Today, JJ’s Star Spangled Salute honors Navy Veteran Walter Smith.  Every day is a challenge for Walter as he battles with his PTSD, but he has found a creative outlet that helps him deal with it – Photography. With the help of VA’s Veteran Readiness and Employment program, the aspiring photographer was able to make his childhood dream his new reality with the deluxe gift of a Sony camera, laptop and Photoshop software. Walter says, “As a PTSD Veteran, every day is a challenge. Photography helps my PTSD by allowing me to get out of my home and express myself without encountering too many people.” When the lens focuses, so does Walter’s mind.  Thank you for your creative gift Walter and THANK YOU for your service.

Photography is as much a business as it is an art. Amid the myriad choices that shape a photographer’s journey, one pivotal decision looms large: pricing. For those straddling photography alongside another profession, striking the right pricing balance can be both an art and a science. Navigating my dual professional roles, I discovered that pricing isn’t merely a reflection of an image’s worth; it’s a strategic tool, ensuring equilibrium between passion, profession, and personal moments.

Every photographer’s journey is unique, yet we often tread common ground, especially when it comes to pricing. As a fresh face in the world of photography, I had a passion for capturing moments but a scant understanding of the business behind the lens. 

When setting foot in the vast world of photography, the immediate instinct is to price low. This approach stems from a blend of humility, market assessment, and a desire to build a portfolio rapidly. For me, this strategy seemed flawless: I’d attract a clientele attracted by affordable rates, rapidly build my portfolio, and gradually increase my prices. And, for a time, it worked.

Getting Started

Life has a peculiar way of surprising us, leading us down paths we hadn’t anticipated. Such was my life as a PR manager at GE. One seemingly straightforward task—to find a professional photographer for our executives’ headshots—became a transformative experience. While the photos returned were technically impeccable, they lacked the vital element of capturing the essence of the subject. This revelation was a turning point, making me appreciate the intricacies of the art. As I delved deeper, I began to view photography as a powerful form of communication, akin to my PR responsibilities.

While the above headshot isn’t technically the best headshot, I realized I had an eye for the composition and could help serve a need in my local area of Richmond by providing actor headshots for the local acting community. So, I dove headfirst into YouTube videos on photography, learning the exposure triangle and some of the basics needed for headshots.

It was during these formative days of my photography journey that I confronted my first big hurdle: pricing my services.

The Dangers of Underpricing

While my “cheap” rates skyrocketed my bookings as word spread throughout the acting community, I soon faced a predicament. Overwhelmed with clients, juggling a demanding PR job, and spending hours commuting to work and to shoots, I was on the fast track to burnout. There was hardly any space for the things that mattered most.

Pricing wasn’t just about numbers; it was intrinsically linked to my quality of life. Every entrepreneur will tell you about the importance of work-life balance, but it’s the strategies you deploy—like pricing—that truly make it possible.

The Value Behind the Frame

Every photograph, every shoot, brings with it a plethora of costs – both evident and hidden. Beyond the tangible expenses of equipment, location, and post-processing, there’s the intangible yet invaluable cost of time, creativity, and energy. Recognizing this was my first step out of the “affordable” trap.

Transitioning to a pricing paradigm aligned with my evolving expertise and the actual value I offered was an uphill task. It demanded a shift not just in my rates, but also in my branding, marketing efforts, and the narrative I presented to prospective clients.

Delving into Pricing Psychology

Price Anchoring: This is when the first price a customer sees (the “anchor”) influences their perception of subsequent prices. My initial low rates set a particular expectation. When I decided to raise them, breaking that anchored perception was challenging.

Value Perception: Clients often equate price with value. Offering services at a very low price might unintentionally signal lesser quality or value, while higher prices can convey expertise and premium service.

Pricing Models Dissected

Understanding and choosing the right model for your photography business is crucial. Here’s a detailed look at the options I explored for my side-hustle-turned-six-figure business:

1. Package-Based Pricing:
   • Pros: Streamlines decision-making for clients. Ensures a baseline revenue.
   • Cons: Too many choices can deter clients, and psychologically, they often come in expecting to leave with only the pre-agreed number of photos. Potential earning caps if clients adhere strictly to the base package.
   • My observation: Setting a fixed number of images in a package anchored client expectations. Selling additional images became challenging, even when they were genuinely valuable.
2. Per Image Pricing:
   • Pros: Highly rewarding, especially with a polished sales strategy. Allows tailoring to different client budgets.
   • Cons: Requires adept sales skills and tactics.
   • My observation: The session fee plus image fee model I adopted from Tony Taafe’s TNT program offered a more profitable way and client flexibility. You can add image bundles at the time of sale to encourage the customer to purchase more images. 
3. Hourly Rate:
   • Pros: Guarantees compensation for all working hours. Transparent and straightforward.
   • Cons: Can deter clients wary of a mounting bill.
   • My observation: I discovered that an hourly rate often underrepresented my effort, particularly when intensive post-processing was involved.

