Posts by: Suzanne Sease

The Art of the Personal Project: Geoff Levy

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is:

Geoff Levy

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How long have you been shooting?
I’ve dabbled with a camera for six years, but seriously shooting with professional intention for three.

Are you self-taught or photography school taught?
Self-taught. I studied cinematography and a lot of the principles applied, though.

With this particular project, what was your inspiration to shoot it?
After assisting a friend on a shoot for a famous cake chef, I was asked to throw away about forty cakes. I was pretty ticked about all of the wasted food – even after giving away a dozen there was still so much going to waste. Since they were dumpster bound regardless, I figured I’d “recycle” them via preserving them in photographs. It has a subtext about New York city’s waste and inefficiency.

How many years have you been shooting this project before you decided to present it?
The entire project was shot over two months. These cakes had a shelf life.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Since I’m shooting for my own self, the only governing rules are my tastes. When shooting portfolio work, you have the intention of adding a brand to it. Those projects have commercial contexts – but it’s freeing to make something that makes you happy. And that joy comes through, somehow.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
This project was first released bit-by-bit on Instagram.

If so, has the work ever gone viral and possibly with great press?
The momentum of #CakeAngry hashtag got me featured on some great sites/accounts, i.e. Refinery29, NotCot, Phoblographer. Once it got featured on a couple of sites, a lot of photography, art and food blogs reposted.

Have you printed your personal projects for your marketing to reach potential clients?
I’m making prints of the work but for a gallery showing. I’m currently not making mailers, though that’d be a good idea.

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Geoff Levy is a photographer and filmmaker, transplanted from Ft. Lauderdale, FL to New York City. Driven by his love for cinematography, abstraction of narrative and a desire to bridge the gap between art and commerce, Geoff creates motion and still works that capture heightened fictional experiences that feel intimate and natural. He is currently working with advertising giant, Ogilvy & Mather, while producing personal projects.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Diana Zalucky

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Diana Zalucky

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How long have you been shooting?
More than half my life. I picked up a camera in high school and haven’t put it down since.

Are you self-taught or photography school taught?
I studied photography at the Art Institute of Fort Lauderdale and from ages 21 to 29, I was shooting everything from advertising campaigns to celebrities for Disney. My experience working there was the education of a lifetime. This summer will mark my 3 year anniversary of having my own business!

With this particular project, what was your inspiration to shoot it?
I grew up in the US Virgin Islands and have always had a fascination with extreme cold weather. I like to read all the books about people losing limbs in the mountains and all the great epic adventure stories that go along with that lifestyle. I also have a strong fascination with people and the art they create. And by “art,” I mean whatever it is a person does that they love. I may not understand what you are doing, but I do understand that unwavering passion and need to create as if it’s your only choice. To be able to find that connection with others is very special to me.

My inspiration for this shoot came after reading a magazine in my doctor’s office. It was a small feature in Oprah about this amazing woman, Zoya Denure, who left the modeling world to become a dog musher in Alaska. I decided to look her up online and we planned an initial visit for the Iditarod a few months later. In a bittersweet moment, I had to cancel my trip for a big ad job with a dream client, but we stayed in touch rest of the year and planned my visit for a different race almost a year later.

Initially, I was planning to photograph Zoya, but her baby became sick and numerous dogs needed to be cared for at their kennel. Instead, I documented her husband, John Schandelmeir for the race. I really believe that everything works out as it’s meant to when you keep an open mind and expect very little. During my time with Zoya’s family I realized there is a bigger story that I want to tell, and I want to tell it in a way that’s far beyond my comfort zone. I hope to begin what I call Part 2 later this year.

How many years have you been shooting this project before you decided to present it?
I shot this project last month and made my first selects just for you!

How long do you spend on a personal project before deciding if it is working?
If the subject matter or experience excites me and keeps me curious, then I know it’s working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I don’t feel a difference. I have to always be shooting or I’ll go crazy. Anytime I’m shooting and completely surrendering to the moment, I feel makes it personal and if the images make it into your portfolio, then even better!

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use Instagram all the time and then link it up with Facebook and Tumblr.

If so, has the work ever gone viral and possibly with great press?
Not yet!

Have you printed your personal projects for your marketing to reach potential clients?
Thus far, all my promos have included a mix of commercial and personal work. I would like to do a special piece focusing on the images from this project.

Artist Statement:
January 2015 I spent a week with Crazy Dog Kennel, a competitive racing kennel dedicated to the training and rehabilitation of unwanted sled dogs. These particular selects are from the 4 days I spent with legendary musher John Schandelmeir. I was both shooting and helping as a dog handler during the Copper Basin 300, the toughest 300 mile race in Alaska. The Copper Basin is known as a mini Iditarod because it’s a good way for mushers to test the dogs’ endurance. My goal was to document the devotion, hard work and connection this team has with one another and experience a slice of the dog mushing lifestyle.

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Diana Zalucky is a photographer/director hailing from St.Thomas, US Virgin Islands, who is happy to call Los Angeles home. Her passion and energy on set brings out the best in people, resulting in organic images that are filled with spirit.
An explorer at heart who has travelled on assignment to over 30 countries, her images inspire viewers to be adventurous and enjoy life to it’s fullest. She gets giddy over new passport stamps, beautiful light and good food. Diana loves narrating on set, playing in the mountains or ocean and finding the good life wherever she goes.

Diana Zalucky is represented by Held & Associates http://www.cynthiaheld.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Tosca Radigonda

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Tosca Radigonda

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How long have you been shooting?
I took a photography class when I was 14 and never stopped. I started shooting editorial in Milan in the late 80’s and then commercially in The States in 1994.

Are you self-taught or photography school taught?
I have a BFA from the Academy of Art in San Francisco. I feel like my style evolved directly from my experiences in Italy. When I started out testing in Milan I did not have a budget to purchase or rent equipment, so I learned how to shoot everything using natural light.

With this particular project, what was your inspiration to shoot it?
I went to Milan when I was 22 with dreams of becoming a fashion photographer. It was a time before cell phones, or sharing images on social media and the world was a lot bigger back then. My ideas of Italy were from traditional postcard images or from my own Italian American upbringing. Once I got to Milan it was an entire other world! After navigating my way through the culture shock, and finally surrendering to Italian lifestyle I fell deeply in love with Italy. I thought I would stay for 6 months but ended up staying for 6 years. During my time living in Milan, and after when I would go back I found myself completely submerged in the feeling and charm of Italian lifestyle.

How many years have you been shooting this project before you decided to present it?
Seven years ago a close friend from Milan asked me to shoot a very personal cookbook she wrote about her family and that’s when I started to put together this project. I always loved the images but was unsure about how they would be received since my work is children’s lifestyle. I started out by including a few Italy images in my portfolio, and that was followed by people asking to see more.

How long do you spend on a personal project before deciding if it is working?
Most of the time it is immediate, but I also love how shooting personal projects sometimes gives us the luxury we need to step back, revisit and really have a look.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
The subjects are different but the approach is the same. Either way, I like to be an engaged fly on the wall and photograph simple beauty. I started out shooting fashion the same way, which evolved into photographing babies and children, so I guess you never really know where a project might take you creatively.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I am a newcomer to social media, but I really enjoy Instagram and the loose feel of posting daily images.

If so, has the work ever gone viral and possibly with great press?
No my social media experience is still new but I can imagine that would be exciting.

Have you printed your personal projects for your marketing to reach potential clients?
I recently put together a handsewn book of the Italy images, and I love to share this book with art buyers and creatives after I show my portfolio. I usually ask if they have time and would like to see a personal project. I post the stories on my website, and send out emails when there is a new project.

Artist Statement-

The time I spent in Italy on my own as a young photographer, learning my way in challenging circumstances was the most valuable experience I ever could have had. I wanted the images in this project to convey the love, passion, and closeness I feel for this beautiful country.

Bio-

Tosca’s rewarding experience began as a young photographer in Milan shooting fashion. Yet in a beautiful swirl of fate, an art director, sensing her ability to capture the magic of children, gave her an assignment that marked a dramatic turn in her career. Tosca is based in Austin, Texas where she lives with her husband and son.

http://toscaradigonda.com
studio@toscaradigonda.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Ted Catanzaro

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Ted Catanzaro

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How long have you been shooting?

