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sunsuenm · 3 years

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Get Paid To Take Pictures With Your Phone – 20 Ways That Work（Previous）

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In the past, high-quality cameras were expensive, fragile devices used primarily by professional photographers. And while you can still spend a pretty penny on a top-of-the-line model, most modern smartphone cameras are more than capable of taking amazing pictures — even if all you know how to do is point and click.

And whether you’re a full-time photographer or an amateur in search of a good side hustle, there are dozens of ways to sell the images from your phone.

All you need is a smartphone with a camera and a good platform on which to sell your photos.

In this post, we’ll run down some of the best ways to get paid to take pictures with your phone, and we’ll answer a few of the most commonly asked questions about the process.

Getting Started

Starting a photography side hustle is not as easy as whipping out your phone to catch a pretty sunset, then selling the image online.

Before you can get started making money from your iPhone or Android photos, you’ll need some equipment, software and basic know-how. You don’t need to be an expert — just cover these basics and you’ll be ready to get started.

Smartphone with a high-quality camera: With technology constantly advancing, a good smartphone camera is essential if you want your images to sell. Even if your images are properly framed and well-lit, they’ll be tough to sell if they’re shot with an outdated lens or in low resolution. Here’s a post that outlines some good quality smartphone cameras that will serve you well.

Photo editing software: You can do basic edits on your phone, but if you’re optimizing photos for print (think wall art and merch), you’re better off editing your images on a computer. Adobe Photoshop and Lightroom have been the industry leaders in photo editing software for decades, but if the price tag is too steep, GIMP (desktop) and A Color Story (mobile) are cheaper alternatives for editing your photos.

#1. EyeEm

EyeEm has some exclusive technological advantages over other stock photo sites. The app’s algorithm analyzes your photos for aesthetic value and relevance and automatically tags their visual elements.

EyeEm also partners with Getty Images, a major stock photo website, which increases the exposure (and potential sale) of your images.

Completing photography “missions” (requests or contests from EyeEm clients) can get your photo licensed by big name brands, get your image shared on EyeEm’s social media channels, or earn you swag.

EyeEm pays a 50% royalty rate for sold images, and you retain all the copyrights to the photo.

#2. Foap

The Foap app offers clear guidelines on acceptance criteria for photos. You can also connect with other Foap photographers and get constructive feedback on your photos.

Foap offers 50% profit sharing on sold images. Payments are sent via PayPal.

Foap’s marketing is not as strong as some other big name stock image companies and apps. This has resulted in some users complaining about a lot of work for minimal pay. However, if you’re a new photographer looking to develop your skills and gain exposure, Foap can be a solid option.

#3. Snapwire

Snapwire has a fairly generous payout structure: you keep up to 100% on client requests and challenges, and you earn 50% on downloads from subscribers.

This app is much more based on client requests than others. Requesters can award points to photos that exemplify the look they’re going for. At the end of the contest, requesting companies buy the photos they want from the winner(s).

Photographers can “level up” with successful images and projects, gaining advantages with each level that helps them gain more exposure and sell more photos.

#4. AGORA Images

Based in Spain, the AGORA app is more like a social media platform than a stock photo website. They offer cash prizes for their weekly photo challenges, with winners determined by app users’ votes.

Payouts range from $1,000 to $25,000, along with the chance to be published in some of the leading newspapers and magazines around the world. Because they focus on a worldwide audience, competition is diverse but also steep.

AGORA is a great way to gain exposure. That said, while you may get lucky and win one of the contests, other apps may be a better fit if money is your primary goal.

Stock Photography Websites

When you see breathtaking landscapes and portraits with personality on stock photo websites, you may think they’re all shot by expert photographers with years of experience. But that’s not necessarily true. Many of these stock photography websites accept and sell images from shutterbugs of all types and experience levels.

#5. Adobe Stock

Formerly called Fotolia, Adobe Stock is woven into the Adobe suite of products. You can upload your photos directly from Lightroom or Bridge. If you’re new to tagging your photos, Adobe Stock’s AI will prompt you with relevant tags. Adobe stock pays 33% royalties to contributors via PayPal or Skrill.

#6. Shutterstock

Shutterstock is one of the most popular stock photo sites on the web. It offers a mobile app to help track sales, submit photos and get notifications of what customers want. Their payout structure is tiered, so the more lifetime earnings you have the greater the percentage of royalties you keep. Earnings top out at 30%.

#7. IStock By Getty Images

A great option for the experienced photographer, iStock by Getty Images requires you to get accepted to be a contributor. This is one of the most well-known stock photo websites, and while royalties start at only 15% (more for exclusive contributors), the high traffic makes it an option that’s well worth your time.

#8. 500XPrime

500X Prime offers high royalties for contributing photographers — 30% for non-exclusive and 60% with exclusive content. Each photo is reviewed prior to licensing for technical quality, originality, aesthetic value, and other requirements.Plus, their proprietary “Pulse” algorithm is designed to surface the submissions of new photographers so they can gain feedback and increase their exposure.

#9. Twenty20

Twenty20 is a part of the Envato ecosystem, which is an array of marketplaces for creative producers that offers everything from website templates to visual assets for use in video games.

If your photo gallery makes the Curated Collections, you’ll gain increased exposure on Twenty20’s website. Check out the Sold Feed to see what photos are selling in real time to help guide you on what to shoot.

Twenty20’s Subscriber Share is a more complicated payout structure than most, but it rewards photographers who have devoted, niche followings.

#10. DepositPhotos

Like Getty Images, DepositPhotos requires photographers to pass a short test and submit sample photos before they start uploading. Their compensation structure is generous: contributors earn 34% to 42% royalties from on-demand photos and $0.30 to $0.35 from subscription files. You can also level up your pay grade based on your overall amount of downloads. The more downloads your photos get, the greater your royalties on all your photos.

#11. Dreamstime

Dreamstime has been selling photographers’ stock photos since 2000. With a worldwide audience, the site supports multiple currencies and languages. It doesn’t require prior approval or testing to upload, but it does vet images to meet standards of commercial and creative appeal. Payouts range from 25% royalties for newbies to 60% for exclusive contributors.

Photos On Merchandise

You can create additional value by turning your photos into items for sale — especially if you have graphic design skills to create fresh, new images. From t-shirts to coffee mugs to wall hangings, there are online markets for all sorts of widgets to sell with your decorative photos.

#12. Etsy

On Etsy, you can sell prints, canvases, framed photos or digital image files — it’s all up to you. Opening your shop on their website is easy and free, and listing each item costs only 20 cents. Etsy handles the transaction while you do all the printing, packaging and shipping.

#13. Merch By Amazon

You can turn your art into t-shirts with Merch by Amazon. Amazon takes care of the business side of t-shirt production (printing, shipping and handling, and payment). Plus, they produce t-shirts as they’re ordered, so you don’t pay anything upfront (and you’re not stuck with boxes of t-shirts you can’t sell cluttering up your garage). Royalties are $1 to $10 per shirt.

#14. MiPic

If you want to go a step beyond t-shirts, MiPic can turn your photos into leggings, swimsuits, towels and more. Open your own customized print store and earn up to 20% commission on the sale of your items. There are no setup fees, and MiPic takes care of all of the manufacturing, sales and distribution aspects of the business.

#15. Society6

Society6 is more than just an online marketplace for selling items with your photos on them; it’s also a community of artists to engage with and inspire you. The website is very artist-focused, which is why they offer 10% commission on referred sales in addition to the 10% you make on your own items.

#16. Redbubble

Redbubble gives you a lot more leeway on setting your own prices than other photo sites. Rather than the website setting the price, then paying you a commission, Redbubble sets the base price, then you choose the markup on your items for sale. They offer a wide range of products to display your images, from scarves to coasters to journals.

#17. Instaprints

Instaprints has several unique marketing tools to increase your sales and exposure. You can sell on Facebook, through retail stores, and even license your art for the walls of TV show sets! The Instaprints mobile app lets customers see how your image will look on their wall before they buy.

Most features come with a free account, but premium members can access additional options like building your own website and sending promotional emails.

I will regularly share the high-quality content of the blog in order to help more people.

#make money online #make money at home #quick cash #money making blog #make money 2021 #investment advice #Investment and financial management #virtual currency #make money on instagram #Hackers make money

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pinarworks · 3 years

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Colonial Gaze Spotted Alive and Well in Eskişehir Last October, OMM, a modern museum in the city of Eskişehir in Turkey founded and run by one of the richest families of Turkey, Tabanca family, published a ‘photobook’ called The People Who Made OMM. It’s a book consisting of black and white, mostly close up shots of some of the workers who worked on the building's construction as plasterers, shovel men and brick builders. The text accompanying the announcement of the book read as follows: Consisting of short interviews and 18 monochrome portraits, some of the construction workers who made and transformed the museum building talk about their stories, craft, and the relationship they formed with the museum. (...) Highlighting the proximity of labour and artistic production, "The People Who Made OMM" celebrates the transcendent nature of works of architecture and art while immortalizing the construction team as part of OMM’s collective memory. I have looked and looked but wasn’t able to see any such highlight of the “proximity of labour and artistic production” nor any celebration of any kind. To my burning eyes, what these photos -shot by a “renowned art and fashion photographer’’ showed, was the abusive relationship between the proletariat and the rich elite. They lay bare the gentrification of class and memory and the attempt to capitalize on the workers’ already exploited labour, this time through the good old colonial gaze. Reading through the positive and grateful comments under the museum’s Instagram post about the book, I wondered if I was missing something: was this actually a ‘warm’ gesture which managed to equalize the great social and economic gap between those who came up with the idea for the book and those who posed for it? Of course it wasn’t. I emailed the editor and learnt that the workers were not paid in exchange for the content they have provided, they were instead “given books themselves and life-long free entry to the museum’’. However my follow up question asking if the photographer also was paid in free museum tickets was left unresponded. (Please note, a limited edition of 500 copies of the book were printed and are being sold for 140 TL each.) OMM is not the first rich institution/company to have come up with such a lame idea. It is only one example of the imperialist belief that the rich elite has the right to look at whatever and whoever they want, in whatever way they see fit. History of Western civilization is a catalogue of supremacist gazes disguised as warm gestures. Photography's relation to colonialism is historically recorded. It was the main tool that accompanied 19th-century European colonial propaganda, playing vital roles in the administrative, scientific and commercial justification of the invasion of “far away’’ lands. It was the direct agent in creating the Other for the “advanced world’’ to exploit. Documenting it through the eyes of the invader, building the narrative of uncivilized/savage/exotic, fascinating creatures in need of a helping hand. The hand of the white, allegedly good-intentioned colonial man. The infamous remarks Dominique François Arago made in 1839 before the Chambre des Députés: “everybody will realize that had we had photography in 1798 we would possess today faithful pictorial records of that which the learned world is forever deprived of by the greed of the Arabs and the vandalism of certain travellers’’ remind us the shameful role photography played in the heart of colonialism. As Ariella Aïsha Azoulay explains further in her book Unlearning Imperialism, due to the central role of photography within the colonial superstructure, it was never considered as being invasive of privacy. It was always about the photographers’ rights, not the photographee’s, simply because they did not have any. This right, naturalized as the innate freedom of photographers was never questioned. As photography developed and was adopted by many forms, including news, street photography and art, it maintained the unearned right to freely invade. Caring for no boundaries other than its own, photography brought potentials of more exploitation to the dominant elite. It also paved the way to continue doing this in alternative ways, appropriated by art and other cultural means. But in a post-colonial, white supremacist world, photography will always carry its history with it. This is why it is still important to examine who gazes at who and in which context. The right to photograph is still unquestioned because the eye behind the camera is assumed to be the universal eye. It represents the universal person who has the right to see everything. This right then becomes more important than the privacy of the person being looked at. The looker’s first crime is the assumption that there’s no privacy in the world that can’t be invaded. The self-appointed right to look at, the right to knowledge the gaze assumes, therefore, emerges as an act of violence. The saying “beauty is in the eye of the beholder”, implies that power accompanies the beholder. It's the beholder who decides what is beautiful. Looking at a photograph necessitates identifying with the camera: the audience adopts the perspective of the storyteller who creates a world through their framing, rather than simply reflecting the existing world. Gentrification of Labour In its supposed intent to immortalize the workers with the photographs, OMM exposes that it will only recognize the subjects of these pictures if they stay as objects. The position of the photographer and the gaze it dictates, reveal a hunger to capitalize on all forms of labour. In this case, the time workers spend posing for, hence creating the core content of the book - for free. This specific colonial gaze seems to make sure that the objects understand they are only recognized through their labour; either as construction workers or as models. This gaze invests in the workers for the pleasure of high tastes, who would see them frozen in time and forget about them but applaud OMM for its humane effort to immortalize the workers. The gaze only recognizes the workers as resources and treats them as disposable human capitals. As Franz Fanon suggests: “the supremacist gaze fixes its object and leaves no room for any ontological resistance to the white man’’. The gaze introduces an unknown species to its art-loving, educated upper-middle class audience. People they would never come face to face or recognize in real life. The People Who Made OMM does not dress the construction workers in special costumes, neither does it let them pose in their daily clothes. It photographs them in their natural habitat, on the construction site in their dirty work clothes. The black and white photos mostly consist of close-ups, focusing on the details of the faces or hands of the workers. This visual language uproots the workers from other aspects of their lives and romanticizes their labour by capitalizing on their personal, embodied histories. The People Who Made OMM is a performance for others. It invites the audience to become partners in crime by staring at the same scene together. In fact, the photos reveal some sort of relief on the part of the targeted audience as well, because they love to see contentment in the eyes of the workers whose shoes they would never want to be in. This gaze makes the spectator enjoy the scene without feeling guilty since the scene naturalizes social inequalities in a constructed, romanticized setting. These photographs do not celebrate the workers, they create objects out of them for the spectator’s pleasure. This objectification serves to ease the extreme injustice between the workers and the people who stare at them for pleasure. This is an attempt to change the narrative from cruel structural hierarchy to ‘natural harmony’, reminiscent of the narrative of “one big family’’ which is widely adopted in corporate lingo. We are a family in harmony, everybody has their own place and within a family, we only give happy poses to the camera, we don’t talk about class distinctions and other forms of discriminations within. The photos are also an attempt to domesticate, hence gentrify the workers’ relationship to the construction site and the museum. It reduces the workers' history to simple and empty Q&As which seem to be edited ruthlessly in order to not allow any negative implication to seep through their words and their looks. It prepares the perfect background for the spectator to free themselves of all responsibility. It naturalizes the existing hierarchy and pats itself on the back for doing the decent thing: Immortalizing the workers. Gentrification aims at getting rid of the abject through erasing both the collective and the personal histories of certain places. It aims at collective cultural amnesia. OMM’s photographs have a similar effect of destabilizing the reality of unpaid labour. The new narrative is also secured through the minimalist design of the book. The photos show the workers in fragments, as faces, hands, feet and always individually, never together with others. Zooming on certain body parts placed in wide white spaces in the pages, adds to the objectification of the workers through redirecting the focus to the aesthetic value of the book. Patricia Hill Collins’s concept of the controlling image suggests that those who control images, control stereotypes as well. These photos do the ideological work of masking the role of hegemony in structuring political social and economic relations. The interview questions, edited down to superficial one-line sentences amplify the violence. The answers are only there to fill up space, but they end up revealing the reality that OMM is trying to cover up: “What do you plan on doing when the building is completed?’’ asks OMM. 23-year-old Recep, master plasterer and painter responds: “If I find work in Eskişehir I’ll stay here, If not I’ll move somewhere else. We’ll have to see.’’ OMM does not care and will not have to see. Deregulation of Memory OMM is able to present its colonial motivations as art/goodness because it relies on neoliberal notions of profitable personal space and free time. This is evident in their disregard for the workers’ free time and space. These things can be invaded without feeling guilt or paying compensation. Unlike preceding forms of capitalism, neoliberalism prepares background conditions for the market to freely move in, rather than controlling market activities directly. So that regulation seems natural as life itself. With this facade of natural progression, it restructures daily life too. OMM’s photos are doing exactly this: through gentrifying the workers’ labour with a constructed fake setting and showing them temporary recognition, these photos deregulate their memory of the place. It recreates the museum as a utopian place where everyone loves each other and is connected in a way that transcends social conditions. With this attempt to cover any possible distasteful memory, the narrative of supreme benevolence emerges as a weapon to be used against ungrateful subordinates. The gaze as the sovereign’s narrative, erases all possibility of discord by magnifying the so-called harmony of warm moments. And yet, there’s no clean way to separate photography from its inglorious imperial history. The spirit of imperialism is always there and ready to show itself depending on the identity of the gaze and the spectator the gaze represents. These images do not confront a historical division, on the contrary, they secure it and shamelessly present it to the consumption of a certain class without sacrificing any loyalties. In a sense, these photos are re-performing the colonial lies of liberation. They seem like they have a sacred mission but in fact, all they do is reinforce their own privileges. Make no mistake: This book does not celebrate the workers that make OMM, it celebrates itself and its own superficial appreciation of the workers that made OMM. This book is OMM congratulating and talking to itself in the mirror while creating a paying audience for this narcissistic show. The workers do not need to be immortalised through these empty gestures. If institutions like OMM want to recognize workers' agencies and celebrate their contributions to the world, they should start with paying them the money they deserve. https://www.mangalmedia.net/english/colonial-gaze-in-eskisehir

