Hello,
The 100 Eyes online magazine is a great showcase for documentary photography. Their mission statement on their website indicates that they "100Eyes is an online photographic showcase featuring contemporary photography including documentary, art, and alternative photojournalism. Edited and created by Andy Levin, 100Eyes is made possible by the generosity of photographers who donate their work in the spirit of a shared photographic community."
This months issue revolves around China and was edited by Andy Levin. It includes some stunning photography by a host of lovely image makers, I am honored to be among them as some of my work appears in the magazine.
To view the photo essay, which includes a wide range of photography and a wide range of story-telling, follow think LINK.
Enjoy,
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Showing posts with label Magazine. Show all posts
Showing posts with label Magazine. Show all posts
Friday, November 26, 2010
Friday, April 30, 2010
Ryan Pyle Blog: The Shrinking Path
Hello,
Well, it appears that being a photographer is actually as bleak as everyone says it is. Even house wives are able to earn an income from Getty Images. Read below. Time to dust off that degree in accounting.
Please follow this LINK to the original story.
The article is also posted below.
Copywrite: New York Times
__________________________________
March 29, 2010
For Photographers, the Image of a Shrinking Path
By STEPHANIE CLIFFORD
By the time Matt Eich entered photojournalism school in 2004, the magazine and newspaper business was already declining.
But Mr. Eich had been shooting photographs since he was a child, and when he married and had a baby during college, he stuck with photography as a career.
“I had to hit the ground running and try to make enough money to keep a roof over our heads,” he said.
Since graduation in 2008, Mr. Eich, 23, has gotten magazine assignments here and there, but “industrywide, the sentiment now, at least among my peers, is that this is not a sustainable thing,” he said. He has been supplementing magazine work with advertising and art projects, in a pastiche of ways to earn a living. “There was a path, and there isn’t anymore.”
Then there is D. Sharon Pruitt, a 40-year-old mother of six who lives on Hill Air Force Base in Utah. Ms. Pruitt’s husband is in the military, and their frequent moves meant a full-time job was not practical. But after a vacation to Hawaii in 2006, Ms. Pruitt uploaded some photos — taken with a $99 Kodak digital camera — to the site Flickr.
Since then, through her Flickr photos, she has received a contract with the stock-photography company Getty Images that gives her a monthly income when publishers or advertisers license the images. The checks are sometimes enough to take the family out to dinner, sometimes almost enough for a mortgage payment. “At the moment, it’s just great to have extra money,” she said.
Mr. Eich and Ms. Pruitt illustrate the huge shake-up in photography during the last decade. Amateurs, happy to accept small checks for snapshots of children and sunsets, have increasing opportunities to make money on photos but are underpricing professional photographers and leaving them with limited career options. Professionals are also being hurt because magazines and newspapers are cutting pages or shutting altogether.
“There are very few professional photographers who, right now, are not hurting,” said Holly Stuart Hughes, editor of the magazine Photo District News.
That has left professional photographers with a bit of an identity crisis. Nine years ago, when Livia Corona was fresh out of art school, she got assignments from magazines like Travel and Leisure and Time. Then, she said, “three forces coincided.”
They were the advertising downturn, the popularity and accessibility of digital photography, and changes in the stock-photo market.
Magazines’ editorial pages tend to rise or fall depending on how many ad pages they have. In 2000, the magazines measured by Publishers Information Bureau, a trade group, had 286,932 ad pages. In 2009, there were 169,218 — a decline of 41 percent. That means less physical space in which to print photographs.
“Pages are at a premium, and there’s more competition to get anything into a magazine now, and the bar is just higher for excellent work,” said Bill Shapiro, the editor of Life.com, who ran the print revival of Life before Time Inc. shut it in 2007. And that is for the publications that survived — 428 magazines closed in 2009 alone, according to the publication database MediaFinder.com, including ones that regularly assigned original photography, like Gourmet, Portfolio and National Geographic Adventure.
And while magazines once sniffed at stock photographs, which are existing images, not original assignments, shrinking editorial budgets made them reconsider.
“When we began, stock photography or licensed images, preshot images being licensed, was perceived as the armpit of the photo industry,” said Jonathan Klein, the chief executive of Getty Images who helped found the agency in 1995. “No self-respecting art director or creative director would use a preshot image, because it wasn’t original, it hadn’t been commissioned by them, it wasn’t their creativity.”
At the same time, the Internet has made it easier for editors to find and license stock photos — they can do it in seconds with a search term and a few clicks, rather than spending seven weeks mailing film transparencies back and forth.
Concurrently, digital photography took off. “It used to be you really needed to know how to use a camera,” said Keith Marlowe, a photographer who has worked for Spin and Rolling Stone. “If you messed up a roll, you couldn’t redo the concert.” Now, though, any photographer can instantly see if a shot is good, or whether the light balances or other technical aspects need to be adjusted.
That meant a flood of pretty decent photographs, and that changed the stock-photography industry. In the last few years, stock agencies have created or acquired so-called microstock divisions. They charge $1 to $100, in most cases, for publishers or others to rerun a photo, often supplied by an amateur. And Getty made a deal with Flickr in 2008, permitting Getty’s photo editors to comb through customers’ images and strike license agreements with the amateur photographers.
