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Posts Tagged ‘founder’

Mendel Mendlowits, founder of Adorama has passed away

15 Apr
Photo by Joe McNally, used with permission.

Mendel Mendlowits, the charismatic founder of camera retail giant Adorama, passed away on the morning of April 8, 2020 at the age of 76. The company he founded in the 1970s announced the news yesterday on its blog.

‘If you ever had the honor of speaking with Mendel Mendlowits for any more than five minutes, you weren’t likely to forget him. His piercing, curious eyes stayed riveted on you throughout the conversation. His insatiable curiosity could turn a quick “hello” into an hour-long discussion. It was this curiosity, and his unstoppable drive to do what others thought could not be done, that made Mendel Mendlowits such an influential figure in the photography industry for more than 40 years,’ reads the tribute.

Mendlowits was born in 1943 and is a Holocaust survivor, along with his sister, who hid him away in a bunker at the Bergen-Belsen concentration camp. Once the Allied forces liberated them in 1945, him and his sister, along with their father, moved to the United States and settled in Williamsburg, New York.

At 17, he started working for his family’s business. His experience at Brooklyn-based Mazel, a wholesaler of film, batteries, and photo-finishing equipment would inspire him to open his very first Adorma storefront on the 34th Street in Manhattan. Adorama is derived from the Hebrew word ‘ador,’ a tree used to fortify the borders of ancient Israel. He also created a word starting with ‘A’ so it would be listed towards the top of aggregated business indexes.

Mendlowits immersed himself in the photography community starting in the 70s. He sought to understand every aspect of the craft. Through his connections, he became adept at finding the best products and deals – often advertising them in the top publications of the day such as Shutterbug and Modern Photography. His ability to diversify aspects of his business, combined with his acumen, helped Adorama become a household name that competes directly with other major retailers including Amazon and B&H Photo to this day.

‘If you ever had the honor of speaking with Mendel Mendlowits for any more than five minutes, you weren’t likely to forget him. His piercing, curious eyes stayed riveted on you throughout the conversation.’

In 2014, Mendlowits handed the business over to his son Eugene who will continue its legacy alongside CEO Michael Amkreutz. ‘The entire Mendlowits family, as well as the Adorama family, will continue to honor him and his memory. As we mourn this great loss, our gratitude for Mr. Mendlowits grows. We recognize, during this especially uncertain time, how a strong foundation can uphold an organization.

We thank the entire community for the outpouring of love and condolences, and we will honor Mendel and his legacy by continuing to dedicate ourselves to Adorama and its very bright future,’ concludes the announcement.

Articles: Digital Photography Review (dpreview.com)

 
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Shutterstock founder Jon Oringer is stepping down from his role as CEO

14 Feb

Jon Oringer, founder of stock image company Shutterstock, has announced plans to step down from his current role as CEO after 16 years. Oringer won’t be leaving the company, however; he’ll transition to a new role as Executive Chairman of the Board. Stan Pavlovsky, Shutterstock’s current President and COO, will take over the role of CEO starting on April 1.

Oringer announced the news in a Medium post on Thursday, explaining that Shutterstock has ‘reached a pivotal juncture in our growth trajectory […] our business has grown and evolved to a point where we could all benefit from a CEO that has a different set of skills than I have.’

Shutterstock was launched in 2003 out of Oringer’s small New York City apartment and the company has managed to be profitable every year since. Pavlovsky joined the company in 2019, bringing what Oringer says is ‘the ideal skill-set and mind-set to take our business to the next level and it is all of these qualities that gave us the confidence to elevate him to COO, President, and now CEO.’

The news comes alongside Shutterstock’s Q4 2019 financial results, which reveal that the company made $ 166.4 million in revenue, a 3% increase over the same quarter in 2018. However, the company’s net income dropped by 63% to $ 20.1 million in 2019. Over the last few years, Shutterstock has seen its market cap drop from a 2014 peak at around $ 3.5 billion down to less than $ 2 billion.

Articles: Digital Photography Review (dpreview.com)

 
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RED founder Jim Jannard announces retirement, shuts down Hydrogen phone project

26 Oct

RED founder Jim Jannard, who just celebrated his 70th birthday, has announced that he is retiring, citing health issues simply saying that “it is now time.” He also announced that with his departure from the company the Hydrogen phone project will be shut down:

I have spent the past 45 years building “inventions wrapped in art”.

