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Tell Your Story a New Role for Photography in a Changing Market

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Tell Your Story a New Role for Photography in a Changing Market Tell your story A new role for photography in a changing market Marc Prüst About the researcher Marc Prüst (b. 1975) is a specialist in the fields of non-fiction and narrative photography. He worked for World Press Photo in Amsterdam and subsequently for the Agence VU’ photo- graphy agency in Paris. Currently, Prüst is a visual story editor and curator. He has produced and curated a range of visual stories in the form of books, exhibitions, presentations and festivals, and has been the festival artistic director at LagosPhoto in Nigeria, Photoreporter in St. Brieuc, France and NUKU Photofestival Ghana. He has worked as a curator at festivals including Noorderlicht in Groningen and the Fotografia Festival in Rome, and has curated © Philippe Chancel exhibitions at the Tropenmuseum Amsterdam, Drents Museum in Assen and the Museum of Contemporary Photography in Chicago. Prüst teaches workshops and offers training sessions to photographers and visual professionals worldwide, working with various institutions including the ICP in New York, the Tokyo Institute of Photography and Spéos in Paris. Prüst is currently jury chair of the Zilveren Camera award and the presenter of De Donkere Kamer, a live photography magazine hosted by Pakhuis de Zwijger in Amsterdam. Cover front: BOREALIS Canada Waswanipi Cree, January 2018 © Jeroen Toirkens Cover back: EverydayAfrica Abuja, Nigeria © Tom Saater About Forhanna 4 A changing market, a new role for Forhanna is a non-profit production house that photography supports in-depth documentary photo graphy projects. By financing and co-producing 6 Distribution models, or: why media projects on relevant themes that demonstrate used to pay photographers well strongly engaged authorship and in-depth research, Forhanna seeks to help preserve the 8 Learning from... full spectrum of documentary visual culture. Documentary photographer Willem Poelstra Podcasts (1956-2018) established the foundation in Crowdfunded journalism 2017 with a dual mission: to manage Poelstra's Voordekunst legacy after his death and to support new projects. Forhanna productions have been 12 Visual stories: a new role for presented at venues such as the photography photography in a changing market festival BredaPhoto 2018. In 2019, Forhanna NOOR – The collective model inaugurated the annual The Willem Poelstra Jimmy Nelson – Before They Pass Away Lecture on documentary photography. Jeroen Swolfs – Streets of the World Nicole Segers – Europa Rob Hornstra – Sochi Project Carla Kogelman – Consistent and recognisable EverydayAfrica – Intention as revenue model Jeroen Toirkens – Nomad and Borealis Bruno van den Elshout – NEW HORIZONS Peter Lik – Master Photographer Sebastião Salgado – Genesis The Dogist – Followers as revenue model 82 Beyond the photographic essay: visual stories for a new distribution model 86 Finally, the many roles of the photographer distribution model, for transmitting this work a photo essay, the photographer is now the A changing market, to the public was publication in a newspaper creator of the story. The photographer has or magazine. As media fees were adequate, to determine: Who is the audience? How do a new role for photography this was also an effective revenue model I reach this audience? And, as in a screenplay, for creators. to define a premise: What is the real story But this no longer holds true. As a product, and what makes it relevant? photo essays effectively no longer have He or she also has to consider the best market value. With print media no longer form in which to tell and distribute the visual being the main distribution model for visual story, such as a typology, which does well on stories, photographers have gone in search Instagram, or a road trip (p.82) to which people of new products and distribution methods. can subscribe, or some combi nation of the This publication takes a look both at success- two. We added a guide that maps out steps to ful projects and at instructive examples from help identify the best narrative form and distri- Marc Prüst What is the state of documentary photography other sectors (p.6). bution model for your own project. Visual story editor today? Judging from reported media earnings and rates, the answer seems to be: not great. It's a paradox: photography In closing, a word of thanks. I conducted my In early 2019, some 500 Dutch photojournalists is as popular as ever, but research into new revenue models for docu- even put down their cameras in protest. mentary photography in close cooperation with photographers are earning less At the same time, the audience for docu- the team at Forhanna, a non-profit production mentary photography seems to be larger than and less for their work. house for documentary photography. The ever. The World Press Photo exhibition must be Dutch Journalism Fund expressed its support one of the most popular on the globe, annually The definitions of documentary photography