Connecting Models and Photographers… why so hard?

There are numerous sites that proclaim to connect models and photographers, however based on the design and business models I’ve seen, I don’t think it can work in present form. Here’s why.

As a photographer that photographs models, there’s two primary goals that any website that tries to connect models and photographers should aim for:
Model: Leah M. - Image Copyrighted by Walt Stoneburner

1. Assisting a photographer in finding the right model.

2. Assisting the client in finding the right photographer.

All else is peripheral.

The idea is that if you’re a model looking for work, you post your portfolio online and photographers approach you with gigs. Conversely, if you’re a photographer, you post your portfolio and jobs start coming out of the wood work. The reality is that few sites can deliver on the promise adequately, not to a fault of the site’s objective, but due to design, business model complexities, or subtleties pertaining to the problem of brokering.

Naturally, for any such site to work you’re going to need a critical mass of both kinds of users just to have a wide enough selection to make this happen. As such, it’s important not to alienate users — something that is very easy to do with bad design or practice. It’s not enough that a site be free.

The closest site that I’ve come across that seems to have the right idea is www.ModelMayhem.com. It’s search capability is right on target. You tell it that you are looking for models in your local area that are some number of miles from your zipcode, that are between the ages of 18-24, female, 5’2″ – 5’7″, olive skin, with shoulder length black hair, green eyes, and poof — out pops a number of candidates.

This is the way it should work. You tell the criteria about what you need, and it finds people with those attributes.

The problem is the interface is klunky, the portfolio space limited, the navigation is horribly disorganized, and pretty much anything other than models is left wanting. Yet it’s still usable.

I wish it had a way to describe the kinds of services photographers offered and made them in a searchable fashion as well. Oh well, at least finding models isn’t problematic.

Such locator services are not a social network, nor are they a dating service. They’re supposed to be resources that connect professional with professional, with the added bonus of having a reasonable idea of what you’re getting. It frustrates me when a site is designed around chit-chat and messaging. Simply put let one professional find another, preview their work, and then get in contact with them by email; don’t obscure things. A site that works gets traffic, it doesn’t need fudging to get visitors.

Conversely, I just deleted my account over at www.aMuseBook.com, a web site that professes to do the same thing: connect models and photographers. I’d argue not only that it doesn’t, but that it physically can’t in my personal opinion — it’s a business model problem gone awry.

While better organized, and certainly much prettier, it’s search capabilities are downright awful. The best geographical resolution is state-level. So, if you’re looking for a model in Texas, that’s all of Texas. Additionally, providing search criteria for attributes just isn’t possible, which means locating a specific model by looks isn’t doable. And if you can’t find candidates, you aren’t going to be hiring.

Here’s another bad design choice that just seems obvious. If you want to find a model, you typically are looking for an age bracket, yes? Well, the site doesn’t let you search by age, instead you have to search by a specific birthday, which is stupid. Oh, and that’s a Day – Month – Year birthday at that. Even searching by year alone isn’t helpful, because simply year subtraction doesn’t give age.

Now while aMuseBook does give you more space to store your photos, it unlocks features using a point system. You gain points by commenting on people’s pictures and telling your friends to join. What becomes transparent very quickly is that the site is not structured to make contacts, but to get you to churn through pages so that Google Ads get thrown in your face generating an alternate revenue stream. I quickly got tired of being told in every email I have to “use” the site and it will ‘work’ for me.

Hogwash. If I can’t locate a model or post a comprehensive portfolio, then neither I, nor the models, are getting any serious value out of the site.

Adding insult to injury, the site gives you the ability to provide URLs to your own site; this sounds good at first, until you realize that many models and photographers keep their photos on Flickr. Why? Because Flickr is great for managing photos. But what does aMuseBook do for those sites? It blocks them out, showing up as www.*****.com, and when I questioned the site admin about it, I got back a response stating they didn’t want their site for depositing competitor URLs and not another portfolio site.

