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How do i make the jump

I think i should tell you a little about my self im a photographer based in manchester, I graduated from uni 2 years ago where i became really interested in conceptual work and photojournalism, iv been finding some free lance work but this has only really been add hoc and its mainly fashion work and based in the studio. but this isnt at tall where my hart is in photography!!!

so i guess what im looking for here is some advise on how i can get started in photojournalism??

i want to one day be in a position where i can take photos which inform people about a story or somthing that is happing in the world

any help would be much appreciated

by Joe Faulkner at 2012-01-22 11:33:01 UTC | Bookmark | | Report spam→

The sad truth is Joe that the UK like everywhere else is awash with graduates and others wanting to be photojournalists. Colleges and Uni’s keep churning out people when there are hardly any jobs available and photography jobs in general are hard to find.

I’m not saying give up-but most of the editorial photographers I’m in touch with are like me-having to do other photography work as well as editorial to make a viable living. If your really determined you should be able to make some sort of a living-but be aware that it is going to be a very hard struggle.

Find something that interests you and do an extended photo story on it, even if it means travelling and working as a waiter or something similar part time to get some cash for the expenses. There are lots of photographers out there with superb portfolios chasing the scraps in a market with dwindling budgets but I’m sure if your prepared to make sacrifices and live cheaply then you will eventually succeed.

by JR, (John Watts-Robertson). | 22 Jan 2012 19:01 | rothwell, United Kingdom | | Report spam→
This is kinda what iv been doing, do you have an email so i can show u my lates project on kibbutz??? it would be nice to hear some critical feed back

by Joe Faulkner | 23 Jan 2012 11:01 | United Kingdom, United Kingdom | | Report spam→
ha, i know about my spelling, im severely dyslexic i have the spelling age of a 10 year old or somthing, i failed english 10 times, 10 D’s i think its must be some kinda of a record but when it comes to it i can wright dissertations and also i have a number of people who i send my emails to frist to sort the spelling out, so their are methods in place to make sure thats not a problem.

below is the synopsis for the lates project iv been working on. i believe its a strong project and with everything that has been going on in the world today quite poignant. I would like to here you opinions…..

The Kibbutz’s role in Israeli society dates back to the beginnings of the state’s formation, with the first ones appearing during the early 1900’s. The word Kibbutz translates literally as ‘gathering’, which reflects the kind of lifestyle that Kibbutz’s often promote; a collective, communal existence, with residences working with and for each other in an environment of complete equality. This, at least, was the dream.

However, Israel as a state has changed and evolved, so has its Kibbutz’s. In the latter part of the twentieth century Israel has moved to become one of the major military powers in the Middle East, as a result of these tensions and shifts, the country has increasingly moved towards westernised capitalism and religious and political fundamentalism has gained more and more influence in the state’s governance.

Israel’s gradual metamorphosis as a country has had an equally momentous effect on the Kibbutz movement. To begin with, their ideas of total equality and redistribution of wealth, the Kibbutz were thoroughly socialist institutions but, over the last decades, capitalism has become more and more influential in their organisation, with many Kibbutz being privatised. With this, many things have changed. Previously, housing was allocated based on a resident’s needs, but in privately run Kibbutz it is now possible for wealthy individuals to purchase property in a kibbutz outright, work outside the kibbutz, not participate fully in the commune and remain privately very wealthy. Equally, the nature of wages within many kibbutz has changed. Previously they were institutions which favoured total equality and redistribution of wealth with wages allocated based on a particular families need, but, under private ownership, this is often no longer the case.

These changes are not universal though, with each kibbutz choosing its own path. Sadly, it is usually the kibbutz’s wealth which plays the strongest part in this choice. Ein Hanshofet, where these photographs were taken, is lucky enough to have avoided privatisation as of yet thanks to its two industries, the manufacture of screws and of ballast for lights, which have provided it with a strong and secure financial base and allowed it to continue to operate in the manner which it wishes.

But there is talk of change in the not so distance future, so this project is taking a look at a Kibbutz in flux trying to adjust to Western society whilst trying to keep the movement alive and the ideals that so many of the people believe in.

Despite this, there is still talk of radical change to Ein Hanshofet in the not too distant future, as the pressures of an increasingly westernised society become ever more present. With these photos, I have attempted to capture images which can convey the state of flux which the Kibbutz is in, as it tries to adjust to the realities of the western society which threatens it, whilst trying to keep the ideals and principle of the movement, which so many of the residents believe in, alive.

by Joe Faulkner | 23 Jan 2012 13:01 | United Kingdom, United Kingdom | | Report spam→
you can see the photos in the linke below, I dont think the project is finished yet. i would like a chance to get back their and focus more industries

http://www.flickr.com/photos/justtostart/sets/72157628333378957/

by Joe Faulkner | 23 Jan 2012 20:01 | United Kingdom, United Kingdom | | Report spam→
Read Mike Kamber’s excellent Lightstalkers piece on this very subject…

http://www.lightstalkers.org/posts/advice_for_young_photographers

by Neal Jackson | 24 Jan 2012 23:01 | Oslo, Norway | | Report spam→
I spell like shit, I’m not the greatest speaker, and I read slowly. Thats why I make pictures.

by Eros Hoagland | 25 Jan 2012 02:01 (ed. Jan 25 2012) | Tijuana, Mexico | | Report spam→
Joe, you really need to be somewhere. I see, by your profile, that your location is unknown. Everybody has to be some place. You really should know where you are, otherwise when you make that jump you just might end up in the Thames.

by Barry Milyovsky | 25 Jan 2012 03:01 | Manhattan, United States | | Report spam→
Pick a country with cheap apartments and cheap beers and work your way up.

by Tom Van Cakenberghe | 25 Jan 2012 17:01 | Kathmandu, Nepal | | Report spam→
I agree with Tom. There is no way to make the jump, you jump. You need to spend a few years shooting and struggling and figuring out what you want to shoot. And work on your spelling. Seriously. Editors and readers don’t care why you don’t write well but they judge you on it. Take your time, proof read but being able to write well about your work is something very, very important….

by Damaso Reyes | 25 Jan 2012 20:01 | Barcelona, Spain | | Report spam→
The topic and method of “jumping off” as you say, could be a fat book someday.

A good “editor” is the key to getting work as a photo-journalist…or at least it’s the next thing to have after a camera and at least one good eye you can see out of.

