Monday, March 29, 2010

Sprechen Sie? Chattanooga's Invisible Business Communications Gap with the Germans.


by John O'Keefe-Odom
Commentary
Note: I had initially promised this as part I of III, yet found later that I had said enough. This will be the only installment. On to the next topic!

Chattanooga's got a communications problem with the Germans. If we don't start realizing what this problem is and fix it, then we might blow it.

As a matter of practice, we're blowing it slowly already.

Important tasks which need to get done now are getting bogged down. We're getting behind enough to begin growing a bad reputation by the watercooler.

Keep this up, and German executives will start to perceive that getting sent here will be like a trip to Siberia and her gulags.

That's only going to go on for so long before things grind to a halt. Once they grind to a halt, bad stuff happens next.

We need to get our act together a little more, so it's time for some German Business-Speak 101.

Shame and Speaking:

Or, Would You Like Your Shame With or Without Speaking, Please?

Everyone knows that Chattanooga's partnership with the German automotive industry is our chief hope for pulling ourselves out of an economic mud bog, but not everyone sees some of the problems with it that are right in front of our collective faces.

As the son of a GI Bride, I can surely tell you that there is a huge difference between American and German cultures. One of those leading differences is the concept of shame.

Americans are totally shameless. Hang on, because we'll go over that again. It means a little more than some people might think.

Germans come from a culture where people are raised with the concept of shame. It's not quite the same as what Americans might think of shame. In American English, shame is like a really strong embarrassed feeling, kind of like sadness mixed with anger over not getting accepted.

In German cultures shame is more like a heightened and very restrained consciousness of what the rest of the village might think. It's not only about social acceptance; it's also about starvation prevention.

That's right: starvation prevention.

Attention to, and the prevention of, shame comes from hundreds of years of warfare over the face of terrain that was restrictive. Societies which lived on that land were also largely agricultural. So, keeping a timetable was not only important to agriculture and trade, that same trading timetable was often habitually pressed by constant, impending war.

Don't get the seeds planted in time, and not only will there be no food, but there will be war and no food. A few hundred years of this, and the culture learns to keep a timetable. Germans have encountered this so much that keeping a schedule has become intensely internalized by almost everybody.

Massive business treaties and guilds have been carved out, historically, by dividing up social responsibilities for tasks in villages, in advance. The very survival of individuals has depended on how people buy and sell things, and that buying and selling has had a lot to do with how communications and social relationships are managed within the village.

Potential shame is a very strong influence on what people might say and do, or not say and do. It is very similar to the concepts of shame as they are handled by East Asian cultures.

East Asian cultures have also had long histories where warfare devastated large areas not just through direct violence, but also through the impact that war had on agriculture and trade.

In America, war had its biggest impact on farming and village life around the Civil War. That impact stopped affecting everybody in the nation sometime around 1890. With only about 30 years of that under our collective belts, it was easier for us to forget.

Imagine 500 years of a dozen nations each cycling through a constant stream of The American Civil War and Reconstruction. That'd be European History in a nutshell. It's affected those societies, permanently.

Remember that World War II Axis? Guess what? The partnership between the Germans and Japanese was not only of strategic importance at the time, it was also a partnership among cultures that were very similar in some characteristics, like daily village life.

Who cares about shame? We don't, because we're Americans. We're shameless. We're raised to believe in freedom, particularly freedom of expression. We're defiant; we're proud; we're boorish. More power to us.

We'll say anything. We've had the comedians and politicians to prove it. A list of the Presidents of the United States alone is a long line of totally shameless people who would say and do 'most anything at the time.

Yet, in German-American business negotiations, this disparity over how we perceive our neighbor perceiving us can create a huge, and sometimes very important, communications gap.

Like, our German partners may be silently suffering through a crisis which would cause our American brothers to explode in a fit of what Mom calls, "Army cursing." The Germans might just sit there quietly.

How May I Help You?

When Americans hear the words, "How may I help you," we usually expect that someone is going to take our order for burgers and fries.

When Germans speak the words, "How may I help you," it may very well mean, translated into American, "Hey, _____! We are in deep @#$%^&* over here! If you do not get off your _____ and get this ______ timetable completed, then @#$%^&* @#$%^&* @#$%^&* _____ _____ _____!"

You can see how that might lead to a communications gap.

It could mean that someone doesn't understand how important it is to get a certain something done. Like a large project with many, many specific goals: that could be an example of a situation where each one of those goals not met might generate an offer of help from the Germans. Meanwhile, that offer might not be recognized for what it is, a reminder that something needs to be done now.

While Americans have accepted for a long time that German culture is repressive, they often haven't really understood how this might manifest itself. There's a touch of stereotype in our imagined Repressed German; but, because he also loves beer, we can see ourselves getting along with him when he loosens up.

One of the ways this repression, which is cultural and not sexual, manifests itself is in what the German will or won't say.

In America, when someone won't say something, it must not be that big of a deal.

Oh, yes, it is.

The big deal on hand is money, or time as money. It's often an actual deal, a business plan or agreement. Here in Chattanooga, we might have noticed a recent increase in those, particularly those involving Germans.

Concepts of how people socially manage shame: that would be our first, most basic level, of observable misunderstanding.

# # #

Thursday, March 11, 2010

Making Simple Digital Illustrations From Photographs



A cartoon of looking through The Furies, a sculpture by John McLeod.

by John O'Keefe-Odom


How hard can it possibly be? The drawing functions are built into a lot of digital illustration programs. The demos make it look like anyone can make a great drawing from a digital photo.