Just now turning 70 and having a few health issues, it is now time for me to retire.

I will be shutting down the HYDROGEN project, ending a career that has included Oakley, RED Digital Cinema and HYDROGEN. I am very proud to have worked with many great people over the years who have signed on to the vision.

RED Digital Cinema will continue stronger than ever with Jarred, Tommy and Jamin at the controls. Komodo is about to be launched… and the HYDROGEN One will continue to be supported in the future.

I want to thank everyone for the support I have felt over the years…

Jim Jannard, RED Founder

So the Hydrogen One remains the first and only model ever launched in RED’s Hydrogen smartphone line. When it arrived last year, after several delays, it came with innovative technologies including a ‘4V’ holographic display, but received lukewarm reviews and ultimate could not convince customers to pay a $ 1,295 premium price.

Film makers and photographers had also been looking forward to the launch of an attachable camera module for the device but, like several other planned modules, it never got to see the light of day.

The good news is that existing Hydrogen One users will continue to receive support, at least for the time being, and RED Digital Cinema is still operating with Jarred Land as its president and will hopefully soon release the Komodo camera system which was teased earlier this year.

Articles: Digital Photography Review (dpreview.com)

 
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Ross Lowell, founder of Lowel-Light and the creator of gaffer tape, dead at 92

22 Feb

Photographer, cinematographer, Lowel-Light founder and creator of gaffer tape Ross Lowell died on February 15 at the age of 92, according to PDN. Lowell lived in Pound Ridge, New York, at the time of his passing, leaving behind his wife Marilyn Shapiro-Lowell and four children. Above is a video he participated in wherein he talks about various lighting tools and techniques.

Over the course of his long career, Lowell pioneered numerous lighting solutions for photography and cinematography, ultimately registering more than 25 patents, founding lighting company Lowel-Light and publishing the book Matter of Light & Depth. Among Lowell’s inventions is gaffer tape, a type of cotton cloth tape popularly used during production and staging work.

From the mid-1960s through 1985, Lowell also shot, directed, wrote and produced multiple documentaries and short films, including Oscar-nominated Oh Brother, My Brother. Lowell received multiple awards during his career, including a Technical Achievement Academy Award, the John Grierson Gold Medal and Lightfair Technical Innovation Award.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview 20th Anniversary: Founder Phil Askey on the first ten years

26 Dec

As DPReview enters its 20th year of publishing, we spoke to the site’s founder, Phil Askey – DPReview employee #1. In this interview, Phil remembers the first ten years of DPReview’s development from its original conception, through a period of massive growth, to the site’s acquisition by Amazon.


Pre-DPReview, what were you doing?

Before starting DPReview I was the lead developer for a software company based in Singapore, working on a web based business-to-business hospitality marketplace. The “world wide web” was still very new in 1998 but I had already established a sort of tech blog (before they were called that), mostly at that time discussing the Palm Pilot and similar electronic PDAs. The rough design for the PDA site ended up being the foundation for DPReview (including the love / hate black background).

How was the idea for DPReview born?

My passion for photography began with my first proper camera, a gift from my parents, an Olympus OM-10 with a 50mm F1.8. At the end of 1998 digital cameras were just starting to appear. I took an interest immediately, being a bit of a geek, loving my tech toys and being into photography.

I created a new sub-domain on my “blog” called photo.askey.net (props to anyone who can remember that) and began writing news articles about digital cameras, at that time quite a lot of my news leads came from Japanese digital camera sites like dcwatch. My first camera review covered the Canon Pro70 (at that time a groundbreaking product), supplied to me by the marketing department at Canon Singapore and the first proper DPReview review was born.

When you first started DPReview, what did the setup look like?

In the very early days, in our Singapore flat it was a very makeshift setup: a few fixed tables, tape marks on the floor, items arranged in a certain way, home printed charts, etc. Nobody was really trying to test digital cameras in a repeatable way, and that was my aim, to have tests we could apply over and over and get the same results (within a margin of error). When we returned to live in London in early 2000 we had a more permanent setup with a cove for product photography, permanently mounted professionally printed charts, studio lights and so on.

