In Chapter Five of Microstock Money Shots-Popular Themes Without People, I devote a few pages to the art of photographing food. I mention tips for creating images of appetizing plates of food if a stylist isn’t in your budget because even the most delicious tasting items often look unappetizing and utterly disgusting through the lens without the skills that a food stylist brings to the table.
Not all culinary shoots can bear the cost of a stylist so build a few of their tricks into your skill set. There have been a spat of articles by food prop stylists as well as about food photography in the past months. (A prop stylist is the one responsible for the non food items in a shoot such as the type of flatware, centerpieces and other extraneous materials to add to a themed photo) A food stylist may double as the prop stylist as well as preparing food for the camera.
The summer 2010 issue of the pricey and erudite magazine, Gastromonica, has an intriguing article about the evolution of prop styling for food photography. The author, Francine Matalon-degni, presents a lengthy review of how food photography has evolved from the flowery, heavily propped shots from the early 1990′s to the redesigned Bon Appetit and Martha Stewart minimalist images a few years into the 2000′s and on such as…”full-page bleeds of creamy sauces, landscapes of scalloped potatoes and enormous blocks of beef”. She discusses how a photo of a perfectly plated piece of pie went from being the norm to some of today’s images showing forks and crumbs left on the plate as if the photographer has caught the eater just leaving the table. Along the way in this lengthy piece, she equates food prop styling to changes in the American politcal scene…a reach but then we ARE what we eat.
Cautionary note: I was reviewing a group of images shot in a kitchen with a model supposedly preparing a meal. What I saw was the work of an overly enthusiastic stylist: every vegetable for a soup was lined up in perfect rows and neatly sliced. Fruit in a bowl on the counter looked like a display at an eleborate buffet in a hotel’s breakfast room. The pans on the stove came straight from the store and had nothing in them. Lesson? Add a little reality to your cooking shots by actually having something in the pot on the stove. Make the kitchen appear as natural as possible and that means a tiny bit of a mess.
The New York Times often features articles directed at photographers with instructions on the technical tips to use in food photography from the “Diner’s Journal columns. The latest, by Andrew Scrivani, is called “How to plan a food shoot” and an earlier piece concerned Four manual settings you need to know when shooting food.
Food stylist and author Denise Vivaldo gives some good tips for styling salads and preparing chicken in two separate videos. Want the lettuce in the salad to remain perky? Pack the bowl with wet paper towels before adding ingredients and plop some mashed potatoes under the lettuce. Stand a few leaves upright in the potatos. Catch the video here. Or to get a jump on prepping a lucious looking (but nearly raw chicken or turkey) for holiday shoots watch this. (Cover your ears after the first several “You Guys”.)
NPR’s All Things Considered offers help in building towering sandwiches…gaffer’s tape anyone? In an interview with food stylist Delores Custer, it’s suggested that mortican’s wax is a perfect adhesive to keep cutlery in place…remember just because it’s pretty doesn’t mean you should eat the stuff once the shoot is a wrap!
(Back to Chapter Five of Microstock Money Shots. It is about much more than shooting food. The photographers whose work appears in the chapter are below:)
The panels at CEPIC, especially at the day long New Media Day organized by Microstock Diaries’ Lee Torrens, were thought provoking and for the most part, interesting. I especially enjoyed the dialog between Sarah Fix from Blend Images and Taylor Davidson on my panel on the future: Taylor posed the question, “What core value does an agency create and deliver?” Sarah came back with some smart answers. I’ll interview her soon for a run down of her remarks. Unfortunately time ran out but we hope to continue the dialog around the subject of disruption in the stock photo business at PhotoPlus Expo in the fall.
I have attended CEPIC almost every year since I held the position of Executive Editor at Corbis in 1997. (At least I believe an event in London was an early precursor to CEPIC as I recall being on a boat on the Thames with some Germans and Roger Ressmeyer taking a photo of me that he magically sent to my husband by the miracle of digital photography and email. AMAZING it was then.)
Once the delegates to the Congress are home , the content of the panels and discussions meld into the over all business view of those attending but the connections grow into good business. We are daily connected in ways that dwarf our previous means of communication with business colleagues via the post, fax or even email. Even so there is nothing that compares to the many business relationships forged with international colleagues over a drink, serendipitously at a lunch table or during an impromptu or scheduled meeting. These can only happen in person and for stock businesses and archives, only at CEPIC.