Wait a second. The service is there to help me find people by showing them my portfolio but they don’t want me to show them my portfolio if it’s elsewhere? Plus I can’t post my portfolio unless I leave comments that I wouldn’t have otherwise. That’s stacking the deck and gives unrealistic feedback. And when points are rewarded for clicking on ads, I’m pretty sure that’s against Google’s terms of service for AdSense.

If people are churning pages leaving “Nice smile” comments, how is one to know which comments are real (and therefore useful) versus people just trying to collect points? The information itself becomes devalued. Thus the business structure and the design alienates users in the short term, while the lack of utility alienates them in the long term. It can’t be viable.

And that’s why I deleted my account over there: It wasn’t usable or productive.

No wonder it’s so hard for models and photographers to get connected. I wish there were a simple directory that focused on doing one thing and one thing well, connecting professionals. It’s a hard problem, but the person that cracks that nut can steal a whole lot of business from all these other sites without trying too hard.

Fundamentally, the problem is that a brokering agent has to provide and organize information. Limiting it, not being able to search it, or failing to have a positive user experience drives away the very assets that are needed to make the site work. This appears to be a case where a well simple organized directory could be a winner-take-all.



UPDATE: I have found an awesome site for models, photographers, and makeup artists. It’s call Miss Online and it allows unlimited photo uploads with no point limitation schemes. It also includes discussions, groups, blogs, and email. The site is very active and quite attractive to use; advertising is at a minimum, and you aren’t coerced into clicking through tons of pages. Plus, and here’s the real proof: as a photographer I’ve had more exchanges with models with this one site than all the other sites combined. It does get you connected.

Found: The Best iPhone Development Book So Far

Want to write your own iPhone applications but Objective-C, XCode, Interface Builder, and the steep learning curve of Cocoa getting in the way? Have I found the book for you.

Warning: long and geeky post follows — iPhone wanna-be developers, read on!

Beginning iPhone Development - Exploring the iPhone SDKI’ve found it, finally, the best iPhone development book so far! Read on to see why.

Fairly recently, I decided to turn my attention to native iPhone application development, but I found the arena a little sparse when it comes to what I’d call good documentation.

For some perspective, I’m a software developer of 20+ years with background in Unix and Windows; I’m very well versed in C, C++, C#, and Java, among a good number of other higher-level languages, having produced a number of enterprise applications.

You’d think that picking up Objective-C and the Cocoa Touch frameworks would be a fairly simple task. However, the moment you step foot into the pool, you’re get a cold shock at how much you don’t know and it can feel daunting enough to want to retract back to familiar territory.

Don’t give up. It is easy.

Looking forward into the unknown presents a much more gloomy impression than when you’ve taken a few steps and looked back to see just how far you’ve come and in such a short period of time.

Here’s what’s happening: The Apple Frameworks represent a large and mature collection of some impressive code. The closest experience I’ve felt to it, and this is admittedly a horrible analogy, is Ruby on Rails.

With Rails, there’s so much going on by convention that you have to sling very little code to get impressive things to happen. This makes it hard to understand: there is no code to trace.

Same way with the Apple Foundation classes that are based on NeXTSTEP — a lot is handled for you, and often in new ways you might not have thought about because of limitations of other platforms, so that very little code is required to do something quite impressive. The problem is figuring out what that code is you’re supposed to write, and more importantly how’d you know to go about doing that in the first place. Hint: knowing the Foundation Framework is important to understanding the Cocoa Touch Framework.

This leaves one in the lurch that the sample code appears rather sparse, and the framework documentation overwhelming, with little guidance on how all the pieces fit together into a simple, cohesive whole. The problem is all too common.

My biggest gripe with many frameworks, especially Java and it’s auto-generated documentation, is that all you’re really presented with is a list of method signatures with very little discussion about what they do, purpose and limits to the input values, discussions of side effects, the importance of call order, and so forth. With other languages, you’re lucky if you can find the header file to include or the library file to link against. It’s all just expected that you somehow know this, and that doesn’t work when you’re learning a framework, though it’s fine if you just need a reference.

