I can't speak french but would love to attend.

I would have thought thay had more pressing and urgent matters at hand then sitting drinking espressos by the Dome square?

Quote from: lagereek on July 08, 2011, 01:28

I would have thought thay had more pressing and urgent matters at hand then sitting drinking espressos by the Dome square?

Such as appointing someone to actively sell images to the Italian market?

http://www.businesswire.com/news/home/20110706005902/en/iStockphoto-Hires-Nicola-Ghezzi-Director-Country-Operations

I know!  thats what I meant!  Ive spent an incredible amount of time in Italy and all over the place there, even lived in Rome for two years, still got a place there. The Italian market is difficult and thats an understatement.
Buisness, people in Rome, Florence and Milan are very sophisticated, they like to buy well, names and everything, Image-Bank, Stones and Getty, never had much success there, I cant see them going for pics off the peg, cheapo stuff.
However I might be wrong? wouldnt be the first time.

best.

(I know you're currently in the penalty box).

Ah, that explains his sudden chattiness over here.

Socials can attend and anyone with an interest in photography will learn something interesting,especially editorial!

I'm going to be in Fiorenze late Oct/early Nov, so that'll be a miss. Can't believe the short notice they always run these things at.
Ali, what did you learn specifically about editorial? (That's really all I'd be interested in).

Approaching the subject/person.If they give you there name,jot it down and post it in your description.The knack after getting permission is to not get a 'staged' shot.
My small wisdom on the subject,which i will try in India.Dont go looking for editorial/life content.Let life come to you !
Pick a spot(not easy to detect) and stay there for hours ,maybe days even.You will get a good story in photographs if your patient.
The Lypse will have talks/seminars  for the members who are drawn from the yellow bucket.Our talks in London were kinda special.I remember the Getty guy who runs the archive, telling us of  a buyer wanting a photograph of Jesus 

I think it would be a great move this time if they don't insist that people attending contribute their images to the partner program. 

Let people make their own decisions about how to distribute their work.

I'm certainly not participating while they try to force that.

From what I gathered from others, the editorial slant was more on 'journalistic storytelling', thus the emphasis on getting permission and releases, which of course, would affect any real newsworthy editorial shooting.

Quote from: jsnover on July 08, 2011, 01:13

(I know you're currently in the penalty box).

Ah, that explains his sudden chattiness over here.

Ali! What happened this time?

No mention of editorial on the Milan Lypse.Looking like a combination of photos and videos.
I can see the content generated from the Milan Lypse going to the Partner Program.If you dont understand the reason that happens now i doubt you will ever understand the connection between Istockphoto/Getty.

From what I gathered from others, the editorial slant was more on 'journalistic storytelling', thus the emphasis on getting permission and releases, which of course, would affect any real newsworthy editorial shooting.

this is true and though I enjoyed looking at the reportage style slideshows, to be frank I didn't learn much about editorial in London. in fact, I disagree with this approach. I don't typically engage with editorial subjects when shooting journalistic images and what we were told to do goes well against anything I've learned about shooting journalistic images. I have no ambitions to be an embedded journalist in a war zone spinning a story with images that I pseudo-orchestrate. I prefer to shoot real life, unimpeded by me asking questions before capturing an image. depending on the sensitivity of an image, I don't have a problem approaching a subject after the shot and gaining more insight, but I certainly wouldn't involve my subject in planning a photo essay beforehand.

I learned much more about creative shoots in London. far less about editorial.

ETA: unless the context allows for an exchange with my subject, which is often the case at celebrity events etc. But I wouldn't consider those shots 'journalistic'.

Quote from: ShadySue on July 08, 2011, 12:49

I'm going to be in Fiorenze late Oct/early Nov, so that'll be a miss. Can't believe the short notice they always run these things at.
Ali, what did you learn specifically about editorial? (That's really all I'd be interested in).

Approaching the subject/person.If they give you there name,jot it down and post it in your description.The knack after getting permission is to not get a 'staged' shot.

Quite. I was at the Tall Ships Race today, and everyone I actually asked permission of stood to attention and smiled broadly. The language barrier was too much to communicate that I wanted them just to go on as normal. With the ones who spoke English, they went on, but they stiffened up very visibly. Certainly didn't make for good stock.

Quote from: sjlocke on July 09, 2011, 05:41

From what I gathered from others, the editorial slant was more on 'journalistic storytelling', thus the emphasis on getting permission and releases, which of course, would affect any real newsworthy editorial shooting.

this is true and though I enjoyed looking at the reportage style slideshows, to be frank I didn't learn much about editorial in London. in fact, I disagree with this approach. I don't typically engage with editorial subjects when shooting journalistic images and what we were told to do goes well against anything I've learned about shooting journalistic images. I have no ambitions to be an embedded journalist in a war zone spinning a story with images that I pseudo-orchestrate. I prefer to shoot real life, unimpeded by me asking questions before capturing an image. depending on the sensitivity of an image, I don't have a problem approaching a subject after the shot and gaining more insight, but I certainly wouldn't involve my subject in planning a photo essay beforehand.

I learned much more about creative shoots in London. far less about editorial.

ETA: unless the context allows for an exchange with my subject, which is often the case at celebrity events etc. But I wouldn't consider those shots 'journalistic'.

Thanks for that, Stacey. I agree with you on this. Except that personally I don't like the way they announce lypses as editorial then suddenly shove in studio work. While that's a big gap in my skillset, there would be no point wasting people's time showing me how to use all the equipment, direct models etc. when I'll never use the knowledge in real life.
Interesting about the war thing - I just heard recently how the reporters/photographers have to stick to the story their country wants to put over, and if they don't, they're sent home and their publication or agency gets, in effect, Lobotomised, for a period of time. And they often do their shoots as 'set up shots' with soldiers who aren't needed for a couple of hours. That was even worse than discovering Cartier-Bresson allegedly sometimes paid models to go round and round into a scene until he got his 'decisive moment'.
Clay feet!
I guess there is a sound case for building up a good relationship with your subject if you're doing an extended photo-essay, "A day in the life of X" or "The wide variety of work that organisation Y does". I love that stuff, but it's hardly relevant to iStock.