Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: jsch on February 18, 2013, 03:46:44 pm
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Hi,
don't know but I guess it is mf because it looks like big budget. Two photographs: a portrait and a double spread. I don't know whether I'm allowed to criticize this, so count this as a stupid remark of someone who don't understand the big guys: The images don't look very elaborated. This is usually not necessary for a good image, but if one photographer and eleven other art people work together it could.
The link:
http://www.aphotoeditor.com/2013/02/18/the-daily-edit-the-new-york-times-magazine-ryan-mcginley/
The photographer:
Ryan McGinley
The 11 other important people:
Design Director: Arem Duplessis
Director of Photography: Kathy Ryan
Art Director: Gail Bichler
Deputy Art Director: Caleb Bennett
Deputy Photo Editor: Joanna Milter
Photo Editors: Stacey Baker, Clinton Cargill, Amy Kellner
Designers: Sara Cwynar, Raul Aquila, Drea Zlanabitni
Just crazy.
Best,
Johannes
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Design by committee?
The portrait appears overexposed, with highlights blown? "Walk the plank" one looks ok, but nothing terribly original or exciting.
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"Director of Photography" ???? Puhleeeeeze.
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How many photographers does it take to shoot a cover?
Thousands...one photographer who got the job and shot it and the rest saying "I could have shot it better".
It's a job...you get it, you do the best you can when shooting and you move on. Not a big deal...not everything you shoot is great. Sometimes it's a challenge to just get a shot a client can use (often BECAUSE of the client).
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This is editorial and the NYT magazine. Those listed are on the masthead of the magazine and not necessarily those involved in this one shoot.
Ed
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This is editorial and the NYT magazine. Those listed are on the masthead of the magazine and not necessarily those involved in this one shoot.
Ed
What Ed said.
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I know and have worked with a bunch of these people. Here is what they did:
Design Director: Arem Duplessis, approved the layout.
Director of Photography: Kathy Ryan, she is the head photo editor. She loves Ryan
Art Director: Gail Bichler, Gail came up with the concept/mood.
Deputy Art Director: Caleb Bennett, Caleb runs errands for Gail and uses the computer.
Deputy Photo Editor: Joanna Milter, probably hired Ryan.
Photo Editors: Stacey Baker, Clinton Cargill, Amy Kellner, worked on other stories and maybe some for this piece. Made the initial select from the take.
Designers: Sara Cwynar, Raul Aquila, Drea Zlanabitni, they did the layout.
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"Director of Photography" ???? Puhleeeeeze.
She is the lady that runs the photography department of the magazine.
In editorial work these people are worth their weight in gold and most of what they do is
facilitate the photographers job, make the right things available and advocate for the photographer.
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I know and have worked with a bunch of these people. Here is what they did:
Design Director: Arem Duplessis, approved the layout.
Director of Photography: Kathy Ryan, she is the head photo editor. She loves Ryan
Art Director: Gail Bichler, Gail came up with the concept/mood.
Deputy Art Director: Caleb Bennett, Caleb runs errands for Gail and uses the computer.
Deputy Photo Editor: Joanna Milter, probably hired Ryan.
Photo Editors: Stacey Baker, Clinton Cargill, Amy Kellner, worked on other stories and maybe some for this piece. Made the initial select from the take.
Designers: Sara Cwynar, Raul Aquila, Drea Zlanabitni, they did the layout.
Creative departments work together and share credit in general rather than an "I did this and you did that sort of thing".
The credit list here is not for the photo, but for the cover and spread.
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Creative departments work together and share credit in general rather than an "I did this and you did that sort of thing".
The credit list here is not for the photo, but for the cover and spread.
You are absolutely correct.
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I worked as a journo for almost 30 years, as a columnist specialised in computers and then photography.
My hourly rates went down steadily in real terms, year by year.
I guess it's the same for photographers.
More content is used, but most of it is paid less.
Edmund
Thank you. I never stop to learn. When I shoot covers and stories in the late 80s / early 90s for a nationwide (not us, much smaller country) magazine (250.000 copies per month) there where far less people with less fancy job titles involved. I as a photographer got paid very well compared to todays rates. Recently I did a comparison with a friend. Cleaned of all cost increase at that time you got 3-4 times more money than today. Costs for computers, digital cameras not taken into account. If you read that list you know were this money goes now.
What I find funny is the different use of the same word in similar fields:
Director of Photography in film means a different position than in a magazine. But then the New York Times Magazine has a lot of video on their website too. Some day they have to clarify.
Best,
Johannes
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All I know is... those are f*cking terrible photographs.
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chuckle.