Apple’s online documentation is certainly comprehensive, but the reality is you’re going to be watching videos and reading tons of documentation, picking up crumbs of useful bits as you go. The cohesive moment of comprehension will come, but it will be a long and slow ride. You want something faster.

If you’re learning Objective-C at the same time, the ride is extra bumpy, because not only are there just a few language extensions sitting on top of C, but the ObjC library is actually doing some clever work that you want to know about, and this has additional implications because there’s a lot of convention going on as well. Further obscuring things is the fact that, due to historical reasons, the terminology you are most likely already familiar with doesn’t map nicely. A nice look under the hood solves this. Objective-C isn’t just some new keywords, it’s new application behavior.

What’s Wrong With Other iPhone Books At The Moment
As of early 2009, you’re going to find few iPhone books out there. Most of what exists is for the hacked version of the iPhone, and while that may even sound useful, the tearing apart of the SDK is rough and incomplete, not to mention the implementation to call is painful. This just isn’t applicable to the real world constraints of native mode development.

Think you can get by with a slightly out of date copy of a Cocoa book? Think again. The UIKit framework is just different enough that your approach needs to be slightly different. Tight, efficient, resource management becomes very important.

Also, unless you already know and understand Interface Builder, it can be a hard time following along when your book doesn’t match your software version. Apple keeps modifying Interface Builder, making it better, but the changes can come across as so dramatic, interface-wise, that to the new comer it looks like a totally different application each revision. Once you “get it” the sweeping changes are cognitively transparent. The iPhone SDK includes, you guessed it, a new XCode and Interface Builder.

What few modern iPhone books there are out there jump straight into a technical feast of SDK details, leaving the reader with a learning curve that’s as vertical as a brick wall.

What’s needed is a book that introduces only what you need to know, when you need to know it, explaining tips and tricks along the way, delving into the philosophies of why things are the way they are, what the developers were thinking, how the frameworks are structured, what the conventions are, and when those conventions aren’t followed. And, instead of showing you the end solution all refactored into a neat package, take the long way, when needed, to introduce you to what’s going on and then evolve into the optimal solution.

I’ve Found Such A Book!
The book, by Apress, is called Beginning iPhone Development – Exploring the iPhone SDK by Dave Mark and Jeff LaMarche. This book is about the fundamental concepts you need to understand in order to make the frameworks do their magic.

Its tutorials are very well constructed, easy to follow, and are specifically designed to teach the framework in such a way as you understand what’s going on and learn to fish for yourself.

This is in stark contrast to substandard books that merely cover a framework’s capabilities with cut’n’paste examples that have little bearing to real applications. This alone gives is five out of five stars by my standards.

My only complaint is a minor nit that there are a small handful of typos, and unfortunately, they happen in the code examples. However, they’re glaring, and you won’t get tripped up by them. (For example, on page 85, the tutorial is about UIImage. And, UIImage appears four times in a six line sample. The first one, however, says “jmUIImage” and the indentation is off. It looks like a macro expansion, a note, or the mangled initials of one of the authors. The code won’t compile with it, and it’s obvious from context what it should be.) To me, this is forgivable. Especially since it’s rare.

Tagging 1430216263I want to show you something.

I have a habit of tagging my books when I find an exceptional piece of information that I haven’t found elsewhere. I give a book high marks if it earns somewhere between three to seven tags, as the majority of my collection never gets any tags. Tagging, for me, is not note taking — it’s rare event.

I think the picture speaks for itself.

For Example…
So, at this point, I present for my own edification and future reference, some of that tagged content. Who knows, maybe something you see here might just get you traction on the learning curve.