Targeting the Right Audience: Aligning Price with Value Perception

One of the most crucial aspects of a successful photography business, or any business for that matter, is finding the right clientele. It’s not just about finding people willing to pay your prices, but about finding those who recognize and value the expertise, dedication, and unique perspective you bring to the table.

• Research and Niche Identification: Begin by identifying your niche in photography, whether it’s corporate headshots, candid wedding photography, high-fashion shoots, or local actor portfolios. Once you have a clear understanding, dive deep into market research to understand the specific needs, preferences, and spending patterns of your target audience.

• Positioning and Branding: Your brand speaks volumes. Every aspect of your branding – from your website design, portfolio presentation, to social media presence – should resonate with the kind of clientele you aim to attract. A luxury wedding photographer’s branding, for instance, would be vastly different from someone specializing in candid street photography.

• Build Authentic Relationships: Networking plays a vital role. Attend industry-specific events, seminars, or workshops. Building genuine relationships can lead to word-of-mouth referrals, often bringing in clients who align well with your pricing strategy and value your work’s inherent worth.

• Educate Your Potential Clients: Sometimes, the perceived value can be enhanced through education. Share behind-the-scenes glimpses, breakdowns of your post-processing work, or even snippets of your thought process during a shoot. This can help potential clients understand the hard work and creativity behind each photo.

• Tailored Marketing: Utilize targeted marketing strategies, be it through social media ads, blogs, collaborations, or content marketing. Ensure that your marketing efforts reach those who are most likely to value and afford your services.

• Quality Over Quantity: It’s tempting to cast a wide net, but remember, you’re looking for clients who see the value you offer and are willing to compensate fairly for it. It’s more rewarding, both financially and creatively, to work on fewer projects that truly appreciate your worth than to juggle numerous assignments that undervalue your skills.

In the vast sea of potential clients, it’s essential to find those who not only match your aesthetic vision but also recognize the value behind every click. By positioning yourself correctly and ensuring your efforts target the right audience, you can ensure a harmonious balance between your artistic vision and commercial viability.

Achieving Work Life Balance Through Pricing

For some, photography is a side business or a passion. But passions and side hustles can overwhelm you if not managed wisely. Strategic pricing was my way of ensuring I wasn’t consumed and I didn’t lose sight of my career in PR. By adjusting my rates and communicating value, I made space for myself. Instead of squeezing in every possible client, I started selecting projects that aligned with my vision and schedule. This meant I could reclaim my personal life: date nights, Braves games, culinary adventures, and all.

Power of the Value Conversation

When we discuss pricing, especially in a domain as personal and intimate as photography, the dialogue goes beyond mere monetary metrics. It encompasses an entire spectrum of value, from the palpable worth of the images to the intangible aspects that shape the experience. It was vital for me, and for any photographer, to recognize and communicate this spectrum to clients. Here’s a breakdown:

• Monetary Value: This is the direct financial cost tied to the service, which includes equipment, studio rentals, post-processing software, and more. It’s the tangible aspect that most clients initially focus on.

• Time Value: Every hour dedicated to a project is an hour away from other professional or personal pursuits. This includes the time spent in conceptualizing, shooting, editing, and even the back-and-forth communications with clients. My need to get back time prompted me to establish a studio environment in my home.

  • Personal Time: Time away from loved ones, hobbies, and personal growth.

  • Professional Time: Time that could have been invested in other projects, upskilling, or even the primary career, especially for those balancing photography with another profession.

• Experiential Value: The client’s experience from the first interaction to the final product delivery. It encompasses the ease of communication, the comfort during the shoot, the efficiency in post-production, and the joy in the final reveal.

• Emotional Value: The innate ability to capture not just images but emotions, stories, and moments. It’s about the feeling an image evokes every time a client looks at it.

