Personally this past year was one of extraordinary change.  One of the most difficult aspects of this transition was the re-examination of my business, and evaluating what portions should be held onto and what should be let go of. A number of hard decisions had to be made regarding where and how I was spending my time and money, and if those allocations were still the best for my career moving forward.

It was important for me to reevaluate not only my business, but also where my personal strengths lay in reference to the industries I was working in and the manner in which those industries were changing. It was difficult to admit to myself that certain areas of my work needed to take a backseat to new initiatives, and others needed to end altogether. This transition has at times seemed abrupt, but with each decision I found that my work became far more focused and that I have more energy to do the things that hold the strongest possibility for success. Moving forward I am finding a renewed energy for my work, and that is leading to better results. Results that just a few months ago were fleeting.

Our industry is continually asking us to be more responsive, flexible, and open minded, to do so you must constantly evaluate our industry, yourself, and how you are managing your business. Taking a hard objective look at your business can be a difficult thing to do. Admitting that you may have been incorrect in the allocation of your time, money and energy can be even more difficult, but it is necessary if you want to ensure success in a difficult and rapidly changing business climate.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com or for more information.

During the initial release of government documents via Wikileaks I had the pleasure of sitting in on a panel discussion addressing the ramifications of the event. There were the expected comments; one part of the panel celebrated the release stating the government needing to be more transparent and that people deserved to know what was happening. Others on the panel pointed to the danger the release may have created for certain individuals and the need to be able to discuss items of national interest in private.  There were also conversations regarding freedom and the need for honesty, all of which were interesting, but there was one comment that caught my ear that day and stayed with me. A former Ambassador on the panel noted that as opposed to creating greater freedom and transparency the Wikileaks release would result less freedom, greater governmental control and a restricted flow of information over the internet, an effect just the opposite of what was intended.

The Ambassador’s comment has frequently come to mind during discussions regarding the need for an organization to monitor the usage of imagery in publication and across the internet. The trend in this conversation seems to have shifted toward the idea that the creation of a single organization that can monitor the movement of imagery on an international level; one that may also resolve the issues of payment and usage. I am not going to discuss the merits of this proposal here, that is another post entirely, but I would like to ask you to think about this issue from another perspective.

There are generally two proposals that arise during these conversations. The first is to have the copyright office or another governmental agency monitor the use of imagery and to possibly work as a sort of collection agency for usage.  The second is for a corporate entity to oversee and manage this process. For one or the other of these methods to work one entity will need either extraordinary oversight and the ability to reach into all corners of the internet, or there will need to be choke points built into the system through which information would need to flow. The resulting concentration of power over the flow of imagery and information would be extraordinary. The effects of this concentration of power and control are unknown but certainly can be imagined. As image makers we may quite possibly be handing over control of what we create with unintended results.  A look at the changes within the stock industry over its short life might be a good example. This is not to condemn the ideas listed above, they may indeed be the best or only solution to our problem, but to ask you to be aware of what you ask for. Sometimes the results are not what we expect.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com or for more information.

Great fashion photographs are a reflection of the moral, social and economic imperatives of our time in a way that other photographic genres are not. From war time to economic booms fashion photography has shown us where our boundaries were and how we alternately sought to embrace or break them.

Beyond addressing larger social mores a great fashion photograph is about lifestyle, desire, fantasy, sensuality, and, unavoidably, commerce. It is about wanting to be the person inside in the clothes, or wanting to have the life shown within the image. It is also about identity, individuality, subculture and the desire to belong. A fashion photograph is quite simply one of the best arbiters of the time in which we live and have lived.

There are a million small details that go into the creation of a great fashion image. Once you get past casting, make-up, styling, lighting, teamwork and the other technical and pre- and post-production issues, there is the movement of the garment, the gesture, the turn of a head, the gaze, the personality of the model, and the social and commercial concepts that the image define. A great portrait informs and entertains, but a fashion photograph engenders a much larger conversation.

Fashion will always have the ability to press and break boundaries. As our social mores change the envelope within which fashion exists changes as well. There will always be boundaries to push against, and designers and image makers willing to test those boundaries. This exploration does not always need to involve shock though, as companies such as Benneton, Kenneth Cole, and Prada have shown, fashion has an enormous capacity to address social issues in a diverse and intelligent manner.