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All I know is... those are f*cking terrible photographs.
"One mans trash is another mans treasure" or so the saying goes I believe ;)
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The photos are great and it's nice to see everyone credited.
If I did the same I would have my dog credited for putting people at ease.
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All I know is... those are f*cking terrible photographs.
Terrible is too strong a word. I think unremarkable is more like it.
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... facilitate the photographers job, make the right things available and advocate for the photographer.
What is that even supposed to mean ??? Like, bring Starbucks to the set?
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What is that even supposed to mean ??? Like, bring Starbucks to the set?
No someone has an unpaid intern from Ohio that will do that.
It's just kiss ass talk.
Means nothing.
IMO
BC
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The photos are great and it's nice to see everyone credited.
If I did the same I would have my dog credited for putting people at ease.
That's not being fair to you dog.
I would imagine your Dog was "actually" in the studio for the shoot.
Your dog can't talk but knows how to display a thank you and most importantly your dog knows crap when he smells it.
IMO
BC
P.S. In all fairness, shooting the photograph is not hard. Being the guy/girl that gets that gig . . . that's hard.
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P.S. In all fairness, shooting the photograph is not hard. Being the guy/girl that gets that gig . . . that's hard.
You got it. Sucking up to Kathy at Clamp Ching and at some PowerHouse Books Dumbo Party Craptacular, while biting your tounge about someone's hyped show is how you get these gigs. Not a knock on Ryan at all. I didn't bite my tongue about one of Kathy's favorite pet shooters, who I loath, personally and profesisonaly, and I never did anything else for the NYT again. I wasn't frothy, I just dismissed said shooter as a fraud/opportunist without any original ideas. Ha!
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I'm regularly reading this website, http://www.aphotoeditor.com, and find it interesting. But the credits for the images I didn't get most of the time. Consequently I posted this case where I think the pictures are not very elaborated and the amount of credited people was very high.
The images look like the images you can see in the magazines they give away for free in the skate board shops. Perhaps I'm too old, but to my eye they look uninspired (can you say so in english?).
Since 35 years I go every week to the international newspaper stand and a very big bookstore were the have only photography books. Additionally I own far to many magazines and books. I have the feeling that all these credited art directors have those old magazines and books too, they flip trough and tell the photographer reshoot this or that (or they didn't tell and sell the idea as their own). In addition they plan things like we photograph him in NY but in the skyline of Manhattan I want two buildings from Chicago and behind that the Mont Everest.
I remember art directors being people to discuss your work with and gave directions not orders. AD: "I like that, but have you tired ...?". Photographer: "Yes, but it looks bad." AD: "Have you tried ...?" Photographer: "Hey thank you, this is a great idea." AD: "You are welcome."
Today ADs are people who put handcuffs on photographers and force them to shoot into a very restricted layout. And in my opinion it started with this crediting business. Everyone wants to earn the reward but nobody wants to be responsible. If it is shit, it was the photographer and not the idiot who came up with the stupid idea.
Actually I see only very few photographers who can act relatively free, if they shoot big budget or celebrities. Perhaps Platon and Martin Schoeller, but I'm not sure.
Best,
Johannes
p.s.: It is not easy for me to explain this in english. I hope I didn't fuck it up too much.
It really depends on the magazine and the AD. Shooting editorial is supposed to be your execution of a broad brief, such as "Studio Portraits of Junkies". You can then come up with the particulars and talk it out with the AD and get some agreement to get certain shots in a certain style and there you go. Some editorial work is the handcuffed BS, where the shoot is treated like a commercial shoot where you are shooting their comp. And it doesn't pay much. This is why I shoot occassionaly as part of my job at an agency and do the odd editorial for a magazine I respect. I am very at peace with the way I shoot now, although when I'm on a set i get a little misty eyed.
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All I know is... those are f*cking terrible photographs.
Weakest visuals in the magazine in a while.....
The real talent is actually at the Times Fashion Magazine, which is consistently superb.
imho.
- N.
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see that is why he does't get it.. not hip to the shots.. it is about FASHION, and the fashion folks that get it are working on the fashion mag...
if you are over 40 and not a fashionista then you will not get it either..as a still life photographer I remember the day when nyc fashion "discovered"cross processing
then it sweep the country and it's demand seeped down to the lowly still-lifers (or the even more social inept architechual guys) with ad's and editors saying can you do something like that? Lets face it.. the craft of making an beautiful photograph is not as important as we photographers think it is..and when asked by x,y or z to do something in a commercal setting I for one do it. Editorially it is the responsibility of the photographer to me more proactive in putting out there your shot.. after all your name is on it and you are not being paid ad rates.