“The quality of licensed imagery is virtually indistinguishable now from the quality of images they might commission,” Mr. Klein said. Yet “the price point that the client, or customer, is charged is a fraction of the price point which they would pay for a professional image.”
In 2005, Getty Images licensed 1.4 million preshot commercial photos. Last year, it licensed 22 million — and “all of the growth was through our user-generated business,” Mr. Klein said. That is because amateurs are largely happy to be paid anything for their photos. “People that don’t have to make a living from photography and do it as a hobby don’t feel the need to charge a reasonable rate,” Mr. Eich said.
With stock-photography payments declining and magazines pulling back on original assignments, some Web sites like Life.com and BurnMagazine.org have popped up as homes for original photography. Life commissions about two projects a month — it sent Mr. Marlowe to Haiti after the earthquake, for instance, and the entertainment photographer Jeff Vespa to cover the European news media tour by the “Avatar” cast.
There seems to be an audience for professional photography on these sites. The average number of photos each visitor viewed for “Michael Jackson: The Memorial” at Life.com was 41, for example, and for “Oscars 2010: The Best Dresses,” it was 38 images.
Still, the pay, compared with print, is “less, for sure,” Mr. Shapiro of Life.com said, since some professional photographers “are really more excited for the exposure than they are to drive a hard bargain.”
But it is hard to live on exposure alone. And some professionals worry that with ways to make a salary in photography disappearing, the impact will be severe.
“The important thing that a photojournalist does is they know how to tell the story — they know they’re not there to skew, interpret or bias,” said Katrin Eismann, chairwoman of the Masters in Digital Photography program at the School of Visual Arts in New York. “A photographer can go to a rally or demonstration, and they can make it look as though 10 people showed up, or 1,000 people showed up, and that’s a big difference. I’m not sure I’m going to trust an amateur to understand how important that visual communication is. Can an amateur take a picture as good as a professional? Sure,” Ms. Eismann said. “Can they do it on demand? Can they do it again? Can they do it over and over? Can they do it when a scene isn’t that interesting?”
But amateurs like Ms. Pruitt do not particularly care. “I never followed any traditional photography rules only because I didn’t know of any — I never went to photography school, never took any classes,” she said. “People don’t know the rules, so they just shoot what they like — and other people like it, too.”
__________________________________
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Well, it appears that being a photographer is actually as bleak as everyone says it is. Even house wives are able to earn an income from Getty Images. Read below. Time to dust off that degree in accounting.
Please follow this LINK to the original story.
The article is also posted below.
Copywrite: New York Times
__________________________________
March 29, 2010
For Photographers, the Image of a Shrinking Path
By STEPHANIE CLIFFORD
By the time Matt Eich entered photojournalism school in 2004, the magazine and newspaper business was already declining.
But Mr. Eich had been shooting photographs since he was a child, and when he married and had a baby during college, he stuck with photography as a career.
“I had to hit the ground running and try to make enough money to keep a roof over our heads,” he said.
Since graduation in 2008, Mr. Eich, 23, has gotten magazine assignments here and there, but “industrywide, the sentiment now, at least among my peers, is that this is not a sustainable thing,” he said. He has been supplementing magazine work with advertising and art projects, in a pastiche of ways to earn a living. “There was a path, and there isn’t anymore.”
Then there is D. Sharon Pruitt, a 40-year-old mother of six who lives on Hill Air Force Base in Utah. Ms. Pruitt’s husband is in the military, and their frequent moves meant a full-time job was not practical. But after a vacation to Hawaii in 2006, Ms. Pruitt uploaded some photos — taken with a $99 Kodak digital camera — to the site Flickr.
Since then, through her Flickr photos, she has received a contract with the stock-photography company Getty Images that gives her a monthly income when publishers or advertisers license the images. The checks are sometimes enough to take the family out to dinner, sometimes almost enough for a mortgage payment. “At the moment, it’s just great to have extra money,” she said.
Mr. Eich and Ms. Pruitt illustrate the huge shake-up in photography during the last decade. Amateurs, happy to accept small checks for snapshots of children and sunsets, have increasing opportunities to make money on photos but are underpricing professional photographers and leaving them with limited career options. Professionals are also being hurt because magazines and newspapers are cutting pages or shutting altogether.
“There are very few professional photographers who, right now, are not hurting,” said Holly Stuart Hughes, editor of the magazine Photo District News.
That has left professional photographers with a bit of an identity crisis. Nine years ago, when Livia Corona was fresh out of art school, she got assignments from magazines like Travel and Leisure and Time. Then, she said, “three forces coincided.”
They were the advertising downturn, the popularity and accessibility of digital photography, and changes in the stock-photo market.
Magazines’ editorial pages tend to rise or fall depending on how many ad pages they have. In 2000, the magazines measured by Publishers Information Bureau, a trade group, had 286,932 ad pages. In 2009, there were 169,218 — a decline of 41 percent. That means less physical space in which to print photographs.
