FEED AND GROW YOUR STREET PHOTOGRAPHY IN MINUTES A DAY
Feed and Grow Your Creativity With Over 200 Pages of Interviews and Inspiration monthly from Street Photographers from around the World
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Imagine shooting images you never conceived of before…getting compliments from fans when you post them…
because new doors have been opened to you when you tap into a great source of creative inspiration
that expands your mind and pushes you to be a better photographer
Did you know? Just like a plant, by not taking care of your photography you tend to lose it? There's only so much your brain can deal with, if you do not feed your photography, your brain will eventually start moving it out of mind, like a tenant that hasn't paid rent.
Let me tell you of how I started to realize that fact: A decade ago, I moved to the U.S.A. I used to speak Creole and French. I never met french people in the U.S. so I barely spoke it. But now that I moved to Asia and surprisingly found a bunch of french people there, something happened that shook me to
I lost my french. I just couldn't speak fluently anymore, I had to think about the words before speaking them, I was stumbling like a rookie on his first trip to Paris! That stunned me, how could I lose my french? I was born and raised with it!
I was experiencing the law of use in action. What is that you ask? Simply put, Whatever you don't use, you lose.
This is a very powerful conept, trust me. I just didn't do anything with my french, and I seriously started losing it.
And it's not limited to languages either, I borrowed some skating shoes a few years ago from a friend and every time I kept falling over and over again… while as a child I had those and knew how to skate.
And yes, the law of use also applies to photography. If you don't take care of it like you would a plant, watering it, you'll start seeing less and less images popping in your mind.
In order for your photography to grow you need to work at it (learning and making images yourself) but also feed it.
You feed it Inspirarion. Inspiration is the food of creativity. Without inspiration it's like starving your photography, depriving it of water.
If you have been neglecting your photography, to a large extent it's not your fault. You are probably already busy with your job, family, etc. Time is short and no matter how much you love photography you just can't take lots of time to dedicate to it. You LOVE photography but just can't find time for it.
All you need to do is to spend 10 minutes everyday watering your photography, feeding it inspiration, to keep it alive and growing, to sustain it.
But that is not all, you also need to feed it good food, with nutrients, and no added garbage.
“I was experiencing the law of use in action.
What is that you ask? Simply put, Whatever you don't use, you lose“
Let me put it this way: They create the magazine to attract you in order to sell you to advertisers
Before becoming a photographer I was a graphic designer, and here is one industry secret that you probably do not know of. Here it is: 45 to 51% of most photography magazines are ads (Source: Magazine Publishers of America). What does that mean for you as a photographer? Two things:
First you essentially pay for the privilege of being fed ads. What you pay for is mostly ad content, not photography content.
Second, and this is the part most don't know, it's that the publishers don't sell magazines, they sell YOU. You are not their customers, the advertizers are their customers, and you are being sold as prime meat. Let me put it this way: They create the magazine to attract you in order to sell you to advertisers. Even worse, sometimes they even sell your contact info to others, you sign up for a magazine and all of a sudden you have an avalanche of unwanted mail delivered to you.
Don't you just hate when you buy snacks and most of it is just air? That's what most photography magazines do to you. Not cool if you ask me, especially when when you want to feed your photography the best, no? Enter Inspired Eye…
You just want to feed your photography good things right? The best food with nutrients? Well, good news, Inspired Eye is mostly made up of two things: Exclusive interviews and curated images. That's it. Ads? At the maximum 2 pages, and they are always after interviews, so it's never a bother.
Occasionally we might have a project or an article or two, but still, it's all about the photographers and their images. Inspired Eye is not a fluffymag with an ad every page you turn, you didn't pay to be fed ads dang it! All of these ads they are distractions to the heart of photography, which is photographs (and by extension, photographs). So we don't lead you astray with ads about stuff you don't need.
By reading Inspired Eye, your mind won't go “Aw man, I need this new Super Megacam 450s”, but it will go “Man, look at this, that's a geat image, I can do that too!”. It builds up your creative catalog in your mind, and does not make it go wild with the next shiny camera.
All of our interviews are exclusive, meaning, you won't find them anywhere. There was one guy who wanted to partner with us, all seemed well, until he said that he would put interviews he already made in there. We said no way and we parted ways. All the images you see in the magazine have been curated, edited and sequenced for maximum flow and visual legibility. Take a look for yourself at some of the features we had in the last issues:
Pages from the current issue
The format of Inspired Eye is different than other magazines out there. Why? Because we use a recurring set of questions. We ask the same set of questions to street photographers from all over the world, the magic is in the answers.
