Photograph no 5

PHOTO GRAPH THE MAGAZINE

05

SEPT. 2016

HOW TO...

START A PHOTOGRAPHY BUSINESS

18 TIPS

TO HELP PHOTOGRAPHERS GROW THEIR PHOTO BUISNESS

INTERVIEW Bill Camer - The Founder of Wonderful Machine

DON'T BE THE SAME, BE BETTER! -

UNKNOWN -

Editor's Note

05

• I S S U E •

HELLO

SEPTEMBER September is here and a new chapter, for all of you and of course me, begin. Relationships, business opportunities, new experiences and many many more things are waiting us to find and explore them. Therefore, the 5th issue of Photograph is about Photography Business. Many many tips, galleries, interviews, reviews are awaiting you as well!

So, what are you waiting for? Turn the page and allow us to introduce you a new world of photography!

Cheers,

John

E D I T O R ' S

N O T E

CONTENTS PHOTOGRAPH

05 Editor's Note 07 Top 10 13 Instagram Top 10 20 How to...

26 Tip 33 Editor's Picks 35 Review 44 Travel 56 Interview 67 News & Events

The

TOP 10

OF THE MONTH

TOP 10 OF

beautifuldestinations

natgeo

fantastic_earthpix

passionpassport

imthejam

melvillemckee

visualmemories_

chrisburkard

milc

urbanoutfiters

How To ???

18

HOW

TO

START

A

PHOTOGRAPHY

BUSINESS

BY LISA FURGISON & BPLAN.COM

If you have some creative photography chops, you might want to open your own business.

You’re not alone. Photography is a popular profession and hobby right now—and that’s the problem. In the past decade, camera gear has become more affordable and consumer friendly, and as a result, everyone is a photographer.

But, that doesn’t mean you should toss your dreams of owning a photography business aside. It just means you have to work a little harder to set yourself apart from the flock of amateur shooters.

To help you find your photography foothold, we asked three professional photographers who started their own business to share their tips for success.

The planning stages Before you buy a camera and create a website, you’ll want to do a little prep work.

1. Make a business plan For starters, wedding and event photographer Peggy Farren says you need a business plan.

Any serious entrepreneur will tell you that you need to organize your thoughts on paper. This detailed document serves as your roadmap, describing what your business is and how it will be profitable. It breaks down things like cash flow, expenses, ownership, and competition.

“Photography is one of the most competitive businesses out there,” Farren says. “You need to be a very good business person to make a decent living. You’ll get there much more quickly if you start out right.”

2. Access your financial startup needs As part of your business plan, you’ll need to access startup funds. Camera equipment alone will cost at least $10,000, Farren says. You’ll also need business licenses, insurance, a website, and accounting software.

What about a studio? Do you plan to start with a studio or work out of your home? If you need office space, you’ll need to investigate commercial rental properties and figure that monthly cost, along with the cost of utilities, into your financial plan.

To help you figure out how much startup cash you need, check out our starting costs calculator.

6. Buy camera gear When it comes to camera gear, Farren says you’ll need two cameras, two high quality lenses, two flashes, and Photoshop and Lightroom to edit the images. Why two cameras? You need backup equipment. Even new equipment breaks, Farren says.

If you buy used gear, you can get everything for about $5,000, but Farren says $10,000 is more realistic. Of course, you can always upgrade gear as you go.

3. Secure startup funds If you have enough money in your bank account to start your business, you may not need to borrow money, but most entrepreneurs need assistance. A recent study from the National Knowledge Commission shows that 63 percent of entrepreneurs “self-financed” their business, but that doesn’t mean every owner saved up their own money. Upon closer investigation, at least half of these entrepreneurs asked friends and family for financial support.

Whether you ask friends and family for financial assistance or apply for a bank loan, you’ll need a plan in place before you open your business.

4. Figure out your personal finances If you’re just starting out, realize that your business isn’t going to be profitable overnight.

It took 18 months for Farren’s business, Avant-Garde Images, to make enough money to pay the bills. Like Farren, you might have to work another job to make ends meet until your business is generating enough money.

To help you learn when you’ll hit the break even point, use this calculator to crunch the numbers.

5. Get professional experience You’ll need to show your prospective clients what you can do, and working alongside a professional photographer is a great way to get some experience and start to build a portfolio.

Farren worked as a photographer’s assistant while starting her own business.

7. Come up with a pricing plan How much will you charge for your services?

It’s a tough question for every photographer, especially when you’re just starting out. Figure out what one hour of your time is worth. Let’s say you believe your time is worth $50/hour.

For every hour you spend shooting, you’ll spend about three hours editing. You need to factor that into your pricing. So, in this equation you would charge $200 for a one-hour photo session. Of course, your pricing structure is your own, this is just a way to come up with a starting point.

8. Invest in a killer website Once you’ve come up with a name for your photography business, you’ll need a website.

There are free website templates out there, but your website is like your storefront. You want it to be impressive, so it’s best to have a website professionally created.

Your website should, of course, showcase your work. That’s what your clients will want to see.

Keep your site organized by breaking your galleries up by category. Include a picture of yourself and a page that describes your background and experience. Contact information is also a must. It’s a good idea to list at least some of your prices. This helps manage customer expectations and keeps people from trying to negotiate for a lower price. Here’s what Farren uses as a pricing guide on her website.

You want to track every dollar that comes in and every dollar that goes out. To do so, you’ll want to use accounting software. There are plenty of options there, but they can take some time to learn so it’s a good idea to familiarize yourself with the program before you get busy.

Attract clients Ok, you’ve got everything in place and you’re ready to start shooting pictures.

Now, how do you get customers?

1. Create your own brand You need to set yourself apart from others, according to husband and wife photography duo Jason and Joanne Marino. The pair own Imagine Photography, a company that attracts couples who are interested in unique wedding pictures, not the conventional altar photos.

“You can’t be everything to everybody or you’ll fail miserably,” Jason Marino says. “To attract customers you must carve out a brand and style.”

Figure out what makes you unique as a photographer and use it to brand your business.

2. Make time to network As a photographer and a new business owner, you need to network your heart out, Marino says.

“You can be the greatest photographer in the world, but unless people know about you, it won’t do you any good,” he says. “Join groups, forums, clubs, collectives, whatever you can.

Make sure these people know about you and respect you, and you’ll get referrals.”

3. Be a people person As a photographer, you don’t just need mad composition skills, you need people skills too, Marino says. You want to make sure the client has a great experience. Not only will your client trust you, which results in great shots, but a good experience also means your client will refer you to others.

If appropriate, meet with your clients before the shoot. Wedding photographers set up engagement photo sessions as a way to get to know their clients before the big day. If you’re not offering wedding photography, make sure you sit down and talk with the client before you start snapping pictures. Make a little small talk and chat about expectations. Remember, you’re not just selling great pictures; you’re selling an experience.

4. Have a friends and family rule Your friends and family will probably be some of your first customers, which is great. You’ll be extremely grateful for the opportunity and probably feel inclined to give them a discount.

There’s nothing wrong with that, but remember, you’re trying to make a living. You should come up with a standard friends and family plan and stick to it..

5. Use social media to promote yourself Social media is a great promotion tool, but it’s best to start out with one or two sites and use them consistently. Facebook is a good option, but you might want to lean towards one of the more visual social media channels like Instagram.