“Pages are at a premium, and there’s more competition to get anything into a magazine now, and the bar is just higher for excellent work,” said Bill Shapiro, the editor of Life.com, who ran the print revival of Life before Time Inc. shut it in 2007. And that is for the publications that survived — 428 magazines closed in 2009 alone, according to the publication database MediaFinder.com, including ones that regularly assigned original photography, like Gourmet, Portfolio and National Geographic Adventure.
And while magazines once sniffed at stock photographs, which are existing images, not original assignments, shrinking editorial budgets made them reconsider.
“When we began, stock photography or licensed images, preshot images being licensed, was perceived as the armpit of the photo industry,” said Jonathan Klein, the chief executive of Getty Images who helped found the agency in 1995. “No self-respecting art director or creative director would use a preshot image, because it wasn’t original, it hadn’t been commissioned by them, it wasn’t their creativity.”
At the same time, the Internet has made it easier for editors to find and license stock photos — they can do it in seconds with a search term and a few clicks, rather than spending seven weeks mailing film transparencies back and forth.
Concurrently, digital photography took off. “It used to be you really needed to know how to use a camera,” said Keith Marlowe, a photographer who has worked for Spin and Rolling Stone. “If you messed up a roll, you couldn’t redo the concert.” Now, though, any photographer can instantly see if a shot is good, or whether the light balances or other technical aspects need to be adjusted.
That meant a flood of pretty decent photographs, and that changed the stock-photography industry. In the last few years, stock agencies have created or acquired so-called microstock divisions. They charge $1 to $100, in most cases, for publishers or others to rerun a photo, often supplied by an amateur. And Getty made a deal with Flickr in 2008, permitting Getty’s photo editors to comb through customers’ images and strike license agreements with the amateur photographers.
“The quality of licensed imagery is virtually indistinguishable now from the quality of images they might commission,” Mr. Klein said. Yet “the price point that the client, or customer, is charged is a fraction of the price point which they would pay for a professional image.”
In 2005, Getty Images licensed 1.4 million preshot commercial photos. Last year, it licensed 22 million — and “all of the growth was through our user-generated business,” Mr. Klein said. That is because amateurs are largely happy to be paid anything for their photos. “People that don’t have to make a living from photography and do it as a hobby don’t feel the need to charge a reasonable rate,” Mr. Eich said.
With stock-photography payments declining and magazines pulling back on original assignments, some Web sites like Life.com and BurnMagazine.org have popped up as homes for original photography. Life commissions about two projects a month — it sent Mr. Marlowe to Haiti after the earthquake, for instance, and the entertainment photographer Jeff Vespa to cover the European news media tour by the “Avatar” cast.
There seems to be an audience for professional photography on these sites. The average number of photos each visitor viewed for “Michael Jackson: The Memorial” at Life.com was 41, for example, and for “Oscars 2010: The Best Dresses,” it was 38 images.
Still, the pay, compared with print, is “less, for sure,” Mr. Shapiro of Life.com said, since some professional photographers “are really more excited for the exposure than they are to drive a hard bargain.”
But it is hard to live on exposure alone. And some professionals worry that with ways to make a salary in photography disappearing, the impact will be severe.
“The important thing that a photojournalist does is they know how to tell the story — they know they’re not there to skew, interpret or bias,” said Katrin Eismann, chairwoman of the Masters in Digital Photography program at the School of Visual Arts in New York. “A photographer can go to a rally or demonstration, and they can make it look as though 10 people showed up, or 1,000 people showed up, and that’s a big difference. I’m not sure I’m going to trust an amateur to understand how important that visual communication is. Can an amateur take a picture as good as a professional? Sure,” Ms. Eismann said. “Can they do it on demand? Can they do it again? Can they do it over and over? Can they do it when a scene isn’t that interesting?”
But amateurs like Ms. Pruitt do not particularly care. “I never followed any traditional photography rules only because I didn’t know of any — I never went to photography school, never took any classes,” she said. “People don’t know the rules, so they just shoot what they like — and other people like it, too.”
__________________________________
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Friday, March 19, 2010
Ryan Pyle Blog: Magazine Revenue 2009
Hello.
It pains me to have to bring this kind of stuff up all the time, but I thought it was important to publish this list. The list in question is the 2009 revenue from the Magazine Publishers of America. And for people like me, who depend on publishers to spend money on images, it makes bleak reading.
A few highlights on the list:
1) The overall average for the difference in revenue between 2008 and 2009 is -18.1%. That means that on average each magazine lost 17% revenue from 2008 to 2009. No small number. Hence the massive layoffs and huge reduction in picture purchasing, especially in assignments to create original imagery.
2) US News and World Report, once a major picture buyer and huge publisher of photojournalism, was down 88% compared to 2008.
3) Portfolio Magazine, one of my clients, went bust.
4) People Magazine was up 3.8%. Maybe I should start up a celebrity photography business in China.
5) National Geographic was down 14%; and NG's other titles like Adventure (which went bust) and Traveler were down at least 30% from 2008.
6) Organic Gardening was up 16% year on year with 2008. Plant photograph anyone?
And the rest makes pretty tough reading. You'll have to follow the link below to see the actual numbers, I couldn't find a format to properly download the statistics and have them cropped in to my blog. Please see below.