Through these layers of value, the conversation shifts from a mere transactional exchange to a holistic understanding of the service’s depth and breadth. It was essential for me to frame my services not just as photos delivered but as a comprehensive experience enriched with dedication, expertise, and personal investment. By communicating these varied facets of value, clients could appreciate the entirety of the work involved and form a deeper, more meaningful connection to both the process and the final product.

Your pricing strategy is a testament to your growth as a professional and individual. It should reflect your evolving skills, ambition, and the personal life you envision. As you navigate your photography journey, remember that your prices aren’t just tags on a service; they’re markers of the life you wish to lead, the value you offer, and the balance you aspire to achieve.

How are you pricing your work? What models do you use? I’d love to hear from you in the comments.

What you need to know

• A new survey reveals AI camera tricks likely to come with Pixel 8.
• These include an earlier leaked Magic Audio eraser tool.
• We might see AI-powered advanced Magic Editor features as well.

As we near the launch of the Pixel 8 series, which will likely happen in the next couple of months, some Pixel Superfans from Team Pixel have reportedly received surveys to select scenarios that would help someone decide which smartphone to purchase. These surveys have apparently hinted at new features coming from the Pixel 8.

As noted by Mishaal Rahman on X, the scenarios mentioned in the above surveys allude to the Audio Magic Eraser feature that will likely be featured in the upcoming Pixel 8 — a recently leaked promotional material of the alleged device showcased how the feature would work.

According to Rahman, the survey pointed out scenarios such as:

“Eliminate the shouting of the fan in the next seat from your game-winning shot video with your phone’s amazing AI video noise removal.”

“Enhance the sound of your friends and family’s reactions during a thrilling game, while minimizing the background stadium noise with your phone’s amazing AI video noise removal.”

While these scenarios are self-explanatory, some other statements from the survey seem to refer to entirely new features. For instance, one of the statements says, “No worries if someone’s distracted during a group photo, your phone’s AI can still make it into a perfect group photo.”

It’s possible that one of these could refer to the new “Magic Editor” feature that Google showcased in its I/O event, or they could be completely new functions arriving with the Pixel 8.

Meanwhile, another reliable tipster, Kamila Wojciechowska, got her hands on the complete list of options from the survey that reveal additional scenarios that appear to be primarily AI-powered. These questions from the survey assure that Google is indeed working on bringing advanced features to the Pixel 8 series cameras alongside enhancements like faster camera launch speeds, amongst others.

Wojciechowska further notes that Pixel 8 will bring a redesigned Google Camera app, and we can expect more AI-based features like AI Wallpapers and proofreading mode in Gboard, among other advancements.

As a photographer, my lens has been my window to the world, a conduit through which I’ve captured the grandeur of nature’s landscapes. From the sweeping vistas of mountains to the tranquil embrace of forests, I’ve dedicated my craft to preserving the beauty of the outdoors. Yet, a whisper of curiosity has tugged at me, urging me to step outside my comfort zone and explore the realm of portrait photography for a long time.

At a recent visit with some relatives, I was asked to take some senior year images for my wives niece, as I am the “photographer.” Somewhat reluctantly, I agreed and set off with my trusty Canon EOS R and the versatile 70-200mm f/4L lens in hand. I embarked on a journey that would challenge my perception of photography and redefine my artistic narrative. I wold also need to break out my flash, which is something that I have done just a handful of times before.

The Spark of Curiosity

The spark that ignited my journey into portrait photography wasn’t sudden; it had simmered beneath the surface for a while, yet I had never taken a single portrait shot. I’ve always been drawn to stories, to the emotions that linger just beneath the surface of a captured moment, especially when looking at the fantastic images I saw from other photographers who were producing some incredible shots of humans in nature. With this curiosity, I found myself standing at the crossroads of my craft, eager to explore a dimension that was both exciting and unknown.

A Colourful Canvas: Crafting Compositions in the Park

So, my voyage into portrait photography would begin at a local park— a lush canvas teeming with life and possibilities. The same compositional instincts that had guided me through landscapes now guided me to frame my niece amidst the vibrant surroundings. Armed with my 70-200mm lens, I sought to capture candid moments that resonated with both her vivacity and the natural beauty of the park.