4. Generate an email list and add to it constantly

Through the years, Farren has also generated an impressive email list. She uses that list to send clients a monthly newsletter, which she says is her best marketing tool. She credits a lot of her repeat business to the newsletter as it keeps her business top of mind to her When the Marino’s are working on a shoot, they customers. share teaser pictures on their Facebook page 5. Maintain a blog like the example below. It’s a great way to showcase work and keep customers interested.. A blog is a great way to establish authority in your field. It’s an open platform to showcase your talent, tips, and opinions. For example, a Grow your business recent post on Goodrich’s blog offers Now that you’ve got the wheels in photography tips to parents.

motions, let’s talk about how to pick up 6. Make a savings plan the pace.

1. Up your marketing game Jane Goodrich, a New York based children’s photographer, says one of the best ways to grow your business is to invest more in marketing.

2. Google ads Goodrich swears by Google ads. She uses some of her marketing budget to buy keywords that generate more website traffic. Not familiar with Google ads? Goodrich wasn’t either, but the service comes with free support.

3. Team up with charities Farren uses other unique techniques to grow her business. For instance, she teams up with charities that run high-end silent auctions.

“Not only are you getting your name in front of wealthy people, but in most cases the clients will purchase much more than the free prints that come with the package they bought at the auction,” she says.

It takes time to draw profits from your business, and it takes even longer to put a few bucks in the savings account, but saving money should be a priority as you grow your business. No matter what kind of photography you do, you’ll hit a slow month, Goodrich says. Save money when you’re busy so the lean months are easier to handle.

7. Reinvest in the business Once you have at least three months worth of income stocked away, then you can start thinking about reinvesting it. From new lenses to better editing software, new pieces of technology can improve your product. To make wise decisions, make a list of the items you want. Prioritize the list and shop around for good prices before you spend your hard earned money.

8. Diversify In time you’ll be able to add certain elements to the business that will help you diversify your revenue stream. Goodrich, for example, added maternity and newborn photos to her list of services. Rather than generating all of her income from children’s shoots alone, she was able to generate more money by branching out.

10. Hire help In the beginning, you’ll wear all the hats. You’ll set up shoots, take the shots, edit the pictures, and place the orders for prints. When you’re just starting out, you can’t afford not to multi-task. However, once your business is established, it’s not a bad idea to delegate responsibilities, even if it’s on an as-needed basis.

To do this, Joanne Marino says you need to recognize your strengths and weaknesses.

Maybe you’re great at taking pictures but not so hot at editing. If that’s the case, find a freelancer to help in that area. If you don’t know any freelancers, ask a colleague for suggestions or use freelance sites like Elance to post an ad.

As with any new business, you’ll have ups and downs, but if you’re committed to your craft and work to give each customer a great experience, you’ll earn a solid reputation as a go-to photographer.

9. Keep learning One of the best tips Farren says she can offer prospective photographers is to continue improving your skills. Take classes, watch educational videos, or schedule time to go take pictures of something completely unrelated to your career track—anything to keep your skills sharp.

Tip

Ok, ok, well you opened your photo business a year full of new costumers and many sales passed but now what?

If you are in that part of your business life so you read the right article!

18 tips to help you grow your business

#1. Treat your clients like friends Know their names, their children’s’ names, their birthdays and what is important to them.

Keep in touch. Don’t just take their photo, take their money and exit their lives. #2. Remember you’re running a business When I make an investment in equipment, education or props I ask myself how will this help me make more money? If it doesn’t, then I put it on my wish list for gifts or save it until the end of the year when I know how much money I made for ‘extras’.

#3. Give FIRST before you ASK I’m always on the look out for opportunities to help fellow business owners in my community. When I meet a business owner I ask “What can I do to help you grow your business?” I know it will come back to me ten-fold if I give generously of my time, advice and talents. #4. Don’t forget: you are not your target audience This is a hard one to remember.

Just because you wouldn’t spend thousands of dollars on portraits doesn’t mean your clients can’t or won’t. #5. Surprise people Blow away your clients’ expectations of what a photographer should do. Don’t just show up, shoot the session and throw the images on a jump drive. When you go above and beyond their expectations, they’ll say you’re worth every penny.

#6. Focus on YOU…not your competitors You don’t know their goals, their financial situation or what their end game is. Focus on YOU and what YOU do best. That’s an important part of growing a photography business. #7. Do fewer things better Instead of spreading my marketing budget and my time over 15 things and skimping on them all, I do 3 or 4 big marketing activities really well. #8. Put family first I went into business to have more time with my family so I have to be careful to protect the ‘creep’ of business taking away from my family. I don’t do evening or weekend sessions. I explain to my clients why. They respect my family first values and we schedule around my family time. #9. Marketing = Freedom The more time I spend marketing, the better clients I attract. And the better clients I attract, the higher my portrait average is. And the higher portrait average is, the fewer sessions I need to photograph…and therefore the more FREEDOM I have to take vacations, spend time with my family and invest in fun things for my business.

#10. Shop locally Can I find what I need cheaper on Amazon?

Many times, yes. But supporting local businesses is important if I expect them to support me. It’s hard to grow your photography business without local support. photography packaging. #11. Buy time with your money My friend John Hartman taught me this years ago. I’m frugal when it comes to investing in shiny gadgets and fun props.

Instead, I invest my money getting more time in my life so that my time spent on my business is one things that make me money that no one else can do: selling, shooting and marketing. I don’t retouch my own images. I have a bookkeeper take care of my accounting. I trade with a designer to work on my marketing materials. And when I’m not in my business, I have more quality family time for my family. #12. Know your numbers Always. If you don’t know what your costs are to produce your photos, then you’ll never understand how to make more money with your photography. Understand your cost of sales, your expenses and your net and gross revenue for starters. Here’s a resource that can help.

#13. Support local charities I may not be able to give by writing a big check, but I can give with my time, my photography and my creativity. I have a handful of local charities I support as well as my own community fund. #14. Act like a professional Professionals don’t gripe about other businesses on social media. And professionals follow through on their commitments. They show up on time. They answer their phone and return calls.

They deliver their products and services on time.

And they give back to their community rather than always taking from it. They mentor young people and provide internships. #15. Be a sponge Never stop learning. I always have education scheduled on the calendar. I read business books.

I go to conferences. I research what other businesses are doing well outside the photography industry for opportunities to try new things at our website where every Friday I posted articles & photos. #16. Don’t say yes on the spot Come home, pull out your decision making filter and decide if the opportunity really fits your goals. Then compose a nice response. Even if your answer is no, you’ll be respected for your reason why more than you would be if you said yes and failed to deliver. #17. Treat your best clients differently They deserve to be treated better. Give them special services and perks. Surprise them with gifts of your photography 6 months AFTER their order. Give them a reason to talk about you well after their session…and keep coming back. These clients are a great resource for growing a photography business. Spoil them!

#18. Don’t be vanilla Photography IS a commodity to many people…and those people aren’t your client. We compete with FREE because EVERYONE has a camera. I push myself to do things that my clients can’t get from my competitors whether it be the products I offer or the experience they have with me.

BONUS #19. Selling is not a BAD thing You aren’t helping your clients when you send them home with a gallery of images to sort through. Part of your job as a photographer is to help them choose images to hang in their home or include in their album.

Your job is not to take photos and dump them in your clients’ laps to print themselves.