LINK: Magazine Publishers of America
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
It pains me to have to bring this kind of stuff up all the time, but I thought it was important to publish this list. The list in question is the 2009 revenue from the Magazine Publishers of America. And for people like me, who depend on publishers to spend money on images, it makes bleak reading.
A few highlights on the list:
1) The overall average for the difference in revenue between 2008 and 2009 is -18.1%. That means that on average each magazine lost 17% revenue from 2008 to 2009. No small number. Hence the massive layoffs and huge reduction in picture purchasing, especially in assignments to create original imagery.
2) US News and World Report, once a major picture buyer and huge publisher of photojournalism, was down 88% compared to 2008.
3) Portfolio Magazine, one of my clients, went bust.
4) People Magazine was up 3.8%. Maybe I should start up a celebrity photography business in China.
5) National Geographic was down 14%; and NG's other titles like Adventure (which went bust) and Traveler were down at least 30% from 2008.
6) Organic Gardening was up 16% year on year with 2008. Plant photograph anyone?
And the rest makes pretty tough reading. You'll have to follow the link below to see the actual numbers, I couldn't find a format to properly download the statistics and have them cropped in to my blog. Please see below.
LINK: Magazine Publishers of America
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Thursday, February 25, 2010
Ryan Pyle Blog: Foreign Policy Magazine - Golf Obsession in China
Hello.
Dan Washburn and I recently had a lovely slide show in Foreign Policy Magazine. You can find it online HERE.
LINK: http://www.foreignpolicy.com/articles/2010/02/24/chinas_golf_obsession
Shanghai-based writer Dan Washburn and photographer Ryan Pyle teamed up earlier this year for a Financial Times Weekend Magazine cover story about Mission Hills Hainan. For more information about the development of golf in China, visit Washburn's Par for China site.
By: Dan Washburn
The future of golf has shifted to a most unlikely place: China, where statistically 0 percent of the population plays, where up until the mid-1980s the sport was banned by the communists for being too bourgeois, and where the construction of new courses is still technically illegal. It has been said about China, however, that while nothing is allowed there, everything is possible. So even during its supposed moratorium on golf course construction, China has managed to emerge as the only country in the world in the midst of a "golf boom": Hundreds, some say thousands, of courses are expected to open in the next several years.
The epicenter of this growth is China's tropical island province of Hainan, not long ago a lawless place with an economy built largely on smuggling, prostitution, and unchecked property speculation. Beijing is now determined to transform Hainan into a tourist paradise, with golf expected to play a major role (so much so that many joke Hainan is now a "special golf development zone" where mainland restrictions don't apply). While between 100 and 300 courses are expected to be built here, the most mysterious project -- and by far the most audacious -- is the latest offering from Hong Kong's Mission Hills Group, already owners of a 12-course resort in southern China's Guangdong province. Its Hainan club, when completed, will be the world's largest, with some 22 courses covering an area nearly 1.5 times the size of Manhattan. But the highly secretive Mission Hills development, a behemoth undertaking that displaced thousands of villagers, is also the most controversial, so controversial that it required a code name: Project 791.
With the central government guaranteeing a "top international tourism destination" by 2020, Hainan's destiny appears predetermined. No one disputes the poor province's many infrastructure needs, but the prospect of another decade of furious growth has some on the island concerned for its already fragile ecology and centuries-old ways of rural life.
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Wednesday, February 03, 2010
Ryan Pyle Blog: Photolife Magazine Spotlight
Hello.
Photolife magazine is the big photography industry magazine in Canada and this month I was in their spotlight as part of their "Focus on Canadians" section. While it is true, I am Canadian, I have never actually seen a copy of this magazine and only peeked at the online edition a few times. But the folks there are very nice and seem to have their finger on the pulse of not just Canadian photography but the international scene.
Anyways, very excited to have a little exposure and very glad they asked me to be included. Links below.
SPOTLIGHT LINK: Photolife Magazine Link
Photolife Newsletter: LINK
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Photolife magazine is the big photography industry magazine in Canada and this month I was in their spotlight as part of their "Focus on Canadians" section. While it is true, I am Canadian, I have never actually seen a copy of this magazine and only peeked at the online edition a few times. But the folks there are very nice and seem to have their finger on the pulse of not just Canadian photography but the international scene.
Anyways, very excited to have a little exposure and very glad they asked me to be included. Links below.
SPOTLIGHT LINK: Photolife Magazine Link
Photolife Newsletter: LINK
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Thursday, September 03, 2009
Ryan Pyle Blog: Outside Magazine "Toughest Shot"
Hello.
I just wanted to write and say that I'm very honored to be included in this years: Outside Magazine "Toughest Shot Issue". While I am not exactly sure that my work was as "tough" as some of the other photographers images, I am excited to be included on their list. And just so you know, Christopher Anderson almost drowned on a boat full of Hatian immigrants to get his shot, I only had to walk for a couple of days at altitude; seems I'm on the soft side of the list. :)
LINK: Click Here
Other notable photographers included are:
Paolo Marchesi | Nicky Bonne | Camille Seaman | Jason Florio | Jeff Hutchens | Ryan Pyle | John Huet | Philipp Engelhorn | Christopher LaMarca | Joshua Paul | Matthieu Paley | Mark Fisher | Chris Anderson | Antonin Kratochvil
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
Friday, June 26, 2009
Ryan Pyle Blog: Missing Pages (Economist)
Hello.
