Nixon has just updated the billboard in Encinitas advertising there new RPM Over-Ear DJ Headphone with 3-Button Mic which is retailing for $200.00 here.
Archive for the ‘Industry’ Category
From the ASMP Ohio (American Society of Media Photographers) – What is lowballing and why is it really bad for all of us?
Many people define lowballing as the act of charging less than your competition. Trouble is, that’s not an accurate definition. Lowballing is charging less than the fair market price. The difference between those two definitions is enormous.
Think about it, what’s the difference between losing a gig to a shooter whose estimate on a $10,000 project was $500 less than yours, and one who is willing to charge $1000 for the whole gig, including all the rights? In both situations, you didn’t get the work, right? However, in the first case you know that the other shooter was probably chosen because his/her style was more appropriate, or s/he has a long-standing working relationship with the client, or s/he brought something else to the project that worked better for the client. In the second case, it’s all about the money.
Lowballers usually rationalize their actions by saying that they work more days than other shooters and it provides them a living. They say that they have lower overheads which permit them to charge less and that if others want to compete, they’d better reduce their overheads and lower their rates. The problem with those lines of thinking is that lowballing isn’t about competition, it’s about desperation and fear. They fear that if they don’t charge less, they won’t get the job and thus won’t be able to feed their families. They have to work more days in order to make that living, and worry that losing any project can be a threat to survival. If they restrict usage, they’re afraid they might lose a job. It’s all about working from the negative.
And that’s where professionalism comes in. How do we define the term “professional?” Is a professional simply one who gets paid? One who somehow manages to survive (however well) on the money earned by his/her work? Or, is a professional someone who consistently takes pride in his/her work, who strives to improve his/her abilities and techniques in order to add to the profession, and who, through the demonstration of that pride and those skills, is also rewarded financially for his/her efforts?
If we intend to continue making a living in this arena, it had better be the latter.
Most of the professional photographers I know shoot because they are driven to make images. It is a vocation, in the classical sense of the word: a calling. This drive causes them to provide images for their clients which exceed the clients’ expectations on at least some level—even on the least challenging projects. They seeks that mysterious “something more” than the obvious, even when shooting the easiest object on white (for example) which, technically, they could do in their sleep.
Professional photographers do not “take pictures” like the rest of us, they make images. The word “image“ itself demonstrates this difference. A photographic image is simultaneously tangible (the transparency or print) and intangible (the art). And, with the increase of digital technology, the tangible is becoming even less and less a part of it. So it must be the intangible, the artistry, which is more important. Therefore, we must base our pricing on the value of these images, not simply the ability to show up and use a camera. Anyone can take a picture. Not everyone can make an image. That difference creates the value in photography.
Lowballing brings down the fair market value of ALL photography. And that, in the end, hurts the lowballer as well as the rest of us. Once the bar is lowered to the lowballers’ level, there will not only be no raising of it (no matter how we try), but also, sooner or later, someone else will lowball the lowballers and the downward spiral will continue. This behaviour is not professional and we must do all we can to educate the lowballer to this fact.
We are the lucky few who are getting to do that which we love for a living. We could be cleaning septic tanks or stuck in an airless office shuffling papers. Let us not cheapen this fantastic opportunity by being less than true professionals.
Here we have former Billabong team manager Steve Clark packing up a quiver of multiple JS surfboards that have gone untouched from the pros. One of the least fun task for the team managers, lugging around pros surfboards.
Today was the memorial paddle out for the founder of Surfline Sean Collins. Sean passed away on December 26, 2011 due to a heart attack while playing tennis.
Hundreds of surfers making there way out into the surf
Steve Hawk (former editor of Surfer magazine and pro skateboarder Tony Hawk’s older brother)
Sam George (former editor of Surfer Magazine) and Layne Beachley (women’s 7-time world champion
AJ Collins (Sean’s son)
We will always remember you Sean
A company that was started by Kodak founder George Eastman (who at 77 committed suicide with a note that read “To my friends, my work is done. Why wait?”) has gone from almost undefeatable to now weeks away from claiming bankruptcy.