Editor's picks

AMAZON.COM

EDITOR ' S PICKS PROJECTOR

REMOTE CONTOL

LUCKIES OF LONDON LTD USLUKPRO2 SMARTPHONE PROJECTOR 2.0

SATECHI BLUETOOTH BUTTON SERIES (SHUTTER BUTTON) he Satechi BT Button Series makes your phone even more Taccessible with a single press of a button Attach the button to .

your keychain, steering wheel, or dashboard to safely and conveniently access your smartphone when it's out of reach.

Access your tablet or smartphone even while it's in your pocket, purse, from the couch, and more!

Smartphone Projector 2.0 comes with A a soft matt laminate finish and silver foil accents and makes the perfect gift for any gadget lover. Designed with sophistication in mind, 2.0 has brown leather print detail, inspired by range finder cameras, leather hip flasks and Cuban cigar lounges.2.0 is wide enough to fit the iPhone 6 Plus, so imagine kicking back on a Chesterfield sofa with some friends and popping the Smartphone Projector on to enjoy some Super 8 inspired film or a Hollywood classic on your Smartphone.It comes ready made so can be used straight out of the box.

CHARGER Inspired by the sweet spot where modern technology meets vintage aesthetics, the Luckies design team wanted to utilize the infinite possibility and popularity of modern technology that is in the palm of our hands, whilst making a gift that provides a little bit of escapism from the everyday grind.

The Satechi BT Shutter Button makes taking photos even easier with a single press of a button. Take the perfect blur-free selfie, include yourself in group photos, and start/stop video recording up to 40 feet away.

CAMERA

PENTAX PENTAX Q-S1 02 ZOOM KIT (GUNMETAL) MIRRORLESS DIGITAL CAMERA WITH 3-INCH LCD T he PENTAX Q S1 is the latest addition to the

high-sensitivity shooting to a top sensitivity of ISO 12800, and a reliable shake-reduction system popular PENTAX Q series of compact-sized, interchangeable-lens digital cameras, which are using a state-of-the-art gyro sensor. It also provides a variety of creative tools, such as bokeh fashionable and user-friendly. The Q-S1 comes equipped with a wide range of features to make control and Smart Effect to add the desired filters with just a simple turn of a dial. The PENTAX Q-S1 photography more enjoyable, . including a 12.4 megapixel, back-illuminated CMOS image sensor creates more personalized, creative images easily and beautifully to deliver high-quality images, -

Review

Canon EOS Rebel T6i

Canon’s Rebel line of cameras have always been known for being ahead of the curve at their price point.

The T6i is the newest addition to the series, and distinguishes itself from its predecessor, the T5i, in many ways.

Somebody could call it as the best camera of Rebel series!

The sensor, an APS-C, measures 22.3mm x 14.9mm. Its 24.2 megapixel resolution is a step up from the T5i’s now-dated 17.9 megapixels. Paired with some decent glass, the T6i will deliver high-quality images.

Canon's new Hybrid CMOS AF III uses sensor-based phase detection points for increased focus speed and accuracy in live view. Canon claims that the performance of Hybrid CMOS III should be close to that of Dual Pixel AF (found in the EOS 70D and 7D II).

With the mirror down, the Rebels T6i uses the same 19-point phase detection AF as the 70D, which represents a vast improvement over the 9-point AF system in the T5i. The ISO range remains the same as its predecessor, 100-12800, expandable up to 25600.

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Key features

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" fully articulating

24 2MP APS C CMOS

3

sensor

touchscreen LCD

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19 point autofocus system

5 fps continuous shooting

Hybrid CMOS AF III focus

1080 30p video

(live view) 7560 pixel RGB + IR

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system

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Wi Fi with NFC

metering sensor with skin tone detection

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Comparison

While the T6i shares many core features with the T6s, the user experience on the T6i is very similar to previous Rebels. In contrast, the T6s gains a few features historically reserved for Canon's more enthusiast models. These include a a top LCD screen ­ the first on any Rebel ­ a Quick Control dial on the back, and an eye sensor to shut off the LCD panel when you're shooting with the viewfinder. The T6s also offers Servo AF in Live View which allows for continuous AF in burst mode. The final advantage is the T6s' ability to record HDR movies in real time, a potentially nifty feature for budding film makers. As a result, the T6s will cost $100/£50/€60 more than the T6i.

Probably the biggest difference between the T6i and the T5i is the sensor. It's no secret that Canon has been using the same (or very similar) 18 Megapixel sensor since the Rebel T2i (EOS 550D). The new 24.2MP sensor catches up with the latest DSLRs from Nikon, Pentax, and Sony.

The other major addition is Wi­Fi with 'active' NFC. If you're using an NFC­equipped phone (iPhone 6's don't count) then you can tap it against the camera to pair. If you don't, it's not terribly difficult. Once that's done you can remotely control the camera from your phone, transfer photos, and then share them with friends and family. If you set up Canon's Image Gateway service you can choose where photos go (and add comments) right on the camera.

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Design

In general, the design of the Rebel T6i (750D) adheres close to the norm set by 2013's T5i (700D). Visually, the two cameras look almost identical. The T6i is a compact DSLR with an aluminum alloy and polycarbonate chassis and a composite shell. While it doesn't feel as solid as, say, the EOS 70D, the T6i don't feel cheap.

As with earlier Canon DSLRs in this class, the grip on this model may be too small for those with larger hands.

On the front of the cameras you'll find an IR receiver, AF­assist lamp, and stereo microphone. On the left you'll see the SD card slot, while the I/O ports sit on the opposite side. The back of the T6i is loaded with buttons, making most standard controls quick to access.

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Auto focus

While representing a step forward compared to previous Rebels, it's too bad that Canon hasn't made more improvements in this area. Effective subject tracking capability is now pretty much standard in mirrorless cameras, including credible Rebel alternatives such as the Fujifilm X­T10, Panasonic G7, and the Sony a6000. Even the Nikon D5500 which, like the T6i uses an optical viewfinder, does a very good job at subject tracking thanks to Nikon's 3D AF system.

The T6i, like the T6s, does have good subject tracking (including face detection) in Live View though, as one would expect given that subject recognition is much easier when you have access to the actual image sensor. Furthermore, focus is relatively quick thanks to on­sensor phase­detect pixels in Canon's Hybrid CMOS AF III implementation. Sadly, though, the T6i's implementation is pretty limiting compared to the T6s', and we'll cover this more in­depth on the next page.

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Live view

While the T6s got around most viewfinder AF limitations, including face detection, subject tracking, and AF accuracy issues, the T6i only gets around them for static subject shooting. For moving subjects you want the camera to track, where viewfinder AF can be inaccurate and laggy, the T6s' Live View AF can somewhat make up, whereas the T6i won't ­ simply because it won't focus reliably on moving subjects in Live View. This is a shame, since there are credible mirrorless alternatives that will find moving subjects, including faces, and focus on them continuously, ensuring they're in focus no matter where they've moved to (the Sony a5100 and Samsung NX500 come to mind). You'll have a more difficult time doing this with a Rebel T6i.

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Video

HD video recording is now a standard feature on just about every camera, and the Rebel T6i is no exception.

This probably isn't a camera you should buy specifically for video recording as it doesn't have the high video specs, features, and controls of more advanced cameras, but it's certainly capable of getting decent footage for use on small projects or for activities such as social media sharing.