Ellen Boughn in the stands at the new Aviva Stadium in Dublin for CEPIC interview with Pavel Losevsky
I have thought that CEPIC might be losing its relevance. But what was demonstrated by this year’s invigorated CEPIC is an industry strengthened and changed by outside forces that is smarter, quicker and, though smaller, stronger. Plan on coming to CEPIC in 2011 to keep up with the changes.
*Thanks to Russian photographer/videographer Pavel Losevsky who tirelessly documented CEPIC and the offical photographers from ctk photobank
I’ve spent a lifetime making mistakes in the photography business…and, ok, had some wonderful successes. In the process I’ve learned a lot, probably more from the mistakes than from the winners.
Here’s your chance to pick my brain about anything and everything stock photowise for the cost of a nice dinner (with cheap wine and dessert). This one is all about YOU.
My newly announced ‘mini-consult’ for first time clients is $39.00
I’ll spend time reviewing your responses to the questions on the Ask Ellen page
We’ll talk via SKYPE or on the phone (US) for a full 30 minutes,
I’ll review your portfolio, a submission, answer business questions. It’s your call
And to kick off this new introductory service:
The first FIVE new clients that sign up will get to Ask Ellen for nothing | zilch | nada. Contact me here requesting the free mini-consult and let’s get started.
Some advice bears repeating: The following was written as part of the ‘Inspiration” section of the Agency Access site and posted 3/16/2010. Slightly changed here.
The vote is in. Based on the many comments on Shannon Fagan’s guest post made by stock industry leaders and photographers, the majority do not believe that the stock business is dead, perhaps sleeping but far from a vegetative state. Millions of dollars are still being generated by the photography licensing business in all models even though to the individuals whose income has decreased by up to 50% it doesn’t seem so. The best time to review the tried and true is when you are searching for the new. Here’s a quick recap of some best practices in stock photography.
Become known for a specialized style or subject. Gain access to a unique location or group that is unattainable for others. Work and work until your images are at the top of the list for your niche in technical quality, originality and marketability.
Photography may seem to some to be a passive activity; photographers survive by being observers from behind the lens. To succeed in today’s marketplace you must get out from behind the camera to build a following:
Explore all the social networking opportunities available. Follow people outside of photography. Professional photography is about filling a need. Follow the Facebook and Tweets of those who might need you in addition to those photographers who are generous with their knowledge such as Chase Jarvis or Yuri Arcurs. (See more about the social web below)
Get physically in front of your clients and potential clients. Step up your go-sees. As more and more people depend on electronic connections, those who take the time to visit their clients have a better chance of getting in to see the decision makers. This applies to those with specialty stock collections not only assignment photographers.
Don’t depend exclusively upon a stock agency to distribute your work especially if you have a strong niche. Consider licensing your niche stock photography direct to buyers.
Fortunately now there are tools to enable photographers to build a unique stock photo collection and to license it directly.
Exploreservices like PhotoShelter and License Stream to ease the responsibilities of building an independent stock site.
Expand your marketing to cover every possible user of the photos within your niche. Agency Access slices and dices stock buyers into lists of those with every imaginable subject/business need. Join the trade associations of your major client base not just photographer industry groups.
Some say that direct mail for photographers is dead. Not according to art buyers that I’ve heard from. Remember you are there to provide an answer to a visual question. Those who need your specialization want to hear from you if you can help them look better in their job. Use the most creative designer you can afford to ensure that your DM pieces stand out.
Connect electronically. Make your email blasts informative…. provide data, antidotes, statistics that will help your users in their work. Don’t simply sell yourself. That’s spam.
Accept that twitter isn’t simply silly, that Facebook doesn’t just work for grandparents and that a blog is gossip or a place to vent. All these are communication tools. You are a communicator. Use them. And if you still haven’t. START NOW. You’ll be surprised how much you’ll learn and who you will connect with…(and how much time you’ll waste unless you set limits.)
Know your audience. Who are the people most likely to license your work? What are their job challenges? You can’t provide answers unless you know the questions. Follow the activities online of the companies that are likely to use your type of photos. Pick up on what they are using and where.
Be wary of following the urge to SHOOT only what sells. Part of what has harmed the stock photo business over the last few years is in an overabundance of photos all of the same subjects/styles. Originality has diminished and frustration has grown. As one photographer recently asked me, “How many pictures does the world need of happy people jumping on a trampoline?”