I’ve been shooting photos since high school. My parents were very supportive about photography. One of the bedrooms of our house was converted into a darkroom and there were always cameras and photo magazines lying around the house. Our encyclopedias were the Time Life Library of Photography. My brother went to Ansel Adams’ workshop in Yosemite for a couple of summers when Ansel was still alive. I remember my dad talking to him on the phone a few times when we were building our darkroom. I had an incredible photo teacher at Palisades High – Rob Doucette. A bunch of kids in his classes went on to become professional photographers. I still keep in contact with him on Facebook and see him surfing a couple of times a year.

Are you self‐taught or photography school taught?
I learned the basics about photography developing, printing, and the history of the medium—in high school, and I did my undergraduate and graduate work in fine art at U.C.L.A . Again, I was lucky to have great instructors at UCLA like Mike Kelley, Chris Burden, Roger Herman, and John Divola. Robert Heinecken was the head of the photo dept. We rented a loft from him in Culver City. During my years at UCLA we had visiting lecturers like John Baldassari, Lewis Baltz, and Gary Winogrand.

With this particular project, what was your inspiration to shoot it?
Originally, the blog was a way of posting images for friends and families, just to share what we’ve been up to, what it’s like to have five boys, and it sort of became a creative vehicle for me. The writing along with images sort of developed into the life of the blog. We put a link for it in our website just because it was the easiest way to navigate to it.

The blog is the first category I go to on anyone’s website. I’ve had my blog for about seven years now and there are certain themes and stories that are recurrent. They usually involve being a dad/husband, coffee, music, surfing , gardening, cooking, camping, or going to Kauai.

How many years have you been shooting this project before you decided to present it?

I’ve had the blog since 2008. I try to update every week or so. I try to stay away from direct work postings or behind the scene stuff. If I do post about an assignment I try to keep it more personal.

How long do you spend on a personal project before deciding if it is working?
That’s hard to say, The most popular project on our website is our Holiday Card section. It features our holiday cards from the mid-1980’s to the present.

I’ve got a couple of other projects I’m working on right now, like my surfer tailgate portrait project, a Homeboy/Homegirl story, my Punk rock project, and my Dead Rat project. All of these get some airplay to some extent on the website, Insta, Tumblr. Etc… and I’ll see where they go.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?

It’s different, and I’d be kidding myself if I thought we actually got booked for shoots based on the blog, but every client we work for tells me how much they love reading the blog and looking at the photos. Ever since then I’ve geared the portfolio/ website to my personal work. Our new website design makes it really easy to create a new project or story.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?

I use Instagram, Facebook, and Tumblr and spend way too much time on all of them. There’s something weirdly satisfying (and perverse) having my images being stored on a phone in someone’s pocket halfway around the world.

If so, has the work ever gone viral and possibly with great press?

No, I wish, but it’s really rewarding when someone says I love your blog, I spent an hour on it, or, that last blog posting made me cry.

Have you printed your personal projects for your marketing to reach potential clients?

Yes, most of our promos/marketing uses our personal images from our blog.

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Ted Catanzaro is the Ted of Ted & Debbie, a photography production team based in Los Angeles. They have 5 boys and 2 guinea pigs.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Mike Marques

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Mike Marques

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How long have you been shooting?
12 years professionally

Are you self-taught or photography school taught?
I am a graduate of The New England School of Photography in Boston.

With this particular project, what was your inspiration to shoot it?
Personal work is what keeps me going so I am constantly thinking about topics and concepts. At that time, I wanted to have a Connecticut focused topic that needed more attention than it was getting. The National Multiple Sclerosis Society, CT Chapter had been a client of mine for a couple years and I attended one of their fundraising events. I came across a book, published by the national chapter, that had portraits of people across the country diagnosed with MS. Not one person was from Connecticut. The number of diagnosed CT residents was about 6500 then.

I contacted the chapter about creating a book on a local level. At first, there was push back because publishing a book costs money and they weren’t interested. I had to change my approach. All I asked was for them to let me photograph some residents to show them where I was coming from. They started to understand my view of wanting the local community to see that MS is close to home. After meeting with the communications director a few times she agreed to reach out to some residents.

I personally did not have any connection to the disease and was not too familiar with it. There is no cure and it affects everyone very differently. I knew this would present its challenges and force me to think outside of my wheelhouse.

How long do you spend on a personal project before deciding if it is working?
At the beginning it was just about creating a few portraits. We put the idea of a book aside and just focused on one resident at a time. The MS chapter came up with lists of names of who could be photographed and we discussed which stories which raise the most awareness. I spoke directly with my subjects before photographing them and talked about how MS has affected them and what they have done to still live the life they want to live. MS affects people differently both physically and mentally so the approach to each portrait was new every time. One of the earlier portraits was of Karen Guarnaccia (in wheel chair, sitting in front of sliding glass door). MS has had a large affect on her physically – some days getting out of bed was not an option. The final image was Karen on a good day. I arrived at the MS office a few days after the shoot with a 16×20 print of Karen. The director finally realized the type of images I wanted to create and the impact they could have in our community. We started meeting on a regular basis to discuss possible subjects. We reached out to well over 100 people, many of which did not want to take part for various reasons. At first we set the number at 25 portraits. When we hit 25, there were some things the images had not addressed so we kept moving forward.

How many years have you been shooting this project before you decided to present it?
We started shooting in September of 2010 and the last portrait was taken in December of 2013. We sometimes went a month without photographing anyone. Between me traveling for assignments and the chapter having busier times throughout the year, scheduling was often difficult. Also, we did not shoot much in the summer months due to the most common symptom of MS being heat sensitivity.

Something I decided from the very beginning was that whatever was to become of this project, the final images needed to be shown together as a whole. There are so many stages and severities of the disease that one image alone could not tell the whole story. This idea led us to word “mosaic” – each portrait is strong on its own though everything together reveals an even bigger picture. Word started to get out about the project so we did release a few images that could be used for press and social media.

In February 2014, we had a gallery opening to reveal i am a MoSaic and to show gratitude to those who took part. Many had not seen their portrait until the day of the gallery opening. Some people’s MS had progressed since their portrait was taken. There were many tears, some of sadness and some of joy. It was a wonderful day and a truly humbling experience.

Since the original show, the images have been on display at the Connecticut State Capital in Hartford, The Grove – a co working space in New Haven, CT, and the Aetna world headquarters. I am currently working on putting together a fundraising event in Stamford, CT (just outside NYC) for March 2015. The images would be on display a few weeks before and after the event.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Portfolio shooting has more of an initial direction and focus you are going for. I was ok letting this project take shape on its own without thinking too much about it. I wasn’t concerned as much about the photography but more about the communication and understanding going into a shoot. I do not work with models often, I photograph real people. With any portrait, there needs to be a level of trust between myself and my subjects. Putting something like MS in the middle of all of that presents a whole other element I don’t deal with often. Working this way changed the way I shoot – for the better – and helped me grow as a photographer.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I usually post to my blog and that feeds into my Facebook and Twitter. There were numerous production and behind the scenes images throughout the years as the work was being created. Once the project was complete, I had a routine to post a few of the final images per week for a little over three months.

If so, has the work ever gone viral and possibly with great press?
We did get a good amount of traction from our initial social media outreach. Through that, I was able organized an NPR panel with three of the subjects and myself. I did a couple morning TV shows as well as numerous print media around the state. The MS Chapter continues to use these images for marketing and raising awareness in all media.

Have you printed your personal projects for your marketing to reach potential clients?
I have created a promo piece specifically focused on i am a MoSaic. It is a 8.5” x 5.5” handmade book with images from the project and the story behind it. I also built a website dedicated to the project: www.iamamosaic.com

Project Statement:

i am a MoSaic is a collection of images portraying Connecticut’s many faces of multiple sclerosis. It is collaboration between photographer Mike Marques and the National Multiple Sclerosis Society, Connecticut Chapter. As a dedicated volunteer and supporter of the National MS Society, Mike has traveled around the state for nearly three years capturing residents living life as fully as possible in the face of MS. More than 40 residents of all ages, races, genders, and abilities were photographed. This is a unique and moving portrait of the many ways in which people live with this potentially debilitating disease. Together, the images become a composite picture of hope and resilience.

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Mike Marques is a portrait and lifestyle photographer based in West Hartford, CT. The images he creates are the result of the trusting relationships he builds with his subjects. When he’s not traveling on assignment, he can be found cycling the backroads of Connecticut or on a hike with his cattle dog. His clients include Connecticut Magazine, General Electric, Health Dialog, United Bank, World Wrestling Entertainment.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Mark Laita

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers. http://www.lebook.com/marklaita.