#omm #eskişehir #odunpazarı modern #colonialgaze #exploitation

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southeastasianists · 5 years

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Though 10-year-old Vira Rama didn’t understand what his family’s secrets were, he knew that they had to be kept hidden. At first glance, they seemed innocuous enough: a stash of family photos of trips to the beach and Siem Reap, a photo of Rama in a youth scout uniform, all wrapped up in a bag made of cut tarp.

When the Khmer Rouge seized control of the country in April 1975, Rama’s mother, Kim Pean Ky, had insisted on taking this bundle of photos with her as her family was forcibly relocated from their home in the northwestern city of Battambang. She kept them concealed as soldiers marched them into the country on dusty roads congested with people fleeing in three-wheeled tuk-tuks, on ox-driven carts, and even on foot. As soon as the family was resettled in a village called O’ Srarlao, located in what the military regime called Zone 4, Rama watched as his mother dug a hole under their small wooden hut just large enough for the bag of photos. He didn’t ask questions as she hid the traces of their middle-class life under a pile of banana leaves. Though the family would travel to several other zones during the rule of the Khmer Rouge, from 1975 to 1979, Rama’s mother never forgot about the photos. Each time they moved, she quietly and dutifully excavated the bag and then buried again, and again, and again. If the severe, unpredictable, paranoid Khmer Rouge had found it, their lives would be forfeit.

Now, 44 years later, the archive Rama’s mother risked her life to preserve has been published in a book, aptly named Buried. The book is a collaboration between the family and British photographer Charles Fox, who has worked in Cambodia since 2005 running Found Cambodia, an archive of photos of life before, during, and after the reign of the Khmer Rouge in the late 1970s. Of all the photos Fox has encountered in Found Cambodia, he says the Rama’s archive is by far the most complete. “Their story is one of thousands of stories,” he says. “But their collection is unique. Vira tried to record as much of his family history as possible.”

“I feel lucky to have these photos,” says Rama, who held on to Ky’s archive long after the family relocated to the United States (both now live in Southern California). “It gives me something to go back to. Many people who survive the Khmer Rouge have nothing at all.”

Rama was born in 1965 in Battambang. The second-eldest of seven siblings, he lived a charmed early life that was assiduously documented by his father. “I liked being photographed. I was always the goofy one,” he says, adding that many of his childhood photobombs did not make the cut for Buried. In Battambang, before their forced relocation, the photos lay behind plastic in albums and hung on the walls in frames. The tarp bag provided less protection, and many of the photos were damaged. Rama’s mother also altered some of the photos that would have been impossible to explain her way out of, had they been found. For example, she cut King Norodom Sihanouk—who had a complicated and fraught relationship with the Khmer Rouge—out of a photo of her husband.

In the camps, the photos had to be buried because Khmer Rouge soldiers conducted random searches of people’s huts to purge any evidence of city life. Other families also concealed treasures that could get them killed, such as jewelry or medicine, which indicated you were wealthy enough to have seen a doctor. O’ Srarlao’s Zone 4 became one of the most brutal areas controlled by the Khmer Rouge. In addition to executions, the villages were rife with starvation and disease made worse by forced labor.

At O’ Srarlao, the family slowly splintered as children were sent to perform forced labor at different camps, some planting rice and others constructing irrigation systems. Despite the family’s best efforts to conceal their history, Rama’s father stood out as a target for the Khmer Rouge, which actively persecuted and murdered intellectuals. A former math and French language teacher who worked as a banker for the Banque Khmere Pour Le Commerce, he was a member the class that the new regime saw as an existential threat. In 1977, he was executed.

Shortly after, the Ramas knew they had to leave the country. The family members remaining at Zone 4 split into three groups, Ky dug up the photos and fled with some of her seven children to the less violent Zone 3, reburying the photos in each village they stayed in. “My mom valued these photos even though it was risky evidence,” Rama says. “If they searched us, they would kill us.”

When Vietnamese forces liberated the country in 1979, the Ramas reunited in Battambang. But Khmer Rouge soldiers still lurked, and so they fled once more through jungles and minefields to the Thai border. They arrived in 1980 and settled in the Khao-I-Dang refugee camp. After 18 months there, they found a sponsor in the United States. After a few months in the Philippines to learn English, the Ramas moved to Shreveport, Louisiana, in 1981. Rama had just turned 16. Buried contains photos of these unsettled but peaceful times, both at the refugee camp and during the family’s first few years in America.

In Louisiana, Ky worked various jobs—as a seamstress, in a spice factory, at restaurants. Her seven children went to school. Rama attended Warren Easton High School, the first time he’d been in school for six years, and graduated in 1985. With the help of his math and science teacher Mr. Blanchard, Rama became a civil engineer.

Around a year after Rama’s family arrived, his sponsor gave him a cheap camera. It was the first time Rama had held a one since before the Khmer Rouge took over. Later in life, he upgraded to a series of fancy digital cameras, including a Nikon DSLR he used to snap photos of his children in soccer and basketball games. Taking photos had become an everyday luxury, and Rama errs on the side of over-documentation.

Rama’s love of photography made him the family’s photokeeper. He kept all his family’s photos in a safety deposit box and scanned many to upload to Flickr—glimpses of life before and after the Khmer Rouge. He also kept artifacts of his family’s immigration, such as the Pan Am tickets they used to fly to America. In 2015, he stumbled upon Found Cambodia, Fox’s project. “I sent Charles an email with a link to my Flickr, saying he was more than welcome to take any photos to add to his collection,” Rama says. “The very next day he emailed me back.”

Fox had dozens of questions. Who were the people in the photos? Where were they taken? Who did the photos belong to? Fox recognized that Rama possessed an incredible document of a time mostly lost to history. “Other family’s photos are so fragmented, which have their own importance,” Fox says. “But what the Ramas managed to save and how they managed to survive is quite remarkable.”

The horrors of the Khmer Rouge are hard to imagine, in part because there are almost no surviving photos of what life was like under the military regime due to the regime’s eschewal of modern life. The most known pictures of that period consist of 7,000 portraits taken by Nhem Ein, a young photographer working in the Tuol Sleng prison, according to The New York Times. It is a grim collection, as every portrait is of a person about to be executed.

When Fox saw all of Rama’s archive, he was struck by its narrative cohesion—a family’s story. He proposed the photos be arranged in a simple booklet, and all members of the Rama family were game. “He consulted with me every step, from the color to the title,” Rama says. The book’s design is intentional: The inside covers are decorated with rumdul flowers, the national flower of Cambodia, and pages that separate life before and after the Khmer Rouge are blank and red.

When Fox sent Rama the first draft of the book, the photos were arranged without any identifying details. Fox asked if Rama’s family could jot down quick captions noting who was in each photo and what occasion, if any, it captured. Rama passed the manuscript to his relatives, who each wrote a few lines in blue pen under the photos that were most meaningful to them. Those handwritten captions appear in the final book—occasionally illegible and deeply human. “That’s how close the family is,” Fox says. “And that’s one of the things that made the book possible.”

Now, each year, the family—Ky, Vira Rama, his six siblings and their families—go camping. Sometimes it’s Mammoth Lakes, sometimes it’s Yosemite. Rama says his relatives often jokingly complain. “They say, ‘We escaped all this hardship, why are we going to spend a week in a tent?’ But maybe that’s part of the healing.” On these trips, the family cooks what Rama calls their native food: cajun and creole cuisine—gumbo, jambalaya, red beans and rice. Unsurprisingly, Rama takes photos of everything. Now that he’s older, he’s traded his fancy DSLR for a lighter antique Fujifilm.

In Rama’s eyes, Buried is a historical document with very modern echoes. Over the past year, he can’t help but spot the parallels between his own family’s harrowing escape and the current situation at the U.S.-Mexico border. He says images of caravans attempting to cross into America bring flashbacks to the fear and violence he experienced as a child. “These people just want a better life for themselves and their children,” he says. “Here in America we’re supposed to be the most generous country but we treat refugees like criminals.”

Cambodia is struggling as well, in particular with its history, according to The Nation. “A lot of millennials in Cambodia don’t know what happened under the Khmer Rouge,” Rama says. “They think it’s fake news.” He hopes Buried will continue to open up new conversations both in the United States and Cambodia about this violent chapter of history. He understands that his family’s journey is not unique, but their records are, and he hopes other Cambodian families will continue to learn their history and break cycles of trauma that afflict generations.

Rama has worked for the city of Los Angeles for 29 years now, and he says he’s five years away from retirement. Recently, he’s noticed more and more people telling him to go back where he came from. “I ask them, which way should I take?” Rama says. “The road I just built, or the other road I built?”

#Southeast Asia #Cambodia #History #Khmer Rouge #Photography #People

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jjonassevilla · 4 years

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Get More Conversions with Lessons from 13 Irresistible Call to Action Examples

What’s the difference between a window shopper and a customer?

I’ll give you a hint: It’s the same thing that separates a scroll-by from a click-through. Or an anonymous lurker from a known lead.

The one thing that all your leads, clickthroughs, and customers have in common is that they’ve taken action. More specifically, they responded to a call to action (CTA) on your landing page, website, or ad and actively made a choice to advance through your sales funnel.

If you want to inspire more of your target audience to convert (which, of course, you do), then you need to step up your call to action game. With the right copy, design, and placement, you can create landing pages with powerful CTAs that motivate website visitors to make a move.

A call to action is exactly what it sounds like: you’re literally calling on your audience to take a specific action. This might be clicking a “buy now” button on a sales page or filling out a lead gen form to “download your free copy.”

The Psychology Behind Effective Calls to Action

Knowing the elements that make for a truly compelling offer (and understanding why they work) is the first step to crafting the perfect CTAs for just about every use case.

So, what makes a CTA effective? Let’s start by looking at some of the hard-and-fast rules for creating irresistible calls to action.

1. Grab the Audience’s Attention

Before a visitor can be persuaded to do anything, they need to first notice the call to action. Use a combination of font, design, and placement on the page to ensure your CTA button or form jumps out from the rest of the content—even during a quick skim.

2. Make a Single, Specific Request

Your CTA is not the place to play hard to get. Instead, tell readers exactly what you want them to do. Though there are various ways to use calls to action, the general rule is that it should align with a single conversion goal at the center of your campaign.

3. Present a Clear Path Forward

Use plain language to set expectations and tell users exactly what they’ll get from clicking. People are less likely to click on a link if they don’t know where it’s taking them, so be clear on what the next step will be—whether it’s a pricing page to “compare phone plans,” an account creation page to “start [their] free trial,” or a registration form to “join [your] community.”

4. Motivate Readers to Click

Use action-oriented language that focuses on results. The basic approach is to use action verbs (like “get,” “download,” “start,” “reserve,” and “grab”) to build momentum. You can also experiment with first-person point-of-view (“Give me my deal”), positive affirmations (“Yes, I want to 10X my ROI”), and creating a sense of urgency (“In limited supply. Claim yours today!”).

5. Optimize and Test

Sometimes the best approach to writing calls to action is to test out several variations. When it comes to optimizing copy, a call to action is one of the easiest things to swap out (and even small changes can make a big impact on your conversions). Smart Traffic uses AI to analyze your visitors and automatically display the most effective CTA to each person.

Where Do CTAs Fit into Your Marketing Campaigns?

Your landing page or marketing campaign is most effective when it’s built around a single conversion goal. That conversion goal is represented on the page as a call to action. This might take the form of a single button (click-through page) or a form (lead generation).

There are several different types of CTAs you might leverage at different points of your marketing funnel. Everything from your campaign goal to your audience awareness should influence how you write calls to action for your sales pages, landing pages, and lead generation forms.

These are the most common types of calls to action marketers need to master.

Lead Generation: A lead generation call to action helps identify viable leads. Whether the prompt is to download a piece of gated content, register for an upcoming event or webinar, or request a quote from the sales team, lead generation CTAs nudge leads to raise their hand and share details that help qualify them.

Click-through CTAs: In many cases, lead nurturing campaigns feature call to action buttons designed specifically to get viewers to click. This could be part of an email campaign, a social media ad, or a landing page, but the aim is always to boost product awareness (“Get a sneak peek at our upcoming release”) and aid discovery (“Click to learn more about this awesome gadget!”).

Sales and Signups: In the right place at the right time, calls to action can fuel sales and convert leads into customers. That means targeting leads who are ready to “buy now”—like those who click through to your sales landing page—and using action-oriented language. This applies to account creation (perhaps for a trial, paid account, or freemium version of the service) and ecommerce checkout pages. (Want to learn more about how ecommerce brands are using landing pages to drive sales? Check out 27 Ecommerce Landing Page Examples to Maximize Sales in 2020.)