After spending several exhausting days in rural Tibet I managed to get home in one piece, albeit very sore from the nine days I spent combing through remote river valleys on foot.
Upon my return to Shanghai I was craving news, newspapers and news magazines. I love to know what's going on and I was mostly craving my Economist. I reckon I would have a backlog of two or three issues waiting for me at home and I was more than ready to put my feet up and dive right in.
To my astonishment my Economist magazines were not waiting for me at home. They had failed to show up. This often happens when sensitive China articles are published, but to be honest it hasn't happened in months and I was pretty pissed off by the fact that the post office just decides to put a hold on my magazines when ever it feels like it.
So in a huff I made my way to the grocery store, that I frequent, and managed to get a week old copy, the May 28th to June 4th version that has (in Asia) "Kim's Bombshell" on the cover. Feeling happy after my purchase I brought it home and pushed through the opening sections and devoured each article at a record pace (as you do after a long absence away from any form of reading/writing). I was so quick in fact that I read from Page 30 to Page 33 almost without noticing that Page 31/32 was missing. It had been torn out.
Now, it had been torn out very neatly and in a fashion that didn't disrupt the other articles. But the act itself lead to several questions: Like, how many people in China are employed to rip out magazine articles that are deemed sensitive? No wonder China Post is losing money hand over fist; so much so that DHL and FedEx have now been banned from operating domestically in China - a very protectionist move. Also, who decides what articles are deemed offensive or not? Is this why sometimes my other magazines don't show up? Who is this magazine editing actually targeting, foreigners or Chinese? If it is targeting foreigners, might the effort be seen as futile? If this behavior is directed at Chinese, I would be curious to know how many locals are reading the Economist that are not web savvy enough to know that the week of June 4th was the anniversary of Tiananmen. Is this the behavior of a global power? Is this the behavior of a regional power? Does the United States censor and rip out pages of Chinese language magazines and periodicals? Food for thought.
Now, the page in question "Banyan: The Party Goes On" deals specifically with Tiananmen and the party's survival skills, and it is copied below. Is this article really so piercing and critical that it requires the embarrassment involved in being torn out of the magazine by hand several thousand times? Me thinks not. I would expect behavior like this from Burma, but not China. It's a weak effort from a seemingly strong country. Imagine how the country will progress when we, locals and foreigners, begin being treated like adults; who can actually handle the truth. Could be a magical era, think of all the prison space that could be freed up.
Copywrite: The Economist
Banyan
The party goes on
May 28th 2009
From The Economist print edition
Who, 20 years ago, would have thought that the Communist Party could come to this?
WHEN the tanks departed Beijing after the crackdown of June 1989, no one with an interest in China thought the matter ended. The Chinese Communist Party had won its battle for survival, but the war seemed unwinnable. All the more so after communism collapsed in Eastern Europe later that year, followed by the Soviet Union. Even China’s lunge for breakneck growth from 1992 looked set to accelerate forces the party might not control. As the party’s ideological and moral foundations crumbled, it was no longer clear what on earth it stood for.
China-watchers’ scenarios ran from party collapse to a democratising path. As late as 1998 Bill Clinton was able to tell his Chinese host, President Jiang Zemin, that suppressing dissent put China “on the wrong side of history”. Banyan was in the audience that day, his Flying Pigeon (state-made bicycle) outside. Mr Clinton’s words seemed self-evident. But with hindsight, much of where the West said China was going was wishful thinking.
What nearly no one predicted has transpired. Today, the party is as strong at home as at any time since it seized power in 1949. Though still authoritarian, it rules largely by consent, preferring persuasion to violence and intimidation—though these remain handy, as during the crushing of Tibetan riots last year.
Abroad, its prestige is as high: some believe China’s economy is about to save the world. Mr Jiang’s successor, Hu Jintao, has been welcomed at the top table of world leaders. On her first trip to Beijing as secretary of state, Hillary Clinton was as blunt as her husband had been a decade earlier, but with a different message: the United States would not let China’s human-rights abuses obstruct the history being made between these two great states.
It is a commonplace that the party’s legitimacy is built on economic growth. Yet China’s leaders have long considered that to be merely the (simplistic) half of it. After the massacre, the Communist Party set about transforming itself. It launched a vast historical investigation into how political parties fall, and how they stay in power. Everyone was scrutinised, from Saddam Hussein to Scandinavian social democrats. The conclusion: adapt or die.
The outcome is a wholesale reinvention of the party, a process accelerated after Mr Hu stepped up as paramount leader in 2004. Shortcomings that were identified included corruption (a chief complaint of the Tiananmen students), lack of accountability in decision-making, no convincing ideology, and an ossified structure. In a recent book (“China’s Communist Party: Atrophy and Adaptation”), David Shambaugh describes how the 74m-strong party has fired whole armies of time-servers. Bright technocrats and entrepreneurs have been recruited. Retirement rules have been revamped (the Soviet Union’s gerontocracy was noted). Party members have gone back to school: three weeks a year and three months for every three years of mid-career training. More appointments are open to peer scrutiny before they are filled. The Communist Party is vastly more able to govern.