Today’s featured photographer is: Mark Laita

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How long have you been shooting? 
I starting photographing rock bands that would come through Chicago when I was in high school in the late 70’s. I started shooting advertising in the mid 80’s.
 
Are you self-taught or photography school taught?
Self taught, or by assisting great photographers, but I went to photography school as well.
 
With this particular project, what was your inspiration to shoot it?
I love the cultural uniqueness of Mexican wrestling. I can’t say I love the wrestling itself, but documenting these large, masked Mexican men in tights and capes can’t be beat.
 
How many years have you been shooting this project before you decided to present it?
I haven’t really presented it yet. When I feel I’m finished I’ll show it to publishers.
 
How long do you spend on a personal project before deciding if it is working?
The way I work is I’ll shoot things and some of them will show potential as a series and I’ll keep shooting until it feels done. With Serpentine, it took more than ten years before I decided to expand the 5 images I did in 1998 into a series of hundreds of images.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
They often overlap, but generally, advertising clients still need to see some images that make sense commercially. A mix of both seems to work. It shows that you can be very creative, but can also do what the client wants, if needed.
 
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
No. I’ll pursue a publisher if the project has potential as a book.
 
If so, has the work ever gone viral and possibly with great press?
When a popular blog covers one of my books it can quickly spread to many others that want to feature it. That’s happened with my book, Created Equal a few times now. It’s crazy for a few weeks and then it fades down.
 
Have you printed your personal projects for your marketing to reach potential clients?
I’ve used some non-commercial images in my self promotion and later decided to expand on it and turn it into a larger body of work. 

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Mark Laita is a commercial and fine art photographer based in Los Angeles. His work has been featured in campaigns for Adidas, Apple, Estee Lauder, Mercedez-Benz and Van Cleef and Arpels. Mark has had three books of his photographs published; Created Equal, Steidl 2009, Sea, Abrams, 2010 and Serpentine, Abrams, 2012. His work has been exhibited at galleries in the U.S. and Europe.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Marc Ohrem-Leclef

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com.

Today’s featured photographer is: Marc Ohrem-Leclef

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How long have you been shooting?
I have been actively photographing since the age of 16.

Are you self-taught or photography school taught?
Both – I taught myself most technical aspects, and then I studied Communication Design in Darmstadt, Germany. Those studies were more important in terms of learning about art-history and the formal education of the eye.

With OLYMPIC FAVELA, what was your inspiration to shoot it?
Since the mid-nineties I have pursued work that focuses on portraits of communities, whether they are formed by blood-lines, social circumstance or cultural movement, all in context of the ideas of ‘place’ and ‘home’: Which elements play part in building the construct we call ‘home’ like landscape, communal and personal history, type and fabric of the surrounding community.

Based on these interests I wanted to examine what motivates the residents in 13 of Rio de Janeiro’s impoverished communities who are facing evictions from their homes to fight so hard to stay in their homes and communities.

The result are two bodies of work: One is a series of portraits of residents in front of their homes, many of the marked for demolition by Rio’s Housing Authority SMH with spray-paint.

The other is a series of performative images – here I directed the favela residents to pose for me holding emergency flares to create a visual representation of their struggle and resistance while using a gesture that is also universally associated with liberation, independence and celebration.

How many years have you been shooting this project before you decided to present it?
It is an ongoing project – I started researching it in spring 2012.

How long do you spend on a personal project before deciding if it is working?
The decision making process is fairly fast – either it works or it doesn’t, for me and outside viewers. I tend to spend more time on research before I begin a project these days, and it’s working for me.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I do not think the difference should be too great, in terms of a sincere commitment to my subjects. Of course the settings are different. But if you don’t connect to the vision, whether it is based in reality or it is a carefully produced environment, the results won’t be satisfying.

I immerse myself in a certain environment to capture my subjects naturally.

In this respect the images of residents holding the torches are a new approach that allows both my subjects and me to take an active role in the making of the images.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
All the time .. it’s fun!

If so, has the work ever gone viral and possibly with great press?
For OLYMPIC FAVELA it has certainly happened.

Have you printed your personal projects for your marketing to reach potential clients?
I have, yes. I think it is important to strike a balance between showing personal work because it to inspire creatives. But of course you need to be able to satisfy the clients’ wish to see you can produce images in a production-setting as well … .

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Marc Ohrem-Leclef was born in Dusseldorf, Germany, 1971. After working as an EMT and interning with a regional newspaper, Marc studied Communication Design at FH Darmstadt completing an extensive photography-thesis on life in rural Jamaica. Since the mid-nineties he is based in NYC. Marc’s work has been exhibited in Germany and the U.S., and has been published in numerous international publications, most recently OLYMPIC FAVELA, published in 2014 by DAMIANI/ARTbook.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Jennifer Whalen

- - Art Producer

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Jennifer Whalen because I saw an old soul within an emerging talent. Jennifer has the eye, the skill and the production chops of a much more experienced shooter but has the fresh approach of someone seeing things with a new viewpoint. She absorbs information like a sponge and applies it to her work. She’s got what it takes to go the distance.

I always keep my camera close because usually in between shots there are magic moments that happen. I captured something unexpected that I love. 

I always keep my camera close because usually in between shots there are magic moments that happen. I captured something unexpected that I love. 

This shot wasn't planned. We had too many people in the Jeep and she fell asleep in the trunk. I love this shot because it wasn't forced.

This shot wasn’t planned. We had too many people in the Jeep and she fell asleep in the trunk. I love this shot because it wasn’t forced.

Spontaneity. I have a background in photo journalism, so I always keep an eye out for  moments that only last a split second.

Spontaneity. I have a background in photo journalism, so I always keep an eye out for  moments that only last a split second.

Young dads can be hip and stylish, too.

Young dads can be hip and stylish, too.

This photo happened during a look book shoot. The outtakes are usually my favorites.

This photo happened during a look book shoot. The outtakes are usually my favorites.

This was a test shoot, and I couldn't help but take a detail shot of that pocket. She wanted to wipe off the sand from the previous shot and I told her not to. The sand on her legs is my favorite part.

This was a test shoot, and I couldn’t help but take a detail shot of that pocket. She wanted to wipe off the sand from the previous shot and I told her not to. The sand on her legs is my favorite part.

For me, art is about capturing a small part of a larger world. I love to take detail shots.

For me, art is about capturing a small part of a larger world. I love to take detail shots.

Part of capturing a feeling is capturing the fleeting movement.

Part of capturing a feeling is capturing the fleeting movement.

I love being inspired by other people and capture a photo that is truly them. I also like to add in a bit of humor whenever I can.

I love being inspired by other people and capture a photo that is truly them. I also like to add in a bit of humor whenever I can.

I like to take photos that have a graphic quality to them; either in composition or with my subject's body movement. In this case, both are graphic.

I like to take photos that have a graphic quality to them; either in composition or with my subject’s body movement. In this case, both are graphic.

This is an outtake in between shots which quickly became one of my favorites.

This is an outtake in between shots which quickly became one of my favorites.

During our lunch break, I told her to bite it by the corner just to humor me.

During our lunch break, I told her to bite it by the corner just to humor me.

While in Kauai, I noticed that swinging on vines was a natural pastime among friends. I set up a shoot where I did stills and video with these gals because I loved the shapes they made with their bodies while swinging.

While in Kauai, I noticed that swinging on vines was a natural pastime among friends. I set up a shoot where I did stills and video with these gals because I loved the shapes they made with their bodies while swinging.

I had to balanced while standing on the canoe to get the angle I wanted!

I had to balanced while standing on the canoe to get the angle I wanted!

A cup of coffee goes really well with great tunes.

A cup of coffee goes really well with great tunes.

How many years have you been in business?
I have been pursuing commercial photography and video for about 2 years.

Are you self-taught or photography school taught?
I have a degree in both Journalism and Fine Art, but I am a self-taught photographer and videographer.