Click-to-Call Buttons: Rather than filling out a form or collecting data about leads, a click-to-call button gives prospects a direct line to reach your team. Not only is this convenient, but click-to-call CTAs can be combined with A/B testing and call tracking to boost lead generation. (For an example of just how well this can work, check out how clever call tracking helped this agency get 219% more leads.)

Social Engagement: Brands that successfully promote their products and services on social media use calls to action to drive engagement. By asking viewers to follow, share, like, comment, or smash that subscribe button, you can broaden your reach, increase your following, and build relationships with potential customers.

Next, we’ll explore the most popular use cases using real-world call to action examples from Unbounce customers.

Real-World Call to Action Examples: How Unbounce Customers Use CTAs to Drive Conversions

Here’s how Unbounce customers use CTAs to drive customer actions across a range of industries and use cases. Use these to inspire your next CTA, or A/B test ‘em against one that’s not doing so well.

CloudSpot | “Get Your App” (App Download)

In this example, CloudSpot uses a lead magnet to attract potential customers, build an email list, and drive app downloads. The entire page is perfectly catered to their target audience (wedding and portrait photographers), which immediately tells leads that they’ve landed in the right place.

Image courtesy of CloudSpot.

Even the call to action itself is written with the audience in mind. By encouraging readers to “Get YOUR App” instead of “Get OUR app,” CloudSpot cleverly places further emphasis on the reader and draws them into the page. Plus, by promising to help photographers “replace awkward, unnatural moments” with more flattering poses, the benefits are clearly stated in terms related to the audience’s pain points.

The Listings Lab | “Fill Your Calendar with Appointments” (Gated Content)

Here’s an example that reminds us CTAs don’t exist in a vacuum. Even the smartest CTA button copy doesn’t work magic without an assist from a strong headline, supporting copy, and visual cues. Not only is the button itself designed to stand out, but there’s literally an arrow directing readers from the small print to the CTA.

Image courtesy of the Listings Lab.

By promising to show real estate agents how to “fill [their] calendar with appointments” without “working more hours,” the Listings Lab creates some serious incentive for agents to “get [their] free download.” Plus, the headline serves as a clever way to qualify leads by speaking directly to agents who are “stuck at 6-figures.”

There are tons of ways to match gated content with a simple call to action to generate leads. For more real-world examples like this one, take a look at 8 High-Converting Lead Generation Landing Page Examples.

Waldo Contacts: “Get Ready to See Happiness” (Free Trial)

Image courtesy of Waldo.

The secret to good copywriting is balancing cleverness with clarity. It’s not always an easy balance, but a tagline like “Get ready to see happiness” is both cute and concise, making it perfect for this contact lens subscription service—especially when paired with a straightforward benefits statement and a direct CTA.

This call to action example by Waldo effectively drives website visitors to start a free trial because even though the tagline leans towards clever, the call to action button itself is 100% clear about the reader’s next step (“Start your free trial”).

Sourcebooks: “Enter to WIN a Signed Copy!” (Contest Entry)

Image courtesy of Sourcebooks.

Sourcebooks used this landing page to attract leads interested in winning a signed copy of The Similars by Rebecca Hanover. The contest served two valuable purposes: to get people excited for the book (and boost future sales from those who don’t win a free copy) and to build a targeted list of potential leads (by collecting contact info from those who are most interested in this particular genre and author).

An important caveat here is that we typically don’t recommend CTA buttons that simply say “submit.” Although the heading encourages readers to fill out the form (“Enter to WIN a signed copy!”), it’d be worth testing out more actionable copy on the button itself (like “Sign me up!” or “I want to win!”) to see how it impacts conversions.

The round button in the top left corner presents a second, competing call to action (“Click here for an excerpt”). Interestingly enough, this strategy also goes against conventional advice, which would be to focus on one call to action per page to prevent diluting your conversions. However, it works well in this use case because the main CTA is not related to a purchase and because the secondary CTA is an option to preview an excerpt from the book—which actually adds value to the main action of entering the contest, rather than competing.

Athabasca University: “Let’s Get You Started” (Program Registration)

Image courtesy of Athabasca University.

Athabasca University uses landing pages like the one above to drive enrollment for online courses. In this case, they use a soft CTA above the form to get visitors to fill it out and a simple “submit” button at the bottom.

The heading “Let’s get you started…” is less of an order to do something and more of a supportive pat on the back. This tells prospective students, right from the get-go, the school is ready to provide support and help them achieve their goals.

The biggest lesson here is that writing for your audience and speaking to their needs is more important than blindly following any hard and fast rules for call to action writing. If you’re looking to improve your conversion rate for signups or account creation, check out some more of our tips for creating signup pages that convert.

Indochino: “The Tailor Is In” (Appointment Booking)

Image courtesy of Indochino.

By letting visuals of their suits do much of the selling, Indochino shows potential customers what they can aspire to, rather than telling them why they should book an appointment. In this context, their approach makes sense. Afterall, Indochino doesn’t sell one-size-fits-all clothing—but they do aim to make all of their customers look their best.

The call to action itself (a basic, “Book an appointment”) comes across as more of a low-pressure invitation than a marketing move. However, they also sweeten the incentive and create a minor sense of urgency by mentioning that booking your appointment by a certain date will enter you into a draw for a “perfectly tailored wardrobe.”

Awayco: “Free the Funk” (Equipment Rental)

Image courtesy of Awayco.

The use case for this example is a bit different, so the approach is a bit different, too. Awayco is an equipment rental company for surfers and other outdoor enthusiasts. The call to action changes a bit throughout the page, ranging from “Free the funk” to “Book the board” to “I’d like to ride that.” It’s this last one, in particular, that’s interesting because rather than simply asking visitors to do something, Awayco is putting words directly into their mouths—and potentially putting ideas into their heads.

On one hand, trying out different calls to action is kind of like A/B testing within a single landing page. (If you have a heatmap set up on the page, you can see which one visitors click more often.) But more importantly, the variety of CTAs give Awayco more opportunities to play with language and show their audience that they’re on the same, ahem, wavelength.

Shoelace: “Download the Deck” (Free Download)

Image courtesy of Shoelace.

As a Good Witch once said, if you want a wish to come true you must repeat it three times (I’m paraphrasing here). By repeating the exact same call to action three times throughout this landing page (“Download the Deck”), Shoelace keeps the desired action top of mind and reinforces the visitor’s next step at the end of each benefits section.

We also love this example simply because the landing page and call to action design both embody the pop-art animated aesthetic of the brand perfectly—and you can bet the deck matches it as well.

ClaimCompass: “Claim your compensation” (Clickthrough)

Image courtesy of ClaimCompass.

Much like the example above, ClaimCompass drives home the audience’s goal by repeating the call to action three times. However, in this case, the wording is switched up in each instance in an attempt to match the reader’s intent.

They start off with the most forward phrasing at the top of the page (“Claim your compensation”) and tailor the next call to action to readers who are scrolling further for more information—perhaps because they’re unsure if they qualify (“Check if your flight is eligible”). At the very bottom of the page, ClaimCompass ends with the most urgent version of the call to action (“Check your flight now”) to re-engage leads who have scrolled to the bottom.

Bonus Tips to Keep in Mind (+4 More Call-to-Action Examples)

If you’re still searching for inspiration, there are plenty of awesome call to action examples out there in the wild. Here are a few lessons you can borrow from big-name brands.

Match the Messaging to Your Product

At first glance, there’s not a lot going on here–and that’s a big part of what makes this call to action example worth showcasing. The three-word headline and straightforward messaging explain exactly what the product does in the simplest way possible. Not only is this plain old good copy, but the simplicity is also a nod to just how easy it is to “get started.”

This page appeals to those who don’t want to make their own investing choices or actively manage their funds. The clean, simple design and basic language mirror the hands-off user experience offered by this platform. The minimalist messaging aligns with their easy onboarding and low-touch product experience.

The biggest lesson from this example? Keep your page design and call to action minimalist for low-touch products. Or, to apply this more generally, match the messaging to your product and audience pain points.

Use Two-Step User Flows to Gauge (and Grow) Commitment

This is a great example of how different CTAs can be used at specific points in the customer journey to build momentum and investment.

When leads first visit the page above, they’re invited to start a 15-day free trial. Rather than taking those who click “Try us free” straight to the sign-up page, leads are redirected to a landing page designed to learn more about them.

Everything about this user flow is designed to increase adoption and retention. By inviting prospects to customize their practice (with a casual, non-committal “Sounds good,” no less), Glo is taking advantage of leads’ interest and drawing them deeper into the app experience before they’ve even taken their first class.

Of course, those who click “No thanks” are simply redirected to complete registration. But if you do decide to “design your unique practice,” you’re telling Glo about your skill level and class preferences—which not only gets you more invested in using the app, but also allows them to provide custom recommendations and keep you engaged with relevant messaging.

Nip Objections in the Bud

We’re highlighting this page because it’s such a simple, smart example of catering directly to your ideal audience. In this case, the target customer is budget-conscious, which is why they’re interested in the product in the first place. They’re looking for savings and likely wary of hidden fees or extra expenses. That’s why the button doesn’t just say “Add to Chrome.”

By clarifying that Honey is free to download, the call to action provides extra context and pre-emptively addresses the most relevant customer objection: the cost (especially for a coupon-finding extension).

Play Up Customer FOMO

How often do people “reserve” shoes before they’re available? Most of us probably don’t—at least, not outside of a compelling Kickstarter campaign. Yet, that’s exactly what Vessi is encouraging website visitors to do in this unconventional CTA example.

Vessi taps into consumers’ “fear of missing out” (FOMO) by urging them to pre-order (or “reserve”) a yet-to-be-released sneaker style. This not only builds excitement and creates a sense of exclusivity around the product, but also motivates shoppers to commit to a future purchase.

In this case, the CTA appears on the homepage to draw attention and send more traffic to a specific store page. You can achieve the same effect by using popups and sticky bars to add clickable CTAs to your website or landing page. Best of all, popups and sticky bars makes it easy to experiment with different CTA language, placement, and design to see what clicks—without making changes to the rest of your copy.

Do More with Landing Pages that Inspire Action

A compelling call to action is a key part of effective marketing. In fact, you might say it’s the key. After all, there’s no action—or conversion—without a call to act. It’s your opportunity to ask readers to take a specific action and frame it in a way that speaks to your audience’s needs.

Now that you know what it takes to create an irresistible call to action, it’s time to take some action of your own! Ready to build a landing page that converts? Start applying what you’ve learned today with one of our 100+ designer landing page templates.

from Marketing https://unbounce.com/conversion-rate-optimization/call-to-action-examples/ via http://www.rssmix.com/

#SEO

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thelocdbella · 4 years

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How I Improved My Business

One day, while scrolling through social media, I came across West Street and immediately felt compelled to inquire about a work-study program. This video above was captured in 2015 during a photography session by Jimi Sweet, the studio’s owner/manager. I remember I was still trying to figure out the whole photography thing while working as a Reservationist in Midtown. I had no “formal” training, no professional gear and all I had were willing friends who wanted to be my models. Little did I know, that opportunity would then lead me down the road to where I am now with a thriving business and working alongside my epic Ma-tographer, Amy Anaiz.

***

Unfortunately, my dad passed that year and I became a recluse. I gave up my work-study, photography and not long after, met Amy, who I now consider my own personal mentor and sister (despite me calling her “Ma”). Haha! Over the last three years, I’ve managed to take my business off overwhelm and into autopilot because of the lessons and skills I’ve learned while working during my time at West Street and creating with Amy. If there’s one thing I’ve learned while having a mentor is that it’s okay to share your resources and anything you believe can help someone else without overextending to exhaustion. So here I am, ready to share with you the processes and applications I use on a daily to keep my business up and running and still have the time to do other important things.

Resources

I know you’re here for one thing, so I’m not going to keep you long. Below, you’ll find the applications I use. Let’s keep it real though! Although there are some good deals in signing up with these links, there are some that are affiliate links. What does that mean? It means I will be compensated if you make a purchase after clicking on my links. I just needed to be transparent with you so you can make the best decision for you and your business.

TAVE:

I’ve been using Tave since January 2020 at the suggestion by a friend. Note, they are not a wedding photographer, but rather a wedding planner. What is Tave? It is an application that helps in keeping me organized in so many ways. It allows me to have everything in one place. I’m talking about contracts, emails, invoices, payment processing, workflow lists, calendars, questionnaires, and quotes. And guess how much I am paying per month? A whopping $25 per month for all of that. I remember when I first started, I had an app for everything. I had an app for taking payments, one for workflows, one for calendars, my email app, and an app for invoices. Then I’d head over to Microsoft Word to draft up contracts and questionnaires. Not only is Tave saving me money, it’s saving me time; literally and figuratively. By the click of a button, I’ve created a workflow for one client and all I have to do is press send. No extra drafting of things, going back and forth between different apps. If you decide to try it, you can do so for 60 days by signing up HERE. I know! You’re welcome!

PIXIESET:

I remember finding Pixieset years ago and I am still using it. If you are a photographer, it is the coolest and most modern way of sharing photos with your clients. The presentation is gorgeous and not to mention, they have different templates you can choose from for delivery. Oh! Did you know that you can attach a printing lab to your galleries and if a client decides to order images, it goes directly to the lab? Yes! If they order prints, the lab will send it directly to them. You do nothing. Like I’ve been saying, I’m all about saving time because TIME is MONEY! Most recently, they’ve added Pixieset Website where you’re able to build your site without having to upload new images. You can do that with the images you already have in your collections. The site templates are CHIC, MODERN, SIMPLE, and easy to navigate. So not only are we saving time, we are doing it while looking poppin! OKURR!! Check out Pixieset and tell me what you think!

SQUARE:

I know, I know! You use PayPal and there’s nothing wrong with it. However, I am a big fan of Square for features such as the ability to create marketing campaigns specific for social media and/or newsletters. I’ve been able to create specialized coupon codes and a loyalty program for my trusted clients. If you’re a business with employees, you are able to use their payroll and timecard options within the app. Not to mention, their mobile app is extremely efficient. You’re able to send invoices, set appointments through online booking, and create gift cards for your holiday marketing strategies if you’re into that sort of thing. What I love most about Square is that I’ve been able to connect it to my Tave system to collect payments and these payments I can immediately transfer to my bank account or debit card for less than a 2% fee.

FLODESK:

Alright, so I’m gonna be a little honest with you. I’ve been neglecting my newsletter for roughly… 2 years. I know! That’s a long-ass time! It’s not what you think, I promise. See what had happened was, I had MailChimp right? And it was so tedious to manage that I just gave up on it. Then my internet BB, Chasing Denisse, mentioned Flodesk on her story once and I went to check that baby out! Look here, Bellas, Flodesk is the truth! Simple and easy to use. The templates are sexy AF! I was able to create and send out my first newsletter last month in under 30 mins. When you sign up HERE (I say when, because you will dump MailChimp LOL!), you’ll get 50% off your subscription.