Some in the wishful West will see this as a proto-democratisation of a Leninist state. The opposite is the case. Staying in power is the party’s only credo now that revolution has been jettisoned. It is the sole reason for revamping the mechanisms of power.
China’s other manufacturing industry
A case in point is the Communists’ approach since 1989 to the crucial field of propaganda. With the end of Maoist mobilisation, the party turned to Western techniques of public relations and mass media, manufacturing consent by guiding public opinion in certain directions while barring it from others. In “Marketing Dictatorship”, Anne-Marie Brady sums up the party’s approach as emphasising achievements, not allowing bad news during holiday periods or around sensitive dates (including June 4th), and not raising problems that can’t be solved (unemployment, inequality). It talks up the economy, regularly demonises the United States and uses Orwellian newspeak to shape the debate about certain subjects (“party-state” is banned in public discourse in favour of “the political party in power”). It presents stories in ways that encourage people to take sides. It turns natural disasters into quasi-religious occasions of national solidarity. And always, always repeat after me: “Taiwan is an inalienable part of China.”
With this approach, the proliferation of channels for media, information and entertainment offers unbounded scope for the party to get its messages across, abetted by commercial operators. The internet has proven a particular boon, since its users are predominantly young, educated males from the cities—just the kind of groups, the party has noted, behind the colour revolutions in Serbia, Georgia and Ukraine. Shaping the online debate while using controls and surveillance to block most of what it does not want surfers to see, the internet is an example of how the party has corralled mainland Chinese into what Ms Brady calls “a virtual mind prison”—though one with plenty of fun and games to keep people entertained. In 2000 Mr Clinton said that trying to control the internet in China was “like trying to nail Jell-O to a wall”. The Communist Party seems to have managed it.
This is little comfort to Westerners projecting their hopes for democratic change on to China. Nor is there any sign that Chinese intellectuals identify with the myriad grievances of their poor countrymen, as they did during the Tiananmen protests. And the growing middle class appears more fearful of the great unwashed than of the depredations of a party that once was at war with the bourgeoisie. So no national movement challenges the party’s monopoly. The state might yet prove unable to meet growing demands for health care and schooling. Leadership splits might threaten the party, as they did in 1989, with China now facing its biggest economic test since then. But for now, the Communist Party glides smoothly upon the tide of history.
--
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
After spending several exhausting days in rural Tibet I managed to get home in one piece, albeit very sore from the nine days I spent combing through remote river valleys on foot.
Upon my return to Shanghai I was craving news, newspapers and news magazines. I love to know what's going on and I was mostly craving my Economist. I reckon I would have a backlog of two or three issues waiting for me at home and I was more than ready to put my feet up and dive right in.
To my astonishment my Economist magazines were not waiting for me at home. They had failed to show up. This often happens when sensitive China articles are published, but to be honest it hasn't happened in months and I was pretty pissed off by the fact that the post office just decides to put a hold on my magazines when ever it feels like it.
So in a huff I made my way to the grocery store, that I frequent, and managed to get a week old copy, the May 28th to June 4th version that has (in Asia) "Kim's Bombshell" on the cover. Feeling happy after my purchase I brought it home and pushed through the opening sections and devoured each article at a record pace (as you do after a long absence away from any form of reading/writing). I was so quick in fact that I read from Page 30 to Page 33 almost without noticing that Page 31/32 was missing. It had been torn out.
Now, it had been torn out very neatly and in a fashion that didn't disrupt the other articles. But the act itself lead to several questions: Like, how many people in China are employed to rip out magazine articles that are deemed sensitive? No wonder China Post is losing money hand over fist; so much so that DHL and FedEx have now been banned from operating domestically in China - a very protectionist move. Also, who decides what articles are deemed offensive or not? Is this why sometimes my other magazines don't show up? Who is this magazine editing actually targeting, foreigners or Chinese? If it is targeting foreigners, might the effort be seen as futile? If this behavior is directed at Chinese, I would be curious to know how many locals are reading the Economist that are not web savvy enough to know that the week of June 4th was the anniversary of Tiananmen. Is this the behavior of a global power? Is this the behavior of a regional power? Does the United States censor and rip out pages of Chinese language magazines and periodicals? Food for thought.
Now, the page in question "Banyan: The Party Goes On" deals specifically with Tiananmen and the party's survival skills, and it is copied below. Is this article really so piercing and critical that it requires the embarrassment involved in being torn out of the magazine by hand several thousand times? Me thinks not. I would expect behavior like this from Burma, but not China. It's a weak effort from a seemingly strong country. Imagine how the country will progress when we, locals and foreigners, begin being treated like adults; who can actually handle the truth. Could be a magical era, think of all the prison space that could be freed up.
Copywrite: The Economist
Banyan
The party goes on
May 28th 2009
From The Economist print edition
Who, 20 years ago, would have thought that the Communist Party could come to this?