Who was your greatest influence that inspired you to get into this business?
I don’t find myself having one specific source of inspiration, but I’m always inspired by people who create something out of nothing. For example, my dad is a carpenter, so I grew up helping him and seeing his ideas develop into something tangible. It was a good foundation that helped me to realize, with heart and soul, I can turn my ideas into something rewarding and profitable.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I don’t shoot to get noticed or hired; I shoot for myself and I am constantly searching for that special thing, that weird little moment of simplicity in movement or expression that speaks honesty and truth. I am always trying to be attentive and develop my sensitivity to the world when shooting. After doing that over-and-over again, I end up with a body of work that is constantly evolving. I have an all-or-nothing personality, which pushes me to take risks and put my whole self into my work. Taking risks is about reaching my fullest potential and never staying in my comfort zone. It means never being afraid to try a new idea. If it doesn’t work out in the end, that’s fine, at least I tried. For example, exploring video has made me a stronger still image storyteller and has strengthened my overall artistic vision. When I am shooting personal work, it’s all about leaving expectations at the door. That attitude gives me an open mind and allows me to build off of what I am seeing around me and appreciate the idiosyncrasies of the people I am photographing or filming. Just like with playing music, it’s about tuning into the rhythm of other people.

Do you find that some creatives love your work but the client holds you back?
There will always be times when the images that you and the AD love won’t make the final edit, whether it is due to composition of the photo or the overall satisfaction of everyone involved. When it happens, I don’t spend my energy on being angry or disappointed about that. The client chooses images based on what’s appropriate for their audience. It’s not about me; it’s about collaborating to get what is best for the client.

What are you doing to get your vision out to the buying audience?
I send personal emails, mailers and set-up meetings. A relationship can’t begin until you meet with people in person, so I am a big fan of getting myself in front of people.

What is your advice for those who are showing what they think the buyers want to see?
When I first started pursuing advertising, I spent a year building my commercial portfolio before pitching it. When I started testing, I was under the impression that creatives wanted to see a portfolio that looked like finished ads, so I took photos that resembled what I was seeing in the media. The problem was that it wasn’t my voice. I was creating work based on what I thought potential clients wanted to see. I was trying too hard to make something that had already been done before. Creatives don’t want to see a portfolio that looks like ads. I wished someone told me that earlier. Creatives want to see your unique vision and perspective of the world. I ended up eliminating about 90% of my portfolio and added a new set of images that showcased my voice and my point of view. At that moment, my work started to get noticed more and I was happier with what I was showing. My advice is to not worry about what you think others want to see. Make work that you like and showcase that with confidence.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am always shooting for myself, and if I’m not shooting, I’m thinking about how I want to shoot my next personal project. There will never be a point in my life when I stop shooting.

How often are you shooting new work?
I shoot a new project once a month, maybe more if time allows.

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I’m a lifestyle photographer / videographer residing in Los Angeles.  My approach is to capture life in motion – a feeling of realism.  I live for storytelling, and my work embraces the world for its humor, spontaneity, and adventure.  Whether it is trekking through a frozen waterfall or following adventurers into the heart of a rain forest, new experiences excite me. My passion toward collaboration fuels my momentum for each project. I stay inspired by my subjects’ charisma, idiosyncrasies, and the ability to connect with them in an authentic way.  I have a degree in Journalism & Fine Art from the University of Minnesota, and have been a full time creative ever since.  When I am not photographing, you may find me at my neighborhood’s diner enjoying pancakes for dinner.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Chris Baldwin

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Baldwin because he is a fantastic photographer that can work in any environment. He is really professional, flexible and has a great attitude. He and his crew are a pleasure to work with.

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How many years have you been in business?
13 years. I began as an assistant, and have been shooting full time for the past 4 years.

Are you self-taught or photography school taught?
There were a few darkroom and printing access classes, otherwise self-taught and on the set training.

Who was your greatest influence that inspired you to get into this business?
For me it is more the sum total of many great influences and teachers along the way. I was inspired photographically by National Geographic magazine growing up, and a few of my male mentors were involved with photography.

My Grandfather, and both my Bio and 2nd fathers were hobby photographers. My Dad gave me my first camera, his old Minolta XG7 with 50mm lens. My birth Dad taught me how to develop and print in his darkroom. My uncle has been an artist for as long as I can remember, and continues to be one of my greatest muses.

In my twenties, a photography instructor invited me to help him out on a shoot, and the idea of working in the photography industry became a reality for me.

Over the years, I have had the opportunity to work with a select handful of talented photographers, from Maui to California and NYC. These experiences ultimately inspired me to transition into the business as a full time photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Fresh lifestyle = fresh Inspiration.

My lifestyle is an essential part of my process; it’s a major catalyst for my creativity and ultimately supports me in keeping my inspiration fresh.

These moments: in-between assignments; traveling with my fiancé’ and our dog; other domestic road trips; laughing with good friends and family; hanging with my two Godson’s (4/8 years); international surfing destinations; people; faces; places; vices; and a consistent yoga practice to ring it all out at end of the day. These all trigger that involuntary response in me to grab my camera and take a picture.

Do you find that some creatives love your work but the client holds you back?
I’m not sure a client can ever hold me back, creatively.

My personal experience is that I have the freedom to choose my projects and my response to that project’s challenges and obstacles, regardless of circumstance.

How I relate to the client and/or project is the issue, not the other way around. Most importantly, it’s the client’s dime, and I am grateful to have the opportunity to collaborate and contribute my creative process to their project at the end of the day.

What are you doing to get your vision out to the buying audience?
This year I am working with Jennifer Perlmutter as my marketing consultant. We edited out imagery that best represents my personality and style, created new hard promos, email promos, and PDF portfolios, and built an overwhelming list of applicable creatives, buyers, and brands to reach out to. This marketing campaign, with it’s specific strategy, timing and methods, along with the intention to connect with as many creatives as possible, in more ways than one, is the primary driving force for getting my vision out to the buying audience this year. This spring was the official kickoff, and we have been getting a great response so far.

What is your advice for those who are showing what they think the buyers want to see?
Follow your heart, shoot what you enjoy shooting most, and shoot as much as possible in-between the days you are not hired to shoot or are surfing, haha. Considering how many exceptional photographers there are today, I feel buyers want to see quality not quantity, authenticity, brand identity, unique perspective or style, continuity, energy, movement, emotion, integrity, and a sense of who we are as Artist’s, individual personality’s, and that we will deliver exceptional work when given the opportunity to do what we love doing.

Larry Sultan, a brilliant photographer I had the pleasure to work closely with, once told me that being a commercial photographer alone is not sustainable in and of itself. To be successful in the world of commercial photography, we have to find the Artist within us, and allow ourselves to genuinely and ultimately inspired and driven by our true artistic passions. This is something; I am still exploring today, and most likely will be for the rest of my life.

How often are you shooting new work?
As often as possible I am shooting new work, ranging from commissioned work to personal work, a spec shoot to an afternoon portrait, a surf trip with best friends, a music festival, and snap shots of all the random organic moments in-between.
The frequency of my shooting is more spontaneous than calculated, and ultimately dependent on concept, subject matter, location, and the next time I can step away from the desk and out of bounds, chasing light, capturing life, scoring surf, and seeking Gurus along the path of photographic enlightenment.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Absolutely, I’m not sure photography would be sustainable in the commercial sense, if I were not shooting for myself. My lifestyle is an essential part of my process; it’s a major catalyst for my creativity and ultimately supports me in keeping my artistic talent true. This being said, I am shooting what I enjoy shooting, looking inside more than ever, following my heart, slowing down and letting go of some sort of sense of urgency or rush mentality in my work, allowing myself the dignity of my own artistic process, vigilant personal practice, cultivating peace of mind, laughing, loving, traveling, surfing, shooting and having fun doing what I love to do most.

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Chris Baldwin
2716 3rd street Studio #2
Santa Monica, CA 90405

cell: 949.228.3686
email: cebaldwin@mac.com
www.chrisbaldwinphoto.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Thomas Barwick

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Thomas Barwick. He does beautiful corporate/lifestyle stock work, some of which is available on Getty.

We occasionally shoot street portraits.  It’s fascinating to interact with people for just a few minutes, with very little direction and see what happens.  Mother and daughter headed to surf after school.

We occasionally shoot street portraits. It’s fascinating to interact with people for just a few minutes, with very little direction and see what happens. Mother and daughter headed to surf after school.

One of my favorite shoots we’ve ever done.  Most of the time I walk away from a shoot frustrated with the things I missed or couldn’t make happen, not this shoot.