CREATIVE MARKET:

Now, what’s the point of building a website, setting up payment processing and creating a whole workflow if your branding and look is non-existent. That’s why I love Creative Market. It’s an online space where you can purchase anything from presets or actions for your photos, social media templates, and website templates to help with the look of your business. I’ll go on and on, but there’s no need when you can look for yourself. You can buy me a latte when you’re done.

CREATIVE LIVE:

Now, over the winter break, I’ve been spending 1-2 days per week watching online courses I’ve purchased/been gifted and learning from webinars to help with improving my business. I was introduced to Creative Live by Jimi years ago and have been hooked ever since. I’ve learned about lighting, posing, photography skills I can improve on to make my portraits pop and even small marketing details to take my business from basic to bougie. With Creative Live, you can attend the class the day of, watch a replay or purchase to watch at your leisure. That’s not to say I don’t learn and get hands-on experience working with Amy, but when I’m not shooting with her or my own weddings/sessions, I need to make sure I’m keeping my skills sharp and improving as I go.

With that said, go out and be bad AF. Don’t play small. Take it one day at a time and continuously work on improving not just your business, but yourself. I hope these apps (if you decide to try) assist in enhancing your systems and allocate more time to spend time with friends and family.

What apps do you normally use to streamline your business daily?

xoxo,

Bella

PS: You can check out my revamped site and let me know what you think. It’s exciting to see!

#Business #Photo #Photography #Tave #Pixieset #SquareUp #Flodesk #Creative Market #Creative Live #DAG IMAGES

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thelifeofm · 4 years

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Contests Schmontests: a few thoughts

It’s that time of year again… AKA photo contest time. I wrote this post 5 years ago after judging POYi for the first time, and housed it on a blog I’ve long-since scrubbed clean. But figured it was worth reposting now since the same conversations are happening now about the winning images.

----- Judging POYi is such a unique experience that I wanted to share some thoughts and insights with you. From February 2-6, 2015, AP Photo Editor Jacqueline Larma, South African photojournalist (and last year’s 2nd place POY portfolio winner) James Oatway, WIRED Magazine Director of Photography Patrick Witty and I looked at about 10,770 unique images at the University of Missouri’s 72nd annual POYi competition.

We were judging the News Division — with categories ranging from Feature and Portrait to Human Conflict and Issue Reporting to Portfolio of the Year.

It was an incredible honor to look through the best pictures of the year to determine the VERY best. For me, the goal going into the week was not to not only recognize a very high level of work done this year, and give it a second life, but also to help establish the benchmark for the next year’s work. The magnitude of that task weighed heavily. And I guarantee you, it wasn't taken lightly.

One thing we kept returning to as a judging team was that, above all, this is a photojournalism competition. At its most basic level, the photography has to be there. The quality of the pictures is paramount.

We removed several really good pictures from the competition because of carelessness on the photographer’s part (or sometimes on the part of the entry coordinator — yes some publications actually still have people that enter contests for their staff — which amazes me). Small things like a dirty sensor, poor toning, low res images and crops that left lines or borders on the edges were difficult to get past. This contest is for Pictures of the Year. Before you enter, take a second to ensure there’s nothing detracting from your image.

On a higher plane, come the intangibles. What is this picture saying? Is it truthful? Does the photographer have a voice and a vision, are they moving photography forward with their image? It’s not enough to simply show up (f8 and be there), point, and shoot. When everyone with a camera phone fancies themselves a photographer, we have to set ourselves apart by approaching situations skillfully — photography is, after all, a craft.

Moments always weigh heaviest for me. But there are other elements like mood, composition, light, and what the photographer is trying to say, that we took into account as well. It’s not enough to show up, you have to bring something to the image as well.

That said, judging is a very subjective process. Put different judges on any year's contest jury, and the winners might be different. I think the phrase “best” isn’t necessarily a qualitative term, it’s a quantitative one. A majority of the judges have to agree that it's the best, not all...

We asked ourselves: which pictures resonate with us…. four people from totally different and diverse backgrounds. One thing that was obvious is that when you respect what the other judges bring to the table, it’s an incredibly fascinating process to go through. We talked about the pictures, a lot. You have to be able to articulate why something is good, not just that it is.

But perhaps the biggest thing I learned from this process is that good judging is about compromise and consensus. It’s not a perfect process, no contest is, but when done right... it’s incredibly fair. Ultimately, the other three judges and I had the utmost respect for the work we were looking at, and wanted the best of the best to be recognized.

I say that because I got text messages, emails and phone calls after judging was over asking why a certain story didn��t win, or a certain issue not rise up and be recognized. And the bottom line is this: it's hard to second-guess judging because it doesn't come down to one person's opinion... it comes down to a collective vote by just a handful of people that you've put your trust into.

I'll also say this: you can only judge the work that’s there against other work that’s there. I know that there was some powerful work done in 2014 that wasn’t entered. I know that we saw better pictures of certain events or moments on the wires or newspapers, but that work wasn’t entered. You can’t judge a best of anything contest against the ideal stuck in your head — that’s not fair. You have to weigh the strengths and weaknesses of what’s on the screen in front of you — the end. (On a side note: I hate contests that refuse to award a 1st place, and just give a 2nd and 3rd... It's a contest of, the year, you judge what's there. Because that's the best of what you've got. Period.)

Issue Reporting story was, in my mind, one of the strongest categories this year. And it was my favorite to judge. It shows how deeply people are digging in their own backyards to tell important stories.

Brad Vest’s look at the residents of a Memphis Housing project took us inside this place, put a face on the people there, had heart, and a beautiful aesthetic. The pacing and editing of it really felt like every picture pushed the narrative forward a little bit more, adding something to the story. Lisa Krantz’s story on obesity took us inside the life of San Antonio’s Hector Garcia. It had intimacy and depth. It told an important story about a powerful issue and did so with beauty and dignity for the subject. And notice how both of those photographers also had winning portfolios, because those issues, those in-depth stories, those important and incredible moments, carried them through.

The Staten Island Ferry Portrait Series that placed second resonated with me for the same reason: it’s such a good reminder that you don’t always have to go far or seek out the exotic to make interesting and compelling images.

Feature Picture Story was (again, in my mind, I’m not speaking for the other judges here) one of the weakest categories. It felt like a dumping ground for event coverage, for collections of images photographers were lumping together, for fluff that lacked both substance and style. Without purpose, 12 pretty photos from the State Fair do not a picture story make. Make those pretty images, but then ask yourself what you’re trying to say about this place, these people, this thing… AND FIND A WAY TO SAY IT. The feature stories that won, did so deservingly — especially the first place winner which is a quiet, yet almost lyrical way of telling a story. Different, yet emotive. Powerful, yet thoughtful. But the drop off was steep after the ones that placed.

Before we began judging the Newspaper Portfolio round, contest coordinator Rick Shaw reminded us that there’s no such thing as a perfect portfolio. And he’s right. Although some portfolios came close, ultimately, picking a winner came down to weighing the strengths and weaknesses of a body of work. For me, stories held more weight in the portfolio, because that’s really when you get to see a photographer’s strengths: how they work through a story, how they edit it, how their ideas translate into moments. And then how do the singles back this up?

It helps to look at things in a grid form, all together in a contact sheet, to see how things not only look, but feel, as a group. Are there any clunkers that are bringing it down? Is there a frame there that because of aesthetic or approach feels like it was shot by a different photographer? Are you putting a weak sports or spot news photo into your portfolio to fill a hole or is it really necessary and does it add to the work? It’s definitely given me a lot to think about when assembling my own portfolio for future contests.

The state of the newspaper industry is lousy right now. With layoffs and buyouts, losing experience and expertise hurts. I saw that come through in the editing time-and-time again. There were stories and portfolios that were too long, redundant, or full of too many pointless unnecessary photos. Those we eliminated. It sucks thinking, this is a great photographer… if only they had a good editor.

But the winners give me some hope for the industry. There’s no question that there’s still some amazing work out there by photographers who are findings ways to get it done. There are brave photographers willing to risk their lives to make images that show us the suffering, brutality and inhumanity of conflict. There are inspiring and innovative photographers who are finding new and different ways to make images. And there are concerned photographers digging deeper into their own communities to shed a light on the darkness.

Contests aren’t perfect. And entering them isn’t either. Just because a set of judges doesn’t pick an image doesn’t mean it’s bad. It just means it didn’t resonate with those judges in that place on that day.

And if you win something and have a photo that places, congratulations. It’s a feather in your cap, a pat on the back and hopefully some validation to take back to your bosses to remind them why we need the time and space to do what we do.

The opportunity to see how your own work stands up to the work that’s being chosen is a learning experience. And if your work’s not quite there this year, you know where the bar has been set. Hopefully it’s a motivator more than a deterrent. More than anything though, what I hope people get out of contests is the conversations they spark. The debates about photos are healthy, as long as they’re constructive.

And with all that said: the most important thing to remember is judging is incredibly subjective and it depends on a lot of factors coming together and aligning perfectly — one of the biggest being luck.

#POYi #Pictures of the Year #photo contests #POY

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adonisnin · 4 years

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a fleeting memoir.

I don’t know how to write a great book. All I know how to do is feel.

At my university, his eyes narrow as he skims through my writing. “You should cut down on the adjectives. And be more precise.” During the semester, I learn how to write quietly, obediently holding my hands between the walls of the keyboard. The writing was programmatic: a steady string of code to create tight, virus-free argumentation. I feel like I was choking during my lectures and would run afterward toward the campus gardens, gasping for air.

It’s always raining in the classics. Whether it’s the European drizzle of existentialist contemplation and ennui, the dreary Scandinavian sleet, or just the histrionic downpour of a popular romance, something about water falling from the sky touches the soul. I moved from California to England a few years ago. Upon meeting me, everyone would always joke about the weather. Even at its most aggravating, there’s still something slightly mad and magical about getting wet from the rain: from the child’s ecstasy to splashing in puddles to the bursts of unexpected showers. Film is awash with portraits of a dark-haired woman, her face and arms lifted, her eyes closed, rain streaming down her hands and cheeks: a worship of the skies and sea, bathed in baptismal rivers, rising toward truth like an ancient Niniane.

So let’s imagine it’s raining in this story: the tale of a brunette woman in her early twenties, sliding out of her damp coat as she settles into a library desk. The world outside is darkly wet but she is wrapped around the warm glow of a favorite book, smiling softly as she turns each page.

As she moves through time, she loses herself for a bit, as young minds tend to do; drifting away into a third-person binocular gaze of her own life. One day, as though reminded of a long-lost childhood friend, she glanced into the mirror and feels a dull ache of recognition.

Through a series of unfortunate events, she had become an academic. (She smirks to herself as she writes that.) Clever enough to critique the system, with a delicate list of degrees lifting her above the rest of society. The academy was a castle (a fortress), and she strolled its hallways, draped in elegance. The world lay like a lavish fur at her feet: it wasn’t until years later that she noticed the delicate golden chains wrapped around her wrists.

People will think that this is an intellectual book because its text winks at readers with graduate degrees and aspirations of Platonic cerebrality. Unfortunately, the protagonist is an ordinary human: a body of neurochemical imbalances and menstruation and psychologically complex sexual urges. I am writing a story about a woman.

Rilke writes about solitude: about the world created within the self, the infinite loneliness and the sweet-sounding lamentations of its suffering. “There I shall live all winter and rejoice in the great quiet.” Like most people living in the recurring buzz of a city, she was lonely. She often found her peace within the walls of her apartment: a silent altar to herself, as if she were living wrapped up in the pages of her diary. She hung her friends’ art up on the walls, framed photographs of her family, and filled her bed with soft, silky fabrics. She would light incense and candles, and fill the air with soft beats of music: purifying the space, making this ground holy.

She was a graduate student, which meant everybody outside of academia thought she was brilliant and everyone inside of academia thought she was rather interesting and worthwhile. She grew up spoonfed the myth of the metals, told the tales again and again of her own precocious cleverness, of her mystical intelligence. She read far above her grade level and overextended her vocabulary. When she was young, she called herself a bookworm, and when she was older, she called herself a sapiosexual. At twelve years old, she dressed up as Athena and silently worshipped the goddess of wisdom (—she would ignore the war and weaving part).

She was also enraptured by Boudicca. She grew up on McCaughrean’s Brittania and D'Aulaires' Book Of Greek Myths. She was fascinated by the portrait of powerful women, radiant in their own strength. She loved mermaids, selkies, sirens: those dark and dangerous women of the seas. Boudicca rode in the streets of her city, naked except for her long hair, which wrapped itself around her body: history painted an eroticized form of the woman, straddling a horse, pale skin and trembling lips; tresses enticingly, teasingly feigning at modesty. Boudicca’s performance to make some statement, some protest against patriarchy or injustice, but it was clear to her, even as a girl, that this story was not a political one. The sculpture of Justice may be a blinded woman in robes, but there is nothing more appalling than a hysterical female voice screeching for equality.

I don’t remember when I first discovered feminism: I only remember hating women as a child. I found a notebook once, filled with a child’s scrawl, where I exclaimed that I was so glad to be clever—not silly and pretty like most girls. As I grew into adolescence, I occasionally cast longing glances at the other girls: with their golden curls and million-dollar smiles, exquisite little dolls of coiffed femininity and rich daddies. I went to a whiskey bar recently that embodied a kind of polished masculinity: mustached waiters in tweed vests over cuffed white shirts and sculpted forearms, busts of hunted deer and other achievements of man, wooden bookshelves filled with elegantly muted book collections. It was another kind of holy place: where one kneels before the marble mantelpiece in obeisance to the power-hungry colonizer.

My sexuality began to emerge in the office of a professor: his mahogany desk looming around me, legs spread nonchalantly in an easy authority. My heartbeat quickened, knees crossed primly in a skirt, as I blushed and asked questions about the course. Lower your voyeuristic eyes: these encounters never went beyond a comment or an accidental touch. My years as an undergraduate were spent daydreaming over my notes, talking about the world over coffee, and thinking about sex in the library. I liked that momentary hesitation of surprise as I casually mentioned something sexual from my studies: a metaphysical puzzle about pornography, the liberatory rise of polyamory to dethrone an antiquity of monogamy, the darkly wrung layers of power within sadomasochism. Perhaps it was there that I found feminism: from a language of embodying oppression flowered forth the idea that surrender could be empowering. The thought was a pearly light: the gift of femininity, of submission and release—and the deep, silent power within.

I found my sexual power like the rest of my generation: by exerting a measure of control over the other. It was a prize to hold enticingly before them; deliciously unattainable. To have something that someone else wants: that is the only measure of worth in a capitalist landscape. The mouth of the cave was enticing: that insidious allure of Pandora’s box. Suddenly, it was no longer enough to be intelligent: one must be desirable as well. Like a trophy held above the heads of others: they needed to see the prize and want it for it to be special. She saw herself as a tightrope dancer: balancing the power of the mind with the desires of the flesh. It was an elaborate performance, a practiced soliloquy for a darkened theatre: one hopes dearly for an audience.