Most photographers began their career with a love both of photography and a certain subject. As their careers develop, many chase the market and lose sight of what gave them creative kicks in the first place. This is especially true for those that put their hat into the stock photography ring and followed the demands of stock companies requests to the exclusion of the vision that brought them to photography. Regain it.
Conversations with Taylor Davidson resulted in the earlier post ‘be a hub‘. I promised that the conversation would continue. Now close to the eve of Taylor’s two appearances at SXSW-Photoshelter’s Austin Photo Seminar about “Creating Context for your Content” and the SXSW Core Conversation “Everyone is a professional photographer”, another powerful message from Davidson about the stories we tell and the ones that we live-as writers, photographers and communicators.
How can photographers move their story-telling skills into a broader context? And why is this important? Taylor responds, “Telling good stories is a necessity for photographers. But creating a story creates much richer interactions. It’s these broader interactions that are the biggest artistic and business opportunities today because the economics of creating context have changed (i.e. cheaper to connect, create communities, empower niches), making rich experiences and interactions more available, possible, and powerful than ever before.” As Taylor’s friend, Michael Bonifer, co-Founder of GameChangers posted, “Story is more powerful as a verb than as a noun”.
Taylor uses Jeremy Cowart’s Help-Portrait project as an example of a photographer creating and being part of a story. Cowart’s project, altruistic in concept, has nevertheless put him in contact with many, many people. Each connection creates the possibility of a secondary story by connecting with others who want to be part of the story. This creates a shared experience that spreads organically, touching many people. Connections create interest and trust…two essentials to success.
Here is my favorite story about a story that a photographer and an architect created. Photographer Gregory Holm and architect Mathew Radune envisioned Ice House Detroit to illustrate the frozen Detroit housing market. After securing funding from kickstarter.com, they encased one of the thousands of Detroit’s abandoned houses in ice. The resulting story was told in outlets as diverse as Dwell , Village Voice, BBC, NPR, New York Times, German Public Televison, Time and the Huffington Post. People all over the world connected to the story. Taylor points out that this type of collaboration not only helps solve a problem, build trust and gain name recognition, but it helps create business opportunities.
Taylor helped me sum up his overall message: Being a story is alive and three dimensional… it brings a story teller into a story rather than the common voyeuristic position of recording and seeing it, one step removed from the story by the lens of a camera. The work connects interactions between people and ideas that in turn connect the work to the story (my words).
The Ice House Detroit project was funded via Kickstarter.
The photo below is an almost perfect stock photo. It’s not cutting edge; it’s not trendy. It’s not hip or cool. What it IS is a photo that will license again and again for years…extending its revenue stream long after its production costs have been recouped even with today’s lower fees. This is a photo with a very long tail.
I first analyzed the image for my blog on Dreamstime when it showed up as one of the best sellers two years ago this month. I have also discussed it in my upcoming book. Initially the image seemed a very simple and easy photo to plan and take. But once I deconstructed it, I understood the amount of thought, research, experience and planning that went into the creation of this clean and versatile photo and its variations. I’m reminded of what the IT guys always say when a seemingly trivial request is made for a programming change, “Simple doesn’t mean easy.”
The image is a subject-based winner. Among the most consistently popular stock photo subjects are family related. When photos with these themes also spell “happiness/love/caring”, the image has a lead over all others. Images of families are used for financial services, vacation and hotel packages, for religious publications and a myriad of editorial uses on websites on a zillion topics.
A beach location is a great choice. Stock photo buyers often want ‘aspirational’ images that show an idealized place or situation. The beach is such a place in all societies. It is a place we vacation; go for weekend relaxation, education and fun. The exact geographical location is not identifiable. The location is non-specific geographically and yet still shows a top vacation spot: the beach.
Seasonality. Because of wardrobe choices and the quality of the light, the photo could have been shot in spring, summer or early fall adding to the versatility of the image.
Style. Both the photographic style and the models/wardrobe/scene are relatively timeless. There is no skyline to go out of date; the clothing is non-specific and not tied to any fashion.
Palette/Wardrobe: The model’s clothing compliments the colors in the scene. Because there are blues, pinks, tans and yellows in the palette almost any color typeface could coordinate with the image. Shirts lack logos and the fabrics are all solid colors.