One of my favorite shoots we’ve ever done. Most of the time I walk away from a shoot frustrated with the things I missed or couldn’t make happen, not this shoot.

Just a nice engaged father/daughter moment.  I like the little moments in life that make you smile.

Just a nice engaged father/daughter moment. I like the little moments in life that make you smile.

Ridiculously hot day for Seattle, location was a four-story walk up and we had too much gear.

Ridiculously hot day for Seattle, location was a four-story walk up and we had too much gear.

One of my favorite couples to work with, in one of my favorite places, with a really fun vehicle.

One of my favorite couples to work with, in one of my favorite places, with a really fun vehicle.

A bigger shoot with lots of moving parts that was difficult to keep control of and keep moving fluidly.  We were exhausted when we walked away, but the results were better than we expected.

A bigger shoot with lots of moving parts that was difficult to keep control of and keep moving fluidly. We were exhausted when we walked away, but the results were better than we expected.

She was just awesome.

She was just awesome.

Family friends, awesome kids, great skaters and one really lucky moment.

Family friends, awesome kids, great skaters and one really lucky moment.

My favorite image from a mother/daughter shoot.  This was the third frame we shot that day, no directing, just real life.

My favorite image from a mother/daughter shoot. This was the third frame we shot that day, no directing, just real life.

A weekend getaway shoot with a group of friends, spectacular lake in the middle of nowhere with a floating platform we paddled into the middle of the lake.  My job is a lot easier when everyone is having fun.

A weekend getaway shoot with a group of friends, spectacular lake in the middle of nowhere with a floating platform we paddled into the middle of the lake. My job is a lot easier when everyone is having fun.

We are always trying to find fresh ways to shoot in categories that can be overly clichéd.  This guy was great and a business shoot I’m really fond of.

We are always trying to find fresh ways to shoot in categories that can be overly clichéd. This guy was great and a business shoot I’m really fond of.

This was part of a bigger shoot we were doing that day and we scheduled a little time early to try something a little different.  The weather was our friend, one of my favorite portraits.

This was part of a bigger shoot we were doing that day and we scheduled a little time early to try something a little different. The weather was our friend, one of my favorite portraits.

This day was absolutely miserable.  We tired to get one more “summer” shoot in at the end of September.  It rained all morning, the air temperature never got above 65 and the pool didn’t seem much warmer.  We had a couple families in the morning, but it was simply too unpleasant for the kids.  The afternoon was with some young adults; I was tired, cold and frustrated with not being able to make much happen to that point.  This group was amazing.  Thrilled to be there, always willing to give it one more try, great ideas on how to make it better.  They saved the day.

This day was absolutely miserable. We tired to get one more “summer” shoot in at the end of September. It rained all morning, the air temperature never got above 65 and the pool didn’t seem much warmer. We had a couple families in the morning, but it was simply too unpleasant for the kids. The afternoon was with some young adults; I was tired, cold and frustrated with not being able to make much happen to that point. This group was amazing. Thrilled to be there, always willing to give it one more try, great ideas on how to make it better. They saved the day.

Sometimes you need a middle aged white sales guy in a suit.  This guy was perfect, we didn’t need to direct.

Sometimes you need a middle aged white sales guy in a suit. This guy was perfect, we didn’t need to direct.

This was from a recent shoot on a local organic farm where we had done some work before.  We had set the shoot up early in the summer and we were going to see what we could get without a lot of expectations.  One of the wettest days I have ever shot in and it completely worked to our advantage.

This was from a recent shoot on a local organic farm where we had done some work before. We had set the shoot up early in the summer and we were going to see what we could get without a lot of expectations. One of the wettest days I have ever shot in and it completely worked to our advantage.

How many years have you been in business?
I started assisting 1990 and shooting full time in 1995.

Are you self-taught or photography school taught?
I did a fair amount of commercial photography course work at Syracuse University, but I was a Liberal Arts student, so I have an English degree.

Who was your greatest influence that inspired you to get into this business?
I spent what seemed like quite a bit of time in museums as a kid (parents choice, not mine). I didn’t have the patience to understand the nuances of a lot of the art, so I would like to walk around the galleries and see what would stop me, some of that visual training may have rubbed off.

I was a full time assistant for a photographer in the waning days of his advertising career. I got to watch him begin re-invent himself as a very successful stock shooter. I didn’t start shooting stock for many years after I left there, but I understood that it could be a viable way to be a photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
We almost exclusively produce stock, so in order to make the business economically viable we need to create imagery that will stand out on a page with 100 other images on it. We have to continually push to create better and better imagery. I am also not much of a technical perfectionist, I don’t want to do something I did last week or last year, there is no sense in repeating something we’ve already done, so we have to continually look for a new way to work on a theme or an idea.

Do you find that some creatives love your work but the client holds you back?
Fortunately, we get to work with a fantastic creative department at Getty Images and a brilliant Art Director. They continually challenge us to keep our work fresh. One of the best things about the way that we work is that the only real risk we have is cost of production. We own what we are doing, so can take chances with weather, locations, models and ideas. We will generally work with a loose idea and try to play off the real emotion that happens when we set a shoot in motion.

What are you doing to get your vision out to the buying audience?
Not enough. Until recently, there were hardly any tools for us to direct link to our collection, or specific shoots at Getty. That has changed and over the next few months we will begin to take advantage of that

What is your advice for those who are showing what they think the buyers want to see?
At the end of the day, I think anyone in a creative industry needs to feel creatively challenged with the work they do. There is always an awareness of what a buyer wants or needs, but you eventually need to find creative satisfaction and by doing that I think you tend to lead rather than chase.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
In effect, everything we shoot is for us. We don’t get paid to create imagery; we create it and hope that it will resonate with a buyer. So at the end of the day we have to be satisfied with what we have done creatively. We have to try to always evolve and elevate what we are doing.

How often are you shooting new work?
Over the course of the year we average between one and two shoots per week. May through October are extremely busy and November through March can be extremely frustrating.

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Tom Barwick Bio
Photographer/Filmmaker Thomas Barwick has been with Getty Creative since 2002 and is based in Seattle.  After graduating from Syracuse University in English with what he calls “no marketable skills” he began assisting photographers to survive and fell in love with the business.   He spend the majority his time between working on stock exclusively for Getty Images, and doing the occasional editorial and advertising gig.  Known for his “polished realism”, Tom’s work has been licensed for national and worldwide campaigns such as Dell Computers, Crate And Barrel, Scotia Bank, CitiGroup, and Toyota to name a few.  His fascination with the fleeting and fickle genuine moments that tell a complete story makes his imagery uniquely stand out.

Website
http://www.barwickphoto.com

Blog
http://barwickphoto.wordpress.com

Collection at Getty
http://www.gettyimages.com/photographers/Thomas%20Barwick/search?family=creative

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Art of the Personal Project: Grace Chon

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com.

Today’s featured photographer is: Grace Chon

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Zoey and Jasper

Full disclosure Grace is one of my clients.

How long have you been shooting?
I’ve been photographing animals since early 2008.

Are you self-taught or photography school taught?
I am self taught but have a background as an advertising agency art director. I think that training definitely developed my visual and design sensibilities, and once I picked up photography it was a matter of learning the technical aspects of it.

With this particular project, what was your inspiration to shoot it?
My baby! It’s funny because I really don’t have any interest in photographing kids or babies at all, but my own child was definitely my sole inspiration. As a new mom, the days can get long and repetitive sometimes. I started the series to have a fun activity for Jasper and I to enjoy during the day, and would edit the images during his nap time.

How many years have you been shooting this project before you decided to present it?
I began the series in January 2014 and started sharing them immediately on my personal Facebook page and on Instagram. I started getting interest from bloggers that wanted to write about the series but I didn’t know if I wanted to release it to a larger audience. By April I decided to promote the series a little bit and gave the go ahead to bloggers and the series took off online.

How long do you spend on a personal project before deciding if it is working?
This is probably the first personal project I really devoted some time to, mostly because it all took place in my home and was really easy for me to execute. I kept shooting them for myself before the series got exposure because I enjoyed the challenge of it – styling the images, editing the images, choosing the concept, and of course the challenge of shooting a baby and a dog! I imagine I would still be shooting the images even if they hadn’t received any exposure because it was working for me – I enjoy the process and the results.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
My usual work is portraiture or very lifestyle and shot in environment, so shooting this series has been really refreshing for me. I love that the Zoey and Jasper series looks vastly different than what I usually do and I love the simplicity and minimalism of it. But it still retains elements of what I always do – there’s a lot o color, and they are emotive portraits. I love capturing all the different smiles Jasper can make, and while Zoey looks the same in almost every shot there are small subtleties there that I love getting from her.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I started out sharing the images on Facebook and Instagram, and eventually made a Tumblr page dedicated to the series. Once the images started going viral they made their way over to Reddit.