I spent a year as a professor. I recall a single frozen scene: it is raining outside of the coffee shop and I am listening to achingly melancholy French music (Les mémoires blessées, Crier tout bas). I prepared my mind and body for each lecture as though I were entering a gladiatorial ring: I neatly typed and stapled my handouts, and slid into a modest knee-length dress that subtly held close to my waist and dipped along my collarbones. My clothes felt like a costume for a 1960s-style secretary or stewardess: cleanly washed with a mildly sweet perfume, hair twisted into a tidy chignon, legs folded at a desk with my books stacked in alphabetical order. I answered emails in a timely manner, graded with a kind but firm hand, and smiled with the vacantly polite gaze of customer service. I checked my evaluations diligently and tried to be likable and friendly, welcoming my students into the warm hearth of philosophy and letting them wander through my home. They would step in for a moment, tracing their fingers along the spines of the books, glancing over at me as if I were an aspect of the furniture as much as the shelves. I felt like a salesman, smiling indulgently and explaining to the unimpressed consumer why they should consider getting into academia. I model prettily, showing them the life that they could have: the picture of success in this tier of society. I still see other professors twisting into this routine: the assumed air of authority, the dignified crown of the philosopher-king. Like prophets of an ancient religion, they share their advice with all and teach the one true path toward enlightenment: the rigor and the rituals of knowledge. Like any good advertisement, they draw others in with a manufactured sense of humanity: the self-deprecating humor, the melodramatic tearing of cloth and hair at self-imposed deadlines, the pale, bony thinness of perfectionism, wasting away before an audience of other performers.

In academia, we hide our faces under a paper-mache mask of stiffly inked degree papers and watery excuses of endless busyness. A Kafkaesque artist of twisted, exhibitionistic self-torment, a Pharisee loudly lamenting a self-inflicted agony: the scholar fights to surpass another in self-flagellation, a mortification of the unbearably corporal flesh. “Only pain is intellectual.” We tout depression as an honorable badge of intellectual superiority—the masses are dead-eyed and drunk on a cocktail of prescription drugs and pre-packaged ideology. But those gifted, cerebral children can see through the painted backdrop and television lights: they witness reality as it is.

At its best, intellectualism is unhappy—at its worst, it is cruel. The 17th-century dramatist Jean Francine wrote that life is a comedy to those who think and a tragedy to those who feel. Some scholars do care, and care deeply: for them, a pedagogical journey is like excavating a lost city, brushing dirt away from crumbling walls, filled with warnings written in an ancient, dying tongue. Unearthing the skeletons of a forgotten history, a memory that humanity longs to forget.

“It would be much better if, on the earth as little as on the moon, the sun were able to call forth the phenomena of life; and if, here as there, the surface were still in a crystalline state... In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.” (A. Schopenhauer, Lehre vom Leiden der Welt)

With the inevitable tumble into nihilism and absurdity, the rarity of the compassionate philosopher sinks deeply into the quicksands of despair. But what of the hermit, the ascetic, who casts aside the ropes of human connection? From the side of the hilltop, he looks down upon the ravaged city and laughs; like a dying man in a desert, watching his horse die before the mirage of a lush oasis. Perhaps I felt this way when I was younger: laughing at my freedom before the pilloried women, imprisoned in the bodysuits of gender. Perhaps I saw myself as androgynous: a sexless fae child with inexplicable knowledge of wordly things and a playful schadenfreude.

As a child, I saw the pillars of women and their wisdom as arching tombstones in the chilling mist of my future, the inevitable decline into the pains of labor, that aching creation of an object to be snatched away from my grasp: the anonymity of motherhood. I longed to be a maker of worlds: to hold my hands in the raging welding fire and twist metal into mechanism. When asked why I chose to study philosophy over literature and history, I tell people that I never wanted to be relegated to Whitehead’s ‘series of footnotes’ on a great thinker. The idea of dedicating my life, fawning at the frozen feet of bygone wisdom, entangling myself in the discourse of another and attempting to organize their thoughts, struck me as debasing.

I imagine these scholars as custodians, moving slowly along the great halls of the history of the mind: dusting off the tired exhibits, examining a relic of ancient wisdom, and guiding others to a particularly showy gallery of pop intellectualism. I longed to be one of the innovative elite: developing my own ideas and launching them out into the world like sleek silver rockets.

Still, unbidden thoughts lift to a rising echo, like bloated corpses floating to the surface of a lake:

i. This too shall pass.

ii. The truth will always emerge.

iii. Failure in life is inevitable.

Why have we created lives that lack a solidity of meaning? The Aristotelian virtue of striving has been perverted into a constant desire for something out of reach. We exist in the hellish stance of Tantalus: the king of Sipylus who consumed his young in an unquenching burn for power. He was condemned to the agony of desire: emaciated, shaking fingers brushing against the soft, bruised flesh of a fruit he would never taste. I never understood why the Garden of Eden was a utopian paradise—Eve and Pandora have been damned by the priests of time for embodying that trait that is valorized in men: curiosity. The great men—the scientists, the philosophers, and the poets—have loudly proclaimed the glory of the inquisitive gaze, of those first pioneers who pressed into the darkness of the great unknown. Yet it is a sin for woman: feminine curiosity is prying, gossiping, the idle chatter of busybodies. The curious woman is one who should have known better, who ought to have kept her mouth shut: her questions are barren and vain. The moral of these ancient stories is simple: obey the commands of men and remain shrouded in ignorance. When offered knowledge or understanding, the good woman will look away and choose the path of purity. (“The innocent eye is blind, as the virgin mind is empty.”)

I recently bought my mother a print transcribed with the cheerfully defiant line, “Well-behaved women rarely make history.” The sentiment is true, in the bland, platitudinal way of many inspirational quotes, but what is the fate of the women that do make history? Too often, their mangled corpses are left hanging on the city walls: a grim reminder to all of the merciless suppression of insurgent forces.

Curious women are not considered clever: they are considered dangerous. Eve damned humanity to physical pain and scarcity; Pandora released a whirlwind of sickness and death; even Joan of Arc was burned with so many others at the stake. The women who refused to be ‘well-behaved’ are condemned to inhabit our nightmares as graffitied caricatures of the Furies: shrieking women wreaking havoc and suffering across the orderly landscape of civilization.

Again and again, we watch these women bowing their heads to accept their punishment: Boudicca, Artemisia, and Cleopatra each died by their own hand. Western history relishes the tragic figure of Lucretia: a woman who was raped before committing suicide to preserve the honor of her father. Marble sculpture immortalizes the brutal rapes of Prosperina, of Europa, and the Sabine women. Even the Old Testament tells the story of a Levite throwing his concubine to a mob maddened with bloodlust in an effort to protect himself. She is brutally raped and murdered and, like Lucretia, she is marked as culpable for her rape: the Levite later dismembers her corpse by slicing her body into twelve pieces.

If only I had known before that the trinkets of intelligence and sexuality are finery on men, yet mark women out as scapegoats. A woman told me yesterday of a line that resonated deeply with her: “Give no-one cause to fear you.” To me, it sounded like a warning. Intelligent women are intimidating—I am told this time and time again. Men are afraid of women who out-earn them, both in pay and degrees. They are terrified of being laughed at by women—and this fear quickly boils into a destructive rage. The woman who smiles at the wrong time is beaten, raped, and murdered; the confident, curious woman is seen to invite her own destruction.

Academia is like wandering into a gilded museum and gagging upon the stark realization that the naked bodies of your mother and sister are hanging from the walls. Silently slipping into the room, you can feel the hands of men reaching for you next.

The kindest death that I face is to be ignored and silenced. My words have already been torn away from me or kicked into the shadows, and I have already been punished for my ideas. Men only respect other men. The esteemed title of ‘philosopher’ is unattainable unless I contort myself into masculinity. Either I must destroy the woman or they will do so.

Catherine Malabou writes on the contradiction of a ‘woman philosopher’: “Philosophy is woman’s tomb. It grants her no place, no space whatsoever, and gives her nothing to conquer... The possibility of philosophy is thus largely premised on the impossibility of woman.”

Female philosophers are exiled to the land of poetry, where their writing is derided further. I like to say that my favorite philosophers are Virginia Woolf and Sylvia Plath: a comment that raises the eyebrows of male academics. These writers are mostly known for their highly publicized breakdowns and suicides: while madness is romanticized in male artists, it is scorned in women.

The two cruellest labels against women are hysteria and gossip. The powerful wisdom of the emotions, the deep interpersonal insight of psychology have become degraded feminine ways of thinking. The kingdom of the heart, the knowledge of the self and of others, is ravaged by the pillaging armies of the mind. The ideal individual becomes a solitary agent, swathed in a protective layer of rights: he relies on nobody and protects only himself. A father is permitted to walk away at any time, while a mother never gives enough for her children. The nuanced intricacy of the web of care and dependency is wiped away in the blank face of laws and duties: men see themselves as tabula rasa, pretending to be immune to the deep memory of the womb from which they emerged. Plato wrote that the traumatic event of being born caused men to lose touch of their innate knowledge, while Socrates called himself a ‘midwife’—both espousing an ideology that men must be pulled away from the treacherous touch of woman in order to flourish into excellence. It is a mantra repeated again and again within the Western tradition: the mother is the passive soil of the earth, little more than a breathing incubator, while the father actively sows his seed and causes new life to spring forth.

The medieval philosopher Boethius is known for proposing a theory of time, stretched out across eternity, where God stands as Being in a place apart from spatiotemporality, gazing down upon existence. He writes often of a single woman: Lady Philosophy. Even within the Romantic languages, where declension casts a shadow of gender across the syntax, the word ‘philosophy’ is feminine. So too can we return to Iustitia, the female figure of justice. In the masculine world of law and philosophy, why are the disciplines imagined as encapsulated by the female body? And why is this female body possessed only by the men who study her?

The male gaze is not merely a visual technique of producing images of women that cater to an audience of heterosexual men. In feminist theory, the ‘male gaze’ is often imagined to be a lavascious position: the businessman watching the stripper sliding around the pole, the voyeuristic neighbor peeking through a young girl’s window as she dresses, the horny teenager scrolling through a disjointed compliation of fragmented genitalia and artificial moaning.

But the ‘male gaze’ is the dominating gaze: there is power in the ways that we see. It is written as far back as the Genesis Rabbah: in the land of the blind, the one-eyed man is king. To see is to rule over all, and the cruelest power is forcing another’s eyes open to gaze upon the unspeakable. MacKinnon writes that women live in sexual objectification the way fish live in water: not only does it surround us constantly, but it constitutes the only environment we have ever known. We see ourselves and other women through the blurred filter of this hierarchy—gender is not a dichotomy of body parts but rather a manufactured reality: nothing remains untouched by it. When men see philosophy and law as woman, they see themselves as her conqueror: explorers stepping foot on yielding, fertile ground, eager to ravage her body in imposing their structures of violence and cruelty. Within the institution of sovereign state, her life is nasty, brutish, and short.

Do you remember the woman from the beginning of this story? Night has fallen and the library has grown cold around her. The austere portraits of men clad in greatness loom over her, reminding her that she will never join their ranks. The female body of classical art is nude, her limbs arranged invitingly. She smiles softly and asks no questions: she allows the viewer to take what he likes from her with a self-effacing brush of coy reserve. The woman has spent many hours studying the art of the Greco-Roman world, and she has never recognized herself in any of the half-lidded eyes of these soft, eroticized women.

She once stood at a museum in front of a sculpture of Venus. The marble woman was crouching to the ground, as if kneeling before her viewer. Her arm curls across her upper body, obscuring the breast from direct view—her thighs are pressed together, and her hair falls in elegant waves across her face. Art historians have called her posture ‘playfully erotic’: a titillating peek-a-boo of sexuality behind a veil of feigned modesty.

She imagined the marble woman standing up: pushing back her shoulders and jutting her chin upwards. She imagined looking at the marble woman directly in the eye. The sculpture is naked, but she is unashamed of her nakedness: like the endless depictions of the Athenian youth, her body is seen as a perfection of nature—strong and elegant architecture to house a dignified mind.

This standing sculpture does not resemble the warrior women of the Amazon: fierce mythical women who sliced off their breasts in order to kill more effectively, rejecting their femininity to transform into virago. Our culture fantasizes about the Amazonian woman as female Ares: Diana, ferocious princess of the Amazons, is often depicted in armor and headgear. Even Athena is rarely depicted without her helmet and spear.

But standing before us is not a warrior: she is simply a woman, and her body is simply a body. We can trace the muscles along her thighs, the soft rise and fall of her belly, the bones along her neck and shoulders. Her expression is unreadable: she gazes back to meet your eye, watching your movements. Standing before her, you seem to forget which one of you is the art and which is the audience. Perhaps you hold your breath, wondering if she will reach out to touch you.

But the woman simply turns and walks away from you. Her marble feet make no sound as they climb down the pedestal and across the hallway. She was not created for you to look at her: she was created to exist, to experience the world through herself.

One day, I find myself resting in a secret garden: there are stone walls surrounding me and in this hidden place, I have discovered the meaning of life. A grey cat is sleeping next to me and blue butterflies swim through the air, but there is no-one else here. I breathe deeply and on the exhale, my knowledge of time disappears: I float within the essence of reality and it is beautiful in its vast eternity. Like gazing upon the sea or the sky, I look at the world that I have created. With a smile that nobody will see, I press my lips against the small cat beside me and stand to leave. I retrace my steps by memory: across the hot desert sands and snowy mountaintops and finally to a familiar dirt path. I walk until I arrive at my childhood home. Tears spill over as I hold my mother, my sister: even my dog is there, her tail wagging in recognition. In Ithaca, I have found everything I was searching for. The rest of the marble melts away, and my story is just beginning.

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garp19-sophialea-blog · 5 years

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Proposal - First draft

For my dissertation I wanted to look into one of my favourite artists Frida Kahlo. I find her paintings beautiful to look at with a lot of depth and emotion behind them. When you look through her collection of work, you can see her life story being told, and your able to walk through the events and moments she experienced. Not only is she an incredible artist who painted portraits and images inspired by her personal life, but she was also someone who suffered greatly yet continued to carry on an fight for what she believed in. From the age of 6 she was diagnosed with polio, resulting in one of her legs being noticeably smaller than the other. If this was not enough of an impact on her life, she later was involved in a tragic bus accident, which changed her life forever. After breaking many bones throughout her body, and having a metal pole impale her in the abdomen, she was left bed bound for nine months and would find herself to be in and out of hospitals for the rest of her life. When deciding on a subject with in the umbrella of Frida Kahlos life, I had the option to look into her life story and talk about the influences shes had on people, or to talk about the unusual relationship she had with her husband Diego Rivera, however I wanted to do something different as I feel this has been done many times before. Instead I wanted to look at the reasons why Frida Kahlo is so famous today, and recognised by people not even interested in art. When people see her face, they generally recognise her as Frida Kahlo, something other artists such as Pablo Picasso or Georgia O’Keeffe do not have the privilege of. However whilst undergoing research on these facts, I noticed that even though people recognised and could name the woman with the monobrow, they didn’t necessarily know who she was and why she was famous. You will find Kahlos image on anything from t shirts and bags, to bars of soap and shot glasses. She had the reputation of being a feminist icon that people should look up to, yet they know nothing of her or her life story. Since discovering this I would like to investigate why Frida Kahlo has become famous for reasons other than the artwork she produced, and whether she is known for the strong woman she was or just a face to make money out of. I think this would be an interest to others as it may unveil issues we have in society that aren’t being addressed, due to the ignorance of consumers. By reading my final essay you will learn more about Frida Kahlo as person rather than her simply being a monobrow on a t shirt sold in Primark.