Switchfoot band members Jon Foreman (lead singer) and Chad Butler (drummer) we’re down at Blacks Beach today surfing. One thing is for sure these guys can truly surf!
Chad pulling in (you should take Tommy Lee surfing)
More than a decade ago, John Long published his now classic The Big Drop, an unprecedented look at the larger-than-life frontier of big wave surfing. Since then, the sport has exploded in popularity. The big wave bar keeps rising as extreme surfers continue to seek out, surf, and survive a ride on the elusive 100-foot wave. The incredible stories of a new generation of thrill-seeking, death-defying surfers and stunning, full-color photography of monster waves fill the pages of this new collection by John Long and former surfing pro Sam George.
A powerful, contemporary look at the men and women who live and breathe for the next big wave and the bigger, more dangerous challenge, The Big Juicepresents a rich history of characters, controversies, heroism, humor, and tragedy that define the sport.
“Big Juice is a must read for anyone who wants to experience the extreme passion and ultimate terror of riding the world’s biggest waves.”
–Ricky Grigg, former world surfing champion and big wave pioneer
“Punctuated by absolutely stunning photography of these monstrous waves—and the intrepid souls who embrace the challenge of taming them—this is a glimpse into a totally alien world, and the incredible force nature brings to bear. It’s a celebration, a warning, a tribute, a memorial, and a historical document all at once.”
–Sacramento Book Review
About the Authors
John Long’s award-winning short stories have been widely anthologized and translated into many languages. His books—ranging from literary fiction to instructional manuals—have sold more than two-million copies. He has written big budget feature films and Emmy and Monitor (international) award-winning TV shows, but his first interest has always been books. His large format book, The Stonemasters, won the Grand Prize at the Banff Film and Book Festival, widely considered the most prestigious outdoor-oriented literary award in the world. Several of Long’s large format books are in the Museum of Modern Art.
Sam George is one of the world’s leading authorities on the sport of surfing. A former professional competitor, world traveler, editor of Surfer and Surfing magazines, and author (Surfing: A Way of Life, The Perfect Day, SURFER at 50), Sam has also written and/ or directed a number of award-winning documentaries, including Riding Giants, The Lost Wave: An African Surf Story, and Hollywood Don’t Surf.
John Long is a master storyteller and his work in this book both as editor and writer is timeless.
It is a must have for anyone who enjoys high action tales of big wave surfing and near death “underwater
exploration”. Don’t hesitate, buy 3 copies of this book, one for your own collection and two for your friends.
I reviewed John Long’s other book, The Big Drop, a few years ago and enjoyed it, but felt that a few of the pieces had become somewhat outdated. In Long’s new book, co-curated with former Surfer Editor Sam George, we get another solid collection of big wave anecdotes, but without any sense of the content feeling out of date–and considering that some of the stories are about long-past surfing events, that is quite a feat. The collection opens with an unvarnished, adrenaline-packed narrative from hellman Shane Dorian, recounting one of the most traumatic beatings he ever took while surfing. It’s a great kick off piece given its raw, honest, and emotional tone. In fact, just about every anecdote in the book is solid, blending surfing entertainment with the simple power of stories about massive swells. Of course, no collection is perfect and for me there were a couple of less interesting profile pieces near the beginning, but the vast majority of stories in The Big Juice were definitely engaging. For surfers who enjoy books in what I call the “talking story” genre, you won’t be disappointed by The Big Juice. More surf book reviews at The Waterman’s Library.
After close to 10 years with O’Neill San Clemente surfer Luke Davis has now signed with Reef clothing including shoes and sandals.
From them to us (yes, here at Surf Images we are guilty of using plastic bottles, but we do recycle everyone!)
It’s just a little plastic bottle. Everyone has them. That’s the problem they’re everywhere. 72 billion plastic bottles are thrown away every year ending up in landfills or fouling our oceans. Rething your drink and the impace it has on everyone – HDX Hydration Mix