 99%. This rejection is but one of many that I’ve had over the years of my career.  I’ve certainly had more rejections than I’ve had successes, but the failures have only made the successes that much sweeter.

This film in particular has been an evolving journey for me – with no destination in sight.  While it may never be a “success” in terms of how some people define that word, for me it has already brought many unexpected rewards to my life. For example,  I’ve just returned from Sao Brazil, Brazil where I had been invited to do a TEDx talk. It was one of those weekends that gave me great hope for the future as I dialoged with amazing people who were doing extraordinary things with their lives and for the lives of others.  The next evening I was given the opportunity to screen my film at MIS, a beautiful museum in Sao Paulo.  During the Q&A, a man asked me if making this film had changed my life.  I didn’t have to give it a second thought before I answered “yes and it continues to do so in amazing ways.”

I will continue to embrace the entire journey – the lows as well as the highs.

Five Top Tips for Emerging Photographers

I talk to a lot of young aspiring photographers these days and invariably I am asked, “What advice would you give someone who is just starting their career in photography? – Is there a future? – Can I make a living?”

I don’t have a crystal ball but I do have 35 years of experience behind me but yet the enthusiasm and outlook of a 25 year old.  I remind myself of what I learned from my mentors when I was just starting out. One mentor, who shaped my career, was art director Adrian Taylor of Travel & Leisure Magazine. Adrian taught me a lot – about magazines, about the story, about style and taste and most importantly he gave me the confidence to believe in myself.  Adrian gave two young, naïve photographers, my partner and myself a chance and in return – we always gave it our all every time we set out to shoot a story.

With that said, I would not be where I am today if it had not been for mentors like Adrian Taylor and my greatest joy at this point in my life is to pay that forward to photographers just starting their careers.

• Learn video – Video is no longer a “specialty niche” or in fact a separate genre at all.  In the very near future – which is already upon us – a photographer will need to know how to shoot both stills and motion – or partner with someone who does.
• Stay true to what your inner voice is telling you.  For example, if your passion is to be a photojournalist, don’t listen to people who are telling you that photojournalism is dead and that newspapers are a thing of the past.  While “printed” newspapers may be dying out – journalism and photojournalism is not.  Don’t let others’ dogma determine what your path should be.
• Collaborate with your peers.  When I was first starting out, photographers kept their clients, their techniques and their ideas to themselves.  But I have found that whenever I have collaborated with others – we all push the bar to the next level – each bringing their own strong suits to the project.  As a subject of my film Opening Our Eyes told me “We’ve got to shine each other up.”
• You don’t need the validation of others to proceed with your idea and make it into a tangible plan and product.  As far as publishing and/or distribution is concerned – the gates to the kingdom are open and the kingdom is the entire world.  We are living in a time of empowerment for the individual and for a content creator that is profound.  If you are willing to do the work – the rewards are bountiful.
• Act on the ideas that don’t go away.  It’s easy to let resistance sabotage you.  Resistance comes from many places – your loved ones, friends, your peers – but mostly yourself.  Stop talking yourself out of ideas and start acting on the ones that just won’t quit you.

I have made my work my pleasure in my life.  I have always found it difficult to separate the two.  When you feel that – you’ll know you are on the right path.

Burning Bridges

I used to have a friend who would tell me that my life was made up of circles, each one completing the ring like segments of my life.  The truth is that’s not unique to me – that’s life in general.

It’s Photo Plus Expo week in New York City, when photographers from around the world gather at Javits to look at new gear, take part in seminars and network.  I don’t think I have missed an Expo since they began over 30 years ago. A lot has changed in the photography business over the past 30 years, but one thing is for certain and that is – it’s a very small world as far as the people who are part of this business.

Last night, I went to a couple of parties where I ran into quite a few people that I’ve met over the span of my career.  Some I had done commissioned assignments for, some I had met through seminars that I had given and some were just old friends that I hadn’t seen in a very long time.  But a couple of folks who approached me last night, and struck up a conversation, were people who had totally blown me off in years past – people who had simply ignored me.  In every instance, these had been people who had recently experienced a shift in their own lives and now had a sudden interest in me and in what I was doing – to further their own gain.

I know that I have burned a few bridges in my lifetime and I’m sure there are some I’m not even aware of. (Anyone who tells you that they haven’t burned bridge is just simply not aware.)  Some of those bridges, I have tried to rebuild and have succeeded. and some were beyond repair.  What I have learned – and wish I had learned 20 years ago – is that everything comes around in your life, no matter how much you have grown or changed – the past is always present. And it seems easier sometimes to change the past – but of course that’s not possible.

What I’m finding now is that due to profound changes in the photography business as well as the lingering lousy economy, that the same people, who had ignored me or dismissed me a few years ago, were now acting like my “best friend”.  I’m sure they didn’t remember how dismissive they had been to me – in fact I doubt that I was even on their radar at the time.  But circumstances had changed in their lives and now they were taking notice of me and even asking for my help. I suppose I could say that they had burned a bridge with me but then again in most of these situations there had never been a bridge to burn to begin with.

The point is, you never know how your past will affect your future.  You may think that you are in a position where you have no need for certain people in your life and be dismissive.  But nothing lasts forever and if there is anything that I’ve learned by getting older – it’s just that.  Our lives are made up of circles, each one connecting our past with our future.  Consider that when dealing with people who come in and out of your life – because nothing ever stays the same.  Many times you’ll find out that those people that you thought  you had no use for in your past – may be key in your future.   Hindsight is the best sight and you always get the best light from a burning bridge.