I have began my research by reading Haydn Herrera’s 500 page biography on Frida Kahlos life. The book follows very detailed events that occur from her childhood, all the way through to her death at the age of 47. It contains many photographs and paintings done by the artist, as well as diery entries and letters she wrote through her lifetime. By reading this book, I hope to gain a greater knowledge of what her life was like, giving me more confidence to talk about her in my final essay knowing I have all the facts. Any key quotes or interesting events I find within the book, I log down on my Tumblr account, so that I have easy access back to them when writing out my final essay. As well as reading the book, I have watched the film ‘Frida’ staring Salma Hayek that is in fact based off Herrera’s book. By watching the film as well as reading the book, I hope to gain a new insight into what her life was like, having actual visuals of Mexico back in the 1900’s. By watching the character of Frida acted out by Salma Hayek, you can create a greater understanding for the pain and emotion she dealt with in her life, whether it was through the pain of the bus accident, or the pain of her husband constantly cheating on her with other woman.

When browsing through the internet, I came across a page called ‘Frida Kahlo is not your symbol’. I found this an intreging title, as it wasn’t simply a ‘fan page’ that I had so often come across when researching the artist. On the site I found a list of issues and arguments that have been raised due to people putting Fridas face on anytings and everything in a feat to make money. It talks about how this would not only go against everything Frida Kahlo stood for, but it often wasn’t even portraying her correct appearance. An example of this would be when social media platform snapchat, created a filter for the Mexican artist back in 2017. However when looking at the filter and the changes it made to a persons appearance, it was noticed that it would in fact create a paler complexion to that of the Mexican artist. People investigated further by placing the filter over the original Frida Kahlo self portraits, and the results confirmed that it did in fact lighten the skin tone of the original image. Discovering this sparked outrage to the public and those with different skin tones. But this was not the last time this would occur. A year later in march 2018, the popular doll company ‘Barbie’ released a Frida Kahlo doll as part of their inspiring women series. When reading an article written by ‘The Independent’ aside from the copywrite issues raised by the family, the doll itself has very few properties that made Frida Kahlo the woman she was. The doll once again has a very pale complexion, as well as being extremely skinny, something barbie has been pulled up on many times before. However the doll does not have a monobrow, one of Frida’s most noticeable features, nor does it show any evidence of the fact that she was disabled due to the bus accident, or the fact that she eventually lost one of her legs to gangrene later on in life. Leaving these features out and making it seem that she was a completely abled white woman, takes away all the things that made Frida Kahlo the woman she was. An ironic quote I found on the ‘Frida Kahlo is not your symbol’ website, was that she claimed she hated white people, the USA and capitalism, saying ‘ I don’t like the gringos at all. They’re very boring and they’ve all got faces like unbaked rolls’. Having been a woman that had these views, you would think she would be condemned, but rather she was embraced by white feminists, only reimagined as a ghostly version of herself, free of any radicality and hardship.

This ignorance to who Frida Kahlo was taken even further when British Prime Minister, Teresa May, wore a chunky Frida Kahlo bracelet during one of her speeches. Whilst May is a representative of the conservative party, it seems ridiculous that she would wear a bracelet representing a woman who was a fervent communist and actually had an affaire with Leon Trotsky, a soviet politician. People may argue that May simply wore the bracelet for aesthetic reasons, but that just proves how ignorant people have people on the views Kahlo had and fought for.

During a recent trip to London, I was able to document just how popular Frida Kahlo merchandise is. When travelling round gift shops, clothes shops or just walking down the road, you could find her face everywhere. You could buy Frida Kahlo mirrors, bags, soap, shot glasses, glasses cases, fairy lights… A factor I did pick up on however was the fact that they were all the same image of her.

You never see a painting of her ‘broken column’ or the ‘what I see in the water’, which I feel are beautiful pieces. The only reason I can think of for these pieces never being shown in the public eye or on items being sold in shops, is due to the fact that it shows deeper layers to her, not just the fact that she was a beautiful woman. The broken column does have partial nudity which I could understand some designers not wanting to feature if they target younger audiences, however this is not a factor in all of her artwork so why do people insist on using the same image of her.

So a key concepts that I will be looking at for the final essay is whether or not Frida Kahlo has simply become a face used to sell products and occasionally represent feminism. Has she become a hallow shell that the public eye no longer recognises for her artwork and life story. Do people no longer know her belief or what she stood for, and now simply see her as a pretty face with a monobrow on a tote bag. I feel like this has unfortunately become the case, as we are living in a society were we only care about making money. As well as this I want to see if there is a reason that in many products created around the Frida Kahlo brand, that some of her key features have been left out, such as in the snapchat filter or Barbie doll. I will be interested if this is a common factor that happens to other women and men of colour, or if it has simply happened to her, and if so why? To continue researching down this question I would need to understand some more background information on Mexico in this time period. What the Mexican revolution was all about and why Frida had the views she did. When alive she would always wear very traditional Mexican dresses, rather than anything influenced by European clothing. I need to fill in the gaps of her reasoning behind this. Her farther was originally from Germany, so what exactly was it about Europe and the USA that she so much hated. By filling in these gaps I would have a better insight of the history and beliefs she stood for, and then get greater understanding on the outrage some people have toward what so many companies are doing with the Frida Kahlo brand.

I would also be interested in researching and finding out more about the Frida Kahlo exhibition that recently took place in London. I was unfortunately unable to get tickets on the event, however I think I could find some interesting points from the exhibition, and to get feedback from anyone who went to the event. To find this out I would need to do some more research online and find articles written in review of the show. As well as this, I could possibly email people that went or were involved in production of the show, and get there opinion, not only on the exhibition, but on some other issues previously raised in my research. To carry this out I would need to create a consent form in order to prevent any issues possibly raised in the future, should the person I interviewed decided they no longer wanted to be a part of the research.

Over the summer I shall continue to read Frida’s biography by Herrera, as well as carrying out online research. As well as this I will be researching Mexican history in the 1900’s to gain greater knowledge on Frida’s beliefs and understand on a greater scale why the Frida Kahlo of today would outrage Frida if she were alive to see it today. I think I need to have a greater understanding on communism and the politics in general around this time, as some of the gaps in my knowledge on the subjects may become an issue when I am later writing my essay. Finally I will try and investigate further into the barbie doll of Frida Kahlo and the issues that revolved around it. I would like to see what exactly happened with the copywrite laws that resulted in the doll being removed from shop shelves, and why the doll didn’t have any of Frida’s attributes in the first place.

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rjzimmerman · 5 years

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Excerpt from this story from Sierra Club:

Flach’s remarkable, award-winning photography is an exercise in exploring such relationships. Since publishing Equus (2008), a collection dedicated to horses, he has produced a series of extraordinary photographs including Dog Gods (2010) and More Than Human (2012), all of which combine the art of portraiture with wildlife photography in ways that draw out the sameness between us and wildlife, as opposed to a sense of otherness.

Flach’s most recent collection, Endangered (2017), takes his animal portraiture to a whole new level. Portraits of animals both iconic and exotic draw undeniable parallels between us and them, whether it be a Yunnan snub-nosed monkey striking a contemplative pose or a mother chimp rocking her baby.

Flach is driven to draw us closer to the natural world. “Humanity's well-being, and ultimately our survival, is wrapped up in how we manage our relationship with nature,” he said. “That’s why the book was called Endangered. It wasn't just an inference to the animals and their status on the [endangered species] red list. It is also a statement about the fact that if we don't find value in the natural world, and we don’t change our current relationship to the natural world, then we don't have a future either.”

Flach photographed the world’s last male northern white rhinocerous before it died on March 1, a photograph of which appears in Endangered. A brutal civil war in Sudan contributed to wiping out the species, and Flach went to Sudan to document the rhino knowing it may very well be the last time it could be photographed.

“Going there to witness that, there was this sense of, how did it come to this that I have to be here to photograph the last male white rhino?” he said. “The fact that I was there photographing it was just a representation of the fact that we had come to this awful point.”

#Tim Flach #wildlife photography

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nythroughthelens · 6 years

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On rejection, looking for a job, and numbers that boggle the mind...

(Long read, would mean the world if you read it and share it) I wanted to shed some light on the overall challenges I am experiencing in trying to find a full-time job right now. I am going to share the raw numbers and effort with you before I share my background and situation.

1. Of the now 317 creative jobs I applied to on various job boards and networks over the last 4-5 months, I only received 11 replies.

Yes, only 11 replies.

Seven of those replies were automated rejections due to my CV not making it through the tracking systems in place.

The other four replies were mainly that they felt I had a great CV but that the position(s) had been filled internally or otherwise.

2. Let's talk a little more about the automated systems in place that read your CV. The systems are widespread and meant to lighten the load of in-house recruiters. Your CV passes or is rejected due to keywords and phrases. In the past, people apparently used to try to stuff their CVs full of keywords and/or essentially copy the job listing to pass the system. However, the systems have gotten more intelligent and also should you do that to your CV, it makes it a tad unreadable once it reaches the eyes of an actual human.

I am fairly positive that cold-applying to jobs is a futile process for the most part due to this factor.

3. Some listings aren't actually viable jobs. Companies leave listings up long after positions are filled or worse, there are CV harvesting services posing as regular listings that essentially are collecting CVs and data.

4. I even tried paying to in-mail hiring and talent managers on LinkedIn. I reached out that way with personal notes about 32 times.

People who replied from this effort: 4

One person who replied was from an agency I really want to work at and she replied to let me know she had just quit her job but wanted to wish me success. Another recruiter also replied to let me know that she moved on to working at a dog rescue and hadn't updated her profile.

The other two people replied that they loved my background and would get back to me while also admitting that they had a hard time keeping up with in-mails. I never heard back from them despite pinging them again just to re-establish a connection.

I should add that for every job I apply to via that job site, I also seek out the talent acquisition person(s) at the company and send a personal note to them. This hasn't actually led anywhere.

5. I compiled a list of 84 media/streaming/ad/design/PR agencies in NYC and cold-emailed them all with personalized emails.

Replies from this effort: 0

Not one response.

6. I reached out to over 12 recruitment/staffing people/agencies (also called half of them and was assured I would have someone 'get back' to me).

Replies from this effort: 0

7. I was referred to 4 recruiters personally who I reached out to.

Result of this effort: 3 of the recruiters ghosted me after talking to me, and the other one I never even reached in the first place.

8. I swallowed my pride and plastered myself all over social media publicly asking for leads (for reference, I have around 400,000+ people following me across networks, see below for my actual background if curious).

Actual responses that panned out: 1

One potential really great lead did contact me and we talked on the phone.

Perhaps that will turn into something.

Let that sink in though.

Only 1 person with a genuine lead appeared.

The rest of the replies were from people who didn't read any of my actual post (skipped over where I said I am specifically looking for a full-time job in creative/advertising/media/design related work)

9. I tapped into my network by posting a few private posts to specific groups of people. Truthfully, some people went out of their way. However, ultimately those leads haven't materialized into anything either due to a non-response despite having internal referrers.

In fact, I have exhausted all of the familiar networking advice typically given. I am a the point of not wanting to actively get the people in my network to resent me for all the times I have reached out already to them individually.

In the last decade, I have been to more networking and various industry events than I can count. I have a lot of thoughts on this that would be more suited to another lengthy post though. Just wanted to add that this is not something I haven't done.

Rejections:

Of the rejections I have received from agencies (creative/media), I keep hearing that I am not being considered because I don't have literal agency experience (meaning, because I never worked full-time at an agency, I am tossed out of the running even with my background which involves doing actual contract work for various creative agencies). This has been the most maddening part of the whole process to be honest.

This brings me to my background. Here's my formal background statement that I had to write out for a job months ago but covers quite a bit.

Having just spent the last decade building my art career from scratch resulting in a following of around 500,000 people across all social media, two passion projects that became a traditional book deal resulting in two internationally published and best-selling photography books, a multi-year financial sponsorship with a major imaging brand, and a wide array of experiences that have informed how I approach collaboration and creation, I am at the next step in my life. That step is to find a full-time creative home. I truly believe that ideas are at their best when they are allowed to thrive alongside a diverse array of audiences and collaborators. Nothing excites me more than sharing an idea with utmost excitement knowing that the sharing of that idea is just the start of the story. In fact, I truly believe that storytelling is at its heart a collaborative process and that everyone has the potential and ability to contribute to the storytelling process. Everyone has their own unique set of experiences and adaptive knowledge that they can contribute and I love nothing more than being the person that can synthesize all of these perspectives and ideas into something incredible. I believe that everyone I have collaborated with, from the astronaut who chose me to tell the story of our trip to the Arctic together, to the teams I worked with to create creative campaigns, to the communities I was privileged to help in the Dominican Republic and Cuba, has changed me in a multitude of ways in terms of my perspective, and how I approach life, art, storytelling, and the process of creation. Every day, as humans, we learn and grow in a variety of ways. The ability to look back and call upon these experiences that help us learn is what truly helps foster a well-rounded view of what it means to be, at heart, a storyteller and synthesizer of ideas. Now that I have hopefully regaled you with that formal statement, here are the last 10 years of my career put into a tidy format:

► Directed the creative process of all photography and writing projects from ideation to execution and distribution ► Managed all project assets, including project plans, data back-ups, uploads, photo-editing, photo-management, photo-shoots, disc storage management, file transfers ► Negotiated contract rates, terms of usage, and day rates while producing project requirements and timelines to consistently meet deadlines for events, exhibitions, and roll-outs of product releases ► Collaborated and executed many large-scale projects resulting in exhibitions around the world and even a featured collaboration with Astronaut Commander Hadfield presenting our collaborative art project to the Toronto Art Gallery of Ontario ► Expanded brand presence across multiple social media networks, resulting in 200,000 followers on Facebook, 115,000 followers on Instagram, 44,000 followers on Twitter, 195,000 followers on Tumblr, 1.8 million followers on Google Plus, and developed PR strategies for photography and books, including construction of a contact list of relevant press targets in the US and UK, production of press releases, and development of pitch ► My two books NY Through the Lens and New York in the Snow were the result of a traditional book deal. Both were published and released worldwide in stores (Barnes and Noble, Target, Walmart, the Strand, Watersmiths, WH Smith, and a host of other well-known stores and indie outlets offline and online) in 2014 and 2017 via Ilex Press, an imprint of Hachette UK. ► NY Through The Lens was based on the writing and art featured in my blog of the same name which had grown in popularity over the span of three years. The book was featured in the Guardian, on the Weather Channel, in the NY Post, on Yahoo News, as well as across many other news outlets. ► New York in the Snow was the culmination of a passion project that involved 7 years of taking photographs in every snowstorm in New York City. The book was featured in the NY Times in December of 2017 and had a major book-signing in London, England in January of 2018 ► As a full-time Sony sponsored artist, my art was used in multiple national ad campaigns and I regularly collaborated with the Sony Digital Imaging, and Sony marketing teams ► Selected to speak on behalf of Sony at PhotoPlus Expo, the largest annual photography event in the United States and at WPPI, the largest annual portrait photography conference ► Ideated and executed exhibitions for gallery spaces and new media installations including a showing at the Park Avenue Armory and show at London's Somerset House during the Sony World Photography event ► Participated in a pop-up store event hosted by Wired Magazine in which Sony sponsored a photography gallery featuring black & white prints and 250 signed copies of NY Through the Lens were given to VIP guests ► Commissioned to write regular features for multiple entertainment and media partners representing the Sony brand Why am I looking for a full-time job with this background?