– In Objective-C, colons are a legal character of the method identifier, they are not syntactic sugar.
– Even though a number of macros translate to nothing, void, zero, or null under the hood, their presence provides important hinting for data types and method calls.
– The NIB’s File’s Owner is a place holder for the class that loaded the NIB file.
– The NIB’s First Responder is the object the user is currently interacting with.
– The application icon is a 57×57 .png file, see Info.plist’s Icon File.
– The iPhone specially optimizes .png files so this is the best format.
– Reset the iPhone Simulator by deleting its directory from ~/Library/Application Support
– You want to use @property (retain, nonatomic) as often as possible.
– Interface Builder uses your defined accessors to properties, which use retain; that means you do need to deallocate Interface Builder objects, even if you didn’t instantiate them.
– There are four control states on a control, often you want UIControlStateNormal.
– Learn to use retain/release, there is no garbage collecting on the iPhone.
– It’s better to init/release than using factory methods; factories use autorelease pools, and while this will work, it often keeps resources around longer than you intend — avoid autorelease pools.
– Hog too many resources, whether CPU or memory, and the phone will reboot.
– Everything from UIApplication on down will fire messages to Delegate objects at certain well-defined times, you need to learn what these times are and what messages are sent; it’s not just subclass avoidance.
– You can Option-Click on a class or interface name in XCode and go right to the documentation.
– You can press ESC to cause auto complete to happen immediately.
– Command-equal_sign will size a control to fit.
– When you’ve got a lot of control hierarchies going on, use the View Mode button to see them as a list.
– Scaling an image takes computational overhead, avoid if you can.
– Set the Alpha slider to 1.0 in order to optimize the drawing sequence, it skips looking at the underlying background and factoring it in — it applies to the image drawn.
– Also set the Opaque checkbox in order to optimize the drawing sequence, it skips drawing the underlying background for the parts where the image is transparent.
– The Tag control allows you to assign a numerical identifier to controls to locate them later.
– You need to handle the Did End on Exit event in order to make the keyboard go away.
– You may also need a huge, invisible, custom button as well to make the keyboard go away.
– In XCode, use Option-Command-up_arrow to toggle between a header and its source file.
– In the Interface Builder, move the cursor over a view and hold down Option to see how many pixels there are between the item and its superview.
– Option-dragging a control in Interface Builder makes a copy.
– Nifty buttons are actually stretchable images, and Apple has buried a ton of them free for your use in the UICatalog sample code on their site.
– There are three different ways to handle layouts when rotation happens: autosize, reposition, and view swapping.
– The rotation callback passes you the orientation the phone came from, you need to use other means to get the current orientation.
– If you want to use Core Graphics, for things like view transitions, you need to link the framework into your application.
– Some frameworks, like Core Graphics, have one version for the iPhone hardware and one version for the iPhone Simulator.
– If you use the correct parameters, XCode’s build process can play games with the path and always target the right framework (use Relative to Current SDK, and do not select Copy items).
– Right-click the Resources folder and use Add / Existing Frameworks… to do this process in a safe way.
– If a view isn’t shown, it’s superview is nil.

…there’s plenty more, but you get the idea. The book is jammed with all kinds of useful things to someone who is new to iPhone development. This presentation of material makes the learning curve very approachable.

And, once over that hurdle, all those other books that I said were problematic suddenly make a whole lot of sense.

This book is the best first step I’ve seen in the journey to writing iPhone applications. Period.

Walt gives “Beginning iPhone Development” two thumbs up, five stars our of five starts, and a head nod of appreciation to the authors. Well done, guys. Well done.

Three Photography Books You Need

Here’s three great photography books you’ll want in your library that you might have overlooked at the bookstore. Two cover how to take an amazing photograph, the other is how to compose them.

Photography, good photography, is a complex and deep subject, primarily that it’s an art about making trade-offs. A while back, I wrote about The Best Photography Books Ever on Light.

I’d like to now share three photography books that you need in your personal library.