Casting: The models form the perfect, idealized family and yet they aren’t so beautiful as to look unauthentic. Their pose is relaxed and happy. (Just the way we all imagine the perfect family vacation.) Even the preteen girl appears to be pleased to be with her parents. (Anyone who has attempted to take a daughter of this age on a family vacation knows that IS really an idealized image.) The image depicts the vacation every family aspires to have.
Composition: Dad is at the top of a pyramid, representing a conservative (and thus good for middle of the road adverts) family relationships and the models are posed off center to leave lots of space for type. The background is clean and simple. In both photos, the photographer for Iofoto, Ron Chapple, has left ample space for insertion of a product shot, headline or copy. He has also offered the stock photo user several formats. Here we show the vertical and the image that he has prepared as a square.
Good keywording has also contributed to the success of these two images. Look up the keywords by clicking on the photos and you’ll see what I mean.
Taylor Davidson finds himself at the intersection of photography, social media, business development and economics. His thoughts on where the stock photography business might be going and how to stay around for the ride:
Social Media Expert/Photography Geek Taylor Davidson
Taylor began our recent conversation, “All businesses have a life cycle, including creative businesses. There is the building or construction of the business, growth and what I like to call ‘creative reconstruction’ rather than deconstruction. Companies go from cottage businesses to being consumed by large companies (aggregators of content, in our case). The latest changes in stock photography are merely the latest cycle of industry upheaval. The technology required to create, distribute, promote and use stock images (like all creative content) changed everything”.
“The bigger question is what happens from here?”
“The economics of new technologies gave anyone the tools to create, but didn’t guarantee that they would profit from creating. While the activity is in the long tail, profits flow to the aggregators in the tail.” (Taylor refers to the
aggregator as the ‘hub’. Getty Images is the big wheel around the stock photo hub.)
Taylor points out that the economics of the hub have been changed by many factors, one of which is social media. He explains that electronic word of mouth has given power to smaller hubs. By being a specialty destination, your website/blog can become the hub for that subject or story. You can operate in smaller niches but you MUST be the hub in the niche. You must be really good at (your niche). You must be the top choice in the subject.
He says, “Be a hub. Find a niche, and be the hub in that niche. This advice applies to broader issues: how can you expand your scope? How can you create ancillary products; do other types of photography? How can you be a different kind of hub? Be a hub for information, for knowledge. Teach other people how to be a hub for their own niches. Bring other photographers together to create a hub.
I asked Taylor if he had suggestions for how a photographer could become a sought after hub of information/activity/engagement. After humbly explaining that he was very good at asking questions but not so great at coming up with answers (I disagree), Taylor added:
“I have a strong belief that successful businesses need to be more like people. Individuals want to connect to the people behind a business.” He suggests that a photographer that only shows photos on his/her website is missing opportunities to connect with their audience. People want to see more than a series of images. Photographers should use all the tools available to them to tell a story. Be a hub of information about not just yourself and your work but about a story that you have created.”
I asked Taylor what I should say to the photographer that is already overwhelmed with keeping a business going, faced with the need to post to a blog, create another story, learn FinalCutPro, or build a movement. Taylor is an optimist…but even so he and I agree:
“If you are blind to change, you aren’t going to make it in today’s market [for stock or assignment photography].” The photographer has to DO THE WORK. One task at a time, keep learning.
Davidson suggests, “One secret to continued growth in creative endeavors is to retain or recapture youthful curiosity. Young and emerging photographers are free to try all manner of things; part of the excitement is not knowing what the long-term impact of the experiment will be. Could be a career changer or a dud. The cost of failure when you are young is much less than at mid-career.”
“Even in mid-career, you must be willing to open yourself to serendipity. Don’t put yourself in a situation where the only experiments you try
are the ones that could wipe you out.” Try little experiments. Try one a day, one a week even if the burden of mid-career responsibilities keep you focused on getting through the demands of running an established business. These small experiences will sometimes create opportunities. (But don’t expect them all to.)”
(In a continuation of my conversation with Taylor in a future post, I discuss how photographers can embed humanity into their businesses and to break down the barriers between the message and the person. Taylor then discusses ‘the story’ and authentic marketing for photographers).