in the form of a grant, Pictoright contributed attracting four million visitors across 100 and photojournalism I apply here are some- to the creation of this publication and cities in 45 countries. The Netherlands has no what broader than customary. Because what World Press Photo helped with the English fewer than four museums wholly devoted to are they really? Is an eyewitness picture of translation. photography, and photography festivals world- a disaster a documentary photo? What about wide draw tens of thousands of visitors. It's the popular photo series of New York dogs on a paradox: photography is as popular as ever, the Instagram account of The Dogist (p.81)? but photographers are earning less and less In this publication, I therefore refer to for their work. projects as examples of non-fictional narrative photography. By this I mean narrative projects With media paying poorly and everything online based on reality without necessarily being expected to be free, can we come up with socially relevant or journalistic in nature, alternative revenue models for documentary while leaving scope for a maker's personal photography? This question was the focus of interpretation. research preceding this magazine. And the I emphasise these projects’ narrative answer is: Yes. For proof, we need only look at aspect because I believe photography should the photographers profiled in this publication. aspire to be a storytelling medium. Thanks My analysis starts with the observation that to technological advances, such as the iPhone two aspects of the market for documentary XI's powerful camera, everyone can take beau- photography have undergone a fundamental tiful pictures these days. change. One is the product. The other is the All the same, demand for strong visual distribution model. While it may seem strange stories seems as great as ever, and no one to apply terms like ‘product’, ‘distribution makes them as well as professional photo- model’ and ‘revenue model’ to a creative graphers. Compare it to writing: everyone can profession like photography, that's mainly write, but few people command language in a because this link was always so self-evident way that creates valuable literature. that there was no need to think about it. This calls for a very different approach Traditionally, the photographer's product to photography projects. Instead of supplying was the photo essay. The prime vehicle, or a picture editor with the building blocks of 4 5 Declining importance of advertising industries have done it. Podcasters and jour- Distribution models, or: The advent of first television and later the nalists, for instance, have taken matters into internet, and especially social media, upended their own hands, building their own distribution why media used to this model. These days, there are more effec- models with themselves at the centre. Their tive ways to reach a large public (such as content (podcasts, articles) functions much pay photographers well sponsored posts on social media) than through like pictures in Life Magazine used to, as a high-quality photography. Facebook and means to secure listeners, viewers or readers Google now claim the lion's share of advertis- via stories for which they’re willing to pay. ing budgets. In 2018, Dutch dailies drew 78% of their earnings from subscriptions, meaning they are steadily becoming less dependent on advertising income. Subscription fees have not managed to In January 2019, some 500 photo- Why are the media paying so little for photo- offset the loss of ad revenue, however, as cir- journalists took an unprecedented graphs? Is it because of declining circulation? culation numbers are also decreasing. Since step: they went on strike. Their Or is there a deeper problem? In this the beginning of this century, the combined protest targeted the diminishing publication, we consider print media as a turnover of Dutch daily newspapers has halved fees the media are paying for their photographic distribution model – that is, from approximately two to one billion euros, as a vehicle for supplying photos to the public. according to figures published by the Dutch work. To illustrate their plight, In light of declining fees, the question now Journalism Fund. the Dutch Association of is whether this is still the right distribution As these media continue to strengthen Journalists published a calculation model. Are there conceivable alternatives their online presence, their criteria for photo- (in Foto journalistiek heeft een centred not on the medium but on the maker? graphs are also changing. Quality has become prijs!) demonstrating that, under More on that later. First, we'll look at the less important and quantity much more so. collective labour agreements, photographer's role in the existing distribution Media clients want material that will furnish all freelance photographers should model and why media were willing to pay well their social media channels with moving and earn at least €209 per photo for photography in the past. still images. But without the interdependency published in a national newspaper.
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