The camera supports frame rates up to 60p (59.94), but only at 720 resolution. If you want to shoot full 1080 HD video you'll need to stick with 1080/29.97p or slower frame rates. The good news is that you can shoot in full manual mode if you want, giving you complete control over all exposure parameters and insuring that you can get the correct depth of field and shutter speed for natural motion.

Since the T6i is primarily an entry level DSLR designed for still photography rather than video, we decided to compare it to a camera that potential Rebel buyers will likely consider as the alternative for still photos, the Nikon D5500.

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Shooting experience

by Dale Baskin

I didn't expect a lot of surprises on these cameras, and I didn't get any. The Rebel series has has been a reliable bookend to Canon's EOS line of cameras for many years. Each new model tends to involve more evolution than revolution, most of which is understandably reserved for Canon's more advanced cameras.

That said, they bring some nice additions to the series.

Most notable is the additional resolution from the 24.2 MP sensor. While it may not have the dynamic range we've come to expect (and desire) from recent Sony sensors, the new Canon is capable of providing very nice results. Even with the additional resolution, overall image quality appears to be an improvement compared to previous Rebels.

The biggest question some people may have is which Rebel to get. From a practical standpoint there's not a lot of difference between them, but in my opinion two things stand out.

The first is whether you prefer to adjust settings on the fly with buttons or a thumb wheel. I generally prefer a thumb wheel, but the awkward position of the wheel on the T6s (awkward for me, at least) made this choice a bit less obvious. This is one where you may need to try it out in person to know for sure.

Second, if you plan to do a lot of live view shooting the T6s is the obvious choice thanks to its support for Servo AF in live view mode. It speeds up shooting by keeping your subject in focus, doesn't require the camera to reconfirm focus on every shot, and is much more pleasant to use. In fact, this may be the single biggest reason to choose the T6s over the T6i. If it's a feature you'll use, it's easily worth the extra money.

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Final pros & cons

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Pros

24.2MP sensor with low light performance similar to peers 19­point, all cross­type AF system Hybrid AF with phase detect in live view 3" articulating touch screen Optical off­board flash control Wi­Fi with NFC Flicker detection

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Cons

Practically impossible to focus on moving subjects in live view Limited, low­density AF point coverage across the frame Less sophisticated subject tracking in viewfinder shooting than many cameras Dynamic range still not as good as class leaders Unsophisticated Auto­ISO system with no exposure comp in M mode No direct access to AF point selection Poor battery life when compared to DSLR rivals No AF microadjustment

Travel

Boston, USA

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Called the “Hub of Universe” by some, Boston remains a bookish and cerebral enclave that welcomes millions of visitors every year. It’s arguably America’s greatest walking city, and it’s easy to stroll its historic districts, see a museum or three, and grab dinner on the waterfront within one day.

Generally Some also call it America’s intimate metropolis, or its biggest small town, and either way, it’s a classic and charming New England destination. Boston’s narrow streets and brick buildings give it a distinctive European air—much more so than in most American cities—though it also has its share of modern touches, too. Hotels like the Fairmont Copley and the Langham Boston may be classic mainstays, but the city is now home to a Mandarin Oriental and the proudly rock and roll Verb.

Similarly, the city’s food scene spans from impeccable seafood and New England classics to innovative menus from celebrity chefs like Barbara Lynch and Ken Oringer. No matter what your preference, T+L’s Boston travel guide has you covered.

This applies to the city’s many sites, too. Faneuil Hall and shopping on Newbury Street are triedand-true activities popular among visitors, but dig a little deeper and view masterpieces of art that span millennia at the Museum of Fine Arts, sample gourmet treats from the newly opened Boston Public Market, or get some fresh air hiking around the Boston Harbor Islands.

The weather in Boston is pretty typical to that of other cities in the Northeastern United States: mild springs, warm summers, and snowy winters, but with all it has to offer, there’s no bad time to travel to Boston to see these sites for yourself.

Overview Best Time To Visit April and May are stunning months to visit Boston, as spring blooms along the city’s parks and green spaces. October and November will show you an authentic New England fall.

Boston Transportation Getting around the city is a snap with the Massachusetts Bay Transportation Authority (known as the “T”), as it includes subways, buses, and commuter rail services that serve Boston and beyond. A single subway trip costs $2.10, and if you plan on making a number of trips, you might invest in a weekly pass for $19.

Boston Weather January is the coldest month, with an average temperature of 37°F (2.7°C). July is the warmest month, with an average temperature of 82°F (28 °C).

Know Before Visiting Much in Boston revolves around the area’s colleges and universities, and you’ll find that hotel prices in May and September rise accordingly. Book far in advance to snag a deal during these times, and if you don’t mind the cold, try a visit in January and February. Everything is a bit less crowded and hotel prices are much more reasonable.

Language English Currency United States Dollar ($) .

Top Things to do It’s hard to run out of things to do in Boston. A walk on the historic Freedom Trail could be the perfect way to kick off an adventure here, since afterwards, you can move on to a range of top-notch art museums, like the Institute of Contemporary Art, or see the glass flowers at Harvard, take a boat trip out on Boston Harbor, or merely stroll the Harborwalk.

With so many historic sites, parks, performance venues, museums, shops, and restaurants to visit, you’ll have no trouble filling up your itinerary, from the Paul S. Russell Museum to the Mapparium or South End Open Market. If all that touring has you begging for a break, a visit to the Grand Ten Distilling company is one of the most fun things to do in Boston.

Arts Emerson With three distinct performance spaces (including a stunning 1930s movie palace), ArtsEmerson presents a veritable hive of cultural offerings, including French New Wave film series, inventive Shakespeare stagings, and even cabarets. In recent years, they’ve hosted one-man shows by Daniel Beaty, an audience with celebrated chanteuse Meow Meow, and one-woman productions of works by Samuel Beckett.

Boston Harbor Islands Spread across the Boston Harbor like an elaborate diadem, the Boston Harbor Islands offer up the oldest lighthouse in the United States, a venerable Civil War-era fort, and miles of hiking trails. It’s all just a short ferry ride from Boston’s Long Wharf, and seasonal activities include 19th-century baseball games, interactive public art installations, and camping opportunities. Go out and get lost knowing you can see the bright lights in the distance.

Boston Public Libary Art Tour When it opened in 1895, the main branch of the Boston Public Library was heralded as a veritable cornucopia of decorative and visual arts. Today you can take an hour-long tour that will take you past Daniel Chester French’s gorgeous and ponderous bronze doors and John Singer Sargent’s Triumph of Religion murals. It is not to be missed and feels like a mini-master art history class in the best way possible.

Boston Public Market Opened in 2015, this year-round public market finds chocolatiers, coffee roasters, and sellers of heirloom vegetables in close proximity from Wednesday to Sunday. Amidst thirty vendors you’ll find fine made-to-order eats such as shakshuka from Inna’s Kitchen and pho ga from Noodle Lab. Don’t miss the “Kitchen” space, which features a test kitchen with daily demonstrations. You might also find space for morning yoga classes, lunch conversations about sustainable farming methods, and the occasional pajama-pancake-movie party.

Grand Ten Distilling Fermenting, macerating, and other liquor-making processes come to life with a a tour at Dorchester’s own Grand Ten Distilling. As part of the deal, you’ll get to sample their own Medford rum and a clutch of other drinks as you learn about the ins and outs of their operation. They also offer offer the “Friday Night Flights” program, which includes tastes of limited-run spirits. Bottoms up!

