May 212017

I guess I’ve not been paying attention to all my mail because I just learned that a magazine I’ve subscribed to for at least 30 years—Popular Photography—has ended publication. As some writers have asserted, this is just a sign of the times, while others insist that the publishers could have done more to keep the content current and engaging. Either way, I’m sad to see it go. I’ll especially miss the product reviews and lab tests which helped guide my camera shopping for a long, long time.


From: Eric Zinczenko
Date: Mon, Mar 6, 2017 at 2:25 PM
Subject: [notifycorporate] Popular Photography and American Photo
To: Notify Corporate <>

Dear colleagues,

This afternoon, Gregory Gatto, VP, Publishing Director of the Lifestyle Group, and Anthony Licata, Editorial Director of the Lifestyle Group, made the difficult announcement to our employees in New York that we have decided to cease all media operations for Popular Photography and American Photo, effective today.

I want to take this opportunity to share this news with the entire company and the reasons behind our decision. In our most recent Town Hall, I spoke of how the pace of disruption through digital and technological advancements is unprecedented. Unfortunately, the photo industry is an example of where this disruption has forever altered the market. The rise of smartphone-camera technology and its increasing ability to capture quality photos and video and instantly share them socially has dealt the photo industry formidable challenges. For our brands, these industry challenges have left us with insurmountable losses in advertising and audience support. Despite the extraordinary efforts of our committed colleagues at Popular Photography and American Photo, as well as our best attempts corporately to find a sustainable path forward, we are simply unable to overcome these market forces.

We would like to thank Miriam Leuchter and her team for their commitment not only to their industry, but to Bonnier as well. Since 2009, Miriam and team have consistently produced best-in-class content, giving their audience of photo enthusiasts industry-leading product reviews, smart service journalism and, of course, terrific photography. They have done everything possible to make these brands thrive; unfortunately, the challenges in the photography industry are just too great.

I also mentioned last time we were together that our executive group will never waiver in making the difficult decisions that protect our company and our greater group here, and keep us on our path to long-term sustainability. While this decision is far from pleasant, it reinforces our commitment to channel Bonnier Corp.’s precious resources to healthy industry verticals and our category-leading brands to drive asset value of Bonnier’s U.S. portfolio.

We have a fiduciary responsibility to constantly evaluate our portfolio of brands as part of our ongoing transformation, but I want everyone to know there are no plans on the horizon to cease operations of other brands; if there were, we would have announced those today as well.

Please join me in thanking our colleagues at Popular Photography and American Photo for their contributions and to wish them the very best. We are also grateful to all of you for your continued resilience, dedication and endurance as we continue on our strategic path forward.


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Jan 182013

© Paul Mozell

Until I opened the book, “In Wildness Is The Preservation of the World,” I had not heard of the photographer Eliot Porter. As a high school junior I was unaware that landscape photography was a discipline within the visual arts, as distinct and noble as photography of sports, current events, portraits, fashion, and weddings.

Spruce Trees in Fog, Great Spruce Head Island, Maine, August 20, 1954 (Amon Carter Museum of American Art P1990-51-3026-3)

Although I was the son of a professional cinematographer and still photographer, the names of photographic giants Ansel Adams and Edward Weston were of little importance to me. At the moment I first turned the pages of “In Wildness” in our living room, my teenaged mind — swirling with the psychedelic imagery of the Jefferson Airplane, Jimi Hendrix and 1960’s pop art— was brought to a new place by the large-format, sublime, color photographs of Eliot Porter. Continue reading »

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Dec 192012

© Paul Mozell

Have you read the Terms of Service Agreements for your favorite social media sites recently? If you sheepishly answer “No,” you’re not alone. Those documents are as thrilling as EULAs – the End User License Agreements attached to all the software we use. Late December is here and in addition to making all those change-my-life, lose-that-weight resolutions, it’s a good time to brush up on what we are all giving away for free to cyber-space. For Free. Yes, with few exceptions, we are all giving those household names the rights to use the images and photographs we upload to their servers for promotional purposes and possibly much more.

