Sunday, February 22, 2009

the canary in the coal mine, and other tales from surviving recessions and worse...

I always felt like photographers and designers saw the economy coming, got hit first, and recovered sooner than most other sectors of the economy. That was because of a couple of things... when money started drying up, assignments took the first hit. Either they went away altogether, or they went into a state of "crisis mode"- you got jobs that had to get shot, and as cheaply as possible, and everything else went on hold. That, and the "bartender factor". During a shoot I'd hear more than I even really wanted to about every facet of the company, and if I was on location I'd hear it from the guy at the loading dock as well as the CEO.

Well, for the last few months I've talked to hundreds of people in photography, design, architecture, video, and it's bad out there. No, really, huh? I'm saying really, really bad. I started my business in 1976, and no sooner did so than we dove into a recession, officially in 1980. Here's a list, if you're interested. This is the worst I've seen it. It's scaring the crap out of me.

What's really alarming is the drastic change between last Fall, oh, let's say around November, and now. Back then I had people telling me they had a great year, but were scared to death to do anything major, in terms of expenses, until they saw how the first quarter of '09 looked, and they are not doing a thing now. They are hunkering down, holding off. I have people telling me they made major purchases in November and now they wish they hadn't.

My personal forecast? I've heard people in the photo industry say it's not going to even start to level off until maybe the third quarter of 2009. I don't think, from what I've heard, you're going to see property values even level off until Fall. People are going to lose their jobs and their homes, and especially in New England. (This area has long suffered what Jay Callum at EP Levine calls the "Boston Effect". People seem to like to hold on to their money here, more than other parts of the country. That theory is based on decades of photo retail, for him, and is backed up by every Sales Rep. EPL had.)

How do you survive this? Work your ass off.

Now is the time that you're going to see the results of your marketing, promotion and, well, salesmanship from the "good years". If you squandered your assets then, you're going to feel it now. If you have done your work well, you're going to be better protected through the "perfect storm". It's a good time to look at what you did and evaluate your strategies. One of the things that an official Marketing Plan has is tracking. There is, built in, a way to look at what the plan does, and see the results. Small businesses sometimes miss that part, but when things get bad, it's pretty easy to see the wheat for the chaff- what worked, and what was a waste of resources.

I've got a list of pithy advice. Here it is.

Simplify.

Now is the time to separate what you want from what you need. When you're self-employed you don't have anyone to review your requests, to reject expenses, and it comes down to clear thinking and discipline. "Make do, do without." But above all, make it work. I made $25,000 more this year, want to know how? We decided to not buy a car. We're now a one-car family, and it's sometimes a little less than convenient, but it's a step towards a "greener" commitment, and a more secure financial position.

Talk to people.

Or, as my old friend Bryce says, "The old ways are the best." Email, Facebook, IM, Twitter, they're all good (well, except Twitter, that's just dumb), but people do business with people. Talk. See. Be seen. Not only will you be meeting new people and seeing old, familiar faces, but in this age of ether and isolation, you'll just feel better, too. (Bryce, by the way, doesn't even know we have a recession on. He's busier than crap.) Which leads me to:

Don't take the economy personal.

Although sometimes you may feel this way, especially if you're out of work, but it's not about you, and you're not the only one feeling pain. I learned this lesson early on, watching a very well-qualified friend struggle in the early '80s, trying to find work. He was taking it personally, questioning himself, and getting completely demoralized. When a hurricane hits, it's not hitting because of you. The idea is to be smart, keep plugging, and have confidence in yourself and your own judgment.

There are no bad jobs, no bad clients.

Once I was told to be careful what jobs you take, because they will point the direction of your career. You get more work like the work you got.

This is not the time for that advice.

This is the time that every single job, every single client, is your new, best job, your favorite client. You can't afford to pass anything up, you can't, especially, afford to lose a single client. This is especially difficult with clients that are tough to work for, or jobs that look like they won't be very profitable. I can only say this. One of the only ways I made it through the hard times I did was because of maybe one or two clients pulling me through. I distinctly remember thinking "thank GOD I didn't tell that jerk to piss off when I wanted to..." because that jerk was the sole reason I was still in business.

This means sucking it up, taking abuse, swallowing your pride, kissing butt. The joke we always say is "I don't mind being a whore, it's being a cheap whore that bothers me..." Well, now's the time you're deciding if you have the stomach to being a creative whore at all, as harsh as that sounds.

Know when to hold 'em, know when to fold 'em.