Harborwalk Boston is a stellar walking town, and the Harborwalk is the perfect way to get close to the water. From the North End to South Boston, travelers can follow this path created by the Boston Harbor Association to see creative public art by Willem de Kooning, Sol LeWitt, and Luis Jimenez. All told, the Harborwalk stretches almost 50 miles, so you can take your time wandering throughout the sections you find most compelling.

Top Things to do JFK Presidential Museum & Library Otis House Looking out onto Dorchester Bay, the JFK This Federal-era masterpiece by celebrated Presidential Museum & Library offers a place for architect Charles Bulfinch is often overlooked by meditation and exploration of the life of President folks rushing off to other destinations, so slow Kennedy. Visitors could easily spend the entire day down, step inside, and take one of their here making their way through exhibits dedicated thoroughly engaging tours. Along the way, you’ll to Kennedy’s early political career, the 1960 learn about the original owner (Harrison Gray presidential election, life at the White House, and Otis, noted politician) and get to see how this Jacqueline Kennedy. Make sure and step outside to home has been transformed over the past 200 see Kennedy’s own yacht, the Honey Fitz. years.

Mapparium Paul S. Russell Museum of Medical History and There’s only one place in the world to be Innovation at Mass General surrounded by dozens of elaborate glass panels Standing in the shadow of the Massachusetts depicting the political geography of the world as it General Hospital, this attractive building houses appeared in 1935. Yes, it’s here at the Christian exhibits that explore the “firsts” associated with Science Monitor’s Mapparium, which offers a the institution, which include the first successful kaleidoscope of color as you walk along a public surgery using anesthesia, the first suspended bridge learning about the creative reattachment of severed limbs, and other medical representation. For a bit of fun, stay at one end of wonders. Visitors can take a look at an iron lung, the bridge to listen to your companion at the other learn about innovative surgeries, and more. Don’t end. The acoustics are just that good here. forget to step up to their rooftop for fine Beacon Museum of Fine Arts Hill views.

Within these neoclassical walls, art-lovers can South End Open Market move through 10 millennia of artistic masterworks, Stretching out three blocks along Harrison ranging from Etruscan pottery to prints by Roy Avenue in the South End, the market brings Lichtenstein. The Museum of Fine Arts can be a bit together a dozen or so food trucks, dozens of overwhelming (in the best way, of course), so pace local artisans, and a farmers market every Sunday yourself accordingly by taking time to stop at one from May to through October. You might pick up a of their four cafes for a cappuccino and a moment beaded bracelet, a pack of locally made postcards of meditation. The newest addition here is the 2010 featuring South End structures, or kohlrabi for Art of the Americas wing, which is larger than the your cooking.

Guggenheim. Here you’ll get a chance to see Paul Revere’s silver, portraits by Boston’s own John Singer Sargent, and Connecticut Valley furniture of ample proportions.

The Institute of Contemporary Art Boston Housed within a dramatic Diller Scofidio + Renfro-designed structure designed that hangs ever so gently over Boston Harbor, the ICA is a stellar place to visit for contemporary installation art, video shows, and events like their First Friday “(Bau)House Party.” Recent shows have included exhibitions

by Palestinian photographer Mona Hatoum and retrospectives on Black Mountain College, the celebrated interdisciplinary art institution in North Carolina. Don’t leave without taking an architectural tour.

Top Hotels to stay Boston’s hotel game has been mightily improved since the British first stopped by a few centuries ago. Today you can overnight in a repurposed police headquarters, sleep in a converted prison (don’t worry: the linens have been changed), and succumb to the charms of a twee bed and breakfast. If you’re wondering where to stay in Boston, you’ve got options.

Boston hotels are widely varied to accommodate travelers. Some of the best hotels in Boston are luxury properties, like the Revere Hotel (named for Boston’s most famous midnight rider) and the Hotel Commonwealth offer premier locations and 5 star amenities, but you can find an intimate experience without sacrificing comfort at several small bed and breakfasts, like the cozy, four-room Encore B&B, which is located in the South End neighborhood and within walking distance of Copley Square and Back Bay.

Colonnade Hotel The views are some of the main highlights at the Colonnade, as each room has floor-to-ceiling windows that (wait for it) actually open. Shocking indeed, and watching the world go by while having a glass of pinot is a fine way to spend the early evening hours. After checking out the lobby's one-of-kind table that depicts the Boston landscape, take the elevator up to the rooftop pool, where you'll find live DJs and other merriments.

Hotel Commonwealth Located in the heart of Kenmore Square, the Hotel Commonwealth is close to Fenway, Boston University, and other Hub favorites. You’d do well to take your visit to the next level by checking into one of their signature suites. Top honors here go to “The Loft,” which has the feel of an upscale artist’s garret, complete with whitewashed brick walls, a pool table, and a rotating gallery of works by Boston artists.

Encore B&B The guest rooms in this 19th-century South End townhouse are named after Broadway luminaries (Sondheim, Bernstein, and others) and decorated accordingly, with tasteful show posters, musical scores, and more. Your host Reinhold Mahler is a delight, and over breakfast he’ll fill you in on what you need to do and see in the neighborhood.

XV Beacon Stepping inside XV Beacon, one is struck by the sheer variety of earth tones that dominate the palette: Deep tans, elegant black lacquer, and shiny silver finishes all come together perfectly.

Each room has a gas fireplace (perfect for winter), custom Frette linens, and elaborate stereo systems. If you need to get someplace in style, call on the courtesy in-town Lexus service to make meetings, lunches, and other outings.

Top Shops From Newbury Street boutiques to the patisseries of the South End, travelers will find that the Hub has something for every shopper’s taste. The best shopping in Boston runs the gamut from intimate book stores to of-the-moment fashion havens.

Brattle Books In Your Ear! Located amidst the collegiate environs of Boston Founded in 1825, this three-story book emporium in the heart of downtown is under the able University, In Your Ear! is a record-lover’s direction of Ken Gloss. You may have seen him paradise. With over 100,000 albums (yes, actual before on Antiques Roadshow, and now you can LPs), every genre is covered and they have an wander through this trove of over 250,000 titles, excellent Hub-centric section (Pixies, anyone?). ranging from Dickens folios to to the latest Wandering through the aisles, you’ll also spy scholarly tomes. Step outside in nicer weather to retro stereo equipment, reel-to-reel gear, and peruse their moveable feast of $1, $3, and $5 new 8-tracks for those craving the Star Wars and used titles. soundtrack and other 70s sounds.

V Cirace & Son Ku De Ta Just a stone’s throw away from Paul Revere’s Distinguished by its upscale evening wear and House in the North End, V. Cirace & Son sprung to designer jean lines, Ku De Ta remains a South Boston favorite. The pink-and-chocolate design life in 1906, started by Italian immigrants from the Amalfi Coast. Their regional gift baskets (Sicily, touches make a fine backdrop for wandering anyone?) are the stuff of local legend, or you around the store, where accessories are also front and forward. See their thoughtful selection might do well to ask one of their experts about the latest limoncello or olive oils from Campania and of lacquered bracelets and silver-centric Puglia. necklaces to accent pastel tops.

Top Bars From artisanal, bitters-infused cocktails to shot-and-a-beer dives, it’s easy to make an evening out at any number of diverse watering holes scattered around the city. Boston nightlife offers plenty of bars inside the city’s Financial District, which sits right on the Boston Inner Harbor. For something a little more off the beaten path, the Hojoko izakaya will have you rethink sake, and the Banyan Bar and Refuge serves all tastes with its extensive cocktail list.

