A Case Study About The Business Of Art From The Harvard Business School

Why would someone pay $500.00 for a  trash-bin or  $200.00 for a toilet brush? [1] Believe it or not, for those of us in the creative industries, there’s  a lesson in the answer.

In the article  titled “It Is Okay for Artists to Make Money…No, Really, It’s Okay” [1] associate  professor Robert D. Austin examines the apparent conflict between artistic and commercial objectives within creative companies.

The  PDF link [1] is the entire  thirty-one page  paper.

The html link [2] contains  the Executive Summary and Abstract.

Some quotes to pique your interest:

“The Vipp example attracted us, as researchers, because the company sells products in categories that consumers have traditionally valued functionally, not aesthetically. Most people mostly care about how well a trashcan or toilet brush does its job. That has determined how much people will pay for one: how well it works. But not these trashcans and toilet brushes. There’s no way functionality alone can justify their prices. People must be buying something else—something worth a lot.” [1]

“There are three fallacies, often implicit, about relationships between art and commerce: (1) art is a luxury and an indulgence, (2) art is clearly distinguishable from “non-art,” and (3) commerce dominates and corrupts art, and subverts its purpose.”[2]

“…the interests of art, artists, and business can be best served if more commerce enters into the world of art, not less.”[2]

Links:

(1) http://www.hbs.edu/research/pdf/09-128.pdf

(2) http://hbswk.hbs.edu/item/6193.html

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A Rainy Day In the Columbia Heights Section of Washington DC.

December 19, 2008. 1400 block of Girard Street MW. An apartment building in the Columbia Heights section of Washington DC viewed through a rain covered window.

December 19, 2008. 1400 block of Girard Street NW. An apartment building in the Columbia Heights section of Washington DC viewed through a rain covered window.

Click on the photograph for more image information.

My decision to post the above photograph was  prompted by  the weather this morning.

While working one day  I looked out the window and decided to photograph what I saw  as a gloomy day.

Using my perception of “gloomy” to drive  my composition, I  chose a  white  balance of fluorescent to give the image  a feeling of “the blues”.  Since  I wanted to communicate a mood instead of the details of the scene, I threw the image  out of  focus to militate any  details that a  viewer may get caught up in.

During processing in Lightroom, sine I capture in RAW, I had to to reapply the fluorescent white balance setting. I then applied noise reduction and used lens vignetting  to darken the corners.

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Artist: Sam D’Amico

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Scene Capture Type: Standard

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Kutztown Folk Festival Celebrates 60th. Year.

Kutztown Folk Festival. Hex Sign And Pedestrian At The Midway. (Click on the photograph to see more images from the Kutztown Folk Festival)

Kutztown Folk Festival. Hex Sign And Pedestrian At The Midway. (Click on the photograph to see more images from the Kutztown Folk Festival)

WILKUM !

The 2009 Kutztown Folk Festival (1) marks the event’s 60th year anniversary (2).

The primarily agricultural festival celebrates Pennsylvania Dutch Culture and runs this year from June 27 – July 5, 9am – 6pm.

If  you would like to, learn more  about this festival and see more  pictures, please click on the photograph above.

Related Links:

(1) http://www.kutztownfestival.com/

(2) http://www.kutztownfestival.com/blogfest/?p=10

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The Vendor Client relationship – in real world situations

My thanks to Marc Harkness [1] for sending a link to the following you tube video. Below the video you’ll see  a thread of  comments.

Why can’t photographers and other creatives see  how ridiculous this is when it applies to their own business?

On May 29, 2009, at 12:27 PM, Cory  wrote:

that harlan ellison video has stuck with me for a long time.
working for free is like playing scab.

On May 29, 2009, at 12:24 PM, Sam D’Amico wrote:

Thanks for the EXCELLENT link.

For whatever reason, it seems that  people in the creative industries, have  difficulty valuing their own work.

Not all though (Harlan Ellison).

You know the sad thing is that, at least in photography, there  are plenty  of photographers  who cave  in to this crap.

Excellent videos, these are MUST watches for the folks in the  business classes that I teach.