As sunlight filtered through the foliage, I adapted my landscape sensibilities to this new challenge. I knew that maintaining a shallow depth of field was essential for isolating my subject and adding a soft background. Shooting at f/4, the lens’ widest aperture, I could achieve this effect while ensuring fast shutter speeds to freeze motion and keep the images sharp. The aperture, a tool I had long mastered in landscapes, now came alive as I used it to add a touch of bokeh to my compositions. This delicate background blur created a dreamlike quality, reminiscent of my expansive landscape work. Ideally, I would have liked to shoot at f/2.8; however, this wasn’t an option for me, of course. 

Dancing With Distance: A Lighthouse’s Gaze

I wanted to ensure that I got to a variety of locations, so next, it was off to a beach that stretched its golden arms towards the horizon. Here, the majestic Ballycotton lighthouse would stand on the horizon as a sentinel against the azure expanse. The 70-200mm lens again became my storyteller, allowing me to encapsulate both the human form and the distant lighthouse in a single frame.

In this setting, depth and perspective played center stage. My niece’s form stood poised against the backdrop of the lighthouse. This rendered the background as a soft subject, allowing the lighthouse’s details to persist as a faint emblem of maritime spirit. As I framed my shot, I marveled at how this portrait encapsulated both the essence of portraiture and the essence of the sprawling landscape. I then began to have some fun, and we took some candid shots as well as having my subject jump and play on the sand.

Confluence of Time: A Castle’s Embrace

Next, we were off to an old castle/folly that I had photographed many times before. Its weathered stones steeped in history would act as a nice out-of-focus subject in the background. Against this backdrop, my niece became a contemporary muse intertwined with the echoes of the past. Here, the 70-200mm lens revealed its versatility as it captured her vitality against the castle’s timeless solemnity.

In this instance, I aimed for an aperture setting between f/4 and f/5.6. This choice allowed me to embrace the background without overpowering my subject. The ancient arches and textured stones formed a textured frame for my portrait, a visual symphony of history and youth. The deliberate use of bokeh here, a technique honed through landscapes, added an element of separation that underscored the interplay between subject and surroundings.

Whispers of the Woods: A Serene Serenade

My portrait odyssey found its conclusion in the embrace of my local woods – a sanctuary of serenity and contemplation. The 70-200mm lens once again became my guide, capturing my niece’s introspection as sunlight filtered through the leaves.

Here, I experimented with poses. Against an ancient tree, she reclined in contemplation. The aperture oscillated between f/4 and f/5.6, as I aimed to capture the interplay of light and shadow. Bokeh emerged organically, a gentle cocoon around her form, echoing the calm that permeated the woods. I thought this location would be the easiest for me. As I had plenty of practice at the other locations earlier, I was feeling more comfortable behind the camera, and my subject was also feeling like she was getting into the swing of things.

The Portrait Unveiled: Lessons from the Expedition

As my portrait expedition drew to a close, I found myself enriched with invaluable insights. Shooting almost exclusively at f/4 provided the perfect balance between isolating the subject and maintaining a connection to the environment. The wide aperture facilitated fast shutter speeds, allowing me to capture candid moments without compromising sharpness.

Moreover, this journey taught me the significance of embracing different perspectives. My familiarity with landscape composition seamlessly translated into creating captivating portraits against diverse backdrops. The dance of light and shadow, a hallmark of my landscape work, became equally vital in adding depth and dimension to my portraits. Of course, as it was really my first time, perhaps what I produced wasn’t up to par with what others would or could produce. Nonetheless, I enjoyed learning on the go and, of course, looking at the finished images.

The journey from landscapes to portraits was a short a voyage of discovery. Armed with my Canon EOS R and the versatile 70-200mm f/4L lens, combined with my flash, I’ve painted a portrait of exploration and evolution, a testament to the harmony between landscape and portrait. Through the lens of curiosity, I’ve created a tapestry of portraits, each one as diverse and resonant as the varied landscapes that have always been my muse. In the end, my expedition taught me that the art of photography is a limitless canvas where every brushstroke, every aperture setting, and every frame tells a unique story.

I think I will be giving this a go again for sure, as it actually felt great to step outside my comfort zone, and overall, I was happy with the results.

Have you examples of a time when you stepped outside your comfort zone, either good or bad?

Landscape photography can often be a very slow process that requires a lot of preparation followed by a lot of waiting for just the right conditions and right light to develop in front of you. If you are willing to wait, though, you will often be rewarded with worthwhile images. This excellent video tutorial features an experienced landscape photographer discussing the importance of patience in the craft. 