The Gallows Design elements of recycled wood and exposed steel give this South End watering hole an industrial tone—a fitting background for the loud, raucous setting.

Jacob Wirth This beer hall has done business at the same location in the Theater District since 1878, and remains a popular after-work destination with an impressive beer selection (over three dozen varieties).

Top Restaurants Yes, you can still grab high-caliber seafood and a bit of Indian pudding, but you can also make your way through elaborate tasting menus, take on tapas galore, and a myriad of other haute and not-as-haute dining options. The best restaurants in Boston span the spectrum, making it a wonderful food city to visit.

Because it sits on coastline, Boston is a seafood city. New England clam chowder, baked haddock, lobster rolls, and oyster stew are popular surf dishes. If you want traditionally prepared Boston seafood, get a table at Neptune Oyster, where the offerings are fresh from the ocean and ever-rotating.

The diverse population also means a range of cuisines on offer at places to eat in Boston. Ken Oringer’s Toro is one of the best spots in town for tapas, while Shojo is known for its innovative Asian-inspired shared plates. And the quality of Barbara Lynch’s restaurants cannot be undersold: book at table at No. 9 Park for its venerable tasting menu.

Toro Boston Myers + Chang Toro is one of the shining stars in Chef Ken Joanne Chang and Chris Myers bring together a Oringer's restaurant galaxy, and this South End range of elevated street foods from Vietnam and outpost is arguably the best place in Boston to Thailand (among other places) in their South End share tapas with friends. location.

Ten Tables Mistral, Boston At Krista Kranyak’s modest masterpiece, Ten Inspired by the south of France, this widely Tables, it’s possible to feast on a few small bites, acclaimed Bay Village bistro specializes in but making a reservation to try their fishermen’s simple, authentic French-Mediterranean fare. stew or peppercorn-rubbed hangar steak is best.

Neptune Oyster KO Pies at the Shipyard Owner Jeff Nance holds court over this tiny North Oz has come to East Boston with this tiny eatery End oyster bar, where bivalves are king. Try the daily special (top honors to Sunday’s lobster roll that serves up a selection of meat-centric pies full of braised lamb shank, curried vegetables, and tacos) and check out the dynamic entree menu. other suitable stuffings.

Interview

Bill Cramer

Bill Cramer is founder of Wonderful Machine, a directory of high-quality photographers, which they promote to commercial and editorial clients worldwide.

Bill began his career as a photojournalist in 1985, stringing for the Associated Press and The New York Times. He assisted prominent photographers, including a year with fashion photographer Steven Meisel. Since then, he has concentrated his efforts on shooting environmental portraits for editorial, corporate and advertising clients. Bill has received a number of industry awards, and has been included in Communication Arts Photography Annual three times.

Seeing an opportunity to build a better mousetrap, Bill created Wonderful Machine in 2007 as a “source book on steroids.� In addition to promoting photographers, his 15 staff members help photographers with photo editing, design, estimating and shoot production.

When did you first become interested in photography?

When I was in fifth grade, my family moved from suburban Philadelphia to Palo Alto, California. It was a lovely culture shock, coming from the snowy Northeast. We had a palm tree in our backyard, you could see mountains all around, and my next­door neighbor’s mom would swim naked in their pool every afternoon.

My new science teacher, Mrs. Olexo, taught us photography two days a week. She had built a darkroom next to our classroom, and she had a bunch of Exakta cameras, which she lent out to us. She had a bulk film loader full of 100­foot­long rolls of Tri­X that she would count out 24 exposures for each of us. I enjoyed photographing everything around me, including my friends, family, my cat Sunny, and my neighbor’s hot rod. I loved everything about it — of course, the images themselves, but also the cameras and the chemistry. I found a roll of film that my grandfather (who died years earlier), had shot. I developed it, and I can remember thinking that it was like opening up a time capsule.

I worked on the yearbook in middle school and high school. Then, when I went to Penn State, I worked on their student­run newspaper, The Daily Collegian, and I also took all of the fine art photography classes they offered…

Are you still taking photos?

I’m still taking photos (mostly of my kids), but I’m not really shooting professional assignments any more. I was shooting about a hundred jobs a year up until 2010 (mostly magazine portraits, with some corporate, institutional and advertising thrown in). But now with 15 staff members and 725 photographers, running Wonderful Machine has become a full­time job. I have no regrets though. I find the work really interesting and challenging and creative. I’ve always enjoyed the business side of photography, so this job has given me the chance to exercise that part of my brain. Plus, I can live vicariously through the photographers on our site. I find it very gratifying to help them succeed. And it turns out that I have an unusual set of skills that allow me to do that.

Writing is another aspect of the work that I’ve been surprised to learn that I really enjoy. I write or edit a steady stream of Pricing & Negotiating articles and Expert Advice articles that photographers seem to appreciate.

I have heard Wonderful Machine brought up by several photographers as sort of a model for the future of photographer agencies. What inspired you to start Wonderful Machine and how did you come up with the business model?

That’s nice to hear, but I only partly agree.

There are basically two types of agents. There are reps (like Art + Commerce, Bernstein & Andriulli, and Stockland Martel) who work with a small group of photographers and focus mainly on advertising clients. They typically get 20­30% commission on assignments.

Then, there are picture agencies (like Redux Pictures and Getty Global Assignment) who work with a large group of photographers and focus mainly on editorial and corporate clients. They tend to take a 30­40% commission. In both of those business models, for each assignment, the client calls the agent, the agent calls the photographer, the photographer bills the agent, the agent bills the client, the agent collects from the client, the agent pays the photographer. That process requires a lot of administrative work, which the agent has to pay someone to do. That money basically comes out of the photography fee. Since advertising assignments tend to be much more lucrative than editorial and corporate assignments, the administrative costs are small portion of the commission. But, for the editorial/corporate picture agencies, it’s inefficient because the administrative costs end up being a much higher portion of the fee. At some point, it occurred to me that I could eliminate that inefficiency and shift the savings to the photographer by charging a flat fee for the promotion, connect them directly with the client, and let the two of them handle the administrative work themselves.

(Of course, we all take the internet for granted now. But there was a time when clients needed agents to find photographers and photographers needed agents to find clients.

Agents were the gatekeepers of the industry. The internet changed all that. Now clients can go to any photographer directly.)

So the agencies that we’re going to disrupt are the ones that have high administrative costs, and where all they’re doing is connecting the client to the photographer without adding other value. The agents that will continue to thrive are the ones who are creating value (for both the photographer and the client) with their experience, judgement, negotiating ability, and relationships.

Ironically, we periodically have photographers approach us about working with us on a commission basis.

That’s something that we may consider in the future. But for the moment, we’re just concentrating on optimizing our current business model. What we are now offering, is a service we call Wonderful Machine +, where we assign a project manager to a photographer, who works closely with them, to help optimize all of the branding and marketing that that photographer does, and then coordinate their estimates and shoot production, as needed. It’s essentially like having a rep, but for a flat fee rather than a commission. (We do currently offer all of these services, but WM+ bundles them at a discounted price and provides a dedicated point person to coordinate everything.)