Sam

On May 29, 2009, at 11:48 AM, Marc  wrote:

Funny but sadly familiar at the same time -

Links:

[1] Marc Harkness  http://www.marcharkness.net/

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Would You Friend A Twit Who Writes On Your Wall?

I’ve tried, I really have. I’ve  joined Facebook and Twitter, but it seems I’m no more the social butterfly online than I am offline.

I’ve been told by other photographers  that they use  these social networking venues to market themselves and increase business.  When do they have time to do work when they’re busy updating Facebook or Tweeting every five minutes?

I need help with this online social networking stuff and I’ve found it !  Read on !

Google, Like Fagen, Wants to Care For The Orphans

It seems that Google is in the process of totally disregarding the copyright laws in preparation for the passage of the Orphan Works Bill.

The following stories clearly demonstrate how big corporations profit at the expense of the individual artist.

I’m sure the intentions  of Google are purely altruistic, after all someone has to care  for the orphans; and who better than Google to do  that?

Just like Fagen from Oliver Twist, Google will “adopt” the orphans, give them a place to stay, and then put’em to work earning money by taking it from who it rightfully belongs.

Here a couple of excerpts  to whet your  whistle.  Use the links  to get pissed.

“But the deal also would allow Google — and only Google — to digitize so-called orphan works, which has raised some eyebrows in antitrust circles. Orphan works are books or other materials that are still covered by U.S. copyright law, but it is not clear who owns the rights to them. 

“Essentially, it gives Google a free pass for infringement for selling all these books,” said James Grimmelmann, who teaches at the New York Law School. “Publishers (who are part of the settlement) would be happy to share the monopoly with Google.” Reuters (1).

…”Google has more than just thrown down the gauntlet to the traditional business model that gets books from authors to readers. The onus now is on creators to rethink the way they make money before companies like Google decide it for them.” newmatilda.com (2). 

Links:

(1)http://www.reuters.com/article/internetNews/idUSTRE53R8DO20090429
(2)http://newmatilda.com/2009/04/21/copyright-what-copyright

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Photography Critiques

In response to e-mails and conversations, I’ve recently begun offering online photography instruction in the form of group webinars and individual instruction/critiques.

While developing the course material and descriptions, I struggled with offering the photography critiques because  of my past experience with receiving and giving  them.   The  problems with critiquing lie with both the one giving  the critique and the one getting the critique.

If you’re interested, here are my thoughts on photography critiques taken verbatim from the Online Photography Instruction   section of  my  website

A note from Sam about his photography critiques. 

As a photographer, there have been many people who have critiqued my photographs. Photography teachers, editors, other photographers and people viewing my work in galleries have all offered their opinions of my work. 

Sometimes, when looking to improve my work, I’ve sought these critiques. My experience in receiving critiques has led me to believe that some critiques are more helpful than others. 

In short, I have found that a critique that simply consisted of someone else’s opinion of how I could have improved a photograph resulted in nothing more than learning what the other person thought a good photograph should be. I think that this type of critique helps us to create photographs more like the person giving the critique than helping us find our own way as photographers. I didn’t want to learn how to see and photograph like someone else, I wanted to learn how to align my personal perception of whatever I was seeing with my ability to visually communicate my perception with a camera. 

It soon appeared to me that giving critiques based on a one-sided opinion is easy for the one giving the critiques, but not very helpful for the critiqued. 

When it came to improving my work, the most helpful critiques by far were those when the person critiquing my work asked me about what I THOUGHT of my photographs. Instead of a one- sided opinion of my work, these critiques became a two-sided dialogue about how to improve my photographs based on MY opinion of my work. As someone once told me, the most important opinion about our work is our own. 

The truth of the matter is that giving a useful critique on subjective matter, like someone else’s photography, requires a collaboration, or dialogue, between the one giving the critique and the one being critiqued. Even more important is that the photographer who is giving the critique MUST keep their personal biases out of mind. That’s the approach I’ll take when critiquing your photographs.

Our critiques of your work will help you look at your own photographs with a cool, critical eye and you’ll leave with useful information on how to improve your photography.”