The DPReview homepage complete with its ‘love it or hate it’ black background, in November 1999 – just under a year after the site was launched.

From 1998 to 2008 all of the backend software (i.e., the site code), the testing, news, reviews, forums management was my job. My wife, Joanna, handled the growing load of actually running a business (paperwork, bills, invoicing) as well as being a fantastic photographer and model for the reviews. Many of the better gallery photographs from those days were taken by her. Simon Joinson joined us in mid-2004 contributing news and reviews (click here to check out Simon’s first review). At the beginning of 2008, after the Amazon acquisition, we established a larger office in London and grew the team out.

What was your ‘mission’ for DPReview?

Initially I had no particular expectations but as traffic grew I knew we must have been doing something right, and in hindsight I would pick out these four key values.

First, always be honest. Write a review truthfully as though you’re writing it for a family member. If a product has an issue, talk about it. Manufacturers may not like to hear it but it’s the right thing for the buyer and in the long term for the manufacturer. I also had a strict no-advertorial policy.

Second, try to be first, and most in-depth. Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews. This became a little easier later as manufacturers provided us with pre-production units before launch.

Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews

Third, always listen to your community – I spent hours and hours analyzing logs and trying to understand how people used the site. I scrapped many an idea when it didn’t work, and added lots of features based on user requests. We always had an open “feedback” system which I believe to be invaluable.

Finally, build a strong relationship with the manufacturers through mutual respect. This might seem slightly counterintuitive for an independent review site but as long as your testing is rigorous and your writing is honest you will earn respect on all sides.

What were the biggest challenges, running DPReview in the early days?

The single biggest issue back in those days was simply technical; scaling the servers to cope with the massive growth in visitors. A good 30% of my time was developing, optimizing and maintaining the site code and the servers. There weren’t many “small businesses” running servers out of hosting facilities dealing with the amount of traffic we had, and cloud services had yet to be invented.

Also as a small business there is also a lot of pressure to keep the site up. My phone would always be with me and there were many instances of early morning panic getting the servers back up and running.

Phil (left) and his son Kai.

Has anything surprised you about how the digital photography industry has evolved over DPR’s lifespan?

I was pleasantly surprised by how receptive the camera manufacturers were / are to our often critical feedback, this I believe has had a direct influence on the development of certain models. I can think of a few cameras that I can say “it’s that way because we pointed out X, Y and Z on the previous version” or “that’s the camera we always talked about”.

I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise

When did you realize that DPReview had the potential to be very influential?

When we moved back to London in early 2000 and begun working full time on the site, we had already surpassed any other digital camera site in terms of visitor numbers and were being taken seriously by the manufacturers, I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise as we were sharing the trip with many industry veterans. It was I think at that time I realized we had earned enough respect to be taken seriously.

What were those first years of growth like?

Crazy is probably the correct adjective. We went from around 40,000 visitors per month in January 1999 to 600,000 by January 2000, to over 3 million per month by January 2002. By January 2006 we were seeing almost 20 million visitors per month. All this though simply drove us to keep doing more and building the site out.

How did Amazon approach you and how did the acquisition affect DPReview?

Amazon simply emailed me and a long, long conversation began, it wasn’t the first M&A approach we’d had but it was the most attractive, in terms of Amazon’s track record of helping sites at that tipping point (and we were definitely there) to grow without spoiling them. Amazon was by far the best fit for DPReview and we knew their assurances about editorial neutrality and supportive site development were invaluable to growing the site.

After the acquisition we opened an office in London and grew out the staff, creating a whole new studio space and introducing a host of new site and review features.

Announcement of Amazon acquisition (May 2007)

What are you most proud of from those early years?

This question took me the longest to answer, I guess I’m proud that we built up such a loyal and strong community, I put a lot of effort into the forums and I still believe it’s the backbone of the site (remember, back then discussion “boards” were far less feature-rich). I guess today I’m still very proud that we made the right choices at the right time and that Amazon are giving the site everything it needs to continue to be the leading voice for everything photography related.

What are you up to these days, post-DPReview?

These days I’m likely to be found at the side of a race track somewhere in Europe (mostly Italy) supporting my son’s racing career.