Taylor Davidson is a Business Designer and a photography geek who lives in New Orleans, LA. He focuses on evaluating and structuring business and financial plans to help launch new products, services and companies. He creates on the web at http://www.taylordavidson.com/writing
Shannon Fagan is seemingly everywhere that stock photography is discussed. (See John Lund’s interview). This isn’t because Shannon is a shameless self-promoter but because he works hard at his craft, gives back to the community of photographers and is an articulate and forward thinking guy. Like many in the business today Shannon is spending a lot of time thinking about the future of stock photography in general and, more specifically, his place in it.
Consequently Shannon is able to identify specific and positive steps that photographers can take to step up and refine their game to survive the rolling changes taking place in the photo business. I met with Shannon last week as he was returning to NYC from Tennessee with a quick side trip to Seattle where we chatted for a couple of hours. A week later we concluded the conversation via phone as he was leaving the Atlanta airport. We spoke mostly about advice he has for emerging photographers that are considering stock photography.
His premise is that you’ll do better work (be more successful) if you craft your stock photo business around your lifestyle. To do that, you need to lead an examined life. Being what you think you should be/do, isn’t the same as finding yourself and your life’s work. Nor is heading into the photographic business with unrealistic assumptions about instant success going to be a good starting point. Shannon’s insights are especially key for emerging photographers.
Shannon Fagan - President of The Stock Artists Alliance
“It’s obvious’, Shannon says, “people do better work, if they are happy doing it’. Below are Shannon’s thoughts on the internal research required:
Personality. Are you introverted or extroverted? If you’re shy, then don’t get yourself into a career where you have to deal with lots of people as happens for a lifestyle shooter. If you want to do shoots with multiple models…hire an extroverted assistant to put them at ease. Perhaps architectural or food photography might better suit your style.
Time: Prefer 9-5 or night owl? If you have family obligations or plan on having them, consider that you might want to build your personal stock brand around subjects that are best shown in daylight and close to home. If you intend to shoot stock images that require a business or retail location, you may find that you are able to use these locations only at night. Will that fit with your lifestyle?
Financial: Budget Tolerance/Return on investment. Consider that you will need money to invest in self-financed shoots…also consider how long you can wait for a return on your investment. Don’t count on a six month return anymore. To hasten the time between when you pay shoot expenses and when the shoots go into the black think about cost of production. Can you use free sources or is your time worth more than it will take to find those free props, wardrobes, sets etc? Can you afford to use your savings on stock productions?
Communication: Can you turn a ‘no’ into a ‘yes’? Personality has a lot to do with being a successful stock photographer. Not only do you have to round up talent but you have to be a boss…part of your job is training freelance or occasional staff. Do you have the stomach for it?
Equipment: Gear hound or point & shoot? Not likely you’ll get too far with a simple point and shoot, even in microstock today. But more importantly do you love Photoshop? If you would rather be set on by fire ants than sit in front of a computer, can you afford to hire your post work out to others? Remember to calculate the cost of your time if you do the work yourself.
Style: Fashionista or Jeans & T-Shirt? A tongue in cheek comment as Shannon indicates that his wardrobe has either been the result of a photo shoot or will someday be in one.
Fagan's stock image used in a bank advert
Vision Portfolio? Bright and cheery or Dark and Moody? Bright and cheery is the name of the game currently in stock photography. If your style is otherwise, can you hold on to your darker vision while showing a sunny side in a majority of your stock images? Be wary that formulaic shooting could deprive you of the creative jolt you get from being a photographer.
I’ll add to Shannon’s words a quote by Steve Jobs from a commencement address at Stanford a few years back: “Your time is limited. Don’t waste it living someone else’s life. Stay hungry. Stay foolish.”
Or Sting’s advice to young musicians, “…they say ‘how do I make it?’ And I say to them “it’s not important to make it, just keep playing music and its its own reward. And if you’re meant to be a big star or not-that’s just fate. But a love of music and a passion for music is always going to be a gift for you”.
2010 started with a whimper, a cough and then a near hospitalization with what was probably H1N1. Thus I have not been able to continue my plan to write a series of posts/interviews about the changing economics of a photographer’s life. Instead I decided to recall a wonderful meeting with one of photography’s giants and share what I learned from Henri Cartier-Bresson one morning in his Paris apartment overlooking the Tuileries.
I was introduced to Cartier-Bresson by Robert Kirschenbaum who was, at that time, the Japanese Magnum representative through his company Pacific Press Services in Tokyo. HCB was one of the four founding members of Magnum and by the time I met him he was in his 70′s, an authentic national treasure in France and admired throughout the world.