If so, has the work ever gone viral and possibly with great press?
The images went viral in mid-April and were written about online and in print in the US as well as internationally.

Have you printed your personal projects for your marketing to reach potential clients?
I made print promos specifically for the Zoey and Jasper series and sent them out to potential clients. Hopefully someone somewhere saved one!

Bio:
Grace Chon is a commercial photographer specializing in animals, lifestyle images, and celebrities with their pets. Utilizing her background as a former advertising agency art director, she creates modern and emotive portraits of people and animals.

When she’s not writing about herself in the third person, Grace likes to go hiking with her dogs, meditate, and grow organic heirloom tomatoes. She makes a mean guacamole (want to challenge her to a guac-off?) and really hates Comic Sans.

In her spare time, Grace photographs homeless dogs looking for their forever homes and donates her photography services every year to multiple dog rescue groups in Los Angeles. She lives in LA with her husband, baby boy, and their beloved rescue dogs, Maeby Fünke and Zoey.

Artist Statement:
Everyone knows dogs and babies make adorable photo subjects. As a first time mom and photographer, I had 2 of the most adorable models at my disposal and the Zoey and Jasper series was born. It has been my goal to create photographs that stayed away from the cloyingly sweet and cliché imagery you might expect when you think of dogs and kids. I love good design, color, and the unexpected. And most important of all, I love humor! I wanted to capture all of that and document the silly relationship between a rescue girl and her little boy.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Catch Suzanne presenting with Kat Dalager for Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014

Art Producers Speak: Chris Simpson

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Simpson. I love him not only as an artist, but as a person. He has an unique style and is great to work with.

A simple citrus salad, I love the colors and shapes in this dish.

A simple citrus salad, I love the colors and shapes in this dish.

Working with a variety of cured meets and coming up with a playful arrangement.

Working with a variety of cured meets and coming up with a playful arrangement.

Shot a few steaks for my book recently.

Shot a few steaks for my book recently.

Onion Rings.

Onion Rings.

This is a classic summer recipe; the texture of the corn is beautiful.

This is a classic summer recipe; the texture of the corn is beautiful.

Finding beautiful ingredients at the farmers market and bringing them back to the studio.

Finding beautiful ingredients at the farmers market and bringing them back to the studio.

Creating a little narrative within the shot.

Creating a little narrative within the shot.

A coffee pour that I shot in order to get a project.

A coffee pour that I shot in order to get a project.

Chocolate Layer Cake and Truffle With Sea Salt

Chocolate Layer Cake and Truffle With Sea Salt

A shot that I took for Jell-O.  This was the food stylist’s first attempt at making this perfect swirl.  We tried many other variations but ultimately it was the first shot that stuck.

A shot that I took for Jell-O. This was the food stylist’s first attempt at making this perfect swirl. We tried many other variations but ultimately it was the first shot that stuck.

A recent campaign that I did for Lactaid, the campaign featured 6 different food and drink items all in different environments.

A recent campaign that I did for Lactaid, the campaign featured 6 different food and drink items all in different environments.

One of my first clients, it was great working with the client and agency on developing a way to showcase how thin the pretzels are and also show the front of them.

One of my first clients, it was great working with the client and agency on developing a way to showcase how thin the pretzels are and also show the front of them.

I repurposed some shots I did for AVON in order to make this composition.

I repurposed some shots I did for AVON in order to make this composition.

My assistant must have dropped this bottle 80 times in order to get this shot.

My assistant must have dropped this bottle 80 times in order to get this shot.

How many years have you been in business?
I have been shooting professionally for about 3 years now.

Are you self-taught or photography school taught?
I graduated from Maryland Institute College of Art (MICA), with a BFA in photography. My four years there really helped to hone my eye and expand my creative sensibilities. I’ve also learned a tremendous amount in regard to the business end of photography as well as photographic techniques from working in the field. The knowledge I’ve gathered from those experiences coupled with my formal education is how I learned to make a career out of photography.

Who was your greatest influence that inspired you to get into this business?
Throughout my career in photography there have been many people who have inspired me, teachers, peers, photographers I have assisted and photographers who’s work I admire, but nobody has inspired me as much as my Father, Jerry Simpson. My Father is an incredible director and cinematographer who started out as a print photographer. I have been lucky enough to work side by side with him on various shoots, where I do the stills and he shoots motion for clients. While working with him I have also learned a lot about motion, assisting him with shoots and even collaborating with him on projects. He has pushed me to achieve goals that sometimes seem impossible and has taught me a ton about the business.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I find inspiration in many different outlets: new restaurants I eat at, books I’m reading, meeting new people and places I’ve visited. Living in New York City is hugely inspirational too, there are always new shows to go to, new foods to eat. I’m constantly inspired by my surroundings and new experiences. All of this helps me to push the envelope, keep my eye sharp and come up with new ideas. I find that sometimes when my mind is clear and I’m not thinking about photography ideas pop into my head that then develop into images later on. It’s funny, a lot of times I won’t know that something has inspired me until a week, month or year later when that moment will reappear and push me to shoot something new. It’s also important for me to keep testing, through shooting personal work I’m able to work out ideas and develop different concepts.

I have also been able to travel extensively for work and for pleasure over the years. It’s always inspiring to be able to get on a plane and wind up in a completely different environment. Experiencing different cultures and different ways of life is very influential for me.

Do you find that some creatives love your work but the client holds you back?
I truly enjoy the collaborative process of working with a team of creative folks and clients. Usually clients are excited to work with me because they love my work and trust me. I like working with other people and I’m comfortable articulating my vision to people that may not see what I’m seeing. Developing this trust is important and ultimately leads to the best end result.

What are you doing to get your vision out to the buying audience?
I have found that most of my success comes from face to face meetings with people. I try and schedule meetings with buyers and creative people on a monthly basis. Most of this is up to me as I don’t have a rep, but I enjoy the process and know it’s all part of the career. I’ve been fortunate enough to meet some great Art Buyers and Creative folks that are always happy to help me get meetings and give me feedback on what I’m doing. It’s always flattering to me that people who meet me for the first time are so willing to help me.

Personalized emails are also hugely beneficial, it doesn’t take much to reach out to someone and ask them about what they are doing. Being interested in other people in the business and wanting to know their perspective always helps in developing long lasting relationships.

What is your advice for those who are showing what they think the buyers want to see?
Don’t do it. I can’t say enough about making work for yourself and pushing what you enjoy, the paid work will follow. It’s a bad cycle to produce work that you think people want to see, and as you do that you drift further away from what you want to be doing. Creatives, buyers and photo editors are so much more likely to higher you because they find your work to be amazing as opposed to seeing something that fits a campaign or story. Having edgy and interesting work is how you get your first projects and from there it keeps building.

I try to challenge myself constantly and put myself into situations that I’m not 100 percent comfortable with. Whether that’s in the studio or on location, it can be as simple as trying to light something that I have never had to light before or experimenting with a new camera or lens. It’s important to do this work on your own so that when a job comes along that’s challenging you are prepared for it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always, I feel strange if I don’t. I’m constantly thinking up new projects that I want to work on. It’s easy for me to go to the farmers market and develop new shots in my mind, and then before I know it I’m in the studio creating new work. I find that I’m constantly inspired to develop my work, and at the moment I’m editing a large body of travel photography. If I’m feeling stuck I go for a bike ride or head up to the woods and go camping for a night.

How often are you shooting new work?
As often as I can, if I’m not busy I try and shoot for myself at least a few times a month. For me it’s a downward spiral if I’m not creating, I feel much better when I’m making work.

——————–

Since Chris was young he has always had a strong passion for photography, after seeing his first black and white image appear in the darkroom he was hooked. He decided to continue his passion when he enrolled in Maryland Institute College of Art (MICA). He received his BFA from MICA and quickly moved to Brooklyn, New York.