That is not to say you could put “good editor” down on your grocery list after milk, eggs and cereal; you have to earn it and there is no other way to do that other than delivering accurate, compelling, solid, clean, clear and impartial images on deadline that tell the story the instant the viewer sees it——- and you have to do it every time regardless of night, day, rain, rocking boat, visa problems, no gas money, rotor blast, no sleep, hangover, washed out bridges, flat tire, guard dogs, pissed off cops, bleeding babies or half eaten dinners and drinks with friends—-even, hot date or date night.

To begin, the internet, has a voracious appetite for news and photos to accompany the story——not to mention print outlets like newspapers and magazines. Someone has to supply those images——the market is there and waiting but it is tough to get in for sure, but like a friend of mine has said, “There is NO competition.” Now I didn’t understand what he meant at first because of course, there is competition, and it’s brutal like a soviet gulag ice water breakfast—-so you just have to go do it and —-suffer a little bit. My friend’s reference is simply that if you are committed, the pace and success of others, regardless of their advance, does not matter; you will be there in their midst.

Your first task should be getting published someplace; first blood is an enormous motivator. I agree with other comments here about doing stories you believe in and I think they work best for longer personal projects you can nurture, explore and develop but you have to be ready to shoot what you are not necessarily called to naturally. Your response to an editor when he/she calls should be, “Yes, I can shoot, what is it, where and when——and what is my deadline?”

There are obvious things to do, like take your camera everywhere you go regardless of the hassle and problem it makes for you and others. Photojournalism is an all in profession, which is really the theme for many jobs now with the economy but especially the state of how media outlets are moving forward. Find a mentor you can go over things with, show your work to and talk about methods for shooting with subjects—-and tell you are shooting crap and when you are not. Your flicker images of the Kibutz are not what they should be.

There is a common and romantic image of the single photojournalist against the world which can still hold true today but not in the same way it did in decades past; the concept that to be a thorough news photographer, you must only be taking photos of intense and grueling hardship of peoples in foreign lands as they make their way through war, famine, flood and drought, is not as true as it once was and the pay is singularly terrible except for a select few—-so get over it.

Try talking to people in your own neighborhood—-there are thousands and thousands of stories within 50 miles of where you are right now——and because of the law of entropy—-all things lead to chaos—-it will never end and continue to build one thing to another.

I have handed over a couple of times some advice here, like wear a dark shirt so they can’t see the camera straps from far off—-but also get a reflective road vest to wear so they can see you; a lesson I learned shooting OccupyLA —and avoid an arrest. A roll of quarters for the parking meters, a dash placard with “MEDIA” and a new one I just tried out—get a collection of those stickers they use where you write your name under the “Hello” with a sharpie——really good for back hallways at hotels—-or the ones that say “Visitor—-You are instantly transformed into someone that belongs——Also, go to the service loading dock at convention centers, hotels, Corporations and park there—-no valet charge and you have the back door in like you belong. I have a white cargo van—-so cops and fire think I am the coroner when I first show up but I also have some orange cones I can put out when I am double parked or in a fire lane. It really does not matter what you come up with but it is getting the shot, so game it and get the shot. Work every angle you can, and apply the things that work for the next assignment.

The best advice I have heard is shoot your own game regardless of whatever else is going on around you—-the moment you worry about what other shooters are doing around you, it’s lost. Create your own view and stick with it no matter what; make it your own against everything—you won’t be right every time but you will have your own view and that’s your best work always.

Maybe if you were to test all the great photojournalist’s DNA, the most common matches would be curiosity, aggressiveness, persistence, diligence, and an uncommon gift of the seeing the unusual within the usual.

Get in, get your shots and get out. You will make mistakes, learn from it and move on. Life is messy; get out and shoot it; let your photographs tell the story.

Good luck,

bro

PS: You have to overcome the spelling thing—-so get a bunch of captions going in your clipboard so you can move with it——editors don’t have time or interest in fixing your captions——this could kill it for you so figure it out and get it right——fast—-.

by David Bro | 26 Jan 2012 06:01 (ed. Jan 26 2012) | orange county, california, United States | | Report spam→
Learn to tell a story in pictures. Then learn to do it with few pictures. An old boss of mine once challenged me, “It’s easy to tell a multi-picture story — what’s hard is to sum a story up in one picture”. And he was right. The AP and agency guys tend to be real good at those one picture stories. Oh, and along the way learn to tell those stories in video. Video with great sound is key.
One more thing. In your first post you said, “i became really interested in conceptual work and photojournalism”. Being “interested” is not enough. You need to have that fire in your belly over what you’re doing. You need to wake up in the morning wondering what pictures you’re going to make that day. I carry my camera with me everywhere all the time and I make pictures EVERY day. I don’t miss a day. There are no days “off”. If you don’t have that burning desire you need to find a job.
Good luck with your career.

by John Robert Fulton Jr. | 26 Jan 2012 13:01 | Spring Lake, Michigan, United States | | Report spam→
Good advice by JRF/JR….I also wanted to mention that you should bet a critique of your work——later when you have a mentor or people you know, you can go to them but for now you might try this:

http://photosynesi.com/reviewers/bios.php?wells-david/badge

It would be good to start a baseline so you can see where you began and where you are going—-and you have to get a thick skin and not let yourself get sensitive about it—-decide ahead of time that you will not let it get to you. Ask reviewers to do their best and spare nothing—-and don’t go to your sister, nephew or uncle to ask them what they think unless they shoot for magnum or the AP.

saludos,

bro

by David Bro | 26 Jan 2012 16:01 | orange county, california, United States | | Report spam→
Good advice again here above. Love the “Hello” stickers, used the yellow vests a lot myself to make sure rage-blinded cops wouldnt beat me up together with protestors. It gives you a bit of “I belong here” wich is pure psychology.

I said to look for a cheap country and that contradicts with that you can find stories next door, wich is a fact. But during a learing period ar really being based abroad it does matter how much daily life costs just to survive or well…live more comfortable. I can imagine watching tv all day and eat streetfood in NY costs more than an active life, taking images every day, with transport and an internet connection and so many more expenses in a less costly place.

In the end you will relocate, be on your own a lot! Feelig isolated etc. For me its second nature but I think not everybody can handle the feeling of being totally cut off with only a handfull or no people to talk after work in a casual way. Or nobody around that gives a shit that you are there. I started to like that actually.

by Tom Van Cakenberghe | 26 Jan 2012 16:01 | Kathmandu, Nepal | | Report spam→
Yeah, but see Tom—-you are finding stories where you live actually—-its unique for you because I would bet the reason you have relocated is because you wanted to and not because you felt you had to for work and now you are there and finding stories——that is a very different than feeling that you have to leave and go somewhere because there are no stories where you are—-imagine a Katmanduian leaving to go to Nairobi just because there are no stories in Katmandu?