Bob and I were scheduled to meet on the Rue de Rivoli at 10 in front of the apartment. We entered an elaborate and tiny cast iron open cage elevator to gain access to the upper floor rooms where HCB lived while in Paris. Henri himself opened the door and ushered us into a modest space. We settled around a small table and Henri served us expresso. There was none of his work hanging on the walls, as I recall, but he was very pleased to show us a small table that his friend, the brother of the sculptor, Alberto Giacometti, had made for him.
Cartier-Bresson was a slender, handsome man with compelling eyes. He was smart and stories came spilling out of him for hours. After the second or third round of expresso, I noticed that he had stopped serving himself although he returned again and again to the kitchen to refresh our cups. I asked why he only had partaken of one small cup of coffee. He responded that there had been an incident the previous summer in the south of France where he and his wife, the photographer Martine Franck, had a home. He had walked down to the village cafe for his morning coffee and newspaper and after a few cups stood to go home. At this point he fainted dead away.
My print of Giacometti by Henri Cartier-Bresson
A commotion immediately occurred as friends and strangers alike gathered around to see what had happened to the great Cartier-Bresson. He was apparently out for a while as there was time for the local newspaper to fetch a reporter/photographer down to the cafe. After all, the first images of the death of Cartier-Bresson would surely be a scoop. At this point in the telling of the story, HCB paused with an amused look on his face and said, “My friend the proprietor of the restaurant rushed over and took the camera from the newspaper fellow yelling, ‘Cartier-Bresson does not allow himself to be photographed while he is alive! He certainly doesn’t want someone to photograph him while he is trying to die!’” (HCB went on to live many more years.)
I left that day with many more stories and a print enscribed to me by Cartier-Bresson (the illustration here). He had handed me a box of prints from which I chose his photo of Giacometti crossing a street in Paris because Giacometti was Cartier-Bresson’s close friend and I was privileged to have met the famous man thanks to the efforts of my dear friend, Bob.
Cartier-Bresson describes the day he took the photo of Giacometti and why it was important to him in the video below. You’ll also learn that the “decisive moment” was sometimes the result of luck and that “light is like a perfume.”
For the last 40 years, the majority of stock photographers were in the middle : middle income/middling talent. Most stock photos could be categorized as predictable but very salable in rights managed and royalty free markets. Enter microstock and a new class was created from the millions of camera owners across the world. Demand for average photos of predictable subjects licensed from traditional rights managed and royalty free distributors tanked.
Stock photographers began wringing their hands and demanding that users PAY MORE! They were rightfully ignored and began to disappear as their incomes declined.
How can you navigate around the large black hole into which hundreds of stock photographers are falling, never to be seen again?
You can take the high road or the low. Depending on your work, I suggest traveling both.
Stellar work will always find a home. It will fulfill the following requirements. It will be:
Unique to you
Expensive to license
Fresh and unusual
The best of its kind
Limited sources for the work either in style or subject
These images won’t license often. There are currently two major places to distribute in the monetized world of stock photography: Getty/Corbis. You may find that if the subject is very unique and/or you have an unusual point of view or access, you will find more buyers by licensing the work directly from your own site. Tools to help: license stream or PhotoShelter and Agency Access. Cautionary note: look to the world of Hollywood to get an idea of moving into this neighborhood: only a tiny percent of actors living in NYC or LA make more than $12,000 a year at their craft
The low road is more like the highway to the stars. It paves the pocketbook to pay for the stellar stuff. To carry the metaphor to it’s death: think of the revenue from this class of images as pennies from heaven. This work:
Is generic in subject
Inexpensive to license
Fresh
Best of its kind…the best damn handshake photo out there or close
Widely distributed by as many microstock companies you can tolerate…see lookstat and isyndica for help
Not exclusive unless you are one of the top top earners at istock.
More on my ideas on microstock from a November presentation at UGCX:
Old timer and Comstock (sold to Jupiter/Getty) founder with Tom Grill, Henry Scanlon once quoted his grandfather’s advice for a successful business career: “Serve the masses; dine with the classes. Serve the classes; dine with the masses.” (Also attributed to Ray Kroc the founder of McDonalds. Joan Rivers and someone in Imperial Russia.)
Working on two very interesting projects under the radar...don't you love a mystery? Not stock photography exactly but photography never the less. Stay tuned.