Of course I’m not a lawyer, and I don’t play one on TV, Continue reading »

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Nov 142011

Elizabeth McGuire hates her children’s school photos. “School mug shots,” she calls them.

Parents readily snap and share tons of photos, causing some to ask why would they want a school portrait of their child with a forced grin and hair brushed badly in front of a blue-speckled background. Katie Rosman has details on Lunch Break.

In their annual school pictures, her kids usually look ill at ease, with too-toothy smiles and hair parted to the wrong side against a grainy blue backdrop not unlike that Continue reading »

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Jan 072011

© Paul Mozell 2011

Now more than ever, images and photography play a decisive role in defining your company’s image. When SEO (search engine optimization) tools and specialists record and analyze the duration, source, and movement of each site visit, can you really afford NOT to use professionally produced photographs in your marketing? Is the good enough photo made by someone on your in-house team, what you really want on the front page of marketing piece?

Images define your identity

Here are a few examples, ripped from the headlines. (names are changed to protect the innocent) Continue reading »

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Jan 132010

© Paul Mozell 2010

Selling your own photographic prints and licensing your work is now a do-it-yourself imperative! The photography marketplace is overflowing with online providers of print production services and increasingly, options for posting and selling licensed images on your own, without the help of a stock agency.

When the bottom fell out of the stock photography market about four years ago, largely due to the success of micro-payment or micro-stock agencies, a number of entrepreneurial small players stepped up and said to photographers, “we’ll give you the tools to sell your own work. Go for it!”  You can waste your time uploading hundreds of thousands of images to iStock, Shutterstock, et al who will sell your work for peanuts, Continue reading »

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Nov 022009

© Paul Mozell
In three consecutive days I shot architecture in Boston’s South End, a client’s family reunion, and took a hike with my daughter to one of our favorite nature venues. The contrast in photo assignments was invigorating and I felt very much “in the zone” with all my creative energies flowing

Click icon on lower right for full screen show

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Jul 142009

Copyright Paul Mozell 2009

Pink Granite and Water

Pink Granite and Water

As a young child I loved playing beside the brooks and rivers where our family camped and hiked in the forests of New York and Jersey. When I discovered Eliot Porter and Ansel Adams as a teenager, those streams became one of my favorite subjects, and they remain so to this day. Continue reading »

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Dec 102007

© Paul Mozell

Let’s say that you work in the marketing communications department of a technology, financial services, or bio-tech company. The VP of marketing has just assigned you to a team developing a new corporate identity. This includes new marketing brochures, sell sheets, web content, and a schedule of press releases. The VP says  she wants the new materials to have strong graphics and make liberal use of photographs.

Continue reading »

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Sep 042007

© Paul Mozell

A photographer-colleague of mine recently told me that she shot over 1200 images at a recent wedding. Another photographer I know guarantees his clients that he will shoot and deliver at least 400 photographs to the bride and groom. In the bygone era of film, 200 frames would have been a good night or day of shooting. Now, in the digital era, there is an growing expectation that more is better. Since there is no cost associated with shooting unlimited images, why not shoot more?

First, consider that it is an unnecessary burden to the bride and groom to saddle them with many hundreds of images to review and edit. Why deliver four, five, or six variations on one pose or group shot when it is very likely that one photograph is the clear winner? Continue reading »

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Apr 232007

© Paul Mozell 2007

Teenagerrs at a small-town carnival at night.

Teenagers at a small-town carnival at night.

It seems that the political and social atmosphere these days is making it increasing difficult to take stock and editorial photographs in public places. I’m still fuming about being hassled recently by the police in a Massachusetts town who were unhappy about me taking photographs at an outdoor carnival. Continue reading »

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Oct 032006

© Paul Mozell 2006

You’ve picked a date for your wedding, reserved a function hall, and the next item on your list is to shop for a wedding photographer. A quick scan on the web reveals prices from $1000 to $4000 and you conclude that this may not be simple process. Do you shop based on price or do you call the photographers who have the coolest web sites? And you wonder, how do these folks get away with charging thousands of dollars for 6 hours of work? As a professional photographer my goal today is to de-mystify the process and to explain the pricing and work that supports those rates. Continue reading »

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