More about this later, I’m on deadline now and they’ll having kittens if I don’t get my stuff in.

bro

by David Bro | 26 Jan 2012 17:01 | orange county, california, United States | | Report spam→
I sent you a PM Joe but not sure if you will get that as LS has been acting up of late.

My e-mail is jrphotos@gmail.com but I’d suggest you put your kibbutz images up on LS as a gallery.

Stick a self-portrait on LS too- I’m no oil painting,(more of a grizzled old git), but people like to see each other!

by JR, (John Watts-Robertson). | 26 Jan 2012 19:01 | rothwell, United Kingdom | | Report spam→
Er, I just saw your flickr link Joe. One question-where are the people? All I could see were photos of buildings when it’s people and their emotions that tell a story.

by JR, (John Watts-Robertson). | 26 Jan 2012 19:01 | rothwell, United Kingdom | | Report spam→
@JR (…) when it’s people and their emotions that tell a story

Than you leave out lots of important photographers, like Edward Burtynsky, one of my favourites ;-)

@JF – quite a few photographers are dyslectic – your solution sounds fine. As for making the jump, read lots of stories about how other people made it, and be prepared to eat lots of rice and beans as Ed Kashy recently explained in a workshop about how to make it.

In the end, it all comes down to being really eager and working really hard.

by tessa verstege | 26 Jan 2012 20:01 | | Report spam→
I do agree with what tessa says i dont think people are needed in images in meny way i think it add to them, robert adams said “form is beauty” and this is something iv taken to hart i think from is something thats really important to me and not having any people in the images adds a certain amount of mystery to an extent. but these images are not finished i feel its still a work in progress!! i feel this an important fact, i know i need to reshoot theirs a lot to add to it.

and DCP dose it mater if new topgraphics was half a century ago?? i could have mentioned other photographers who have played a big influence who are more recent but i think we learn from the past. hopefully improve from what they have done or take it from a different angle, work like walker evens and ancle adams i still think are some of the most powerful images created.

i think i agree with what david bro put too “is shoot your own game regardless of whatever else is going on around you—-the moment you worry about what other shooters are doing around you, it’s lost. Create your own view and stick with it no matter what; make it your own against everything—you won’t be right every time but you will have your own view and that’s your best work always.”

its not that i dont mind the criticism on the contrary in meny ways i relish it. and i agree i think the quilty of some of them varies, iv been trying to play around with a few different ideas

thank you tho for every one who has got back to me its all appreciated

by Joe Faulkner | 27 Jan 2012 00:01 | United Kingdom, United Kingdom | | Report spam→
Hey Joe, don’t confuse, for your own good what I was saying——My reflections relate to and event where there are multiple shooters at an event and you are jostling for position to get shots—-so hoot your own game—-when you are coming out of the gate—-unpublished I am assuming and you shoot far off shots with no people or situation going on at what could be a kibutz or not, is another situation and more looks more like snapshots.

Remember that you have to hold up a template to what you are shooting and presenting to editors that says, no one else has these shots or anything similar or close—-and thus moves them forward to purchase what you are showing off===now, I am not a kibutznik but your shots are not anything set apart in vision or situation that would encourage me to purchase them for print where I would wet my pants if I could not get them.

Plainly, it can take 5 years to get to the point where you can have consistently sellable photos and you just began 14 posts ago so move forward aggressively but with patience for your goal.

skoal,

bro

by David Bro | 27 Jan 2012 03:01 | orange county, california, United States | | Report spam→
Best advice I ever got was to just do it. I remember being pretty frustrated with that advice the first, second, third time I heard it. But seriously, just do it.

by Ben Brody | 27 Jan 2012 17:01 | Boston, United States | | Report spam→
Bro…very true!

by Tom Van Cakenberghe | 27 Jan 2012 19:01 | Kathmandu, Nepal | | Report spam→
In the words and voice of Seth Myers….Right?

by David Bro | 28 Jan 2012 00:01 | orange county, california, United States | | Report spam→
If you have passion, your own vision, a way of showing people a new way of seeing things that they have seen, with tired eyes, many times before then you will probably never succeed. Make connections and learn to show people what they want to see.

by Barry Milyovsky | 28 Jan 2012 02:01 | Manhattan, United States | | Report spam→
Tessa/Joe- of course I’m not saying you HAVE to have people in the photos. I meant you have to portray some emotion in your photos for them to stand out and be sellable. How you do that is up to you and of course, it’s possible to get some feeling into your photos even if it’s just buildings your photographing.

Personally I think DPC has it. The story doesn’t square with the photos. I think in this case you do need the people to help tell the story and get the viewer involved. I also agree that some of Joe’s pics are frankly not very good. There I’ve said it. Not so that everybody can flame me or to try and belittle Joe. How will he improve unless people tell it as they see it? It’s MY opinion.

Others may not agree and thats their prerogative. I’m not trying to be negative and Joe-please don’t get upset by my remarks… I like some of your images but to me others weaken the set and I’d really like to have seen the people who work on the kibbutz. It could be a great set of images and I’m sure if you go back at some point and work on it, then it will be.

by JR, (John Watts-Robertson). | 28 Jan 2012 11:01 | rothwell, United Kingdom | | Report spam→
of cause i wont get offended, to be honest i like people to tell me they dont like my work for a proper reason and i dont like all of those images too i think their are some really strong ones and in some ways i just used others to bulk it out a little, criticism is the only way im going to get better. i think my problem is that i kinda came up with the project all most after i took the images. Im going to go back!! now i have more of a direction of where to take the work so thank you.

by Joe Faulkner | 28 Jan 2012 13:01 | United Kingdom, United Kingdom | | Report spam→
Agree totally with JR and good job on saying it like it is and as well, good job JoeF for taking the comments as they are meant and moving forward.

bro

by David Bro | 28 Jan 2012 17:01 | orange county, california, United States | | Report spam→
@Joe – there’s probably plenty you could do to advance your project without going back to Israel yet. The kibbutz movement attracted many young foreigners. You could try to find people in the UK who went, do some portraits, record some interviews. Maybe someone you meet goes back there and you could follow them. Perhaps mix your landscapes with portraits you make in Israel and archive photos of the people concerned. You could go to a kibbutz and track down the oldest and youngest members. Or people who were active and have left. Maybe there are associations in the UK that were or are active in sending people to work in Israel. If you have a personal involvement in the story you could use that to articulate your work. A flight from the UK to Israel can be had cheap. If you prepare well enough in advance I’m sure you could accomplish a great deal in a short time.
About Robert Adams: I find his work interesting too but he was born in 1937. His strategy was right for him at the time and in a totally different context. You need to find your own and one that will be uniquely yours.

by DPC | 28 Jan 2012 17:01 (ed. Jan 28 2012) | Paris, France | | Report spam→
Joe

If you going to shoot in that style and your interested in Israel you would be better off shooting the Israeli settlements and if possible the illegal ones. The Kibbutz is ostensibly about community so I would imagine anyone looking at it would expect to see that aspect. The issue of settlements is two fold, it deals with the settlers and the actual physical settlements themselves. So if your interested in shooting in a documentary/architectural way that might be better suited. Not an easy project to undertake though as you would encounter severe opposition from the settlers.