Coming to you from Christian Irmler – Landscape Photographer, this great video discusses the importance of patience as a landscape photographer. Particularly in an age when we are used to instant gratification and the pressure to constantly produce content, it can be easy to become impatient and to push for pictures as quickly as possible. But in a genre in which you have no control over the conditions or the light at hand, sometimes, you have no choice but to wait things out while the best photo evolves in front of you. This is why preparation is so important, as it allows you to predict if you’ll eventually get those correct conditions instead of waiting for nothing. Check out the video above for the full rundown from Irmler. 

And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!” 

SHAVERTOWN, Pa. — We’ll head to Bradford County with Floyd Trudgen, a local wildlife photographer, to visit an American Bald Eagle nest.  Floyd is obsessed with taking photograph’s of this majestic bird and displaying them at his wife’s gallery in Shavertown.

DULUTH — How would you respond to a stranger approaching you on the street with a camera, requesting to take your portrait and asking the soul-searching question: “What do you love about yourself?”

A thought-provoking conversation starter, indeed.

Photographer Max Brunner admits the question catches many people off-guard.

“They hem and they haw. I’m realizing, wow, I don’t think we answer that question for ourselves enough,” Brunner said.

When asked what she loves about herself, Brunner pondered for a moment before saying, “I love my compassionate heart and my ability to overcome a lot of stuff.”

Over 400 portraits and accompanying stories are posted to Brunner’s photography project called Folks of Duluth on

Facebook

and

Instagram.

Each portrait will be on display for exhibitions at Duluth Public Library on Thursday, Aug. 31 from 4-5 p.m. and at Zeitgeist Arts on Friday, Sept. 1 from 6-8 p.m.

“We are super excited to host Max Brunner’s exhibit at the library in partnership with Duluth Superior Pride,” Duluth Public Library Branch Supervisor Lori Crocker said. “We have art exhibit space in the library specifically so people feel represented as they come through the doors by the different artists in our community that we display. This exhibit in particular is the perfect representation of our diverse community. Max really does go out and photograph people in our community — just a variety of people and just a beautiful way of speaking their stories through these pictures.”

“I’m really hoping that all of these framed prints will sell for $10 apiece and I could donate half of the proceeds to a couple of nonprofits in the area,” Brunner said.

Brunner studied digital art and photography at the University of Minnesota Duluth before graduating in 2013.

Now, she works as a representative payee for a Sauk Rapids nonprofit called

Independent Lifestyles

to serve veterans and people with disabilities. She transferred to the organization’s Duluth office in February.

“I was feeling lonesome and longed for human connection,” Brunner said.

On a whim, she began walking the downtown city streets with her Canon Mirrorless camera in hand.

In her quest, she’s meeting people from all walks of life — from children to elders.

“The struggle is real. Every single person is struggling, no matter what,” Brunner said. “And everyone is facing their struggles and overcoming them in some way, shape or form.”

Brunner said she doesn’t feel unsafe when approaching strangers, although their reactions vary.

“Some people are on guard. Some people say ‘no’ right away and walk away. Some people are really excited,” Brunner said.

Time spent connecting with others on the streets has been personally healing for Brunner, who hopes it brings healing to those sharing their stories, too, as well as for her audience.

“Every city needs this. I want to give a face to the unseen and a voice to the unheard, and I think I’m able to do that through Folks of Duluth because everyone should be honored and respected, and everyone deserves love no matter what their capacity to give. Even if they can give nothing,” Brunner said.

Many of her encounters are with the homeless community, and listening to the stories of their daily struggles resonates with Brunner.

“Sometimes I feel like I’m talking to my brother, in a way,” Brunner said. “My brother struggles with addiction and mental health. He is not capable of holding down a job nor is he able to live on his own. If my mom was not taking care of my brother, he would be homeless, or dead by now, and that’s the reality.”

She continued, “With the anger that I’ve felt, I’m like, ‘Why don’t you kick him out? Why don’t you make him find a job? Why do you keep supporting him? He’s just using you.’ I’m not a mom, so I can’t put myself in her shoes.”

But after speaking with people who battle drug addictions, Brunner is learning that some folks use drugs to help with their internal pain, while others use drugs to help with external pain.