If you're talking to people and you're listening, and you're checking your ego and self-delusion at the door, you're going to get a pretty clear picture of how things are. In the late '90s I was seeing my work dry up, I was having burn-out issues anyway, and had a chance at a job, and took it. Looking back, and talking to many of my old clients, I was reassured by, at least, having made the right decision. A good friend, a client, said to me a few years later, "Ted, you called that one perfectly... we should never have tried to hold on." It felt that way at the time, but when you're making a decision like that you have to have huge trust in your judgment, and in your gut.

Also, this goes hand in hand with the old windsurfing advice- "Never leave wind to find wind." If you're leaving one ship for another, make damn sure that ship isn't sinking, at least faster than the one you're on... This is no time for a "hail Mary", and I say that from experience. (Remind me to tell you some day about Royalty-Free, Limited-Edition Stock Photography and the $10,000 it cost me that I didn't have...) This is the time to make smart, calculated moves.

...

Depressing advice? Maybe, but there are two lessons I've learned from "perfect storm" experiences. It's one thing to treat a normal storm with denial, to keep plodding along, ignoring the gathering clouds. Most of the time, that's how we cope with stress and survive. If it's the "perfect" storm, though, and you're in denial, it will be your undoing. See the situation for what it is, and make your best call. You can't afford to not.

...and this, my friends, is going to be a storm of devastating, historic proportions, the likes of which we've never seen.

the HistoStepWedge © Ted Dillard



Is the histogram a mystery to you? Can't quite figure out what it's telling you? Take a look at this- and keep in mind, it's just a graph of the pixels in an image, from dark to light.

Look for it, and an explanation of how to use it from start to finish, in Black and White Pipeline. (almost DONE!)

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Friday, February 20, 2009

diversions: people are strange, dixieland



i don't know. i just don't.

Tuesday, February 17, 2009

site- LensWork


Great discussion on the new generation of inkjet papers here.

Brooks Jensen, LensWork Publishing

Friday, February 13, 2009

site- Digital Silver


Just had a chance to get over to Eric Luden's new venture, Digital Silver Imaging, and see the process. He's getting awesome results, they're using a specialized model of a Durst Lamba print method- a laser-exposed silver, dedicated b/w process.

It's simply amazing- we're going to do some pretty exhaustive testing in the weeks to come, so stay tuned, but some of the work I've seen, especially from Tyler Boley's work, definitely suggests silver is still king.

They also use Nik Silver Efex Pro, a Photoshop plugin that I'm getting more and more enamored with... especially since it goes all Smart Filter when you're doing the Smart Object RAW workflow (and who isn't?).

Visit Eric's site here. Now.

Thursday, February 12, 2009

Functions, names, and locations of preferences files in Photoshop CS4

Reference that here: http://www.adobe.com/go/kb405012

crazy, geeky stuff.

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Tuesday, February 10, 2009

a Brief History of Digital Photography


1972 - The first patent is filed for a filmless electronic camera by Texas Instruments.

1975 - The first recorded attempt at building a digital camera. The camera weighed 8 pounds, recorded black and white images to a cassette tape, had a resolution of 0.01 megapixel, and took 23 seconds to capture its first image.

1986 - Kodak scientists invent the world’s first megapixel sensor, capable of recording 1.4 million pixels that could produce a 5×7-inch digital photo-quality print.

1988 - Canon XapShot- (Ted sees electronic, albeit analog, camera for first time, lusts.)

1990 - Kodak shows a hacked Nikon body with a Kodak sensor at Photokina called the DCS. It was 1 MP and cost $25,000. It shipped in 1991. The first entirely digital camera is available to consumers. The Logitech FotoMan records in black and white and at less than one-tenth of a megapixel.

1991 - Kodak presents the DSC 100, which is considered the first useful digital camera for general sale. The 1.3-megapixel camera retails at $20,000.

1992 - Kodak introduces the photo CD. Leaf introduces DCB camera back.

1994 - The CompactFlash memory card is introduced

1994 - The Apple QuickTake 100 is the first consumer-oriented color digital camera. It retails at about $1,000.

1995 - The first consumer camera with a liquid crystal display on the back was the Casio QV-10.

1996 - Thee first camera to use CompactFlash was the Kodak DC-25.

1999 - The Nikon D1, the first digital SLR designed and manufactured by a single camera company is released. It is 2.7 megapixels.
(Ted takes last known photograph on film.)

2003 - Canon’s 6.3 megapixel EOS Digital Rebel is available for less than $1,000. It is the first digital SLR to make a major impact on the consumer market.

2003 - Digital camera sales exceed film camera sales for the first time.