Finally be your own person, look at work that is similar and get inspired. Listen to photographers who know what their talking about and try and avoid forums where everyone seems to be an expert.

Don’t worry about the dyslexia. Don McCullin and David Bailey were both dyslexic but were creative innovators.

by [former member] | 28 Jan 2012 19:01 | London, United Kingdom | | Report spam→
“…Finally be your own person, look at work that is similar and get inspired. Listen to photographers who know what their talking about and try and avoid forums where everyone seems to be an expert…”

Hey, why such a bad Latitude? {:(

by David Bro | 29 Jan 2012 01:01 | orange county, california, United States | | Report spam→
Frankly, when it comes to spelling and basic grammar just about everyone on this post has issues. ‘Your/you’re, ‘Their/they’re are amongst the most common errors.

by Nigel Amies | 29 Jan 2012 04:01 | Vientiane, Laos | | Report spam→
No bad attitude intended.

Talk is cheap when it comes to photography.

I think Joe would benefit from looking at other work that is similar to what he has shot to see how he can improve. You don’t learn anything from talking. Out of interest David I don’t see any of your work on a website to compare.

Nigel thanks for the corrections.

by [former member] | 29 Jan 2012 11:01 | London, United Kingdom | | Report spam→
Personally I think you can learn a lot from talking to other and more experienced photographers. I don’t claim to be a know-it-all or an expert, and I’m still learning after thirty six years as an editorial photographer,(over twenty of those for the national and international press).

Also grammar doesn’t come into it too much for me-so long as I know what the person means it never bothers me on a forum, particularly as many photographers I’ve worked alongside over the years have admitted to being dyslexic. Fair enough with regard to captions though-there are workarounds to sort out those.

by JR, (John Watts-Robertson). | 29 Jan 2012 11:01 | rothwell, United Kingdom | | Report spam→
JR the only way to learn is to do. If Joe wants to solicit advise or critique he may be better off getting it from photographers who have been widely published and know how the industry works, photographers who have published books etc.

In a visual medium it’s obviously better to see how other experienced photographers have done projects.Usually when photographers do a talk or seminar they have a slideshow or have samples of work to show.

It’s easy to talk a good game.

Joe your time would better spent doing research into other work that you like. Get inspired not mired in chit chat.

by [former member] | 29 Jan 2012 17:01 | London, United Kingdom | | Report spam→
The plot thickens. Will Joe take the advice of Latitude who says not to take anyone’s advice except, apparently, his? Will Joe continue to pursue the comments and thought of others? Will he won’t he, could he should he, will he join the dance?

by Barry Milyovsky | 29 Jan 2012 18:01 (ed. Jan 29 2012) | Manhattan, United States | | Report spam→
I bow to Latitude’s superior knowledge of the industry. Obviously I’ve completely wasted my time here on LS. Cheerio!

by JR, (John Watts-Robertson). | 29 Jan 2012 21:01 | rothwell, United Kingdom | | Report spam→
Dear JR

Please don’t take it personally. My point was not intended to cause offence.I have worked in the industry for approx 20 years,working mainly with advertising and commercial photographers.
There have been many changes during this time mainly with the advent of digital technology.

My only gripe has been with how photographers(including some photographers I know personally) spend so much time on photography forums, tweeting etc. That’s why I advised Joe to seek out work that interests him and get inspired. I just don’t think photographers are getting inspired as much. When there is a lack of inspiration there is a lack of ambition.Joe has taken the criticism extremely well.This is a distinct advantage because photographers need to accept criticism, not only when they are starting out but throughout they’re career.

Iknow the current climate is not a good one for photographers especially in the editorial market but I firmly believe that photographers have to stay inspired.

Inspiration feeds creativity.There are many good photographers working regularly because they work hard at attaining good clients, stay clear of chit chat forums and keep fresh portfolio’s.

I don’t understand the resentment to my advice to Joe. Clearly some of you need to accept criticism better. Joe has set a very good example.

I don’t want to get involved in a lengthy debate or protracted dispute.

by [former member] | 29 Jan 2012 23:01 (ed. Jan 29 2012) | London, United Kingdom | | Report spam→
Well, I think if you look at the facts they are like this:

Joe asked for advice on how to jump into photojournalism and he got it—-and all of it good advice, delivered in a matter of fact way—-no one claimed to be an expert but something else which is mostly working PJ’s—-he did not ask how to become an expert, how to publish a book, get a grant, an embed, an internship, win the pulitzer, or anything else—-I would bet you though an overwhelming amount of experts, those with published books out and pulitzer prize winners would say working news is where it all starts from and then you move on to where ever it is you want to go and do.

Latitude’s advice, although contrary in part to everyone else’s is still advice—-and what is unusually contradictory is that Latitude gives advice about photography but then says to avoid forums like LS——where his advice is written out—-in fact the same advice as some others —-the only difference from everyone else has been his direction to ignore the forum, but then there is more advice and the circle starts that never ends….I think I’d rather have advice that goes from A to B and then C, than to have it running around the letter A all day long.

For the record, I do not consider myself a photojournalist but a news photographer and just like all the photos I publish or the articles I write, I have my name on them and so does my LS account——because I am serious in my job and in this case, what I have commented on in regard to Joe getting into P/journalism. While I think Latitudes comments are mild in a sly offhanded way, it would make more of an impression if there was a real name behind it.

To add on and respond to Latitude’s comments, I would say it would be unrealistic to spend all of your time talking or chit/chatting about photography. Its well rounded experience that produces a well rounded product. Personally, when I have been asked advice, typically on assignment, I cannot respond because I am shooting and on a deadline and I can only do it here in between time when I am not shooting. How many photographers is Joe going to come across where he is anyway? So, yes he’ll have to go out and find them and their advice every 3 or 4 months or so when he can—-and in the meantime work on all the things mentioned here. A side note, I would suggest that if you want advice, simply hand off a card with your name and phone number to the photographer with “Please call me” written on it—-that way he can call when able and is not missing shots. I gave my card to an LA Times Staff guy a couple of weeks ago so we both could keep shooting and a couple of days later he called me—-its a great way to do it and its a pleasure to get help and help others in this way.