Wonderful Machine actually got it’s start in 2004 as a cooperative of photographers in Philadelphia. Over the years, any time I’d photograph an attorney at a law firm or a doctor at a medical practice, I would think to myself, why can’t photographers work together like that? You could save money by sharing facilities, staff, equipment, insurance, and supplies. And you could increase your revenue by collaborating on marketing and referring work back and forth. I started with my assistant at the time, Chris Crisman, then added Ryan Donnell. We had a full­time studio manager, a full­time marketing person (Jess Dudley, who is still with us), and we developed an apprentice program where we had a bunch of young photographers trade two days a week of their time for use of our contact database, equipment, supplies, guidance. Plus, they’d get our overflow assignments. Our studio manager billed all the jobs and collected the payments.

Out of that payment, the cooperative would pay out the variable (shoot) expenses, then keep 50% of the remainder to cover fixed (overhead) expenses, and pay out the remaining 50% to the photographer (with taxes taken out to simplify their bookkeeping). Beyond the simple economies of scale we were able to enjoy, we also found that we were able to cultivate relationships with clients that individual photographers couldn’t. At one point, we were billing a university client $100k a year for photography services because they appreciated that we offered several different photographers at different price points and specialties, and they liked that we had a full­time staff to help with scheduling and file processing.

But eventually, the cooperative collapsed under the weight of all the egos. And out of the ashes rose Wonderful Machine as you know it today. Jess and I (and Neil Binkley, who is now an independent photo consultant), built the company photographer by photographer. (I wrote a blog post about how to form a photography cooperative: http://blog.wonderfulmachine.com/2012/08/expert­advice­forming­a­cooperative/) As soon as we launched, we stared getting requests to help photographers with photo editing, marketing plans, and estimates. So our consulting services just became a natural extension of our directory.

There are a couple of things that make our current business model unique, and I think valuable for clients and photographers. First, we’ve been able to assemble an excellent selection of photographers all over the world. What that means for clients is that they know that when they are looking for a photographer, the single best place to find one that’s appropriate for their needs is on our site. We’re the only photography directory that is both comprehensive and selective. Secondly, that group of photographers makes it really easy to connect with clients, because we’re relevant to all of them. When any individual photographer (or small agency) is promoting to clients, they have to spend a lot of energy separating out which clients are right for them and which aren’t. With our approach, since we have excellent photographers in all specialties and in all locations, we can engage with every single client out there and have something to offer them.

This makes marketing efforts very efficient.

Did you always know that it would be a success?

No. In fact, when we started, not only had the Wonderful Machine cooperative just failed, but a previous cooperative I called Rowhouse Pictures had failed a few years earlier. But I still felt that there were some elements of what we were doing that could succeed, so I just kept trying. The experience has confirmed what I’ve always thought, which is that “failure” is part and parcel to “success” and that if you’re going to pursue anything as risky as commercial photography or starting any kind of business, you have to be willing to fail in order to succeed. It’s also confirmed my suspicions about the value of following your intuition. As a practical matter, I simply pulled out the most successful thing that we were doing at the time (creating a brand and communicating that to photographers and clients), and focused on that. Plus, I think photographers really appreciate that I’m a photographer myself and that I really understand their concerns. I feel a lot of responsibility to these 700 photographers who are trusting me to look out for their interests, and I take that very seriously (as any of our staff members will tell you).

What is the process of bringing in a new photographer to the roster? Do you reach out first or is it always the photographer who comes to you? What can a photographer do to get your attention?

At the moment, I’m the one who handles “photographer recruiting.” But at different times in the past, I’ve had our photo editors handle it. When we first launched the company, I had to beg photographers to come onto the site for free. I would sit in bed at night with my laptop, researching photographers and inviting them to join. I started by recruiting photographers I knew personally, or through a photographer group I’m in called BigShotStock http://bigshotstock.com/. Then I started inviting photographers I didn’t know and who didn’t know me, and they mostly ignored me. As the site grew, new photographers could see what I was building, and it made it easier to convince new ones to join. Gradually, as we became better known, photographers started seeking us out. These days, I get about 30 inquiries a week from photographers.

They’ll typically send me an email introducing themselves, along with a link to their site and their location.

Some will also tell me a bit about themselves, which is nice, but not really necessary.

I go to their site, and I can tell pretty quickly if they’re appropriate for us or not. I have found that a photographer’s website says so much about them, and that it’s all I really need to know. I don’t even feel a need to talk to the photographer. My mental process is simply wondering whether clients will appreciate it if I add this photographer to our group. First, I decide whether they’re good enough. Beyond that, it’s a question of who else do I have shooting that specialty in that place. If I already have eight photographers shooting food in Chicago, and another one shows up, they would have to be either really, really good, or they’d have to be very different from the others. Because even though clients appreciate choices, there’s a point where more choices is less valuable than fewer choices. A big part of what we’re offering clients is a curated selection of photographers, so we take that really seriously.

If I decide to invite the photographer, I send them a membership form to fill out, which they return, along with a head shot. Then we put them into our system. We have a checklist which works it’s way through every department in our company. Every one of our staff members is made aware when we add a photographer to the site. Our photo editors decide what specialty to list the photographer in, and they grab photos from the photographer’s site to represent those specialties.

They also archive other pictures that might make good emailers, web ads or post cards.

Then, our publicists ask the photographer for some biographical information (which ends up in an emailer introducing them to our clients), plus a bunch of other stuff like that.

Another thing I’m in the habit of doing, whether I invite a photographer to join us or not, is I offer up suggestions on how they can improve their website. After looking at thousands and thousands of photographer websites (we’ve collected 14,000 photographers in our internal database), I’ve become very opinionated about how photographers should present themselves, and I think I’m pretty good at recognizing problems and articulating solutions.

What can a photographer do to get your attention?

All they have to do is send me an email. It’s really that easy. I don’t play hard­to­get. But I’m very rational about choosing photographers. It’s not at all about personalities. Nothing that they say makes any difference to me. I’m only concerned about whether that photographer will add something positive to the mix.

If you could go back ten years, what advice would you give yourself?

If I could go back in time, I would tell myself to invent Instagram. Other than that, I’m not sure I would be able to give myself any advice that would make things work out any better than they have. I’ve certainly made a lot of mistakes in that time. The two main ones were that I attempted to create a photographers’ cooperative twice and failed miserably both times. But if those ventures had succeeded, I wouldn’t have created Wonderful Machine.

And if I had skipped over those failures, I wouldn’t have learned what I needed to know to create the company that we have now.

News & Events

NEWS Lytro takes you to the moon!

In 2015, light-field camera startup Lytro did a huge pivot, redirecting its focus from consumer light-field cameras (the original and the Illum) to its new light field virtual reality camera, the Immerge. Today the company released a first peek at what the Immerge can do.

The project is called “Moon,” and it’s the first live action virtual reality demo by Lytro that shows how the company’s technology can “simulate true presence”. Instead of simply allowing viewers to look around from a single point in space, viewers are able to move their heads around with 6 degrees of freedom (6DoF) for a more immersive experience.

Lytro says that prior to this “historic” technology, the VR industry has been dominated by systems with high immersion and low realism (e.g. video games), and systems with low immersion and high realism (e.g. modern 360-degree videos). With Lytro Immerge, high immersion is combined with high realism.

Viewers can finally be transported to a different place and feel like they’re “there.”