Since moving to New York his photography has taken him to countries such as St. Vincent and the Grenadines, Portugal, and Italy. He has worked for such clients as AVON, Johnson & Johnson, and 7-UP. He enjoys the collaborative process of photography and being able to help clients reach their visions. He loves that through photography he has been given opportunities to meet some of the most amazing people through out the world.

If Chris is not photographing or editing images, he enjoys cycling, camping and cooking meals with good friends.

CONTACT

Chris Simpson
www.chrisrsimpson.com
chris@simpsonfilms.com
Instagram: @chrisrsimpson
917.513.4263

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Catch Suzanne presenting with Kat Dalager for Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014

Art Producers Speak: Tania Quintanilla

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Tania Quintanilla. Her style is very classic beauty. She has an excellent command of studio lighting and impeccable retouching skills. On set, she is fun but also very focused, she’s a great leader and she knows what she wants and how to get there. In my opinion, she is the best fashion photographer in central Texas and I feel her career is about to take off in other markets in a big way.

This is one of my recent North American Hair Awards (NAHA) images—an ocean inspired hair story.

This is one of my recent North American Hair Awards (NAHA) images—an ocean inspired hair story.

This was from a test I did recently.

This was from a test I did recently.

I’m obsessed with religious iconography.  Here’s an interpretation of the Sacred Heart.

I’m obsessed with religious iconography. Here’s an interpretation of the Sacred Heart.

A hair shoot for NAHA.

A hair shoot for NAHA.

For this western wear shoot we intentionally gave the model hat hair.

For this western wear shoot we intentionally gave the model hat hair.

Hair shoot for the styling director of Aveda, Allen Ruiz.

Hair shoot for the styling director of Aveda, Allen Ruiz.

This was shot for Leaf Camera a while back.

This was shot for Leaf Camera a while back.

An editorial shot for Austin Monthly last year.

An editorial shot for Austin Monthly last year.

I really love this outtake from a fashion editorial coming out this month—it reminds me of Botticelli’s Venus.

I really love this outtake from a fashion editorial coming out this month—it reminds me of Botticelli’s Venus.

An outtake from a hair shoot. The blackness in this photo..

An outtake from a hair shoot. The blackness in this photo..

An image taken for one of my side projects—Dance.

An image taken for one of my side projects—Dance.

Dance

Dance

How many years have you been in business?
My Austin studio opened in 2005, but I’ve been doing photography work since the mid 90’s.

Are you self-taught or photography school taught?
A little of both: I started photographing my friends in makeshift fashion shoots in high school, later one of my teachers encouraged me to go to Brooks Institute in Santa Barbara, CA. I picked up a lot of technical skill at Brooks. When I was there digital SLR’s were just coming out, and they were still teaching us on large format film cameras and darkrooms. It was a really wonderful experience. I took some underwater classes where we would scuba dive near the Catalina islands, and every time you went under with all of your gear you could only shoot 36 frames max. It really taught you to slow down. Back then, instead of experimenting with Photoshop, students would mess around with high sensitive film and cross-processing. I would have to wait at least a week to get the results back from the lab. It’s funny to think that was only 15 years ago.

Who was your greatest influence that inspired you to get into this business?
My early years were heavily influenced by MTV, Vogue magazine, and pop culture generally. My family moved to the U.S. from Monterrey Mexico in the mid 80’s. Whitney Houston and my mom were the center of my fashion universe. Later, my high school photography teacher, Mr. McNichols, showed me how I might make a living from something I seemed good at and enjoyed doing. He was the one who really pushed me to go to photography school.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I view my work as a team sport. I’m easily inspired and aim to be a great collaborator. I surround myself with talented people and we all bring our own experiences and ideas to the game. My job is to collect ideas and stay flexible; I want to be a conduit for the group energy. There are a lot of trends that are hard to appreciate at first– I stay open-minded. Once we put the shot together, if its not rubbing me the right way I can’t ignore it. When it’s right, it feels really right. Like in your guts right. In the end, staying true to myself is where my talents are tested. I get to bring it all home, bring it all together, and that’s the best part.

Do you find that some creatives love your work but the client holds you back?
Sometimes. But coming from a fashion background, having too many people with too many opinions is part of the job description. So I’m used to it. Everyone wants that client with a money tree and a vivid imagination. That’s fun! But I can also enjoy the challenge of a small budget and a big idea. I also like to have really clear communication with my clients from the beginning. I try and always get on the same page way before the shooting starts.

What are you doing to get your vision out to the buying audience?
I shoot a lot of fashion and beauty editorials. That’s my main outlet. In the last couple of months I have started working with a new magazine in Austin. The art director has really let me shape the direction of its fashion section, so I get to experiment with some new ideas that have been calling to me for a while. Of course, I also send out mailers, and work at keeping my book, website, and social media up to date.

What is your advice for those who are showing what they think the buyers want to see?
You’ll never be better at being someone else than you are at being yourself. Shoot who you are, discover and use your voice. When you tap into that inner voice, people naturally want to hear it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I work out a lot of my creative angst in my fashion editorial work and with my hair clients. And I love to shoot more abstract work, so I carry a small camera around wherever I go. I’m just fascinated with the human face. I paint too, and it’s always portraits. I can’t get away from portraits. I love retouching my own work. I get really into it. When I shoot for my hair clients, I have to pay such close attention to each strand, it’s like sculpting the image after its been captured.

How often are you shooting new work?
I’m either shooting or working on a photo project in some capacity every day. One of my favorite photography teachers, Ralph Clevenger, once told me after a holiday break from school, “If you’re not shooting or thinking about shooting every day then you’re in the wrong place.” There’s so much work that goes into each shoot, and I love to be a part of every step if I can. I never really stop being a photographer. Even if I had to walk around with my eyes closed I would still be dreaming up something to shoot.

——————–

Tania Quintanilla, fashion/advertising photographer and artist, born in Monterrey, Mexico, and now based in Austin, Texas.

Tania@tqphoto.com
(512) 632-2471
http://www.tqphoto.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Catch Suzanne presenting with Kat Dalager for Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014

Art Producers Speak: Jonathan Hanson

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Jonathan Hanson as an established Baltimore portrait and music photographer for this column. He is always keeping it fresh by capturing the essence of the real people and urban culture- the charm- of Charm City. All the while, his images still show glimpses of universal human spirit in the subjects and polish of his portraits.

In an effort to create authentic lifestyle imagery I began working with people who I felt embody the lifestyle I'm depicting in my work. Meet Aus and Riss; Aus is in The Creators, a group of artists and hip-hop musicians. Riss is working as a model/stylist as she studies acting. I met the two of them earlier in the year working on my personal project on hip-hop.  Shortly after, we teamed up on a commissioned shoot with Adidas.

In an effort to create authentic lifestyle imagery I began working with people who I felt embody the lifestyle I’m depicting in my work. Meet Aus and Riss; Aus is in The Creators, a group of artists and hip-hop musicians. Riss is working as a model/stylist as she studies acting. I met the two of them earlier in the year working on my personal project on hip-hop.  Shortly after, we teamed up on a commissioned shoot with Adidas.

A hip-hop artist performs onstage during a show at Sonar in Baltimore, MD.  This image is from an ongoing series on Baltimore’s hip-hop scene. 

A hip-hop artist performs onstage during a show at Sonar in Baltimore, MD.  This image is from an ongoing series on Baltimore’s hip-hop scene. 

Baltimore rapper, Jay Royale, during a recording session in Baltimore, MD.

Baltimore rapper, Jay Royale, during a recording session in Baltimore, MD.

A project I shot with Adidas for their shoe line, “Hackmore”.

A project I shot with Adidas for their shoe line, “Hackmore”.

Personal work with model and actress Riss Boodoo.

Personal work with model and actress Riss Boodoo.

A portrait of Baltimore musician, Rye-Rye, taken backstage before a performance.

A portrait of Baltimore musician, Rye-Rye, taken backstage before a performance.

jhanson_submission_07

David Wiesand, lead designer at Mclain Wiesand, a furniture fabrication firm with design roots in the 18th and 19th century.

David Wiesand, lead designer at Mclain Wiesand, a furniture fabrication firm with design roots in the 18th and 19th century.

Baltimore musician, Abdu-Ali, photographed in at his apartment.

Baltimore musician, Abdu-Ali, photographed in at his apartment.

An elderly man sits by the window in his home after being robbed for his social security money in East Baltimore.  This was taken during a series of ride-alongs with the Baltimore City Police.