Everyone here has given advice on how “to do it,” and then Joe offered up some shots on flickr for a critique, maybe not directly asking for one but it’s come into to play because the work is not even close to what it should be——its not to say at some point it will be but its up to Joe to improve—-but now its not and the fact is, there is not enough to critique anyway whether its online or in person. He is not afraid to bash up he elbows to make his way and now has a great profile photo up….its working already.

Okay so he got some news that is no fun to hear on his photos but he handled it well and is undaunted it seems—-which is exactly what you have to do. But if you think you are going to go into news work and not get yelled at, threatened, pushed and shoved while otherwise made not welcome—- its simply puppy kisses and cupcakes in comparison to what is can be like and that’s from both sides—-try telling a cranky editor you didn’t get his/her shots—-its makes a great headache of a sandwich out of your day but its better than doing anything else.

In regard to websites, I’m not sure what you mean but you can look at the blog that has been on my personal page here at LS for a couple of years and where I only put up what I have published and thats when I have time or you could go to ocregister.com, search my name and find several hundred if not over a thousand features, news stories as well as some sports, profiles or whatever and if you can get on Zuma you can see some there as well although I am still building it up.

I probably won’t get a website until I am an expert, which will most likely be never.

bro

PS: Don’t be fooled—-captions, spelling, continuity, grammer and general flow of writing is huge for captions, copy block and write ups—-also, iptc information filled in according to the way the outlet wants it because if you are off by one letter, not complete or info is in the wrong spot the photo can get lost in the archive never to be found and on deadline, when just a few minutes count, the editors do not have time to correct things and your photos get shoved off to the side and that means no sale if you are freelance and if you are staff its a mean talking too—-its not to say you can’t work it out, it’s to say you MUST work it out.

by David Bro | 29 Jan 2012 23:01 | orange county, california, United States | | Report spam→
Hahahah alot seemed to happen weals i was gone, but all this has helped me in meny ways i think im more clear of the direction of where i need to go with my photography and i think its to keep shooting my own stuff, not to settle for working in a studio, i guess i was hoping since i got a degree i could move in to some job and take photos i want to take. I dont want to become a weddings photographer or work in studios making fat people thin all day!!

I still believe photography is a very powerful medium and i want to make a difference, i would like to see my self as more of a photojournalist i guess, i just dont know how that can be come a career. seeing talks on ted like this one http://www.ted.com/talks/james_nachtwey_fights_xdrtb.html
is pretty much the reason i got in to photography,

I am inspired to continue with this project I all ways have been and looking at other photographers work is something im passionate about, i think im just got to be dogged about it to a degree and just stick at it for as long as i can and hope one day i will make it. so now to find a bar job

unless latitude is looking for an assistant?? or any english bassed photographer jr??

by Joe Faulkner | 29 Jan 2012 23:01 | United Kingdom, United Kingdom | | Report spam→
Hey Latitude——Commercial and Advertising Photography??? Now, it makes sense, I completely agree with you now—-yes, I am very serious and not joking. So no worries, lates, bro

by David Bro | 29 Jan 2012 23:01 | orange county, california, United States | | Report spam→
The divide widens. Sides dig in. Latitude posts a lengthy and protracted statement saying he doesn’t want to get involved in a lengthy or protracted debate. Meanwhile, some begin to wonder if Latitude and Joe are one and the same person due to similarities in their profile pictures.

by Barry Milyovsky | 29 Jan 2012 23:01 | Manhattan, United States | | Report spam→
BM, that is a great angle you have wish I had thought of it and btw, I am available for interviews, photos, whatever—-You can add that I am writing a screen play on the whole thing, need a name though—-and an agent.

by David Bro | 30 Jan 2012 00:01 (ed. Jan 30 2012) | orange county, california, United States | | Report spam→
That’s very funny Barry.:) I don’t mind you having a dig at me. Yes I suppose I was be contradictory but I am not a photographer so I am exempt. Finally the reason I do not disclose my identity is I would prefer not to get bombarded with unsolicited emails. I work for a multi discipline creative agency working with some advertising photographers. Add campaigns are not that much different to supplying an editorial client so thought my advice might be useful to Joe. In fact the agency has just taken on a recent graduate who only last year was at a crossroads. Her work was fresh and interesting.

I think that would apply to photojournalism but I am not an expert in that field so cannot be sure.

Joe I wish you the best of luck in your future endeavours.

by [former member] | 30 Jan 2012 00:01 | London, United Kingdom | | Report spam→
and well said dave, when it come to filing names and meta data i make sure its right and as i say people do check things over for me. unlike these entries.

i dont think i was really looking to hear a critique on my work but its nice to get constructive (i spelt that word all by my self i think its right) Criticism. normally all i get
is people who dont really know anything about making images/stories making, saying their pretty ect… i know im a long way off, but at lest people seem to think the idea is interesting and i think thats the most importent thing in meny ways, im going to get better and the images will improve i think i may even look at involving people perhaps???

some one mentioned photographing the settlements i can see how that will sell, but i think its a completely different project and would detract from what im more interested in, being the role of socialism in israel and since the kibbutz was were it all started it seems like a good place to see a microcosm (google spelt that) of it all

by Joe Faulkner | 30 Jan 2012 00:01 | United Kingdom, United Kingdom | | Report spam→
latitude, would you say my work is fresh and interesting or just boring and run of the mill? i ask because if you will be looking for any other photographers or perhaps know people who i could contact for the odd day of assistant work?

by Joe Faulkner | 30 Jan 2012 00:01 | United Kingdom, United Kingdom | | Report spam→
Joe I would have to say your work needs to improve.Your work is not to the required standard yet.
That is why I suggested you look at other similar work.

Yes some of the photographers we represent do require assistants but I usually suggest that they are sourced from the AOP.Getting into assisting is as competitive as mainstream photography. Assisting is an excellent way of learning though,particularly about the business side of photography. If your interested in assisting get on the AOP assistant list first of all. Then get some cards made and send to photographers directly.I would warn you that most photographers would prefer to work with assistants who have previously assisted but some will take on first timers. Be prepared to run around and possibly get shouted at if you do get a foot in.

Make sure your corespondence is checked for errors but also make it clear you have dyslexia.

by [former member] | 30 Jan 2012 00:01 (ed. Jan 30 2012) | London, United Kingdom | | Report spam→
Finally the reason I joined this forum was to see photographers work. There is always a possibility that documentary or photojournalism could be used for advertising purposes.