The Fame-Seeking Models Who Pose for IKEA Photo Shoots

The majority of “photos” you see these days when you flip through an IKEA catalog are actually purely computer generated images, but some of the shots are still done in a photo studio. To promote its 2017 catalog, IKEA released this humorous 2-minute tongue-in-cheek video that offers a glimpse into the minds of a few of the models involved in the photo shoots.

The video is titled “Meet the Stars of the New IKEA Catalog,” and was created by the ad agency DDB Brussels .“The Ikea catalog is one of the most read books in the world. So it makes sense for the models to consider this their breakthrough moment. Their door opener to stardom,” DDB tells Adweek. “We listen in as they dream out loud of becoming household names in TV, modeling, acting and mentally preparing themselves for a life in the spotlight.”

“Yes, in theory, they will be seen by more than 200 million people, but in reality they’ll be noticed by zero. After all, the real stars of the Ikea catalog are Swedish, and they have names like Billy, Pax and Malm.”

The moral of the story: if you’d like to have a big name and a recognizable face as a model, you might want to stay away from gigs involving IKEA furniture.

The Fame-Seeking Models Who Pose for IKEA Photo Shoots

Vogue Brazil is being criticized for a recent photo shoot promoting the Paralympics. Instead of shooting portraits of actual athletes competing in the games, the magazine decided to made portraits of able-bodied models and give them faked limb amputations using Photoshop.

The magazine published a photo from the shoot on Instagram this week with a caption that reads: “We are all Paralympians.”

People soon noticed what the “athletes” actually look like thanks to a behindthe-scenes photo posted by Brazilian table tennis player (and actual Paralympian) Bruninha Alexandre.

The two models recruited by Vogue Brazil are actually Cleo Pires and Paulo Vilhena, celebrity ambassadors for the Brazilian Paralympic Committee. After photographing them, Vogue digitally amputated Pires’ arm and Photoshopped Vilhena’s real leg into a prosthetic one.

People and publications immediately began to slam the magazine’s decision as being one of bad taste, saying that it’s offensive to Paralympic athletes.

Vogue Brazil says it was trying to spread a positive message about the Paralympic Games by portraying well-known celebrities as amputees, but it looks like the photo concept was a big fail in the minds of the public.

The Fame-Seeking Models Who Pose for IKEA Photo Shoots What’s the best deal you’ve ever gotten in a photo gear trade? Whatever it is, it’s probably not better than British photographer John Swannell‘s best trade. He managed to turn a cheap thrift store camera bag into about $42,000.

Swannell shares the story in a recent interview he did with Canon Professional Services. He originally purchased a camera bag from a London thrift store “for a couple of quid” — about a few dollars — after seeing it and loving how many pockets it had.

Some time later, Swannell spent four days with legendary German-Australian photographer Helmut Newton in the south of France. During their time together, Newton took notice of Swannell’s camera bag and decided that he wanted it.

“Helmut wanted it and wouldn’t take no for an answer,” Swannell says. “He kept on offering me money for it during the shoot and went up to $500 and still I wouldn’t sell it to him.”

Turning $3 into $500 would have already been an impressive return on investment, but Swannell liked his camera bag enough to turn down the crazy offer.

Helmut, grumpy from his failing negotiations, decided to make a final attempt at acquiring the bag on the photographers’ last day together as they walked across an airport tarmac to board their airplane.

“He turned round to me and said ‘there must be something of mine you want, I have to have that bag!” Swannell recounts. It was at that time that an idea popped into Swannell’s head, and he finally made Helmut a counteroffer.

“OK, sign me a print from the cover of your book White Women and you can have it,” Swannell told the desperate photographer.

White Women was Newton’s very first photo book, published back in 1976.

The cover of "White Women" by Helmut Newton, published in 1976 “You must be mad,” Helmut responded. “…That’s about $3,000!”

Swannell stood his ground. All of a sudden, Helmut grabbed Swannell’s bag from him, emptied the contents onto the tarmac, and marched away with it.

A few days later, the signed print arrived in the mail for Swannell. 10 years later, he sold that single signed print for £32,000 (the equivalent of about $42,000 at today’s exchange rate).

“So that old bag wasn’t a bad investment,” Swannell says.

events PHOTO SHANGAI

BredaPhoto International Photo Festival Breda, Netherlands September 15, 2016 to October 30, 2016

September 9, 2016 to September 11, 2016 Downtown Shanghai China Shanghai, China As the 2015 edition of Photo Shanghai comes to a close, we are pleased to report that international and local Chinese galleries witnessed outstanding sales. The fair continued successfully in its mission to bridge East and West in a mature and energetic marketplace.

BredaPhoto International Photo Festival September 15, 2016 to October 30, 2016

PHOTOVILLE

September 21, 2016 to September 25, 2016 Brooklyn Bridge Park, Uplands of Pier 5 Brooklyn - NY 11201 New York City’s FREE premier photo destination. Produced

by United Photo Industries, the annual festival is a modular venue built from re-purposed shipping containers. By creating a physical platform for photographers of all stripes to come together and interact, Photoville provides a unique opportunity to engage with a diverse audience — a veritable cross-section of the world’s photographic community.

Over 50 outspoken photographers, Dutch and from abroad, exhibit their work outdoors and in art centers in the city. This year the theme of the festival is YOU! BredaPhoto is a biannual international photo festival that is organized since 2003 in the city center of Breda, the Netherlands.

Offering a mixture of fresh talent and national and international headliners, the festival hosted photographers such as Martin Parr, Carl De Keyzer, Pieter Hugo, Bloomberg and Chanarin, Todd Hido and Yamamoto Masao.

FILTER PHOTO FESTIVAL 2016

September 22, 2016 to September 25, 2016 Millennium Knickerbocker Hotel 163 E. Walton Pl. Chicago - IL 60611 The Filter Photo Festival is a multiday celebration of the photographic medium that takes place every autumn in Chicago. Festival programming includes workshops, lectures, artist talks, exhibition receptions, and much more.

The majority of events will take place at the Festival’s hotel headquarters and evening activities will primarily take place at galleries and partner institutions around the city.

Unseen Photo Festival

September 23, 2016 to September 25, 2016 Downtown Amsterdam The Netherlands Amsterdam, The Netherlands New to this edition of Unseen Photo Fair is Unseen Festival, an extended festival programme in the city. From the 23rd to the 25th of September, Unseen will collaborate with a vast array of institutions, academies, project spaces and artists working in the medium of photography to highlight both local and international talent.

Tsibili Photo Festival

September 25, 2016 to October 1, 2016 Tsibili, Georgia The Tbilisi Photo Festival was first launched in 2010, in partnership with Les Rencontres d’Arles. Six editions later it has become not only the most important photo festival in the region but one of the major annual cultural events in the Caucasus.

The Festival aims: to be a central meeting point for photography from different regions – Asia, Iran, Turkey, Europe, Russia and the Arab world; to showcase the best of world photography and to promote emerging regional photography.

Each year, the festival attracts internationally renowned photographers, curators, photo editors and leaders of other major photo festivals to the Georgian capital, along with thousands of photography fans. It is a crossroads for new ideas in photography.

For its 6th edition, the Tbilisi Photo Festival is launching a series of Masterclasses, capitalising on the city’s place as a crossroads of cultures and the scope it offers for photographic interpretation.

These Masterclasses are led by world famous photographers, acclaimed both for their work and their ability to communicate and share their ways of seeing.

More information: www.tbilisiphotofestival.com

One last thing before we go

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