2004 - Kodak ceases production of film cameras.

(creds to PlanetHunt.com- That's What She Said)

a Brief History of Photoshop


0.63 Macintosh October 1988

1.0 Macintosh February 1990

2.0 Macintosh June 1991

2.5 Macintosh November 1992

3.0 Macintosh September 1994
(Ted's first Photoshop Experience)

4.0 Macintosh, Windows November 1996
* Adjustment Layers
* Actions (macros)


5.0 Macintosh, Windows May 1998
* Editable type (previously, type was rasterized as soon as it was added)
* Multiple Undo (History Palette)
* Color Management
* Magnetic Lasso


5.5 Macintosh, Windows February 1999
* Bundled with ImageReady
* Save for Web
* Extract


6.0 Macintosh, Windows September 2000
* Vector Shapes
* Updated User Interface
* "Liquify" filter
* Layer styles/Blending Options dialog
(Color Management actually starts working)


7.0 Mac OS 'Classic'/Mac OS X, Windows March 2002
* Made text fully vector
* Healing Brush
* New painting engine


7.0.1 Mac OS 'Classic'/Mac OS X, Windows August 2002
* Camera RAW 1.x (optional plugin)
(Ted's life is changed.)

CS (8.0) Mac OS X, Windows October 2003
* Camera RAW 2.x
* Highly modified "Slice Tool"
* Shadow/Highlight command
* Match Color command
* Lens Blur filter
* Smart Guides
* Real-Time Histogram
* Detection and refusal to print scanned images of various banknotes[2]
* Macrovision copy protection based on Safecast DRM technology
* Scripting support for JavaScript and other languages
* Hierarchical layer groups


CS2 (9.0) Mac OS X, Windows 2000 / XP April 2005
* Camera RAW 3.x
* Smart Objects
(Ted's life changes again...)
* Image Warp
* Spot healing brush
* Red-Eye tool
* Lens Correction filter
* Smart Sharpen
* Smart Guides
* Vanishing Point
* Better memory management on 64-bit PowerPC G5 Macintosh machines running Mac OS X 10.4
* High dynamic range imaging (HDRI) support (32 bit per channel floating point)
* More smudging options, such as "Scattering"
* Modified layer selection, such as ability to select more than one layer.

CS3, CS3 Extended (10.0) Universal Mac OS X, Windows XP SP2 or later April 16, 2007
* Native support for the Intel-based Macintosh platform and improved support for Windows Vista
* Revised user interface
* Feature additions to Adobe Camera RAW
* Quick Select tool
* Alterations to Curves, Vanishing Point, Channel Mixer, Brightness and Contrast, and the Print dialog
* Black-and-white conversion adjustment
* Auto Align and Auto Blend
* Smart (non-destructive) Filters
* Mobile device graphic optimization
* Improvements to cloning and healing
* More complete 32 bit / HDR support (layers, painting, more filters and adjustments)
* Faster launching


CS4, CS4 Extended (11.0) Universal Mac OS X, Windows October 30, 2008
* Smoother panning and zooming and fluid canvas rotation
* OpenGL display acceleration in Photoshop
* Native support for 64-bit on Windows Vista x64
* Adjustments panel
* Auto-blending of images
* Masks panel
* Improved Adobe Photoshop Lightroom workflow
* Content-aware scaling
* Better raw image processing
* Extended depth of field
* Dramatically enhanced color correction
* Auto-alignment of layers
* New file display options (tabbed document display and n-up views)
* New file management and workspaces with Adobe Bridge CS4

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a Brief History of Inkjet Printers


1989
Epson develops MicroPiezo Technology

1994 Desktop color ink jet printer with 720 dpi resolution (EPSON Stylus® COLOR)
(Ted buys one.)

1997
* Desktop color ink jet printers with 1440 dpi resolution
(EPSON Stylus® Color 600, EPSON Stylus® Color 800)
* Six-color photo quality printer (EPSON Stylus® Color Photo)
(Ted buys one.)

1998
* Color ink jet printer selected by NASA for STS-95 mission (EPSON Stylus Color 800)
* Color ink jet printer with built-in USB connectivity (EPSON Stylus Color 740)
(Ted buys Epson Stylus Photo 1200)

1999
* World's fastest color ink jet printer in its class (EPSON Stylus Color 900)
* iMac printer (EPSON Stylus Color 740i)
* Printers to offer FireWire connectivity
(Ted buys Epson Stylus Photo 1280)

2000
* World's first edge-to-edge 4" x 6" snapshot printing on an ink jet printer

2002
* First seven-color archival desktop photo printer
* World's first 2 picoliter ink drop in an ink jet printer
(Ted buys Epson Stylus R2400)

2004
(Ted goes broke and decides to write books to pay for all the printers he has bought.)