There is some interesting work from some of the members (personal websites).

That is why I asked David if he had some work available to view. I don’t like blogs very much because the photography gets diluted by the chit chat.

I also prefer to view work on a liquid website so it can be viewed on multiple platforms. I don’t mind anyone submitting a link to me via Lightstalkers. If I like anything in particular I will get back to you personally.

by [former member] | 30 Jan 2012 00:01 | London, United Kingdom | | Report spam→
iv been assisting for about 2 years now on and off and i graduated from Blackpool university with a 2.1 so its not as if im starting from scratch, i thought the AOP is pretty much dead in the water with the offices and gallery closed (where i have exhibited my work)

by Joe Faulkner | 30 Jan 2012 01:01 | United Kingdom, United Kingdom | | Report spam→
My, our nom de clic friend Latitude seems to have started off on the wrong foot, hasn’t he? First he just assumes that NO-ONE here are photographers who “have been widely published and know how the industry works, photographers who have published books etc.”, and then he claims to work in advertising but spells it “add” instead of “ad”. Fine, fine, we all misspeak at some point, just ask Rick Perry. But so far Joe here gets my vote as “the most upbeat in the face of withering criticism” ever. You’ve got the fortitude mate, now just go take some killer photos that tell the story you want to tell.
- Tobie Openshaw

by BignoseTW | 30 Jan 2012 04:01 | Taipei, Taiwan | | Report spam→
Amusing that ‘Latitude’ pontificates on here then claims forums are a waste of photographers time! The ego of the man/woman/anonymous robot! I’d work on the way you write ‘Latitude’ if you don’t wish to go through the rest of your career annoying people with your ‘holier than thou’ attitude. Respect for the opinions of others is something you need to work on.

For the record, I occasionally take a peep at LS and other forums because in my humble opinion it’s important to keep in touch with what others are doing and thinking and also if I can help somebody then I will.

Apologies I’m not ‘famous’, but rather just an old bloke with lots of real world experience in editorial and commercial photography, quietly getting on with things.

by JR, (John Watts-Robertson). | 30 Jan 2012 08:01 | rothwell, United Kingdom | | Report spam→
It seems I have ruffled a few feathers.Oh well that’s life. I am surprised how aggressive some of you have been.

With that kind of attitude I wish you the best of luck.

Sorry to be so blunt.
If you think this a rebuke, you would be right.
Clearly this is not the right forum to have opposing views and tell it how it is.
I am not a photographer but work with photographers.I never said any of them were famous.I do know they are hard working and creative though.

Tobie my spelling errors are typing errors, I not going to lose any sleep over something like that.

Joe the AOP have streamlined due to the difficult economic climate but I think they are still providing the core services including assistant database.

I sincerely hope you take the right path and get out there.Try not to get bogged down in endless discussions on photography forums because in the end it is futile.

by [former member] | 30 Jan 2012 09:01 | London, United Kingdom | | Report spam→
Sorry ‘Latitude’ but you are the one with the bad attitude here. It happens on lots of forums-anonymous trolls and cowards who think it’s ok to name-call from behind their protective screen. Your own posts come across as pretty aggressive by the way.

I’m not going to continue trying to educate you to your own shortcomings-it’s clearly pointless and detracts from what this thread SHOULD be about, which is helping out a youngster hoping to make a career in photojournalism.
Joe knows my e-mail and that he can contact me any time for advice.

by JR, (John Watts-Robertson). | 30 Jan 2012 14:01 | rothwell, United Kingdom | | Report spam→
The situation has come to a standstill. Joe posts a profile picture and Latitude, who says talk is cheap, claims he cannot reveal his identity because he is in a position of such power and influence that he would be inundated with emails if he were to do so.
Joe immediately asks Latitude for a job. But Bro when asked by Latitude to see his photographs does not take the bait, perhaps because he has the more pressing issue of trying to figure out how to rotate his profile picture to the portrait position.
JR, as any good reporter would be, is skeptical. And when he points out that Latitude, who claims to be in advertising, incorrectly used the word “add” rather than “ad” Latitude claims the error was a typo and tries to hire Joe as his proofreader.

by Barry Milyovsky | 30 Jan 2012 20:01 | Manhattan, United States | | Report spam→
Well said JR, i did think its gone abit away from my frist question.

And barry i did ask JR for some work too

by Joe Faulkner | 30 Jan 2012 21:01 | United Kingdom, United Kingdom | | Report spam→
Well said JR, i did think its gone abit away from my frist question.

And barry i did ask JR for some work too

by Joe Faulkner | 30 Jan 2012 21:01 | United Kingdom, United Kingdom | | Report spam→
Lol-Barry you should be the official narrator for Lightstalkers ;-)

Joe- sadly I can no longer afford assistants although I’ve mentored quite a few over the years and they are all still working photographers. I always insist on paying them because it’s often long hours and I need their commitment.
I count them all as good friends and although several have moved to London and I’m still in the Midlands, we often get to chat and sometimes they still ask for advice.

Feel free to email or skype me however if you want more detailed advice- I’m always happy to help. I’m sure the same goes for many on here.

by JR, (John Watts-Robertson). | 30 Jan 2012 22:01 | rothwell, United Kingdom | | Report spam→
BM—-very impartial but with a taste of spice and sauce in order to attract the reader——i so wish i had thought of it but it doesn’t mean i won’t use it.
BTW, i have been waiting years for someone to comment on my sideways photo—-which was not intentional but done in a hurry and always planned to say that I did it on purpose for the sake of an artistic statement—-there i’ve said it, and its really quite a load off my chest --but maybe not enough that I am going to correct it—-we’ll just see.

bro

by David Bro | 30 Jan 2012 23:01 | orange county, california, United States | | Report spam→
Thanks, JR, for laughing. Perhaps that is the most important thing we can do. And Bro, feel free to to use whatever I have said. As Woody Guthrie said, “Those who are caught singing our songs will be mighty good friends.”
Joe, if I may be serious for a moment, JR is one of the most sincere people who I have met on LS (complete transparency: he offered to buy me a malt whisky should I ever be in the Midlands) and I wouldn’t hesitate to pay attention to what he has to say. In fact, everyone on this thread has posted something of some importance, even Latitude in his or her insensitive way. Use what you can. Save the rest for later.

by Barry Milyovsky | 31 Jan 2012 01:01 (ed. Jan 31 2012) | Manhattan, United States | | Report spam→
and think about “Plan B & C”…;)

by Gregory Sharko | 31 Jan 2012 01:01 | | Report spam→
Exit Latitude, in a huff.

by BignoseTW | 31 Jan 2012 05:01 | Taipei, Taiwan | | Report spam→
And I pointed out the typo/misspelling, (one that sets my teeth on edge every time I see it), not JR. Just for the record.
Tobie

by BignoseTW | 31 Jan 2012 05:01 | Taipei, Taiwan | | Report spam→
Thanks for the vote of confidence Barry ;-)
I guess I’m not on ’Latitude’s Christmas card list but to be honest I’ve managed my career without him/her pretty well to date and I would much rather deal with others who don’t consider themselves photo-Gods!