“I can’t even imagine what these folks go through having to walk miles and miles every day with all of their belongings on their back,” Brunner said. “I’m so glad that these nonprofits who give out supplies exist because people are going to use no matter what, so why not give out unused needles?”

According to Brunner, local organizations such as

RAAN

and

Harm Reduction Sisters

that offer syringe services programs to injection drug users don’t enable drug use, but promote safety by helping to reduce the spread of HIV and Hepatitis C throughout the community.

At times, her portrait subjects will share the extenuating circumstances that have contributed to them becoming homeless.

“Everyone, you or I, or the person at the bar up there, I think we are all one step away from becoming homeless. I mean, one hunting accident, one car accident, one snowmobile, one ski, one boating accident. …”

There are also many barriers to getting back on their feet. Some folks have felonies and are unable to get a job in Duluth or secure housing, Brunner said.

The testimonials of the Folks of Duluth range from having gratitude for being alive, to heavy criticism of broken societal systems, city practices and nonprofit resources — revealing a dark underbelly of Duluth with a glimmer of hope.

“Sometimes I feel like the city is trying to do everything within its power to get rid of the homeless folks,” Brunner said.

For instance, when the power was cut off to the lamp posts along Superior Street, one woman Brunner met was upset because she was no longer able to charge her cell phone.

“It felt like the city was cutting off lines of communication for people. I mean, not even tourists could charge their phones,” Brunner said.

Then there’s the closing of the skywalk system downtown over the weekends, and the lack of benches within the skywalk, Brunner added.

“Where are people supposed to go in the heat or the frigid cold?” Brunner asked. “I mean, who cares if a homeless person comes in and wants to rest their feet or take a nap on a bench?”

She believes the downtown workforce, elderly people and other members of the general public would also probably appreciate these simple improvements, too.

In another instance, Brunner met a new mother staying at

CHUM

who felt the organization should have helped her further to get into a different shelter, such as

Safe Haven,

so she could have her baby with her.

“I’m noticing that the stories they’re telling me, that they can be sitting outside of CHUM or what-have-you and people walk by with disgust on their faces, or they’ll pretend to be on their phone, or they’ll walk by with their head hanging down,” Brunner said. “A lot of the people that’s happening to makes them feel worthless — unhuman. A simple ‘hello’ would go a long ways.”

Perhaps they’re not treated the same as everyone else because of the perception that homeless folks are lazy, or that they’re choosing to be on drugs or to be homeless, according to Brunner.

“I don’t think it’s really a choice,” she said. “I think the public should stop shunning homeless folks, or people in general. They’re just like us, they’re our neighbors. Help thy fellow neighbor, right?”

Others find shelter outdoors on public or private property, claiming they don’t feel safe at CHUM or the shelter is already at full capacity, Brunner said.

“The city will come to campsites and kick people out after a week of being there. It’s like uprooting their lives after a week. Then they’ll go find another spot and the city will come and tell them that they have to go so they have to uproot their lives again and then find another spot,” Brunner said. “If they find a spot and they’re not harming anybody, why does the city have to keep shuffling people around?”

In Brunner’s opinion, the government has the power to create change and local nonprofit organizations such as Lincoln Park Children and Family Collaborative, Community Action Duluth, Life House, Safe Haven Shelter, Raan, Harm Reduction Sisters, Chum, Loaves & Fishes, Center for Changing Lives, Union Gospel Mission and AICHO can only do so much.

“The government expects all of these nonprofits to put an end to homelessness, etc. However, nonprofits are generally poor and these organizations are putting on fundraisers each year to not only keep their organization above water, but to also help the greater community. Our local government has access to land and even if our local government cannot fully fund a project, they can certainly make publicly owned land available to affordable developers in order to create more affordable housing in the area,” Brunner said.

At the end of the day, homeless individuals are exhausted just taking care of their basic self-care needs to live a humane life, Brunner explained.

While Brunner doesn’t volunteer for any specific organization, she has helped those in need with rides from the grocery store to their campsite so they don’t have to wait two hours for a bus.

“It hasn’t been taxing to me at all. It’s just made my heart bigger and my love for people grow, even for strangers I don’t know.”

If someone is really hungry, she’s provided rides to the

Damiano Center

or the

Union Gospel Mission,

where she will occasionally join them for a meal.

She encourages others to try it, “Maybe it would shed some light or something.”