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Sunday, February 8, 2009

Kitchens, Offices and Collaboration


There have been a lot of rambling and related threads going on in my little head lately, one has been the show where the famous chef, Gordon Ramsey, goes into a failing restaurant and, with the application of tough love and possibly a freer use of the F word than even I am capable of, turns the place around. I should say, turns the team around.

For team it is. From the front of the house to the back door of the kitchen, a successful restaurant is one of the most intimate, and purest examples of a team in business. In every case Ramsey's cure is to fix the leadership in the kitchen- the head chef, remedy problems in the chain of command, eliminate weak links in the team, refocus the entire team on the customer.

Another little thread in my head has been the photography industry, and freelance photographers. See the post below, which originated on my Facebook page. Working as a photographer, then working with photographers, teaching photographers and now sharing online forums and groups with photographers, I can generalize one characteristic about photographers. Photographers need to think in terms of their industry, their community, and learn to collaborate if they are to keep this industry alive.

Which leads me to Tech Superpowers, my day job. Our company is, first, a company of techies. OK, geeks. We all try really hard to work together- in spite of our natural tendencies to hide behind our keyboards, our physical locations, (from a scattering around Eastern MA and CT, to FL, to even London), and in some cases our just plain geeky shyness, lovable though it may be. We're all really really good at what we do, and we do really really different things, much like a kitchen. (You don't want the sous-chef seating the customers and talking up the specials, you don't want our Consulting Director talking Color Management, you don't want me going anywhere near your server or doing your scripting. uh. Whatever that is.) Internally, we've been getting into an interesting discussion about our location needs, and I stumbled on this, from Cisco, on the "connected workplace"- Office Design Case Study: How Cisco Designed the Collaborative Connected Workplace Environment It's funny, I found that while looking for information on office design, lead there by my image of a perfect office- one where people meet, talk, work together, form plans, execute projects- based on being together in the same place at the same time. Like a kitchen.




My conclusions? Tune in later, I'm still working on it... but I can tell you that social networking, Instant Messaging, tools like Twitter, they're all fascinating and intriguing as they evolve. Facebook, for example- my friend Logan said, "...when the hell did this thing that was a way for college kids to hook up turn into a business tool?" I don't know, but it has, and a very powerful one at that.

We have all these tools, but I'll argue one point until I take my last breath. We're animals. Animals that communicate with every fiber of our bodies, and we still need to understand and use that tool, too. And the only way to do that, is to, at one time or another, be in the same place at the same time. It doesn't matter if you're a tech geek, a photographer, a head chef.

Communicate, and collaborate.

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notes: the paradox of the professional photographer

I just had a great chance to catch up with an old colleague for a nice lunch- Larry Stein.

Larry and I were working the same area at the same time, and shared a few clients. It was pretty funny, for the first time, to talk about those clients (were your ears burning, Mark?) and jobs, but also, more importantly, our perceptions of each other's reputations and work, and relationships with those clients, mostly through offhand comments and maybe even rumors.

I use the term "colleague" here very deliberately, because that is what we were. We were competitors, sure, but we also had respect for the other's work, and reputation. I regret that, at that point in our careers, we did not somehow reinforce that relationship, but I think both of us shared the perspective that we were competitors, pure and simple.

And that, my friends, is what is wrong, and has been for decades, with commercial photography.

We've all been looking at the business like we're gunslingers- one lonely cowboy out there, scrapping and fighting, looking out for number one.

I recalled, yesterday, the story that led me to cancel my subscription to PDN, the story about the guy who was crowing about shooting for PhotoDisc- royalty free, work for hire, for a $5000 day rate. For some reason, the fact that he was pulling the rug out from under the entire industry escaped him... in his self-centered greed.

And another photographer, lately one I can call a friend, comes to mind... Lou Jones. If there is one single thing I think of when I hear his name, it's his career of supporting the industry, the community of professional photography. Maybe it will distress him to read this, that I think of this rather than his photography, but this too is his "work". Thinking not only of himself, and his career, but acting in a way that creates a future, a legacy for every young photographer getting out of school, trying to make a living. (OK, his photography is pretty damn inspiring too...)

The only way this business, and business it is, can survive, is if we remake our perception of who we are, and how we fit in as individuals in the community of commercial photography. Strangely, I feel that, somehow, networking like Facebook may hold some of the answers...

...that is all.