Stephen Mallon On Perseverance And Transition To Video

by JamesNYCJuly 1. 2014 09:21

The backstory.
Prior to the incident on the Hudson River, Stephen Mallon was “surviving” on royalties from multiple stock agencies. He had been photographing landscapes for licensing and exhibition, and personal work. A book editor at a portfolio review had expressed interest in making a book but Stephen felt he didnʼt have the right content that he envisioned for his first monograph. So he set about focusing on his interests in the recycling industry. He engaged a writer to help with a proposal, and, explaining that he intended to make images for non-commercial use, he gained access for two days to a recycling plant in New Jersey, which led to access to others in other states and to a body of work that would come to be titled “American Reclamation.” This was all self-funded by the bits and pieces he was drawing in from editorial and resale.

The break.
In New Jersey, in 2008, Stephen spotted a barge loaded full of stripped down subway cars and thus discovered the artificial reef project, wherein these erstwhile MTA cars are shipped to various locations off the US coast and dumped in the ocean to create artificial reefs both for sea-life and for tourism, images of which would become “Next Stop Atlantic.” The company concerned was Weeks Marine, and here began a wonderful relationship. Forward to 2009 and Stephen and his wife are out celebrating her birthday when Chesley Burnett “Sully” Sullenberger, III, makes his amazing landing on the freezing Hudson River. Mallon called Weeks Marine and sure enough they were tasked with retrieving the plane; they commissioned Stephen to photograph the project, bringing him in by tug boat to make an incredible photo essay that made national news. As well as all the licensing, the prints are still selling well in the fine art market.

READ THE FULL ARTICLE ON APHOTOEDITOR.COM

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A new Post "Agents And Art Buyers Go To War" - "A Photo Editor".

by JamesNYCApril 1. 2011 07:22

What started as friendly banter when photography agent Heather Elder
wrote an open letter to art buyers with several responding back and
everyone agreeing and asking for open and honest dialogue between the
two, has suddenly taken a turn for the worse this morning when a
senior art buyer at DHPH-NY/LA declared "I'm tired of this shit, you
people work for me" then announced a new policy called the "silent bid
off." Now up to 20 photographers will be asked to submit silent bids
on all jobs. The job will be awarded to the lowest bid or picked based
on "arbitrary rules we've made that you have no idea about."
Additionally, an a la carte menu will allow agents to purchase more
information about a job (e.g. budget, creative call, who you're
bidding against) that may or may not give you an edge in the bid off
and could potentially mean you're paying them if you win.

Senior agent David Chartikoff from Creative Photographers Agency fired
back with new surcharges that will be added to all jobs. Photographers
will have at their discretion the ability to charge thousands of
dollars in "dealing with agency/client buffoon charges." The DWACB
charges include additional surcharges for people trying to eat and
drink the expense budget in a single evening and people standing
around set acting like they're on "spring break" instead of working.
He hinted at some type of hangover fine but was initially unsure if
that might backfire on some of his well known photographers who "work
better" when everything is a bit blurry in the morning.

 

Read the full text http://www.aphotoeditor.com/2011/04/01/agents-and-art-buyers-go-to-war/

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