تويت
متى تحتاج إلى وكالة؟ ..
كيف تعمل وكالات التصوير؟ ..
التصوير الفوتوغرافي الحديث
When do you need an agency ?
When does a photographer need an agency ? When he wishes to sell his work to markets that he can not reach himself .
When will he qualify for agency representation ? When his work is of the requisite quality and quantity to make it worthwhile for the agency to represent him .
When will both the photographer and the agency be completely satisfied with the results of their relationship ?
Probably never and , for good reason : If both were completely satisfied the ambition for pro gress which means change , would be absent . With out that motivating force neither the photographer nor the agency would be able to cope with the everchanging marketplace .
One paramount factor must be kept in mind in the photographic agency relationship : The corner stone of the relationship is economic . The only rea son for the existence of the agency is commercial . The personal motivations of the individuals who comprise the agency may be and , in fact , should be artistic and creative in order to fully enjoy the profession and be able to relate totally to the photographers with whom the agency works .
FEATURE photo by John Hamilton , " Puppy Love , Monkey Style " has grossed about $ 2,000 .
But , in the end , the agency stands or falls on its business success . The photographers represented by an agency cannot be successful if the agency is not successful .
International in scope
Today the major agencies are international dis tribution depots for the work of photographers who could not otherwise reach all the potential markets in this counry and abroad . Globe has a foreign department , an out - of - town department ( out - of - town being a euphenism for accounts in the U.S. outside of New York City ) , and a " special sales " department which is charged with the re sponsibility of filling calls for stock photos and doing research jobs for clients . This , in addition to regular sales effort which covers magazines , news papers and advertising agencies in New York City , gives you an idea of the complexity of the modern picture agency .
Most of our foreign sales are made through sub - agents who represent Globe in the various countries we service regularly . A number of sales ,
however , are made directly if the foreign publi cation maintains a bureau in New York .
To make the photographer - agency relationship more understandable , let's follow a unique ex ample which had one admittedly unusual circum stance :
One of the photographers represented by Globe is Don Ornitz of California . Several years ago , Life magazine was planning a special issue on pho tography and assigned Don to illustrate a part of a section to be devoted to photography of the female nude figure . Don's vision of the female form is not as an abstract , but as a very integral part of nature and it was to this vision that he addressed him self .
During the course of the assignment he traveled to many locations in California and neighboring states , shooting on locations which offered strik ing backgrounds differing widely in composition , color , tone and texture .
More than a month went into the assignment and the results were remarkable . But , several years ago the acceptance of the nude body in a general interest publication such as Life was far more re strictive than it is today . The editors of Life de cided that Don's pictures were too realistic or too revealing to be published . None of the art was used in the issue .
كيف تعمل وكالات التصوير؟ ..
التصوير الفوتوغرافي الحديث
When do you need an agency ?
When does a photographer need an agency ? When he wishes to sell his work to markets that he can not reach himself .
When will he qualify for agency representation ? When his work is of the requisite quality and quantity to make it worthwhile for the agency to represent him .
When will both the photographer and the agency be completely satisfied with the results of their relationship ?
Probably never and , for good reason : If both were completely satisfied the ambition for pro gress which means change , would be absent . With out that motivating force neither the photographer nor the agency would be able to cope with the everchanging marketplace .
One paramount factor must be kept in mind in the photographic agency relationship : The corner stone of the relationship is economic . The only rea son for the existence of the agency is commercial . The personal motivations of the individuals who comprise the agency may be and , in fact , should be artistic and creative in order to fully enjoy the profession and be able to relate totally to the photographers with whom the agency works .
FEATURE photo by John Hamilton , " Puppy Love , Monkey Style " has grossed about $ 2,000 .
But , in the end , the agency stands or falls on its business success . The photographers represented by an agency cannot be successful if the agency is not successful .
International in scope
Today the major agencies are international dis tribution depots for the work of photographers who could not otherwise reach all the potential markets in this counry and abroad . Globe has a foreign department , an out - of - town department ( out - of - town being a euphenism for accounts in the U.S. outside of New York City ) , and a " special sales " department which is charged with the re sponsibility of filling calls for stock photos and doing research jobs for clients . This , in addition to regular sales effort which covers magazines , news papers and advertising agencies in New York City , gives you an idea of the complexity of the modern picture agency .
Most of our foreign sales are made through sub - agents who represent Globe in the various countries we service regularly . A number of sales ,
however , are made directly if the foreign publi cation maintains a bureau in New York .
To make the photographer - agency relationship more understandable , let's follow a unique ex ample which had one admittedly unusual circum stance :
One of the photographers represented by Globe is Don Ornitz of California . Several years ago , Life magazine was planning a special issue on pho tography and assigned Don to illustrate a part of a section to be devoted to photography of the female nude figure . Don's vision of the female form is not as an abstract , but as a very integral part of nature and it was to this vision that he addressed him self .
During the course of the assignment he traveled to many locations in California and neighboring states , shooting on locations which offered strik ing backgrounds differing widely in composition , color , tone and texture .
More than a month went into the assignment and the results were remarkable . But , several years ago the acceptance of the nude body in a general interest publication such as Life was far more re strictive than it is today . The editors of Life de cided that Don's pictures were too realistic or too revealing to be published . None of the art was used in the issue .
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