In terms of the freedom in fashion to explore, the essence of creativity is freedom. Without the ability to challenge one’s own boundaries one loses the chance to be truly creative.  The beauty of fashion and fashion photography is that it allows its creators to indulge their creative capacity on so many levels. It is this freedom that has allowed for the creation of so many fashion images and campaigns that have endeared, challenged, and engaged us over the years, and what gives fashion photography its unique and powerful voice.

As image makers we frequently talk about the change in the market place, the ability for so many to make and distribute imagery, and the falling value of our work. As we know, one of the main reasons for this trend is the spread of technology that has allowed a greater number of people to create images that are good enough for sale, and the access that these new image producers have to new and growing channels of distribution.

For many years we enjoyed close relationships with editors, art buyers and other clients. As there were few people monitoring the gates of distribution that existed these relationships made it possible to build a financially viable business in photography. Photographers were creative partners, essential to the success and survival of many industries. Photography was cutting edge and there was a large part of the world that had not yet been fully explored. Even if we were shooting events, we were providing high quality imagery created by cutting edge creative technology. We were in essence luxury service providers and we were treated as such.

The stock industry was the first step in the evolution from assignment based work to the image as a commodity being bought and sold on an open market. Though the early years of stock still depended on personal relationships and small and focused the channels of distribution, a precedent had been set that has proved unstoppable. In addition to the introduction of the internet, a change in audience demographics and manner the in which media is consumed has brought about the demand for lower priced, and frequently lower quality, imagery. Along with these changes has come the commoditization of our work and the explanation for the downward pricing shift. The price of a commodity is based in part on quality, but more importantly it is based on supply and demand. Of course there is still value in creativity, client relationships, and customer service, that should never be overlooked. But photographers need to understand the changes that have occurred and make strong and clear decisions in terms of which portion of our industry they are going to service. There are still many photographers who are trying to be luxury providers in the portion of our industry that has been commoditized, and that is a failing recipe for success.

There will always be a handful of luxury providers and those who will survive in the middle, but for most, photography as we know it has become a commodity and as such is changing the manner in which we must run our businesses. For some that may mean diversifying into video or other genres of photography, for others it might mean opening a creative shop, in essence becoming a boutique ad or design agency providing creative alongside photography. Others will come up with solutions that I cannot imagine, and I look forward to seeing what they do. Anger would be the easiest response to the changes that are occurring, but it is also the least productive. Hanging onto the past is never a good way to move into the future. It is difficult to separate the deep personal connection that we have with our work from the objective reality that it is all on some level a commodity, but to survive we will need to do so.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com or for more information.

When traveling and working abroad good pre-production is essential. Produce your shoot and travel details as thoroughly as possible before leaving on your trip. Coordinate as many details as you can with your local partners, and develop and deliver a timeline to keep your schedule tight and your team on the same page. This will not only keep you, but also your client happy and your expenses under control.

One thing that we rarely do when working abroad is to build extra time into the production to allow for the truly unexpected. When scheduling be sure to consider the pace at which your production team and clients may work in your host country. Time is a very different commodity when you are working abroad and not everyone will be ready or willing to work within your time frame. The pace at which people work, the seriousness which with people view deadlines, differences in the quality of production, the technical skill and digital skills of your local crew, or the proximity of photo equipment or a good computer store may all affect your ability to get the job done within your perceived time frame.

If you are using a translator, speak with them on the phone before you arrive. Be sure that he or she is fluent in the languages that you need and that they understand the terminology that you will be using as you work. Also check to see if the translator will be available for the entire time that you are working. This may seem obvious, but if you are going to need someone to help you and your crew navigate the city during location scouting or after the shoot, you will need to be clear about that up front. Also be aware that you may find the need to book your own translator in addition to the one provided, as the quality of translation varies greatly from city to city and person to person. What may be acceptable to your client may be difficult for you.