I think your use of the word ‘insensitive’ is what counts here. Implying that only the photographers Latitude works with are ‘hard working and creative’ is pretty rude and insulting in my book-grrrrr!!!

by JR, (John Watts-Robertson). | 31 Jan 2012 08:01 | rothwell, United Kingdom | | Report spam→
Sorry, Big Nose, my mistake in messing up who said what.

by Barry Milyovsky | 01 Feb 2012 21:02 | Manhattan, United States | | Report spam→
1) Find a cliff
2) Jump

You’ll be doing it in a few years anyway.

by James Colburn | 03 Feb 2012 16:02 | Omaha, Nebraska, United States | | Report spam→
No biggie Barry :)

by BignoseTW | 06 Feb 2012 05:02 | Taipei, Taiwan | | Report spam→
Would you take a canon or a nikon parashute? Or a pocketable Fujifilm?

by Tom Van Cakenberghe | 06 Feb 2012 16:02 | Kathmandu, Nepal | | Report spam→
I hate to bring up old posts like this but hey, I am new to this forum, I should get at least one mistake…and I really have to say something about this whole ‘making the jump’ thing…

Six months ago I moved out from my home here in Nairobi to live for some time in Northern Kenya and Southern Somalia, in dirt houses in small towns and villages, because I wanted to support many of my Somali friends from the diaspora who were working to relieve the suffering working for several different aid-based organizations, and because I wanted to pursue a career of photojournalism and documentary filmmaking. I learned a great deal throughout my time working there, yea I grew immensely as a person and as an artist both, and for the most part I am very grateful for having been on the inside of one of the most extreme political & humanitarian crises around.

BUT (of course there is a but) the whole time I spent working there I was, somehow, on the outside of all of the action (that is, the whole news media action. I was definitely on the inside of a lot of the other action). I mean to say, my work was not once published in any newspaper, newsmagazine, news site, television..anything. It’s not because I didn’t try either: I contacted media outlets, I was in touch with editors, I sent them my work, I met their deadlines, yada yada yada and still the only pictures I saw printed from the situation were those of all these other guys (the Koreans, French, Americans, etc.)…guys published in Magnum, NY Times, KBS, El Pais…the same photos that I had taken published by the guys that I had met and shot alongside…

ENDLESSLY FRUSTRATING. If I wasn’t so young and stubborn I would give up on this stuff and just stick with video, but I really do enjoy still photography and I want to know what’s going on here. I can’t tell you how many times I’ve read here on LS that if you wanna break into the business you have to ‘just get your camera and shoot’ and everything will work out…well come on guys, I went to war-torn and dry Somalia, I took photos during one of the biggest humanitarian crises in the past twenty years in Africa, I have all the ‘suffer porn’ that any decently profitable newsmagazine would need to sell a few thousand issues and yet I gotta tell ya, I don’t feel as though I could be any farther from breaking into the business.

SO please, look at my photos, tell me what’s wrong with them, tell me why I don’t have the contracts and editors and why, instead of making $1,000+ per photo and having my work published in the Times I got malaria and was shot at and chased by local militia and now I’m broke as hell…

here’s some pics i uploaded to a flickr:

http://www.flickr.com/photos/60706426@N08/?saved=1

by matthew david wilder | 04 Mar 2012 22:03 | nairobi, Kenya | | Report spam→
Welcome to Lightstalkers, Matthew (looks like you just joined).

VII member Marcus Bleasdale quit his banking job in London, went off to the Balkans during the unpleasantness there and shot several hundred rolls of film of conflict images. When he returned, he looked at his work, and realized it was awful. Lesson 1 – going to an awful place does not necessarily get you sellable images.

When he realized that his stuff was not good, he enrolled in a more formal photography program in London. He came out a far better photographer. Today he is one of the world’s top photojournalists. Lesson 2 – sometimes you need to sharpen your saw quite a bit to cut the wood you want.

I think you are asking the right questions. I definitely don’t believe in the take-your-camera-with-you-and-go-shoot school of education. Getting regular feedback from instructors or mentors is invaluable. You MAY be able to figure it all out by yourself, but it also may take decades. So get yourself a mentor or two and take advantage of their knowledge. There are some good photographers based in Nairobi whom you should be able to find.

by Neal Jackson | 05 Mar 2012 00:03 (ed. Mar 5 2012) | Washington, DC, United States | | Report spam→
Matthew, I just tried opening your flickr site but it came up blank. Might help if that worked. Then again, it might not. You’re dealing with a very opaque, introverted and often pretentious business that anyway has passed it’s glory days now that ‘citzen’ journalism and mobile phones do for free what once constituted a profession. From what I see there’s little rhyme or reason to who succeeds and who fails. Looking at some of the work of some of those supposedly at the top you’ve got to wonder. Being young and adventurous helps I suppose as well as ruthlessly analyzing your own work and what you want to achieve with it. As someone once said, the harder I work, the luckier I get.

by Nigel Amies | 05 Mar 2012 04:03 | Vientiane, Laos | | Report spam→
sorry about that nigel, the link should work. try here

and thanks to both of you for your replies.

i think the majority of my frustration comes from working alongside a lot of professionals (being a crisis zone, it was the flavor of the week for the international media, and everyone sent someone there), seeing their work and not understanding why they had a job and I didn’t. I’m not saying I’m a great photographer, I’m just saying that I didn’t see many great photographers where I was working…a lot of photographers, and journalists for that matter, but very few good ones.

and so my question is: HOW ARE THESE PEOPLE GETTING JOBS?

by matthew david wilder | 05 Mar 2012 06:03 (ed. Mar 5 2012) | nairobi, Kenya | | Report spam→
Well…
Ditto Nigel.
And…
1) Just because ypou can’t see the difference between others’ work and your own doesn’t mean there isn’t any.
2) A series of pictures showning how something looked is not the same as a story. Anybody can make a picture now. Not everybody can tell a story. Who are those people in your pictures? I’m sure that each of those kids playing football has a story to tell.
3) “Just” video? That’s all we’re going to have soon. 5K, raw, and still captures from that. Can’t see much wrong with preparing for that now.
4) You need to work on dodging and burning your photos a bit. There are some good shots that are spoiled by bright backgrounds and too heavy blacks.
5) You have to ask yourself who can make money from your work. That’s how they can pay you.
6) The perception clients have of you influences the work you get, almost as much as your ability to do it.
7) This is just my opinion.