WHEN the tanks departed Beijing after the crackdown of June 1989, no one with an interest in China thought the matter ended. The Chinese Communist Party had won its battle for survival, but the war seemed unwinnable. All the more so after communism collapsed in Eastern Europe later that year, followed by the Soviet Union. Even China’s lunge for breakneck growth from 1992 looked set to accelerate forces the party might not control. As the party’s ideological and moral foundations crumbled, it was no longer clear what on earth it stood for.
China-watchers’ scenarios ran from party collapse to a democratising path. As late as 1998 Bill Clinton was able to tell his Chinese host, President Jiang Zemin, that suppressing dissent put China “on the wrong side of history”. Banyan was in the audience that day, his Flying Pigeon (state-made bicycle) outside. Mr Clinton’s words seemed self-evident. But with hindsight, much of where the West said China was going was wishful thinking.
What nearly no one predicted has transpired. Today, the party is as strong at home as at any time since it seized power in 1949. Though still authoritarian, it rules largely by consent, preferring persuasion to violence and intimidation—though these remain handy, as during the crushing of Tibetan riots last year.
Abroad, its prestige is as high: some believe China’s economy is about to save the world. Mr Jiang’s successor, Hu Jintao, has been welcomed at the top table of world leaders. On her first trip to Beijing as secretary of state, Hillary Clinton was as blunt as her husband had been a decade earlier, but with a different message: the United States would not let China’s human-rights abuses obstruct the history being made between these two great states.
It is a commonplace that the party’s legitimacy is built on economic growth. Yet China’s leaders have long considered that to be merely the (simplistic) half of it. After the massacre, the Communist Party set about transforming itself. It launched a vast historical investigation into how political parties fall, and how they stay in power. Everyone was scrutinised, from Saddam Hussein to Scandinavian social democrats. The conclusion: adapt or die.
The outcome is a wholesale reinvention of the party, a process accelerated after Mr Hu stepped up as paramount leader in 2004. Shortcomings that were identified included corruption (a chief complaint of the Tiananmen students), lack of accountability in decision-making, no convincing ideology, and an ossified structure. In a recent book (“China’s Communist Party: Atrophy and Adaptation”), David Shambaugh describes how the 74m-strong party has fired whole armies of time-servers. Bright technocrats and entrepreneurs have been recruited. Retirement rules have been revamped (the Soviet Union’s gerontocracy was noted). Party members have gone back to school: three weeks a year and three months for every three years of mid-career training. More appointments are open to peer scrutiny before they are filled. The Communist Party is vastly more able to govern.
Some in the wishful West will see this as a proto-democratisation of a Leninist state. The opposite is the case. Staying in power is the party’s only credo now that revolution has been jettisoned. It is the sole reason for revamping the mechanisms of power.
China’s other manufacturing industry
A case in point is the Communists’ approach since 1989 to the crucial field of propaganda. With the end of Maoist mobilisation, the party turned to Western techniques of public relations and mass media, manufacturing consent by guiding public opinion in certain directions while barring it from others. In “Marketing Dictatorship”, Anne-Marie Brady sums up the party’s approach as emphasising achievements, not allowing bad news during holiday periods or around sensitive dates (including June 4th), and not raising problems that can’t be solved (unemployment, inequality). It talks up the economy, regularly demonises the United States and uses Orwellian newspeak to shape the debate about certain subjects (“party-state” is banned in public discourse in favour of “the political party in power”). It presents stories in ways that encourage people to take sides. It turns natural disasters into quasi-religious occasions of national solidarity. And always, always repeat after me: “Taiwan is an inalienable part of China.”
With this approach, the proliferation of channels for media, information and entertainment offers unbounded scope for the party to get its messages across, abetted by commercial operators. The internet has proven a particular boon, since its users are predominantly young, educated males from the cities—just the kind of groups, the party has noted, behind the colour revolutions in Serbia, Georgia and Ukraine. Shaping the online debate while using controls and surveillance to block most of what it does not want surfers to see, the internet is an example of how the party has corralled mainland Chinese into what Ms Brady calls “a virtual mind prison”—though one with plenty of fun and games to keep people entertained. In 2000 Mr Clinton said that trying to control the internet in China was “like trying to nail Jell-O to a wall”. The Communist Party seems to have managed it.
This is little comfort to Westerners projecting their hopes for democratic change on to China. Nor is there any sign that Chinese intellectuals identify with the myriad grievances of their poor countrymen, as they did during the Tiananmen protests. And the growing middle class appears more fearful of the great unwashed than of the depredations of a party that once was at war with the bourgeoisie. So no national movement challenges the party’s monopoly. The state might yet prove unable to meet growing demands for health care and schooling. Leadership splits might threaten the party, as they did in 1989, with China now facing its biggest economic test since then. But for now, the Communist Party glides smoothly upon the tide of history.
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Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
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Monday, February 23, 2009
Ryan Pyle Blog: The Recession Photographer
Hello,
For a moment I would like to stop and reflect back to last year at this time, spirits were high and I was running like a mad man around China on assignment for various magazines and newspapers. Which is to say that I was kept busy by other people, it was a wonderful time.
Today I am chillin' out in front of my computer in jogging pants and sipping my tea wondering where it all went wrong. So far this year I've had just a handful of assignments, and almost no corporate work to speak of. With budgets being slashed and staff employees being made redunent, the publishing industry is in a real tailspin at the moment.