Keep an eye on the site tomorrow, when Simon Joinson, DPReview’s general manager during the period when the team moved from London, UK, to Seattle, USA, will share his memories.

Articles: Digital Photography Review (dpreview.com)

 
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Michael Reichmann, founder of Luminous-Landscape, dies aged 71

20 May

We are very sad to report the death of Michael Reichmann, founder of Luminous-Landscape. 

Luminous-Landscape and dpreview.com came of age at around the same time. While we focused on lab testing and measured performance, Michael’s perspective was always that of a passionate photographer. 

Michael Reichmann, founder of Luminous-Landscape has passed away aged 71. Photo by Nick Devlin, used with permission.

I was a keen reader of Luminous-Landscape before I discovered DPReview (shhhh, don’t tell Phil), back when it seemed like almost every month brought a new paradigm shift in the quality of digital cameras. I still remember poring over Michael’s now-famous (and still controversial) study of Canon’s EOS D30 against Fuji Provia, in which he concluded that grainless 3MP digital files were in most respects superior to film.

“Life is short, death is long and
I’m busy enough as it is”
 
Michael Reichmann, on exhaustive side-by-side testing

Michael was a towering figure in the North American photography press, and a natural writer. His humility and sense of humor shone through his work on Luminous-Landscape and made him wonderful company. He’d seen it all before, and didn’t take any of it – certainly not himself – particularly seriously. In failing health, Michael spent the last year of his life focused on the Luminous-Endowment, a charitable fund that he set up to benefit photographers across the globe.

Just last week I enjoyed (re) reading his excoriating 2004 ‘non-review’ of the Contax N Digital, and I almost emailed him to see how he was doing. I wish I had. Michael will be missed by all of us at DPReview.

Articles: Digital Photography Review (dpreview.com)

 
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Q&A with Lytro’s CEO and founder on the Illum

26 Apr

Lytriv2.jpg

Before the launch of Lytro’s new Illum camera, we spoke with Lytro CEO Jason Rosenthal and Founder and Executive Chairman Ren Ng about the the new product, to find out what’s been added and improved over the original Light Field Camera. Learn more

News: Digital Photography Review (dpreview.com)

 
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Flickr Founder Stewart Butterfield on Flickr’s New Redesign

28 May

Founder of Flickr Likes the New Flickr


Thomas Hawk Digital Connection

 
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iStockPhoto Founder Re-Creates Two-Tier Stock Industry

14 Apr

stocksy

When Bruce Livingstone launched iStockPhoto thirteen years ago, he split the stock industry. For the first time, enthusiasts — people with no connections to the photography industry, no professional training and no experience of creating for a market — could upload their photographs and make money from their talent. The result was a revolution. While established professionals were able to continue selling through Corbis and Getty (although against greater competition), engineers like Sean Locke, one of iStockPhoto’s first contributors, were able to quit their day jobs, buy a consumer DSLR and make livings, sometimes good livings, as microstock photographers. Other enthusiasts with careers they didn’t want to leave have been able to make a bit of extra cash shooting and uploading at the weekends.

That revolution has been grinding to a halt. Multiple platforms have followed iStockPhoto but the sale of the site to Getty in 2006 for $ 50 million allowed it to outgrow its copycats, become the biggest microstock site on the Web — and slash commissions until they were as low as 15 percent. Yuri Arcurs, arguably the world’s most successful microstock photographer, quit iStockPhoto last year to focus on direct sales, claiming that the prices and commissions were now too low to cover the costs of production. In March, iStockPhoto expelled Sean Locke after he pointed out on his blog that the company was giving away its photographers’ images to users of Google Docs.

Now though, a new revolution may be under way, and once again Bruce Livingstone is at the center.

bruce-livingstone

Profit-Sharing for Photographers

Stocksy, Livingstone’s latest enterprise, is a new stock site that takes a completely different approach to delivering images from photographers to buyers. Like many sites, photographers will receive 50 percent of the sales price of their photos but they’ll also receive 100 percent of the price of extended licenses and a share of the profits the company generates.

That’s because Stocksy is a photographer’s co-operative, owned and operated by the people who create the photos the site sells. Instead of generating profits for a corporation, Stocksy will distribute its profits to its contributors.