by DPC | 05 Mar 2012 10:03 (ed. Mar 5 2012) | Paris, France | | Report spam→
Ok Let’s say I’m a picture editor and I stumbled across your flickr page,

1. There are no contact details in the profile page. FAIL. there is no personal info anywhere.
2. You won’t get any serious attention from anyone if you don’t give your images serious attention. You’ve got 45 frames, that could be culled to 5 good ones. You won’t get paid work with a portfolio of 5-10 or even 50 good images.
3. Learn photoshop, lightroom key wording and captioning. Learn how to compose. LOOK at what is being published today, understand it and then find your own style.
4. The fact you worked or feel comfortable working in Somalia is an advantage, but not a selling point.
5.The fact that there is no other photographer around and you’ve got an “exclusive” still won’t get you published if the images are average.
6. Putting the Image file name as the title of the image is UNPROFESSIONAL. They (the images) and your subjects remain obscure and anonymous.

Hope this helps, you’ve asked for it…:-) nothing personal I’m sure you’re a cool dude.

by Ethan Knight | 05 Mar 2012 13:03 | Bangkok, Thailand | | Report spam→
hey thanks guys, all great tips…tho thanks to you both for the disclaimer at the end:-)

Maybe the flickr link wasn’t such a great idea…honestly I found LS the other day and had this idea of asking for some advice from you guys, and I just quickly threw that together…it’s of course not how I link people to my work.

I’m a filmmaker by profession, I work for a production company here in Kenya and so I’m used to directing clients through the company’s site…I don’t have my own website.

I guess that’s part of problem: I’m not used to marketing myself as a photographer. I primarily shoot video (that’s what I meant by ‘just sticking with video’, DPC) and it only happens that the best in-the-field documentary camera at the moment also happens to be the standard for PJ (5dmkII, that is). I was shooting a documentary, had the camera in my hands, and I thought ‘hey, wtf, why don’t I try taking some stills between takes’, and here we are.

In a way I prefer photography to video…in the simplicity I think there is a lot of room for more creativity, somehow, and it is a more instant gratification, but that might be the problem. I do think I need to improve my photoshop skills, I’ve never really worked with the program until recently, and I didn’t put much time into editing the shots. I was primarily shooting them for news purposes, and I was under the impression that a lot of dodging and burning was somehow…I don’t know…frowned upon.

You’ve definitely given me a lot to think about though, guys. I still don’t really understand the world of PJ: what attracts editors, how you are meant to be noticed, etc. and it looks like it’s something only time can teach a person.

I just wish I wasn’t so goddam impatient.

by matthew david wilder | 05 Mar 2012 14:03 | nairobi, Kenya | | Report spam→
Hey Matthew,
I’m now 24, will finish my university within a few months and somehow find your post sympathetic.
I’m working hard in a few side-jobs to make my living, I’m trying to work on my own projects and still I need to find time to complete all these crappy courses in university. So I’m kind of in the same position as you are – I’m not selling to the NY Times.

You wrote you did contact the NY Times, El Pais and all the others. I did so too. Not to sell photos but just to ask for an internship possibility but there wasn’t any. I’ve spoken around 300 times on the phone to newspapers and organisations from all around the world, sent around 200 mails and I only got three internship possibilities, asking me to pay for my accomodation, work fulltime (so not enough time for side-jobs) and bring a bunch of professional equipment with me (which I don’t have).
So I’ve applied for some of the big summer internships, now with just the one from AP still pending and due to the amount of applicants it is likely that I’ll not get that internship either.

Last summer, I’ve decided to go to Sudan and the outcome of my photos were ok, but not as good as I had hoped. My fellow student and I were contacting all the big and smaller newspapers and magazines in Germany and around and we were “only” contracted for the amnesty journal a smaller magazine and a few websites.
One of the two big German newspapers promised us some weeks before the Independence Day to stay in touch and a few days before Independence they suddenly had their own photographer there.

But this is how everybody starts! We’re not selling a couple of photos each for 1000$ to the New York Times. We’re working for the small ones, getting 100$ for a single shot, or more if you’re publishing a whole story.

Our photos are simply not as good as the one from the Magnum or NYT guys. At this point we can’t compete with them, we need to start smaller and simply get better.

by Paul K. | 05 Mar 2012 15:03 (ed. Mar 5 2012) | Munich, Germany | | Report spam→

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Participants

Joe Faulkner, Photographer Joe Faulkner
Photographer
[location unknown]
JR, (John Watts-Robertson)., Photographer JR, (John Watts-Robertson).
Photographer
Rothwell , United Kingdom
Neal Jackson, Neal Jackson
(Flaneur, Savant and Scapegrace)
Washington, Dc , United States ( IAD )
Eros Hoagland, photographer Eros Hoagland
photographer
Tijuana , Mexico ( TIJ )
Barry Milyovsky, totally unprofessional Barry Milyovsky
totally unprofessional
(emperor of ice cream )
New York , United States
Tom Van Cakenberghe, Tom Van Cakenberghe
Kathmandu , Nepal
Damaso Reyes, Photojournalist Damaso Reyes
Photojournalist
Barcelona , Spain ( BCN )
David Bro, freelance editorial David Bro
freelance editorial
Orange County , United States ( LAX )
John Robert Fulton Jr., Photographs John Robert Fulton Jr.
Photographs
Spring Lake, Michigan , United States
tessa verstege, tessa verstege
Sweden
Ben Brody, Photojournalist Ben Brody
Photojournalist
Boston , United States ( BOS )
DPC, Photographer DPC
Photographer
Paris , France
Nigel Amies, Photographer/writer Nigel Amies
Photographer/writer
[undisclosed location].
BignoseTW, Videographer/Photographer BignoseTW
Videographer/Photographer
(Tobie Openshaw)
Taipei , Taiwan
Gregory Sharko, photographer Gregory Sharko
photographer
Brooklyn, New York , United States ( JFK )
James Colburn, Photographer/Photo Editor James Colburn
Photographer/Photo Editor
Omaha, Nebraska , United States ( OMA )
matthew david wilder, matthew david wilder
Muqdisho , Somalia
Ethan Knight, Documentary Photographer Ethan Knight
Documentary Photographer
(www.ethanknight.org)
Bangkok , Thailand
Paul K., Paul K.
Munich , Germany


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