The questions we ask are really rigorous, so much so that many people interviewed told us “I really had to look deep inside myself to answer those questions”. We created the set of questions by asking ourselves the question “What questions do we need to ask those photographers…so that they spill the beans on what makes them click?”, you see, the question set we came up with is designed to pick the brains of the photographers that are in the magazine so that you, the reader can get the most insights from the interviewee. That's how Inspired Eye can help feed your photography. You cannot get this type of insight by just looking at images for free online, we do the hard work for you and try to extract all that we can from each photographer.
In all honesty, sometimes we get stupid one or two line answers, and as much as we ant to twist the arm of the interviewees for some more insight, some people just can't talk about their work. We had the impulse to just scrap these guys but opted not to, because you got to take people as they are, some people are not good with words but they can do the work. Meaning there's always something to draw from, even the images themselves.
But this actually turned out to be a blessing in disguise, because that pushed us to do something that no other photography magazine has ever done before. I'll talk about that much further down, for now I want to answer the question what kind of photographers can you expect from reading Inspired Eye?
We ask the same set of questions to street photographers from all over the world, the magic is in the answers.“
These are photographers that have recently picked up the camera and we found some inkling of something special in their work.
Like this indian woman who only had 3 months under her belt but had a deeper understanding of photography than I personally did personally did in 3 years.
We grab them young so that you can witness growth with your own two eyes. That being said, it's definitely not a free-for-all, their work must have something going for it.
These are photographers that have been doing this for years. Some of them are working pros, some of them forever amateurs.
Their styles vary but they always have something insightful to say. Some have a long list of one man shows, others just have the satisfaction of making great photographs.
Usually their style is more defined, and they like to explain their choices as a photographer, great for insights if you want to do the same.
Some photographers featured, and I'm not being dramatic, could end up in museums if they continue their paths. That is not always the case because after a while some fall on the wayside.
Whatever may be, we seek them out and we show them to you before anyone else. One particular photographer was in Inspired Eye a whole year before becoming one of the most popular photographers in the world.
I won't name names but we had them first 🙂
While most people's definition of Street Photography is very one dimensional, we put on the 3D glasses with different styles of photography.
Some shoot color, others BW, some have muted tones, some rely more on shapes and lines, others on close-up flash, etc.
It's all about looking at the world in a different way, so we try to find those photographers who are exploring with their images in order to see what is possible, and that there is not justo ne way to shoot.
Certain magazines make you think that if you are not a full time photographer or something, you're nothing. Nonsense.
Most people are amateurs and we showcase their work like we would anyone's. We are the only one who embrace the work of mother-of-threes just as well as the guy who has some work in galleries.
Most people do not or would not pursue professional photography, but wait till you see what stunning work some people are capable of with a full time job and a full time parent.
By and large what we are doing is bringing you exclusive interviews and curated images from the community at large.
That means expect the guy from brazil that does street work and makes images of his pregnant wife, the more well known photographer, the IT consultant who lives a double life as a photographer, the woman who lives on a large piece of land with her kids and has no TV, the expat who photographs Shamans, etc.
You get the point. It's all over the place.
” insights come from looking at things from multiple perspectives“
something surprising happened. Personalities lept trough the pages
When starting Inspired Eye, I had a big fight (we are all human aren't we?) with the other editor in chied, Don Springer, see I wanted to correct the english of some interviewees, because for many english wasn't their first language and they kind of butchered it. The grammar wasn't correct, some phrases you had to read 2-3 times to understand. I wanted everything to beproper english and he wanted to keep it as-is, warts and all. At the end of the day, He won.
How? A long time before the argument I told him of a Japanese concept, Wabi-Sabi and he told me that if I really believed in the concept, I had to apply it to the magazine. So I had to accept his way, because Wabi-Sabi is a powerful concept.
Why? Wabi-Sabi is all about finding beauty in imperfection, the little cracks in pots, the little lines on faces. It's all about enjoying the imperfect. Applying Wabi-Sabi to the mag meant rolling with the language mistakes. When we did, something surprising happened. Personalities lept trough the pages.
If we edited the interviews the personal tone of voice of the interviewees woud have been lost. So less-than-perfect english can be found in Inspired Eye. I didn't like it at first (recovering perfectionist here) but ended up embracing it because it's what make everyone featured special. English is not their primary language, photography is. Believe me, it's really spooky sometimes when you read some interviews, it's almost as if you can hear the interviewee speaking in an accent in your head. Something so colorful would have been squashed if it was edited.