Surely the situation is not helped by the fact that the advertising industry is also in a bit of a bind, huge spenders like General Motors and Nike have made significant cutbacks to their spending budgets - affecting magazine and newspapers revenues; hence the chopping of employees and reductions in the use of freelancers.
While I pray that this kind of industry gloom doesn't last too much longer, the long term prospects for magazines and newspapers still seem bleak. But without getting too far ahead of myself, how does a freelance photographer make it through a recession?
First off, I don't pretend to be in possession of an expert opinion; but a few observations I have might be of interest. While assignments may be in a bit of a lull at the moment with budget restraints, magazines and newspapers still need to publish; so my guess is they are buying a boat load of stock. In my business my stock sales have increased significantly over last year at this time, partially because I have more images but also perhaps because of these restricted budgets. A magazine can put together a feature for a couple hundred dollars worth of stock pictures, where assigning a photographer for original images might cost thousands. It's true the impact of the stock images might not be as powerful as original images but during a belt tightening time, belts need to be tightened and money needs to be saved.
So what can freelance photographs do to ride out the storm? Well, the same as most companies - use the cash you've saved up to continue doing business. I have a small savings account I keep just for freelancing assignments on my own, which I then turn around and pitch to magazines and newspapers as work I've done on spec. At the end of the day a strong picture is a strong picture is a strong picture, and whether you take that image on an assignment on street shooting on your own time - it'll still have a chance at publication. When it is all said and done we are image makers, and if too many days go by without making images then it'll negatively affect us. Now of course I don't mean just running around with your head cut off and shooting anything you see, but taking the time and organizing a well thought out story or feature on your own can be a incredibly rewarding experience; and if it has a chance at being published than that's all the better. If not then those same images can be used as entries for competitions or part of a larger portfolio of work.
Getting out and shooting is never a waste of time, sitting around and waiting for the phone to ring is. There are a billion stories out there to be told, I say keep shooting no matter what. Well that's my two cents.
If anyone has an interesting story or observation about how the economic slowdown might be affecting their business I would love to hear it, either privately or publicly in the comments of this blog. I just read recently that even some of the photographers winning major awards this year haven't had a 2009 assignment. Difficult times indeed.
--
Cheers,
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
For a moment I would like to stop and reflect back to last year at this time, spirits were high and I was running like a mad man around China on assignment for various magazines and newspapers. Which is to say that I was kept busy by other people, it was a wonderful time.
Today I am chillin' out in front of my computer in jogging pants and sipping my tea wondering where it all went wrong. So far this year I've had just a handful of assignments, and almost no corporate work to speak of. With budgets being slashed and staff employees being made redunent, the publishing industry is in a real tailspin at the moment.
Surely the situation is not helped by the fact that the advertising industry is also in a bit of a bind, huge spenders like General Motors and Nike have made significant cutbacks to their spending budgets - affecting magazine and newspapers revenues; hence the chopping of employees and reductions in the use of freelancers.
While I pray that this kind of industry gloom doesn't last too much longer, the long term prospects for magazines and newspapers still seem bleak. But without getting too far ahead of myself, how does a freelance photographer make it through a recession?
First off, I don't pretend to be in possession of an expert opinion; but a few observations I have might be of interest. While assignments may be in a bit of a lull at the moment with budget restraints, magazines and newspapers still need to publish; so my guess is they are buying a boat load of stock. In my business my stock sales have increased significantly over last year at this time, partially because I have more images but also perhaps because of these restricted budgets. A magazine can put together a feature for a couple hundred dollars worth of stock pictures, where assigning a photographer for original images might cost thousands. It's true the impact of the stock images might not be as powerful as original images but during a belt tightening time, belts need to be tightened and money needs to be saved.
So what can freelance photographs do to ride out the storm? Well, the same as most companies - use the cash you've saved up to continue doing business. I have a small savings account I keep just for freelancing assignments on my own, which I then turn around and pitch to magazines and newspapers as work I've done on spec. At the end of the day a strong picture is a strong picture is a strong picture, and whether you take that image on an assignment on street shooting on your own time - it'll still have a chance at publication. When it is all said and done we are image makers, and if too many days go by without making images then it'll negatively affect us. Now of course I don't mean just running around with your head cut off and shooting anything you see, but taking the time and organizing a well thought out story or feature on your own can be a incredibly rewarding experience; and if it has a chance at being published than that's all the better. If not then those same images can be used as entries for competitions or part of a larger portfolio of work.
Getting out and shooting is never a waste of time, sitting around and waiting for the phone to ring is. There are a billion stories out there to be told, I say keep shooting no matter what. Well that's my two cents.
If anyone has an interesting story or observation about how the economic slowdown might be affecting their business I would love to hear it, either privately or publicly in the comments of this blog. I just read recently that even some of the photographers winning major awards this year haven't had a 2009 assignment. Difficult times indeed.
--
Cheers,
Ryan Pyle
Photographer
ryan@ryanpyle.com
Website: www.ryanpyle.com
Archive: http://archive.ryanpyle.com
_______________________________________
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