Anne Geddes the commercial route


One thing that I have been thinking about a lot is what I am going to do when I finish this project. How am I going to make money, what job will this get me? So this leads me to look at current photographers who make money from selling there work to the public. Previouse artists I have research such as Tunick live for there work and got sponcers early on to exhibit there work to sell it.

Anne Geddes


Anne Geddes is an extreamly famous portraite photographer who specialised in babies. There are many other photographers who I could look at but I seam to find Geddes every where, her work is so commercial, available to buy on calanders, posters, screen savers, framed pictures, mugs infact I wonder if there is not a commercial outlet this photography can be used for?

Her work is commercial, it sells! She is successful because she is everywhere, her work is asthetically pleaseing and the models often actually come to her.

 Yet she is still slightly contravercial, one blog I found relating to her was buy a guy who worked in abook store. He was confronted by a potential customer upset by Geddes images refering to them as child porn.  A section from this article:

Raise your hand if you think you’re looking at child porn.

Back when I worked at B. Dalton, I only saw my manager lose her composure with a customer once. Some fuckwit came up to the counter foaming at the mouth with an Anne Geddes book in his hand. He demanded we remove all copies from the shelves immediately. “Anne Geddes is child porn!” he proclaimed.

My manager gave him a dumbfounded look. He’d struck both of us speechless. And he continued to rant while we attempted to pick our jaws up off the cashwrap, pompously turning pages and pointing to damning pictures of nekkid bebbes lying in fields of roses and other such horrors.

Now, I’m no Anne Geddes fan. Nauseating cute has never been my forte. Babies, in my world, are sticky squalling bundles of misery best left to others to ooo and ahh over. People look at Anne Geddes and think, “Adorable!” I look at her photos and think, “I wonder how long it took for them to get the kid to stop screaming and look precious.” But the last damned thing most of us would think is that such images were pornographic.

My manager and I looked at each other, both thinking the same thing: Anyone who would see these photos as child pornography needs some serious counselling.

She tried sweet reason with the fuckwit. “These are cute babies, there’s nothing sexual about this, look, most of them are in little costumes.” To no avail. He continued demanding we remove the books. He was going to write to our corporate office, and the newspaper, and probably the attorney general, and let them all know we sold kiddie porn.

My manager lost it at last. Her face turned red. “We do not censor books,” she informed him in tones that would have flayed a normal individual alive. “There is nothing wrong with Anne Geddes. We’re not removing those books, and I want you out of this store immediately.”

He redoubled his rants. She finally exploded. “If you don’t leave now, I’ll call security and have you removed. Do not ever come back here.”

She marched him out the door, and returned to me fuming. “I can’t stand people who try to censor books,” she announced.

Well, neither can I. I even went so far as to buy some Anne Geddes kitsch for family members by way of protest.

Read the full article at the following link:


I want my work to fall somewhere in between being so artistic that it can only be appreciated by thoes who think long and hard into art and the type of work that can be printed on mouse mats and in calanders.

In doing some basic research on Geddes I came across an excellent artcial which interviews Geddes talking about her owrk, inspirations and reasons for specialising in babies.

An exert from the the article:

Mention the word “baby” in the photographic world and one name immediately springs to mind: Anne Geddes. In just over a decade, this Australian-born entrepreneur has gone from running a portrait studio in New Zealand to becoming perhaps the world’s preeminent photographer of babies. She has published a wide array of books, greeting cards, calendars, datebooks, stationery, photo albums and recently launched her own line of baby clothing. According to her U.S. public relations firm, her work is published in more than 50 countries and her books have sold more than 15 million copies worldwide. “You’ve got to be very organized to do babies,” says this mother of two teenage daughters. “By the time they are in the studio, most of the work is done.” In this interview, conducted via the Internet because of Geddes’s demanding schedule, you will find out just how she does it..

Photo Insider (PI): When did you get started in photography?

Anne Geddes (AG): I had always loved looking at images. Unfortunately, there were no photography courses at the school I attended, and I never considered that career for myself. I didn’t even think it was an option until I was 25 and in a position where I could make a change. It was then that I decided to give photography a try.

PI: How did you come to specialize in photographing babies? Why are they special to you?

AG: The whole reason I got into photography was because I thought the way babies and young children were portrayed was unnatural. It reflected the old-school mentality that said you photograph a baby on a sheepskin rug in its Sunday best. Babies are my inspiration and my joy. In them, I see innocence and the precious possibilities of each life unfolding. In my images, I hope to convey a measure of the beauty that exists in all children.

one part I found particulary useful was towards the end when she gave advice on how to be successful and succeed as a professional photographer.

PI: What advice would you give to someone who wants to become a professional photographer today?
AG: Never give up. Be an individual and find your own style. Look at the great photographers in the world today and you’ll see maybe a dozen or so whose work is instantly recognizable…you can say, yes, that’s Annie Leibovitz, Arnold Newman, Herb Ritts, or Robert Mapplethorpe. In a word, “signature.” I believe that no one can ever give you an eye for photography. There are people who can “see” and it’s a gift. By observation and study, you can learn the technique, but you must reach inside yourself to find the emotion, the essential element for a photograph to make a difference. It’s a wonderful, satisfying, and fulfilling way to make a living. I couldn’t think of anything better.


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