Old chairs, Vientiane, Laos. Thomas Pickard / Aurora Photos

It always amazes me what images publications and organisations choose. Case-in-point: this photo was recently published by Newsweek worldwide and a week later, by Newsweek Japan. With a circulation of up to 1.25 million, I would have to say that this photo – which ran half page – is probably one of the most viewed photos in my archive.

As for the image, it was taken one morning while walking down a street in Vientiane, Laos last year. The sale was through my stock agency, Aurora Photos.

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One of the things I really like about the WPP contest is that working photographers can enter bodies of work that haven’t been published. While any photographer can publish a body of work on their own site, gaining a wider audience is the name of the game.

Below are some of my favourites from the 2010 WPP contest:

Sports Action First Prize Singles | A true decisive moment with stunning composition and all the elements of cricket.

Sports Action First Prize Stories | Fantastic sequence of imagery, with each image standing on its own, yet contributing to the entire story. Some incredible points of view here.

Sports Actions Second Prize Stories | Great composition and subject matter. Craig Golding has been producing outstanding sports imagery for a long time now.

Nature Second Prize Singles | Amazing depth and perspective. I want this on my wall.

Nature First Prize Stories | Paul Nicklen South Georgia series clearly shows his depth as one of the top polar photographers in the world.

CONTAINS GRAPHIC CONTENT - Contemporary Issues Third Prize Stories | Slaughterhouse is probably my favourite. The composition is really something in this series and the subject matter is compelling.

These are just my favourites. There is plenty of great photography in the results. Make sure you spend some time having a look.

Congratulations to all the winners. The bar gets higher each year.

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For the people that have asked me to date and the people that will ask me in the months and the years to come, the answer is NO.

I do not provide imagery to companies or organisations to help promote a product or add value to a product, without remuneration.

Why?

It is how I make a living as a photographer.

If I just license imagery for free, then I can no longer make a living as a photographer (this isn’t rocket science folks).

Here are just a few immediate problems that I have as a working photographer with giving away imagery for free:

It does not put money in my bank account.

It does not put food on my table.

It does not help me pay for this computer that I am typing this on; nor does it help me pay for my photographic equipment; nor does it help pay for my marketing costs; nor does it help me pay for…the list is almost endless.

Now that I have cleared that up, let me add this – I have heard all the ‘good’ reasons why I should license my imagery for free.

My absolute favourite is ‘we will give you a photo credit’.

Sorry to burst your bubble and state the obvious, but a photo credit – while important – does not put money in my bank account. It does not put food on my table. It does not help me pay for this computer that I am typing this on. Do I need to explain it again?

Now if you have seen one of my photos and you just know it is THE perfect photo for your product or project or what ever it is that requires some imagery and you are tempted to ask for a free license, then this is what you have to prove to me.

Prove to me that every person working on your project is doing it for free. This also includes all the service providers – printing shops; creative agency; etc – that you may be using.

If – and only if – you can prove to me that everyone is doing this project for free, will I even remotely consider your request.

After all, if everyone else is getting paid, why should I be the one that provides a service for free?

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Fisherman Feydhoo Island, Maldives.

For me, studying photography changed the way I would go on and see the world forever.

Not a day goes by that I don’t notice something, that I know I wouldn’t have seen if I hadn’t become a photographer.

Location: Feydhoo Island, Maldives. Time: 2.02 am. Subject: Fisherman waiting dockside.

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Ferry, Maldives.

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Rubbish, Maldives.

Rubbish, Maldives

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]]> http://thomaspickard.com/blog/2010/02/give-me-space/feed/ 0 http://thomaspickard.com/blog/2010/02/commercial-fishing-maldives-part-ii/ http://thomaspickard.com/blog/2010/02/commercial-fishing-maldives-part-ii/#comments Sat, 06 Feb 2010 17:09:43 +0000 Thomas Pickard http://thomaspickard.com/blog/?p=1215 Another two photos from my two days on a commercial fishing vessel in the Maldives last week.

Commercial fishermen about to dive for bait, Addu Atoll, Maldives.

Feydhoo Island reflection, Addu Atoll, Maldives.

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Photography on commercial fishing vessels is probably the hardest thing I have had to shoot. In no particular order, here is a list of challenges I have faced while onboard commercial fishing vessels in the Maldives:

Lack of Sleep

Commercial fishermen are masters at cat napping. Getting 90-minutes to two hours of sleep between fishing action is pretty common. You sleep on the deck where ever there is space.

Sea Sickness

Generally speaking, I travel well on open ocean vessels. However I do experience some nausea during the first day or two at sea.

A Dangerous Work Environment

Photography comes second to safety when I am on a commercial fishing vessel. Rule number one is to look after myself. Rule number two is don’t endanger the safety of any of the fishermen onboard.

The reality is, you are on a large, wide deck with no railings and there are open hatches – complete with 6-foot drops – all over the place. If that wasn’t enough, decks are often slippery and when the fishing starts the deck becomes the work area for up to 20-men, depending on how many crew are on board.

Getting Hit by a Flying Tuna

Sounds pretty funny, but the reality with pole and line fishing is that tuna once hooked, literally fly out of the water and onto the back deck.

The drop zone is clear of men when the fishing is going, but having said that I watched a 6-9 kilogram tuna fly over my head last week and land in the bait hatch. That was a distance of 18-metres (60-feet) from the back deck where the fisherman was. To get hit by a tuna that size is no laughing matter.

Technical Photography

Photographically it is tough because you are half asleep and having to deal with all sorts of shooting conditions. It can be pitch dark; it can be raining; the action can be happening incredibly fast; the light changes with the position of the vessel, so getting consistent manual exposures is difficult and of course, the vessel is continuously moving around, so composition is tough too.

Despite these challenges, I love it. I really do.

I love seeing the darkness of night slip away to reveal a new day. I love the early morning and the magical light you get for just a few minutes. I love the split second action and the sheer challenge of producing good visuals. Most of all, I love those moments when everything is quite on the vessel and you can just sit back and experience the many moods of the ocean.

While I’m still editing my work from my two days shooting last week, here are two that I like.

Peak fishing action, 17 nautical miles east of Addu Atoll, Maldives.

Down time - taking a quick cigarette break near Addu Atoll, Maldives.

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For now, two photos from the recently opened Shangri-La Resort, Maldives.

Shangri-La Presidential Suite, Maldives.

The old and the new. Resort staff motoring past a dhoni.

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