i recall saying something like how i like to see how a designer uses my work to inspire the “big picture” and how its selfish for a photographer to not let go of controlling the end result. just because they’re the one who composed the shot does not mean that they have any grasp on the true vision the client has of their. the photographer’s job is done when the shoot wraps and if they can’t grasp the concept of letting their work evolve then they have not truly evolved as an artist. submitting images to the client with a gaudy watermark proves that they are still an amateur, especially if those images are also low resolution. it is a waste of the photographer’s time to automate sizing, levels, color, watermarking, etc. because that’s not what the designer needs for the comp/layout. once they are able to let go of their pride and realize that the art department is better [and faster] at the cropping and editing than they are then they won’t be so disappointed when the image they think is best is excluded…along with the diagonal watermark that screams I TOOK THIS PICTURE AND I DESERVE ALL THE CREDIT FOR IT! no one in their right mind would publish a proof if its their “image” they’re trying to sell. if the photographer cannot trust creative to portray the work they produce then they won’t get very far in their career.
A: So yeah I keep having to rework photos that I get, or else they’re totally unusable like they have a giant watermark across them or they’re too small or something & it’s really annoying
N: what’s with the watermark, they’re basically wasting your time or saying, don’t use my image at all
A: people overestimate the number of times you will ask them for the same thing, like, if I am working on something, I can’t email you 4 times asking for the same image, hi-res, with no watermark, I’m just going to use a different image that somebody else gave me
N: I know sometimes people use my images and they make changes to the image by cropping it or whatever but I’ve been on the editor’s side of it and it makes sense like they have their reasons
A: exactly. It doesn’t really matter what the photographer likes best, it’s what the editor wants that matters and being cooperative is important. Nobody should be mad about it, we’re already a stressed out bunch of volunteers and bichazzness is not welcome
N: especially now that everything is a camera.
A: rite? Remember that tv commercial we saw for the mobile device that “takes the best low-light party pics” and then they’re like, oh yeah it’s also a phone, like how do people type on those things, forget about spelling. Apparently we’re not even concerned if it’s an effective tool for communication. Everyone talks with their pictures now, so everyone’s essentially a photographer
N: so funny about images being altered for the press, like everyone’s so aware of photoshopping nowadays like it’s some taboo
A: like if someone buys a dress I designed, and decides to put rhinestones all over it, I’m not mad. Actually I’d be relieved that I don’t have to hire a freaking bedazzler dude to put them on there for you.
N: yeah I know it saves the effort
A: Yup, I gonna bedazzle your photos if I think they need it, except not bedazzle but rather, the cooler thing of putting it into a story that makes sense.
N: nobody knows how to make stories with pictures like us
A: Right, lot of them don’t even get it when it’s presented to them, cause they’re head is wrapped up in their part of it- understandably sometimes
N: Yeah the photographer sees what they did or else what they meant to do but can’t always edit their own work because they’re behind it
A: Well I’m looking for the ones who can do it so I don’t have to. But be stylish about it and timely both in delivery and timely like the style is relevant to the current time. And having their own studio helps. These are attributes I’d appreciate in my future colleagues.
N: Sounds good
A: that’s all ye need to know