The Festival La Gacilly-Baden Photo, from 15 June to 15 October 2023, features The Orient, emphasizing photography in Iran and Afghanistan. The photo exhibits are all outdoors over 7 kilometers (4.3 miles), making it the longest outdoor gallery, which a quarter million visitors will view.

This large outdoor Festival in Baden, Austria (25 miles southwest of Vienna) collaborates with Festival La Gacilly Photo in La Gacilly, Western France.

Photographers have always had difficulties with the authorities in Iran, as shown by PetaPixel time and again: Iranian Photographer Set To Shoot World Cup is Arrested and Disappears,  French Photographer Gets 8 Years in Jail in Iran Over Drone Photos,  This Iranian Music Streaming Site is Photoshopping Women Out of Their Own Album Covers,  Photos Show What Life Looked Like for Iranian Women Before 1979 Revolution.

Festival Director Lois Lammerhuber is concerned about the difficulties photographers face in Iran today.

“I think they [photographers] are doing the right thing,” Lammerhuber tells PetaPixel. “They stand up as good as they can. And some of them really take a big risk. Some of them have to feel the consequences, so others [can] go away. But altogether, I think they are incredibly brave, incredibly tough…contributing to society’s progress, and pushing through women’s rights.

“And they need to know they have to have a few artists around. I am not informed enough to judge Iran because it must be an incredibly complex society.”

2023 is the sixth annual edition of the Festival, with 30 exhibitions from as many photographers, with 25 of them participating in person. There are about 1,500 photos distributed between a Garden Route and a City Route.

The largest print on display is about 23×12 meters (75×39 feet) by Rudolf Koppitz, an Austrian photographer best known for his works of the human figure and his use of the nude in natural settings.

Why a Photo Festival in Austria?

Lammerhuber, who has shot over 250 assignments for Geo (similar to Nat Geo in content and published from Germany) magazine since 1983, wanted to increase the awareness of photography in Austria.

“It might sound silly, but Austria is not a photography country,” admits the photographer with sadness in his voice. “There is no photography museum. In some museums, little things are going on, but not much. And the interest in photography [is not everywhere].

“People do not know the names of the important Austrian photographers like Inge Morath or Erich Lessing. The recognition is not there. That is not the case in France. I think every child knows about some of the prominent [French] photographers.

“In Vienna, I thought the first step is to make photography known by telling stories [through photographs]. Everybody is affected by these [photo] stories.”

The Festival is committed to environmental issues and has collaborated with Reporters Without Borders (Reporters sans frontières or RSF). RSF is celebrating its 30^th anniversary by publishing an album of 100 photos by 100 photographers on the theme of The Tree – an emblem of the fight to preserve our environment. About 20 images are displayed near the tourism office.

This year, the notable Austrian photographer is Horst Stastny, a lover of B&W.

“I photographed Las Vegas – actually the most garish place imaginable – in black and white for Paramount,” says Stasny. “It took some convincing, but it turned out to be a very special project.”

The Challenges of an Outdoor Exhibit

Putting up an outdoor exhibit that remains open to the public day and night over four months has unique challenges.

“[There is] the hope that it is not vandalized or stolen,” says the director.

“I’m not here alone. It is a city of 25,000. So, I have also to respond to what people wish. It’s all about the acceptance of the public who live here. Let’s not forget that a festival of four months means that the picture is out there for six months [including installation and removal]. This is an incredible intervention for the look of the city. When the pictures are down, it looks calm. Completely different.

“[There is always] the hope that it will be accepted widely by the people who live there and not [just] the visitors who commute in and out of the exhibit. It’s the stage, you know. The visitors go into a museum or another place, but they matter to those living there. They’re the most important visitors, so to speak, because it’s their city with their kind of look.

“[To give you an example] last year we had birds facing extinction at a landmark place [and everybody loved the beautiful birds].

“This year we have artwork which deals with garbage, a serious problem in Africa, but very nicely photographed, very attractive photographs. It has a lot of humor, and you can look at it easily.

“But of course, some people [who live there and do not like it] say, ‘How can you do [put up garbage photos] that?”

Big Festivals Need Big Budgets, and Canon is Not Interested in the Austrian Market

There are 1,500 prints at the Festival. And since it is outdoors, people will view them from a greater distance than a gallery show, and therefore, the images have to be generally printed large-sized. 60% of the images are on aluminum Dibond, the rest on canvas or fabric. This is a considerable expense, plus the cost of framing/installing the displays all over the city and ensuring that strong winds do not blow them away and injure people or damage property.