Given it a try lately? If you have, and you weren't super-great at drawing to begin with, maybe you figured out in the first fifteen minutes why you weren't doing this all the time. Here are some tips:

The basic premise is simple. The digital illustration programs (I used Corel Painter) often have some kind of function which will allow you to import a digital photo to a layer of the drawing. The idea is that you draw on top of this, and voila, a masterpiece!

To make it a little easier, this is what I picked up along the way.

1. Use a high contrast photo.
If you are into photography, it's probably no surprise that this was my lead suggestion. It comes up all the time in experimental processes for one simple set of reasons: black blacks and white whites. There will be a few grays inbetween, but they'll often be limited in number and surface area. You can find where the edge is easily, if you have a bright white surface bordering a dark black.

2. Check the image parameters before you begin.
In the digital drawing programs, you can often set the size of the drawing area. Also, in your computer, you can review what the dimensions of the photo are before you import it. Make some notes. Do the proportions match up? Do the sizes match up? Instead of getting in the application and stretching or reducing, sometimes using up computer power, check out the size limits on the photo and the drawing area before you begin. Set up the photo and the drawing area to go together. If you need to reduce the size of the photo, do that before you crank up the illustration program. Once you've got the photo's image file set the way you like, then import it.

3. Do not draw directly on the photo file.
Take advantage of those layers in the image programs. Import or place the photo in one layer, and do your drawing in another.


A drawing of John McLeod's Primitive Aggression
and the shadows it casts.


4. Use the layers to contain your mistakes.
I usually add two or three layers on top of the photo. I use one for digital paintbrush tests. When I change the drawing tools around, I flip up to the test layer and make some lines or spots. In drawing programs it can be easy to outrun the memory buffer of the "Undo" function. Just do your tests in another layer to avoid clogging up that buffer.

5. Pick a simple scheme and save variations.
In the cartoons I drew for this article, I didn't try to redraw La Giaconde, The Mona Lisa. I kept the line scheme simple, by following borders. When I was picking colors, I picked the ones I wanted according to a scheme that I thought would work. I also saved some of the variations along the way.

# # #

Wednesday, March 3, 2010

Pricing Fine Art Photos:
$30, $300 or $3,000?

$30, $300 or $3,000?
by John O'Keefe-Odom

After putting myself through the wringer a hundred bazillion times over what to charge for a print, it turned out that the model I use is comparable to what National Geographic charges for a picture.

They'll charge about $5 more for an 11X14; but, theirs is in color; and, hey, it's National Geographic.

I had settled on my pricing model some time ago, but every day is a day when you can feel challenged over where you stand in the grand scheme of things. Is it the price list, or the sales, that's keeping you from your Wall Street fat-kat rooftop party?

Pricing can be an emotional meat grinder for someone getting set for their first sale. These are some considerations I recommend:

How Much Does It Cost To Make The Print Itself?

Add up the price of the materials involved. In black and white, I count the cost of the chemistry, photopaper, negative, packaging, mounting and matting materials.

The cost, as an idea, includes tax, shipping and any fees that you paid along the way. Since everything comes in different units, with different rates of consumption, you may have to do a little figuring to come up with what your material costs are for printing.

This is the cost per print. It's not the cost of the photography.

What Does The Buyer Get For That Price?

The photography, the field and processing time, is the big kick in the gut. There's a lot of overhead there. Ask yourself: do you believe that the person buying the print also bought the photography, the activity, that created it? Yes or no?

If they did, if you believe the answer is "yes," are you also going to provide them with licensing for the print that is comparable to what they would have received if the job had been work for hire?

Since I will not sell the licensing of my prints beyond their immediate display, I charge per print.

At $30, I was once told my prices were so low that my work ought to be displayed not in a gallery, but in the men's room of the gallery. I shot back, "Be sure to put it over the urinal! Just like the sports page, in a bar!"

We were only joking, but I could see my gallery operator's point. Everyone else charges more. Yet, I would submit, that those higher priced plans are based more on the cost of the photography itself.

Those types of plans should also yield, for the purchaser, more bang for their buck. Commercial licensing of a photo, for example, is more expensive than just buying a print.

So, there is one of the main differences.

If you seek to charge someone for your photos, are you selling them the photo or the photo with usage rights? The right to reproduce the image, particularly for commercial applications, will be more expensive.

How Much To Charge For The Photography?

The act of making the photograph itself: how much does this cost? It's more. Often, it'll come in at the cost of about five or six of those common prints, per hour. Which, if you think about it, is roughly the rate at which they would be made, during a productive hour.

What about the other costs? Materials, as they come in. Transportation, as it's used; maybe a charge for transportation time or other standby-type work. Those hours when you are committed to the project, but not actively producing a picture (not "shutter time"), will have their own fee. It's common for this fee per hour to be similar to one print sold, per hour.

One Last Factor: Can You Live With It?

There's a lot of advice out there. There are some good books to read on the subject, and every market will have a different relationship to its services.

The cost of a print is about ten to twenty times more than what a microstock agency will bill for its download. It's also about ten to twenty per cent of what an egregious bill would look like.

As I was pressured sometimes to charge more, per print, it would occur to me: Could my own family have afforded this work?

I found that when the answer was, "No, they could not have bought it," I was already upset and angry with that pricing model anyway. When the answer was yes, I knew that the profitability of the work would often be poor, but that I felt better with what I was offering.

Just my opinion on pricing.

# # #
References:
National Geographic Photo Store.

Ansel Adams photographs, originals and reproductions,