From the Editor: VOL. 2, NO.6 • JULY/AUGUST 2002
Photovision is our magazine. Yours and mine. It is meant to be a forum in which photographers can show their work, share ideas, and trade techniques. As much as possible we try to be responsive to what you want in Photovison.
It is for this reason that we published the questionnaire in the last issue. The response was good from our regular readers. It seems that photographers are an opinionated lot. The most controversial question was, “How do you feel about Minolta’s ad for a digital camera on the back cover.” Even the respondents who checked “Don’t care” had an opinion. For example, Gene L. of Springfield, Massachusetts said he didn’t care, “However, Minolta would do better if they showed film cameras and as an aside said ‘we also do digital.’”
When I accepted the ad from Minolta I was certain it would be overwhelmingly rejected by our readers. Surprisingly, the majority of readers checked “Don’t care.” Even so, the most vehement responses came from the “Dislike” readers. Mike W. of Atikokan, Canada wrote “DIGITAL—NEVER!” You can’t get much clearer than that. On the other hand, Bob T. of Platte City, Missouri checked “Like” and wrote, “Why not? We should support all imaging.”
Now, I’d like to have a private chat with the “Dislike” group. The rest of you “Like” and “Don’t care” folks can skip to the bottom. Listen, let’s get real. Magazines cost money to print. Our press in Wisconsin doesn’t care where we get our revenue, they just want to be paid in thirty days. Advertising helps pay the bills.
The stark reality is, many of the advertisers in the traditional photography market are close to going bust. That’s right. The film industry ain’t what it used to be. And I’m talking about the biggies, not the 2-inch column ads in the back. Many of the biggest lens, paper, and camera manufacturers simply don’t have money to advertise. Otherwise they would be in Photovision.
Then there are those who are doing great because they’ve gone into digital in a big way. These players aren’t advertising their film products. I won’t name names, but some of the biggest SLR makers don’t even have current ads for their film cameras and have no plans to create them. All their money is tied up in digital.
Okay. You don’t like digital ads. I’ll turn ’em away if 1,500 readers will agree to pay $100.00 a year for their subscription. Make that $200.00 each and I’ll refuse all advertising. Do you understand what I’m trying to say?
Photovision is not a prime market for digital advertising. There are too many of us, including myself, who aren’t interested in digital imaging. It takes courage like Minolta’s to spend money on a digital ad in Photovision. But if Minolta is willing to do it, and the majority of our readers “Don’t care,” then I will accept ads for digital products to help pay for our publication, yours and mine. Ellis G. of La Paz, Mexico said it best, “If it helps support the magazine—fine.”
Our editorial policy is, and will remain, no digital. Our advertising policy is whatever pays the bills.
Here is where the “Likes” and “Don’t cares” can continue to read. In this issue we are featuring the work of Carmel-based photographer Richard Garrod. Richard was a long-time associate of Ansel’s and taught for many years in the Ansel Adams Yosemite Workshops. His influence on West Coast photographers has been incalculable.
We also have the portfolio of Rita Bernstein. The common thread between Rita and Richard is that both pursued careers in the “real world” while developing their photographic skills to a high degree. Their subject matter and technique couldn’t be more different.
Between you and me, I have never appreciated Garry Winogrand. I thought he was more hype than hypo. So when Margaret Regan asked to write an article about him I figured this would be an opportunity to see his work through fresh eyes. Margaret has weighed in with an insightful look at Winogrand, his work, and his influence. Incidentally, the U.S. Post Office is issuing a “Masters of American Photography” stamp set. I found out about it after this issue was almost ready to go to press. One of the twenty featured photographers is Garry Winogrand.
This issue is about debuts and farewells. We will be debuting the work of Dennis Chin through photos of his home, China. In subsequent issues Dennis will provide us with articles on how to get the most out of your travel photography, 35mm camera, and some great travel features. He’s going to Tibet in July and promises to bring back some great new work to share with us.
Margaret Regan, the same Margaret who is writing about Garry Win-ogrand, will be debuting her new column “The View from Here.” I believe you will find Margaret’s insights into the visual arts controversial, provocative, and entertaining.
We must say farewell to Eve Ogden Schaub. Eve is opening a gallery at her home in Vermont and all her attention is focused on making it happen. To find out more about Eve’s new life check out the Snapshots feature in this issue. Then be sure to stop by and say “hi” next time you happen to be tooling through Vermont.
We also say farewell to Mako and his excellent series on BTZS techniques, at least for now. Mako will return next year to continue his series.
Steve Anchell
Senior Editor