“1 million euros [$1,079,550] is the Festival budget,” explains Lammerhuber. “€192,000 comes from the city of Baden [Beethoven, during the summers of 1821, 1822, and 1823, wrote substantial parts of the 9th Symphony here]. And from the government of Lower Austria another €80,000 and the remaining from sponsors, which number about 80.

“Austria is not a photography country. You do not find main [big, single] sponsors. Leica, a sponsor, has a solid connection to Austria and is owned by an Austrian, and another main sponsor is Cewe.

“All [30] participating photographers receive the same amount, €2,000 [$2,160] and, of course, all travel expenses. If they give a talk, it depends on what it is, where it is, and how I can finance it. They get an extra €500, €750, or €1,000.

“They [Leica, Cewe] are strong in Austria, but Canon and all the others are not interested. I even have it in writing. They tell me, ‘This is no market. Don’t contact us again. Austria is no market.”

“[Austria has a population of] just 9 million people [which is like the population of New York City]. They tell me, ‘Why don’t you do it in Germany? We’re on.’ It’s not unfriendly. You know how companies think…they have the market and a budget for photography. But if there’s no market, there’s no budget.”

Producing Colored Prints that Keep Photographers Happy

When so many photographers send files from around the world for printing in an outdoor exhibition, making prints that will make them happy with the colors, whether it is a cloudy day, bright sunlight, or dusk with some street lighting thrown in good measure, may be challenging.

“This is very easy,” says the photographer turned Festival director. “This is very easy for us because we are a publishing house [Edition Lammerhuber]. So, I have everything in-house.

“And we do quite a few books with National Geographic photographers. They sit in our studio for a week. They come to do the layout; they sit with the technicians. So, whatever files we get, we look at them, work on them, and proof-print them.

And if necessary, we check back with the photographers. Our studio has a huge terrace, and we always take the largest possible print into the sun. What you usually do for a book [is that] you try to find a place, you think, you could most likely be that you look at it. So, there should be a balance between red light, yellow light, sun, and the pictures must always work.

“Most of the pictures, we have to bring them down a little bit. So, maybe, let’s call it one stop, make them a little darker.”

At next year’s Festival, two giants will be exhibiting – Martin Parr and Sebastião Salgado.

“I have a feeling that I know him [Parr] for 100 years,” says Lammerhuber. “Because he feels the pulse of our time. He is honest. He does go really close to people and shows us how we are. We are not models. We are ordinary people. We have our flaws, we have our beauty, we have everything. And he can make this visible and always with a lot of humor. That is maybe the most influential voice in photography currently.

“Salgado has found a way to become an ambassador for nature for the world and mankind. The first images I saw about his work have been so full of poetry. Amazingly, I bought a few of them [prints] because I thought I had to have them nearby in my house, which was also seen by others. At the heart of all his work is Amazônia.”

About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at The International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him here.

Image credits: All photos courtesy of Festival La Gacilly-Baden Photo, Baden, Austria.

If you’re serious about shooting street photography or are thinking of purchasing one of the best cameras for street photography so you can take images like Alan Schaller or Henry Cartier-Bresson, then Street Photography Now is a must-read. Edited by Sophie Howarth and Stephen McLaren, published by Thames & Hudson, it was first published in 2010 – but is still the best book on the genre 13 years later.

This remarkable book features tons of contemporary street photography by some of the biggest names in the genre including,  Joel Meyerowitz, Carolyn Drake, Alex Webb, Martin Parr, and Matt Stuart (whose images flaunt the front and back cover) to name but a few, the whole book actually features the work of 46 photographers around the world, each with their own unique style and way of capturing street photography around the world.

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See our guide to the essential street photography tips

Spanning 301 photographs in black and white and color totaling 240 pages this book is an amazing read and visual representation of the genre around the world.

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This book I think is simply a must-read for any street photographer to tuned-up on their skills for what to look out for, how to compose images, and really just look for any inspiration you can find, I said earlier I get this out often, and can honestly say even today, after owning it for a number of years I never get bored of looking through this remarkable book, and I really think if you haven’t already done say to pick it up and enjoy it, because I think it is one of the best street photography books on the market, regardless of its age, it might be old, but it’s gold!