I am looking towards a sustainable career future I can invest in. What I have loved the most about the last 10 years of my career has been working with various teams. I adore people and I excel in team environments. I also love structure.

When I say I am looking for a creative home, I mean it. I have a very strong work ethic as is hopefully evident by the career I built from scratch. I am looking to apply that work ethic and my creative output and vision towards a full-time job.

What do I want?

Jobs and roles I have been going after: creative producer, art director, brand strategist, engagement manager, creative strategist, various marketing positions, various social media positions, creative lead I have mainly been looking at ad agencies, media (broadcast and streaming), and some marketing and PR agencies.

Icing on the cake:

To add to this, I am losing the lease to my apartment at the end of August. I have no safety nets which I know is hard for most people to imagine. I don't have family, I don't have a Prince/Princess Charming, it's just me and that's terrifying on tons of levels considering that I really want/need a full-time job right now to not only move on with my career/life but because of this time-frame.

Hope this helps some of you understand my plight. I have gotten tons of messages about this and wanted to answer all the questions generally. --- Links for good measure: My LinkedIn

Portfolio

Instagram Twitter

#new york city #nyc #looking for a job #how to find a job #vivienne gucwa

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congruityproject-blog · 5 years

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Congruity Project

“Identity cannot be found or fabricated but emerges from within when one has the courage to let go.” ― Doug Cooper, Outside In

I want to start a project, and I need a little help. As someone who's been having a hard time figuring out who I am, I’ve been inspired to help show others who they are. I’d like to collect self portraits from as many artists as possible, in any media you choose. I mean paintings, drawings, collage works, digital photographs, poetry, film photography, really any creative outlet you can think of. Ultimately I’d like to make a magazine as a huge collaborative project that shows how vastly different everyone looks, feels and creates. That’s why I’m here, asking you to join the Congruity Project.

If you'd like to participate, email your HIGH RESOLUTION image (self portrait) to [email protected] or submit it through my page to be featured on my tumblr!

Please share this. Even if you don't participate, a share would mean the world to me.

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popofventi · 5 years

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By Design, 27 Best Things on the Internet This Week :: Ventipop #235

IN THIS DESIGN-CENTRIC GRIND POST, SEE RYAN REYNOLDS AND HUGH JACKMAN STRIKE A “TRUCE”, READ HOW THE GOLDEN STATE WARRIORS USE MUSIC TO GAIN YET ANOTHER ADVANTAGE OVER THE COMPETITION, DISCOVER A BOOK THAT SHOULDN’T BE A BESTSELLER…BUT IS AND BE INSPIRED BY SOME OF THE WORLD’S MOST CREATIVE & TALENTED DESIGNERS AND ARTISTS.

AND PLEASE REMAIN STANDING UNTIL YOU’RE SURE THE HOUSELIGHTS AREN’T COMING ON..ENCORES ARE SO CHEESY…BUT STAY TIL THE END ANYWAY FOR OUR FAVORITE NEW SONGS OF THE WEEK.

THANKS - JAY

"Good design is all about making other designers feel like idiots because that idea wasn’t theirs." -- Frank Chimero

Joy To The World

Truce?

Micromosaics :: How Was It Made?

Culture Vulture

Journalism - If you only read one thing all week, it should be Amazon CEO Jeff Bezos’ astonishing tell-all blog post in which he details the National Enquirer’s attempt to extort him by threatening to publish his intimate photos (including a "below the belt selfie.") The Amazon CEO went public with slimy emails he says he received from the Enquirer's parent company, American Media Inc. No thank you, Mr. Pecker

Streaming - Why isn't PBS available in live TV streaming services such as Sling TV, YouTube TV, DirecTV Now, and PlayStation Vue? Turns out, it’s pretty complicated. But there are answers and alternative methods to watch all your favorite PBS shows. Here’s the why and the how.

Technology - Technology has made it easier and more convenient than ever to purchase groceries online. We buy everything online, so why not food?

Technology Deux - Listening to news articles? Audm makes that possible. Also curio. I had no idea this existed.

Sports - Besides collecting many of the best players, the Golden State Warriors also credit music as a key advantage when it comes to their basketball success.

"“You’ve got to have young guys. Otherwise, guys like me are going to play Hall & Oates or something.”" -- Golden State Warriors Coach Steve Kerr

Movies - Blazing Saddles is celebrating its 45th anniversary. Here are 11 facts about a movie that would never be made today.

Science - Say it with me, “NO MORE SHOTS! NO MORE SHOTS!” Scientists have engineered a syringe-pill that injects from the inside.

Stadium Seating - Another unique thing about Superbowl Sunday - 100,000 flushes in four hours. The ugly -- and, yes, slightly gross -- truth of stadium bathrooms

Anti-Technology - In the computer age, one old typewriter repairman’s business is thriving: The Typewriter King

Books - It gives me hope to know a book on grammar and writing is being called a ‘sensation’ and is now on the top of bestseller list: Dreyer’s English: An Utterly Correct Guide to Clarity and Style by Benjamin Dreyer.

The Joy of Marriage In A Single Pert Conversation

I did laundry. Folded some clothes. A few of my wife’s things remained piled on the bed for a few days before this exchange occurred: Me: How many days in a row can you go without putting those clothes away? Wife: I like them there. Easy to find if I need them. (Giggles) Me: it’s answers like that…accumulating over a 20 year marriage…that eventually escalate into a 911 call.

Modern Day “Bragging”?

"I find stuff pretty good on there." -- My Older Brother referencing his awesome skills at finding things to watch on Netflix

Artistry & Design

Materialistic - its 2019 and we’re still discovering new materials. How graphene is about to change the face of fashion and metallic wood is as strong as titanium but five times lighter.

Here are a few kitchen and bath trends sweeping 2019.

MY MOM IS SO GETTING THIS. Korean company Pet Ping has invented a cat treadmill with built-in LED lights, designed for kitty cardio.

Finally something to do while waiting on the conditioner to set for two minutes: Behold the sipski shower wine glass holder.

Disney Artist Turns the Ashes of the California Fires into Beautiful Mural Art.

Portraits by Barcelona-based artist Cristian Blanxer:

See all ventipop featured artists here.

Chuck Hoberman's eponymous sphere is one of the best-loved toys of the last quarter century. But it's only one example of his incredible work in transformable design. From adaptive nanotech to flexible building materials, Hoberman has created surprising and inventive designs at every scale:

Chuck Hoberman has nothing on five minute crafts youtube channel. How to easily hang a picture with a fork:

I was shocked by this list of the best 10 cities for art lovers in the usa.

I think this book rest lamp is ingenious.

Masterpiece: The Making of Migrant Mother

At the end of a long day in March 1936, Dorothea Lange stopped in a migrant workers camp in California for just 10 minutes and took six photos of a woman and her children. The final photo, known as Migrant Mother, became one of the most iconic photographs of the Great Depression. Read more on Kottke.org

Encore :: New Songs We Love This Week featuring new songs by Pet Shop Boys, Flora Cash, Fiona Apple, Henry Jamison, Better Oblivion Community Center, Paris Youth Foundation, Garbage & More…

-xxx-

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pongpalace · 6 years

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it’s a word, not a sentence (chapter 1/2)

jack zimmermann x eric “bitty” bittle, alternative meeting, photographer jack, single parent bitty, terminally ill child character

inspired by that one tumblr comic

Jack’s had a long day.

Most of his morning was spent arguing with a client who didn’t like the way her daughter’s birth pictures turned out because Jack didn’t photoshop out the redness in the newborn’s cheeks to make her look as doll-like as possible. Then he had what had to be the longest photoshoot he’s ever had because the dad thought that one photography class at Micheal’s made him an expert on how to light Jack’s set and would make changes as he saw fit. Bouncing between trying to keep the eight-year-old’s attention so he wouldn’t strip naked—again—and fixing what the dad did without outright calling the man an idiot was exhausting and because of it, Jack worked through his lunch to edit the pictures he needed for the magazine shoot he’d done weeks before. He wasn’t happy with the results so in between his afternoon sessions, he’d open up his laptop and poke at it right up until he needed to send them off to the editor.

Squinting at his computer screen, adjusting colour balances and saturations made Jack more tired than being behind the camera so he’s feeling the long day now that he’s sat down at the front desk, without anyone else to worry about in the studio. He should be answering emails and double checking he has all the backgrounds and costumes he’ll need for his big pregnancy shoot tomorrow morning but Jack can’t bring himself to do more than stare at the clock as it counts down the fifteen minutes until he locks the door and gets to go home.

It’s a testament to how tired Jack is because he watches the clock for five whole minutes before he remembers that he’s his own boss and he technically can close his own photography studio any time he wants and no one will yell at him.

He’s just pushed himself out of his chair when the bell above the door rings, signalling someone coming in. Jack bites back a curse, but he can feel the glare on his face when he looks at the blond man and his son who just came in, bundled in their winter jackets and stomping off snow that must’ve come down sometime in the last hour.

The man approaches the front desk. “Hello, um, I know it’s almost closing time, but I have a really big favour to ask,” he says.

Jack stares for a beat, vaguely wondering what someone with a southern accent is doing this far north, in the middle of a Boston winter no less. The man colours under Jack’s stare, wrinkling his nose and in any other setting, Jack might’ve found him more than a little attractive considering his messy blond hair, freckles, and big, dark brown eyes check off everything on Jack’s list. As it is, it’s been a long day and Jack wants to go home.

“Any inquiries about bookings or appointments are usually better done over the phone, during the day,” Jack says, giving the standard response to walk-in clients and letting his voice fall flat. He doesn’t mention that the current waiting list for a shoot is at least six months.

The man winces. “Yeah, I um, I know that. I saw your website.” He pauses and looks around the studio, taking in the wall that showcases the portraits Jack’s most proud of, the series of geese postcards that Jack worked on with Lardo, and the vintage camera equipment that he has on display because it makes him happy to look at.

The man bites at his lip while he looks at the wall, and Jack is about to remind him of the studio’s hours, but then the kid peaks out from behind their dad’s legs and Jack’s heart goes into his throat.

He’s going to be staying a little bit longer.

The kid is small. His puffy jacket hangs off a thin frame, hands lost in the too-long sleeves, though he keeps pushing one up so he can hold onto his dad’s hand. He wears a bright red toque, pulled all the way down his forehead. No hair peaks out from underneath, but Jack doesn’t think it’s because they’ve tucked it up into the knit fabric. The boy and man have the same big brown eyes, matching all the way down the deep bruises underneath, though the boy’s might be a shade darker. There’s a tube taped to the boy’s cheek, feeding into his nose, the other end tucked around up into his hat before it disappears into his collar. It’s clear that the boy is very sick.

The man clears his throat, and Jack guiltily looks up from where he knows he’s been caught staring.

“Gavin saw your postcards in the hospital gift shop,” the man says. “He loves geese.” Gavin looks up and smiles big at his name, nodding as much as he can without dislodging the tube. He unzips his jacket and Jack’s heart clenches to see that he was wearing a big hoodie underneath the jacket and still looks so tiny. Gavin shoves his hands into the hoodie pocket and pulls out a folded piece of cardstock. He unfolds it carefully before standing on his tiptoes to reach the counter and push it towards Jack.

“The babies are the best,” Gavin says. His voice is rougher than any child’s voice should be, sounding like it hurts him to talk, but he’s smiling the whole time Jack looks at one of his postcards. It was one of the last shots he got that day, after having crouched in goose shit for hours to get pictures of the adults interacting, he managed get a shot of a gosling using the toe of his dirty yellow runner as a pillow.

“Yeah,” Jack says softly, looking at where he has it posted on the wall across from him. Gavin follows his gaze, grin widening when he sees it, tugging at his dad’s jacket to point it out.

“The woman who works there says you had other things up in the hospital so on one of our good days, we went on a search and found some of your other pictures.” The man swings back around once he looks where Gavin wants.

“I like the unicorn,” Gavin says, again standing on his toes to see over the desk. He stretches to take his postcard back, almost losing his balance, but the man steadies him with a hand on his back easily.

Jack can’t think of a picture session he’s done with a unicorn, or even with the unicorn background he has, but most of what he’s given to hospitals are the landscape photography that he was really focused on while working towards opening his own studio.

“There’s a picture of a horse near the cancer ward and the shadow makes it look like a unicorn,” the man explains, smiling down at Gavin. He puts a hand on Gavin’s head and gently tugs at the toque, huffing a laugh when Gavin bats him away. He steps a little closer to Jack’s, voice lowering as he continues. “Look, I did go on your website and check for appointments and I know that y’all are booked solid for the next six months or so but-” His voice breaks. Jack’s stomach drops; six months might be too long for Gavin to wait for an appointment.

Jack looks around his desk, searching for the box of tissues he knows he keeps now that everyone has the sniffles in the cold weather. He finds them and passes the box over to the man, who takes a couple to press roughly to his eyes. Gavin reaches up and pulls on the man’s elbow until he drops his hand so Gavin can reach it. Gavin takes it and the man lets out a water breath.

Jack clears his throat, once, twice, to get past the lump he’s suddenly developed. He probably needs a tissue of his own but he blinks rapidly instead.

“Well, luckily, there’s a special promotion going on for people with these postcards,” Jack says, talking through the hoarseness in his voice that always comes when he’s feeling emotional. He leans forward over the desk to pass the postcard back to Gavin. Gavin takes it, looking up at his dad with big eyes. “I’ve been waiting all day to take pictures of someone who has one.”

“You have?” Gavin asks. He bites at very chapped lips, brow furrowed like he’s trying to figure Jack out. The directness of his stare is startling, his eyes the brightest point amongst the purples and blues of deep bruises and sharp cheekbones that don’t belong on a child’s face.

“I have.” Jack nods. “Now why don’t you take your dad back there,” Jack points over his shoulder, towards the studio he uses for kids’ portraits. “and I’ll meet you there to pick out what you want to wear in a second.”

There’s an entire wardrobe of different sized costumes, ranging from princesses to hockey players to doctors and everything in between that goes along with his extensive collection of backgrounds. It’s not as organized as it usually is when he has a session with a kid, but Jack’s more than happy to let Gavin go and chose what he wants. He might not get many more chances.