Problem solving is what many of us do best, but sometimes even the best problem solvers can be overwhelmed by conditions beyond their control. By being aware of the issues that you may face when traveling and building extra time into your schedule to allow for them, you will make life easier for all involved, and give yourself greater opportunity for success.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com or for more information.

Keep your bags light and your travel simple. When traveling abroad you do not need to carry a heavy voltage converter or plug for battery operated items like your laptop, camera, and so on. You only need to carry a simple converter for your plug from US to whatever country you might be in.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com or for more information.

Be sure to keep your message focused when using social media, facebook, twitter and linkedin all serve different purposes. For instance, don’t forward your tweets about where you are having dinner or partying to LinkedIn. LinkedIn is a business platform, be aware of the impression that you are creating.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com for more information.

Photography isn’t dead, but the old business model is. While you will find many people mourning this disappearing model and trying to figure out what to do next, you will find many more who are problem solving the issues that face us. People become frustrated in the face of change, but it is time for change in our business. Personally I don’t see it as all doom and gloom.  I see:

• The ability of younger photographers to move seamlessly between photography, video and new media, which will allow them to change the old definition of photography and photographer.

• More images being used in more places than any other time in the history of our profession, providing many new opportunities for all of us. These opportunities will only grow as the use of digital devices multiplies and moves into P.O.P and other areas. Consider ways to re-purpose your imagery and to sell it to more outlets. Use this opportunity to build greater brand awareness.

• The market place accepting a greater diversity of visual styles and image quality than ever before. A single style or two of photography does not dominate the marketplace. This gives photographers room to be more creative and offers more people the opportunity to exhibit and sell their work.

• That we are able to create salable images using everything from iPhones to Mark II’s, from prosumer video cameras to high end HD video, giving us larger selection of equipment and creative tools, at more price points, than ever before.

• Video has creating a new revenue stream for many photographers, allowing them to diversify and solidify their businesses as they position themselves for the future. Video is a very large part of the future for those in our field.

• More outlets, gallery and otherwise, for fine art photography than ever before. Work in all genres is being sold. Put together a well edited portfolio and take advantage of the opportunity.

• An explosion of online social networks, blogs, web sites, photographic communities and information resources providing us with the ability to learn new skills, exchange information, reach clients. Social Media and other online outlets offer us a multitude of ways to reach new clients, stay in touch with old ones, and to promote our work and our businesses in a cost effective manner. I am not suggesting you spend hours a week working with social media, but it should be part of a coordinated marketing and branding presence.

I see photography changing and old models and definitions dying, but I also see people who will persevere and move our business in directions that older photographers may not imagine. Remember many photographers were angry about the changes that stock photography brought while others moved forward and profited from the changing business model. That is only one small example of the difference between embracing change that is beyond your control for your own benefit and fighting it angrily. I look forward to seeing what the next generation does with imagery, both still and time based, and our business. It is an exciting time to be creating, our future is a positive one.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com for more information.

There were three Ah-Ha moments for me when it came to Strictly Business 3.

The first was seeing the light in people’s eyes as they gained insight into an aspect of their business that they have been struggling with, or gained clarity in terms of what they wanted to do next with their business. It was wonderful to hear the excitement in people’s voices as they shared what they had learned.

The second ah-ha moment was at SB3 in Chicago where I saw a number of people attending the conference for a second time. The change in each of these attendees from the first conference to the second was startling and motivating. Each had made a clear decision regarding their career after the first conference, and returned with a new focus and clarity.

The third occurred after returning home from the conferences and seeing a growing network of friends, contacts, information, and support online. This reminded me of the real value of ASMP, the extraordinary group of people that we are a part of and their willingness to share with, and support, one another. For me that has always been the reason to be part of this organization, and SB3 reminded me of that in a whole new way.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook and Thomaswernerprojects.wordpress.com for more information.

Overly frequent e-mail promotions and updates can have an effect opposite of what you have intended. It may only be e-mail, but if you are not sending a new project, or have another relevant update, stick to a once every two, three or four month mailing. You don’t want a simple e-mail to be the thing irritates the client and comes between you and a job.

Thomas Werner; Educator, Lecturer, Curator. Please see Thomas Werner Projects on Facebook for more information.