The first two come from Scott Kelby, whom you may know from the National Association of Photoshop Professionals (NAPP) because he’s the Editor in Chief of the Photoshop User magazine.

If you’re one of “those” people, hang in there. It’s worth it.

Scott Kelby. People either love him or hate him. He has two common complaints against him, which I personally think are unfounded or are at least irrelevant. The first is that he has a ‘unique’ writing style which injects a bit of humor into his books. I like it, it makes them more personable and less dry; some want him to cut to the point. The second is that people accuse NAPP of being just a Scott Kelby fan club, and that he can do no wrong. I haven’t seen that, I just know I’ve learned more new tricks from Photoshop User than elsewhere. Kelby is good, Kelby delivers, and so do these two books. If you’re an Anti-Kelby person, at least browse them when you feel no one is looking.

The Digital Photography Book, Volume 1

The Digital Photography Book
Volume 1

 The Digital Photography Book, Volume 2

The Digital Photography Book
Volume 2

The trick here is not to make the mistake by looking at just the covers that one book is a reprint of the other. They are two separate books, and you want both.

The Digital Photography Book (ISBN 0-321-47404-X) addresses how to get really tack-sharp photos by doing things like using the lowest ISO, good quality glass, turning off your image stabilizer, using a sturdy tripod, finding the “sweet spot” in your lens, locking your mirror up first, and using a remote shutter release. Yes, it covers how and why.

You even get tips on how to do a bit of post-processing for extra sharpness, using Unsharp Mask and LAB Colors (not RGB). Even if you’ve done photography for a while, there’s gonna be stuff in here you most likely didn’t know. Or didn’t know how to do well. Or easily.

There’s also practical advice along with little cheats you can do. You’ll understand a light a little better and manipulate the scene to get those wonderful backgrounds and deal with problem lighting problems. If you got yourself committed to taking wedding photos, there’s an important section you need to know.

A lot of photography has to do with composition and compensation. Ever notice how two photographers with the same gear can take a picture of the same thing, and one gets an incredible shot, and the other gets a boring and flat images. You’ll learn why and how to get the good shot.

There is even a wonderful section on how to take fantastic portraits; a section on avoiding mistakes; equipment recommendations; and even a section that shows “if you want this kind of photo then do this.”

The Digital Photography Book, Volume 2 (ISBN 0-321-47404-X) covers flash and strobes, reflector tricks, impressive seamless/colored backgrounds, advanced light metering, and how to get those multi-light touches on your subject. More portrait tricks are revealed, along with low-light, sunrise, sunset, and landscape scenes. More is covered on bad weather conditions, weddings, and touring. Again, there’s a shot recipe section in the back. This book is clearly a continuation of the first and not an afterthought or a sequel to make more sales. Good quality stuff.

The next book in your collection should be The Photographer’s Eye by Micheal Freeman (ISBN 0-240-80934-3).

Composition is hard to master. Things like frame dynamic, tension, placement, rhythm, etc. all seem pretty artsy-fartsy hand-waving mumbo-jumbo to anyone who’s trying to study the science behind creative photography.

This book explains with contrasting visuals what these terms mean and what you can do to get them. A fantastic illustration (p. 25) shows a bench in a field, but simply by cropping and using angles, the viewers eye is compelled to follow in different directions.

You’ll see how and why the rule of thirds works, how there’s also the golden ratio frame, fibonacci divisions, geometrical slicing, and fractals as alternate methods of placement. You’ll know when to fill the frame, when not to, and where not to. You’ll control the horizon. Convey balance though perceived weights, not just mirroring placement. Foreground, background, contrast, repetition of patterns, broken patterns, perspective, forced perspective, limited color, …there’s so much here.

This book alone will change the way that you view a scene and provide you many different ways to capture it, both in camera and how to make an even more impressive photo by elimination back post-processing.

So there ya have it. Two books to take a really amazing picture, and one book to compose a fantastic one.

REVIEW: Walt gives all three titles here two thumbs up!