Jack locks the door while Gavin takes the man’s arm and leads him to the doorway. He’s chatting a mile a minute to his dad, but the dull roaring in Jack’s ears means he doesn’t catch any of it as he flips the lock so they’re not interrupted. He rests his forehead on the cool glass of the door, breathing in and out and in and out, while he takes a minute to compose himself. He’s not sure his bursting into tears would be productive for anyone tonight.

“Thanks for doing this.”

Jack jumps, knocking his head against the glass at the voice. He turns, feeling guilty for some reason, to see just the man leaning out of the studio doorway, eyes big with a concern Jack doesn’t feel like he deserves. He steps into the hallway.

“I’ll be right there, sorry,” Jack says, rubbing his forehead. The skin is warm to the touch, even after being pressed against the cool glass and Jack hopes he didn’t lose track of time.

“You’re apologizing for me scaring you on top of making you stay late?” The man raises a blond eyebrow.

“Er, yeah?” Jack says. He drops his hand from his forehead, and hopes he doesn’t look as stupid as he feels. The man came in here with his obviously very sick child and Jack is the one who can’t keep it together.

The man shakes his head, looking more bemused than annoyed. “Well, thank you. Seriously. This is gonna be the highlight of Gavin’s year.” He’s still smiling when he finishes, but it looks a little pinched around the edges.

“Uh,” Jack clears his throat. “Of course.” He stares at the man and the man stares back.

“I’m Eric, by the way,” the man says, suddenly. “If you wanna know who’s extended your work day.” Eric chuckles slightly, a little self-deprecating.

“Jack,” Jack replies, taking the hand Eric offers. His palm is dry but warm and a little rough. He squeezes Jack’s hands for a beat before letting go.

“Yeah,” Eric says and Jack flushes, realizing Eric must’ve known his name right from the start if he’d been able to google his website.

“Right.” Jack nods. “Er, should we?” He gestures back over Eric’s shoulder, following when Eric steps back inside the studio.

In the studio, Gavin’s found the building blocks on the low table in the corner. He’s still wearing his jacket, but he’s pushed the sleeves up to his elbows. Despite all the time Jack spends around children, he’s not great with telling kids’ ages, though it’s pretty obvious even to him that Gavin’s wrists and arms are too small for his age. He struggles for a moment to move most of a completed rocket ship that Jack’s earlier appointment left behind.

“Now I know Mr. Jack didn’t say come back here to play with the blocks.”

Eric’s voice makes Gavin jump and look guilty at his dad.

“Sorry,” he says, eyes wide. He puts the rocket down, though not before tweaking the nose slightly so it sits straighter. Jack bites back a smile.

“C’mere,” he says, gesturing over at one of the overflowing wardrobes along the back wall. The doors aren’t completely closed, different colours of tulle make it over stuffed and the bane of Jack’s existence to keep clean, and Gavin lights up when he catches sight of it fully open. “Let’s pick some things out to start with.”

With practiced hands, Eric helps Gavin tries on every single one of Jack’s costumes, guiding limbs through arm and leg holes, careful not only of the tube on the side of Gavin’s face, but also of the toque on Gavin’s head. Gavin grins at his reflection each time, twirling and running his hands over any silky fabric, before standing in front of Jack’s camera and posing like a superhero or a ballerina or whatever strikes his fancy. Jack makes sure to capture each pose. It’s the easiest photoshoot of a kid that Jack has ever done; Gavin must be the politest, most well behaved kid he’s ever met. When he says as much to Eric between costume changes, Eric snorts.

“He’s just trying to impress you so you’ll let him take some photos,” Eric says lowly. Jack twists from where he was watching Gavin pick out a princess dress by touching all the tulle to look at Eric.

“Geese are his favourite animal,” Eric repeats, shrugging. “And because photography let you get close to them, he thinks he should be a photographer to get close to them. I can’t wait till he learns about zoo-keeping.” Eric grins wryly.

It’s a challenge for Jack to tear his gaze away from Eric’s smile, somehow still the brightest thing in the room despite everything Jack knows it’s been through, but he turns away to adjust the tripod.

“What’re you doing Mr. Jack?” Gavin’s come over dressed in kid’s sized Providence Falcons jersey that still falls to his knees. He’s strapped elbow pads on over top, and is dragging the smallest hockey shorts behind him. They look giant beside Gavin.

“Making this the right size,” Jack answers, pointing at the tripod. Gavin’s brow furrows and he looks between Jack and his dad. Jack’s not sure what Eric’s doing behind him, but Gavin still looks suspicious as he takes another step towards Jack.

“Why?”

Jack crouches down to check that the tripod is level and won’t fall on Gavin.

“Can I tell you a secret?” He drops his voice into a whisper. Gavin’s still looks confused but he comes to stand right beside Jack so he can hear, still dragging the hockey pants.

“Your dad just told me that he wants his picture taken,” Jack says, whispering loud enough for Eric to hear as well. “But I’m afraid I won’t be able to do a good enough job… Do you wanna try?”

Gavin’s eyes are as big and as wide as Jack’s seen them all evening, and for a moment he just looks like an excited kid, bouncing on his toes, tubes and tiredness completely forgotten.

“Can I?”

Jack nods and turns to make sure the the tripod is properly locked in place. Satisfied nothing is going to fall, Jack beckons Gavin over and when he’s in place behind the camera, Jack points out where to look and what buttons to click.

Gavin listens and nods seriously at Jack’s easy explanation, beaming at the viewfinder screen after he takes a couple of practice shots of the empty background, a dark sparkly blue that Gavin had picked out to go with his firefighter costume.

“Look dad!” Gavin says, pulling back from the camera and almost knocking Jack in the nose in his excitement. Jack sits back on his heels to dodge anymore stray limbs, knee walking even further back when Eric comes to crouch beside Gavin too. Gavin explains everything that Jack just told him, and even though Jack is sure that Eric was listening the first time around, he nods and makes understanding sounds every time Gavin pauses for breath.

“We’ll frame some of these for Great Moomaw, what d’you say Gav?” Eric asks. Gavin blinks and thinks about the question.

“Can we print some for my room too?” he asks. “I want to see you for always.”

Jack’s lost count of the amount of times his heart has clenched painfully this evening, hating the fact that now he’s picturing Gavin’s small body in a hospital bed, but Eric hardly blinks before he answers.

“‘Course sweetpea.”

Gavin nods, satisfied.

“Let’s take some with someone in them too though, eh Gavin?” Jack says, as he finally stands up from his crouching position, brushing dust off his knees.

“Do you want to pick out a costume for me?” Eric asks. He gently pushes Gavin back up onto his feet from where he’d been leaning back against Eric and stands, making small steps towards the row of costumes. There’s probably not much there that’ll fit him, but there’s something to be said for dads who’ll stretch a child’s costume across their shoulders to see their kid happy.

“No, I wanna remember you like this,” Gavin says, matter-of-fact like. Eric freezes, holding a pair of rainbow wings. Jack bites his tongue to keep from audibly reacting, and finally Eric’s smile breaks.

“Well, alright then,” he says softly, turning his face away from Gavin and into the closet. “Lemme just hang these back up.” He clears his throat, once, twice, and Jack has no camera to fiddle with when Gavin’s still happily taking pictures of the background, and a clear view of the first tear that falls onto Eric’s cheek. He feels absolutely helpless as Eric closes his eyes and rubs a hand roughly across his face.

Even with his eyes closed, Eric looks tired, like he’s been carrying the weight of the world for far too long on his shoulders. And he probably has, Jack realizes. He doesn’t have kids sure, but he’s still haunted by the broken expressions on his parents’ faces when he woke up in the hospital, like their whole world was on the verge of collapsing before he opened his eyes. And just from watching Eric and Gavin interact, it’s not much of a stretch to assume that Gavin is Eric’s whole world.

Jack’s heart breaks for them both.

“Daddy?”

Eric’s eyes snap open and if he catches Jack staring at him, he doesn’t say anything, twisting towards Gavin, who’s looking over a little impatiently.

“I’m coming Gav, sorry!” Eric hangs up the wings and sets himself up in front of the camera. “How d’you want me?” He poses dramatically, jutting a hip out and pouting his lips. Gavin giggles.

“No, dad,” he says. “Just smile!”

Eric straightens out of the pose. “Alright sugar,” he says, and he smiles wide, any and all traces of his earlier tiredness gone. Gavin nods and presses the shutter down. He doesn’t pause to look at the viewfinder before he takes another one and then another one. Eric’s smile doesn’t waver, in fact growing softer and more natural the longer he watches his son. Jack finds himself mirroring the expression.

Jack has no idea how many pictures Gavin takes, but when Gavin starts to flag a little—the pauses to yawn between squeezing one eye shut and pressing the other to the view finder dragging on a little longer each time—Jack pushes up his sleeve to check his watch. His eyebrows go up when he sees it’s already almost 7:30, two and a half hours after Eric and Gavin first came into his studio. Eric must be paying more attention to Jack than he thought, because he’s got his phone out and looks just as surprised as Jack feels at the time.

“You just about done Gav?” Eric asks, sticking his phone back in his pocket. He takes a step towards Gavin.

“No,” Gavin says around another yawn. He snaps a picture of Eric mid-snort but lets himself be corralled over to the costumes.

“We’ve taken up enough of Mr. Jack’s time, hey sweetpea?” Eric says. Jack wants to say that he doesn’t mind, that he’d be happy having them around for as long as they’re willing to stay, but now that Eric’s said something about the time, Jack can see how hard Gavin was fighting his sleepiness, rubbing his eyes now. He yawns so widely that Jack sees his tonsils. Eric guides Gavin’s arms out of the Falconers jersey he’s been wearing, movements still practiced and careful not to dislodge the tube under Gavin’s nose as he pulls it over his head. Gavin droops forward, resting his head on Eric’s shoulder once he’s free.

“Long day?” Eric asks, expertly balancing keeping Gavin upright and stretching to get Gavin’s sweater and jacket. He mouths “thank you,” when Jack hands them over. Jack feels warm.

“You were there, daddy,” Gavin replies, managing to sound admonishing despite speaking mostly into Eric’s shirt.

“Oh that’s right.” Eric gets both their jackets on and stands, scooping Gavin up with one arm and holding the Falconers jersey in the other. He looks between the jersey and the hanger still on the ground, brow creased, and makes to bend over again.

“I’ve got it,” Jack says quickly before Eric can move. Gavin’s little fingers grip onto the back of Eric’s collar and he’s pressed his face to Eric’s throat as best he can, blinking slowly. Jack knows what an exhausted child looks like, and that’s without factoring in how sick Gavin might be so Jack takes the jersey and throws it over his shoulder, kicking the hanger out of Eric’s path.

“Are you sure?” Eric looks around reproachfully at the tutus that are still sticking out of the closet, the props that make the prop box hard to close, and the backgrounds still leaning against the wall, ready for whatever Gavin’s next chose was going to be. Eric winces when he sees the elbow pads around the tripod that Gavin stripped off and dropped on the floor at one point.

Jack nods and tries not to blush under Eric’s scrutiny. Gavin yawns loudly in his ear.

“Alright,” Eric sighs, running his free hand over Gavin’s back. It makes a swishing sound against the puffy fabric.“Gav, what do you say to Mr. Jack?”

Gavin picks up his head. “Thank you for taking my picture, Mr. Jack,” he says, managing to hold off yawning until the end. He blinks tiredly at Jack.

“And?” Eric prompts after a beat.

Gavin turns suddenly to look at his dad, almost hitting Eric in the face in the process. He squints at Eric until Eric whispers, “taking pictures,” in his ear.

“Oh! Thank you for letting me take pictures too. It was—” he yawns. “—was really cool.”

Jack smiles. “Anytime, Gavin,” he says, holding out a fist. Gavin’s whole face brightens as Eric’s falls, but Jack doesn’t think Gavin sees the expression when he touches his little fist to Jack’s.

Jack follows Eric out of the studio, closing the door behind him and deciding to deal with the little mess tomorrow. He’s pretty sure he doesn’t have an immediate need for a clean kid’s studio, but he’ll double check later. He goes behind the desk to grab a pen and paper.

“So, if you wanna leave your email address here, and I’ll send you a link when I’ve done the edits and have uploaded them,” Jack explains, putting the paper on the counter. Eric shifts Gavin over to his left hip so he can write with his right hand. He pauses before picking up the pen, making sure Gavin’s toque is on. Gavin makes a noise in his throat, but his eyes stay closed.

“Um, do you have to edit anything?” Eric asks quietly. He sounds tired.

Jack clears his throat. “No. I can leave everything untouched.”

“Thank you.” Eric writes down his email address and then shifts Gavin again. It takes Jack a second to realise he’s reaching for his wallet.

“What are you doing?” Jack asks.

“Um, paying,” Eric says. He gives a Jack a funny look and tries to hand over his card.

“No,” Jack says. “Absolutely not.”

“What? No, you stayed late, you did so much,” Eric protests. “I know how much your shots are listed for, please charge me for that.”

“I’m not taking your money,” Jack says again, stepping back from the counter. It’s not like he’s lost any business letting Gavin take the pictures, so he can’t bring himself to put a price on the time he just spent with Gavin and Eric.

“This is a terrible way to run a business,” Eric huffs. “What’ll your boss say?”

Jack shrugs. “He’s a pushover.”

“Jack,” Eric says. He bites at his bottom lip.

“Eric, don’t worry about it. Honestly.”

Eric frowns at Jack but puts his card back in his wallet. “What’s your favourite dessert?”

That’s not what Jack excepts. “What?”

“When I have a minute, I’ll make you something.”

“Uh.” Jack looks at Eric, who’s looking back, expectant and completely serious.

“Do you like pie?” Eric asks.

“Yes?” Jack answers.

Eric nods, satisfied. “Good. I make really good pie.”

“Don’t worry about it,” Jack says. “Honestly, it’s fine.”

“When I have a minute,” Eric repeats. “I will make you the best pie you’ve ever tasted.” He bounces a little, getting a better grip on Gavin. Jack doesn’t think about why or when that minute will come.

“Okay,” Jack says slowly. “I’ll uh, get those pictures up and send you the link as soon as possible.”

“Thank you Jack,” Eric says. He looks down at Gavin’s sleeping face. “Seriously. Thank you so much,” he says softly.

Jack just nods and unlocks the door so they can leave, a lump in his throat as he returns Eric’s wave after he puts Gavin into his carseat. He watches Eric walk around the car, wave one more time before getting and driving and Jack hopes with his whole heart that he sees them both again.

He locks the door and turns away from the window, hoping that he does get to see both of them again, and feeling sick at the thought of why he might now. Jack doesn’t blink away the tears this time.

#jack zimmermann #eric bitty bittle #zimbits #omgcheckplease #omgcp fic #zimbits au #parent bitty #photographer jack #sick kid fic #cw terminally ill child #there's probably nothing medically accurate #but i tried to follow the comic

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