Long story short: We keep what we receive mostly intact, english is not the primary language for most of our featurees, photography is.
I don't know if you know, but good design is invisible. But with Inspired Eye many readers notice the layout itself, I know so because I get emails about. I think it's because of the sharp contrast between our layout and other street photography magazines. I earned my chops as a graphic designer, and let me tell you there's more to layout than just putting things around. It's like an iceberg, the most important part is what you don't see, and it's the most important part.
My layout is designed for maximum legibility, focus on the images, and ultimately flow. It works well. A well respected photojournalist told me in an email that he felt my layouts were inspired. A frennemy competitor told me: a subscriber of his asked “Why doesn't your magazine look like Inspired Eye”? His response? “It's Olivier, he's a good graphic designer!”.
It's highly legible and also contains interactive elements. Imagine you are really into this photographer's work. In any other magazine that would be the end of it. But in Inspired Eye, just click on the link from their interview (if they have a site or flickr) and you will be able to go to their ssite to follow up on them. You can also have immediate access to the interviews by clicking on the images on the table of contents for easy access.
What Inpired Eye offers every month, page after page, is a catalog of creative possibility. Imagine for a moment two twin brothers, they both have the same cameras, same experiences, they are both 100% similar. They both go out for a street photography shoot. One comes back with much more interesting images than the other. Why? The only difference between the two is that one reads Inspired Eye, the other one doesn't.
What you are doing when looking at photograph after photograph is making a mental catalog of creativity. Imagine going out on the streets and start seeing images in your mind that you didn't consider before. You consider them because you've seen them in Inspired Eye. No, it's not copying a shot because what you see in front of you is the combination of what you've seen previously. For example the way the subject is on the bottom and cut from one image in issue 31, the way the sun is hidden in the background similar to an image see in 45, etc. It's completely original work that you will be able to create because your creative catalog is so vast.
It's a secret painters had for ages, bits and pieces of their work are directly insipred by multiple other painters. Now you know why we want the best mix as possible in Inspired Eye, it's for you to have a huge pool of creativity to draw from.
You might have missed it in the lovalanche (love+avalanche), here's the one that gives me the most fuzzy wuzzies:
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- 6 issues of Inspired Eye
- 6 insightful videos (about 1 hour each)
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Previous IssuesMore than 50 issues + 20 hours of videos
- Every single issue of Inspired Eye
- $300 worth of issues if purchased separately
- The ONLY way to get the previous insight videos ($200)
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I gotta admit something, I sometimes have doubts about what I am doing. And one day, even after getting all the testimonials on how great the magazine was…I had doubts that we were delivering all the value we could with the magazine. I was just never really sure if people could draw out all that they could from each interviewee, to get as much juice as the images offered.
So I had an idea. Why not go trough the magazine, draw all sorts of insights from it's pages and record the whole thing? Composition insights, philosophy insights, photography insights…All recorded and sent to the subscribers?
That's why every month, after about two weeks of getting the magazine, you will get the insightful behind the scenes videos. You can stream them online or download them (they are a hefty .mp4 download!) again, all in your inbox. How good is it? Pretty great as you can see the comment Michael left us on one of our videos. You can also check out a snippet for yourself by clicking the video on the right.
Every behind the scenes video is about 60 minutes long. We go trough the magazine page by page and draw out all the insights we can from each featuree in the magazine. Topics can vary from why the composition works, why we selected this image instead of another, why the photographer made certain choices, etc.
It's a thin line between street photography and photojournalism. So here's what we did, we interviewed 3 photojournalists about their craft.
One was a photojournalist and is now reborn as a fine artist, one was a photojournalist that is more writer, one is a still-in-the-trenches photojournalist
In this special issue discover:
✅ This single word (starts with “S”) that almost destroyed this photojournalist's career (pg 115)
✅ This photojournalists's recipe for his images (pg 135)
✅ What NEVER to do in a combat situation (pg 119)
✅ The totally unsexy photography tip to great people images (pg 135)
✅ For more interesting images, do this (pg 141)
✅ The harsh truth about being a photojournalist (pg 126)
✅ The sharp crticism a general told one of worlds greatest war photographer (pg 206)
✅ When you need photography motivation do this (pg 21)
✅ A fool-proof way to know if your image is successful (pg 25)
✅ Nat. Geographic photographer reveals the shocking reality of shooting a project with film(pg 95)
✅ Game-changing photography insight from an ex-NBC editor (pg 101)
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