The idea came from photographers themselves, disappointed at the structure the industry had developed.

“Photographers came to visit us at our house in Los Angeles. They all said the same thing. They wanted more. They were disillusioned and frustrated with the state of affairs in the industry — artists were not fairly paid for the work they were creating,” Livingstone explained to us in an email from British Columbia. “We started talking about what would make a better business model, what would give photographers ownership, a decent royalty and a voice in how the business was run. Cooperatives in rural Canada and co-op structures are well developed and quite advanced as they have been around for a long time supporting group farms. The co-op keeps enough cash to operate, but the collective owners get all the money.”

Stocksy currently has 250 members. Most are photographers but some are employees and directors who provide advice. Each year, the co-op will hold an Annual General Meeting at which shareholders will vote on the running of the business. Once the firm is profitable, 90 percent of profits will paid to photographers with 10 percent going to employees, directors and board members.

That revenue-sharing may be unique in the world of photography but it also marks another change in the development of the stock industry. While anyone can upload an image and make it available for sale, following a review of the photo, on a microstock site, Stocksy maintains much of the exclusivity familiar to photographers who have tried to sell through Corbis or Getty. Photographers can apply to sell through Stocksy but the co-op will only invite photographers to join if their images match the co-operative’s aesthetic criteria. Stocksy is looking for photographers who can demonstrate a style and workflow that is consistent and unique, and who produce images that go beyond “too-perfect models pretending to do things, floating in white space or anything that appears to be forced conceptually.”

If that means that the site will have a relatively small collection, that’s fine with Bruce Livingstone.

“Something that’s really important for us is not to compete with any other agency on numbers of images or numbers of photographers,” says Livingstone. “That game is old and already has a winner. The size of the collection creates too much competition for photographers, dilutes earnings and disappoints buyers when presented with tens of thousands of bad results. The bigger the collection the worse the experience for everyone. It becomes unmanageable and inexplicably overwhelming for the consumer…. Each picture found on Stocksy should be inherently useful and special.”

Prices for the images are generally higher than those found on microstock sites, with RF licenses for small images starting at $ 10 and rising to $ 100 for X-Large photos of 2829 x 4242 pixels. Licenses for unlimited print runs or resale products cost even more. Livingstone, though, is confident that buyers will be willing pay a premium not just for the higher quality of the site’s curated collection but because supporting a sustainable model for photographers is the right thing to do.

The Return of the Two-Tier Stock Industry

Despite deliberately avoiding direct competition with iStockPhoto’s giant collection, Stocksy is clearly intended as an alternative to the microstock site that Livingstone created. Asked how he felt regarding the way the site has developed since its sale to Getty, Livingstone responded with a mixture of admiration at the growth Getty was able to create and disappointment at what they did with that growth.

“Getty grew the revenues on iStock exponentially. I couldn’t have done that alone. It’s what happened to iStockphoto after I left that is really at issue. The focus on corporate profits, not on fair pay for photographers is what we believe is problematic.”

If Stocksy succeeds, it will go some way towards solving that problem. But the co-op’s exclusivity means that it can only solve the problem partially. Livingstone recommends that photographers who want to succeed in stock find a niche, specialize and commit to shooting it full-time. Enthusiasts who want to remain part-time will have to stick with sites like iStockPhoto, creating a two-tier stock industry made up of committed professionals working and selling together, and part-timers accepting the small fees delivered by microstock sites.

“If that’s how it plays out,” says Livingstone, “then I think that’s fine.”


Photopreneur – Make Money Selling Your Photos

 
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iStockphoto founder launches Stocksy, an artist-owned stock photo service

27 Mar

homepage-logo.png

Bruce Livingstone, founder of iStockphoto (which has since been acquired by Getty Images), has launched Stocksy, an artist-owned stock photography co-operative. Under its licensing terms, photographers receive 50% of each royalty transaction. Each photographer also receives equity and is entitled to a share of the co-operative’s annual profits. This launch comes hot on the heels of a recent and controversial deal between Getty Images and Google, in which Google Drive’s image vault gives public access to over 5000 Getty images with very little compensation to the photographers.

News: Digital Photography Review (dpreview.com)

 
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