An elderly man sits by the window in his home after being robbed for his social security money in East Baltimore.  This was taken during a series of ride-alongs with the Baltimore City Police.

Veterans Day Parade, Baltimore, MD. From the series, These City Streets. 

Veterans Day Parade, Baltimore, MD. From the series, These City Streets. 

 Portrait from the series, The Reilly’s. 

 Portrait from the series, The Reilly’s. 

Concessions at the Maryland State Fair. 

Concessions at the Maryland State Fair. 

Street portrait, Addis Ababa, Ethiopia. 

Street portrait, Addis Ababa, Ethiopia. 

Swimmers at the Four Seasons Hotel in Baltimore, MD.

Swimmers at the Four Seasons Hotel in Baltimore, MD.

Lawrence Burney, writer and creator of True Laurels zine, at studio 506 in Baltimore, MD for Strangers With Style. 

Lawrence Burney, writer and creator of True Laurels zine, at studio 506 in Baltimore, MD for Strangers With Style. 

Al Rogers Jr. an up and coming Baltimore musician at studio 506 in Baltimore, MD.

Al Rogers Jr. an up and coming Baltimore musician at studio 506 in Baltimore, MD.

Performance artist Sophia Mak at studio 506 in Baltimore, MD for Strangers With Style.

Performance artist Sophia Mak at studio 506 in Baltimore, MD for Strangers With Style.

Emma Fineman, painter.

Emma Fineman, painter.

How many years have you been in business?
5

Are you self-taught or photography school taught?
I’m mostly self-taught. I feel fortunate photography is an intuitive process for me. I’ve learned the most through trusting my gut, knowing when to listen to others and pushing myself beyond my comfort zone. Facing new challenges is where the real learning takes place for me, that conflict gives life to my work.

Who was your greatest influence that inspired you to get into this business?
I took a trip to Amsterdam with two close friends around the same time I first became interested in photography.  A few days into the trip, we were sitting in the courtyard of a café when I noticed a sunflower craning in the warm evening light. I walked over, carefully composed a photo, and as I hit the shutter, a gust of wind blew the sunflower out of frame. I cursed the wind and shot another frame. A few weeks later when I was looking through the film, my first major lesson in photography was staring back at me. The photo where the wind blew the sunflower was far better than what I had composed. I realized there is a crossroads where preparation, chance and being in the right place at the right time come together to create something special.  I’ve been obsessed since.  

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think it’s really important to live in a community that inspires.
Baltimore has been the backbone of my work since moving here six years ago. The creative energy and abundance of eclectic subcultures offer a constant stream of original work I draw inspiration from.

Do you find that some creatives love your work but the client holds you back?
I tend to get a lot of creative freedom so if issues arise it’s usually with very restrictive editorial contracts that are a fight to get amended or can’t be amended at all.  In these instances, I feel held back because the terms are meant to only benefit the hiring company and deny the photographer the opportunity to earn future income.

What are you doing to get your vision out to the buying audience?
I’ve had the most success showing a printed portfolio during meetings with creatives. The prints give the presentation life and dimension while encouraging people to linger over the work. Because of the sheer volume of photos online and the speediness we navigate through them, giving someone a print to hold creates a connection to the work that a digital screen can’t offer. I recently shot a series of projects for Johns Hopkins that were the result of passionately discussing my work over coffee and a stack of prints.

What is your advice for those who are showing what they think the buyers want to see?
A couple of years ago, I met with an art buyer and I brought my freshly printed book full of new work.  She quickly pointed out a few images that honestly did not hold up against the others.  On the train ride back, I thought about those images and why I made them. I made them to cater to what I thought a buyer wanted to see.

The personal connection needs to be present in the work to take on an authentic, original voice that will inspire people to hire you. This is a business only the passionate and driven can survive. You have to believe in what you do… otherwise, what’s the point?

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Personal projects are the foundation of my work. I’m currently shooting a street portrait series (These City Streets), a portrait series exploring androgyne and I just wrapped up a music video with musician, Al Rogers Jr. I’ve learned more through personal projects than I would through a formal education in photography.  More important, each project is a way to reflect personally and question the way I see the world.

How often are you shooting new work?
I’m shooting new work every week either personal or commissioned.

—————–

Jonathan Hanson is a Baltimore based editorial and advertising photographer. Select clients include Adidas, Bank of America, Animal Planet, Der Spiegel ,Ebony Magazine, Essence, Fortune, Sports Illustrated and The Wall Street Journal.

Music, color and culture inspire much of his work. He credits early street photography for seducing him into being a photographer.

jonathan@jhansonphoto.com
www.jhansonphoto.com
IG: jhansonfoto
FB: facebook.com/jhansonfoto

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Joseph Puhy

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Joseph Puhy because he is absolutely darling.

The Duke Boys!! It was a dream come true working with my childhood heroes during this project for Doner and autotrader.com

The Duke Boys!! It was a dream come true working with my childhood heroes during this project for Doner and autotrader.com

While documenting the chaos of running a mud bog on the set of the Animal Planet series, Mud Lovin’ Rednecks, I caught this tender moment between father and son.

While documenting the chaos of running a mud bog on the set of the Animal Planet series, Mud Lovin’ Rednecks, I caught this tender moment between father and son.

A personal project, inspired by one of my favorite dirt bike riding locations, created this late afternoon situation for a great image.

A personal project, inspired by one of my favorite dirt bike riding locations, created this late afternoon situation for a great image.

For Dry Kounty’s look-book shoot, we decided to use actors as models in vignettes to embody the personality of the brand.

For Dry Kounty’s look-book shoot, we decided to use actors as models in vignettes to embody the personality of the brand.

In collaboration with the model, my original concept morphed into this quirky portrait.

In collaboration with the model, my original concept morphed into this quirky portrait.

Using the model from the above (image 5), I highlighted his versatility in relation to our location. I love environmental portraits.

Using the model from the above (image 5), I highlighted his versatility in relation to our location. I love environmental portraits.

Reflective of my personal style, this is one of six ads shot for the Woo Agency and Lenovo.

Reflective of my personal style, this is one of six ads shot for the Woo Agency and Lenovo.

As with the above (image 7), there was an easy rapport with the Art Director for this Lowe CE agency Ghirardelli Chocolate ad.

As with the above (image 7), there was an easy rapport with the Art Director for this Lowe CE agency Ghirardelli Chocolate ad.

Kip Thorne, Theoretical Physicist. Photographed for science magazine, Newton.

Kip Thorne, Theoretical Physicist. Photographed for science magazine, Newton.

Dude. Running. Location. Epic.

Dude. Running. Location. Epic.

How many years have you been in business?
19 years total, including assisting which started in high school, but shooting consistently the last seven years.

Are you self-taught or photography school taught?
I graduated from Brooks Institute of Photography in Santa Barbara, back in the days of film and Polaroid. I’ve taught myself everything digital since my days in the darkroom.

Who was your greatest influence that inspired you to get into this business?
First off, my father was a Creative Director, so there was endless reference material at home to get lost in; art, photography books, art publications like Zoom and Lurzer’s Archive. Also, he’d take me out on shoots during the summers. Next, it was the photographers I worked for on summer breaks in high school and first years at college. They introduced me to the craft of photography, lens choice, lighting, processing, film stocks, and how it all tied together. There was a real sense of alchemy that I couldn’t figure out but was drawn to. That’s the reason I decided to go to Brooks and learn the technical aspects of photography.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
It’s a balance that I’m constantly refining. Luckily, now I have a body of work where I can throw a few curve balls into a commercial book. A balance between execution, observation, and subject matter.

Do you find that some creatives love your work but the client holds you back?
Yes, to a certain extent. Not so much when shooting the job, because at that point it’s a collaboration, more in trying to get the job. I’ve found that having great relationships with creatives, buyers and producers has gotten me to the table to bid on some amazing projects but often lose out to a “bigger name photographer” based on the client’s recommendation. In the end it’s their money, and they need to make the decision that’s best for them. I just keep pushing forward to the next opportunity.

What are you doing to get your vision out to the buying audience?
First, I try to meet face-to-face with agencies where I might be a good fit. That can be a difficult process, but I think that when meeting someone in person, they can get a better sense of what I’m about. I participate on many marketing sites, and was recently invited to be a part of At-Edge.

What is your advice for those who are showing what they think the buyers want to see?
You better like it too. You have to show work that you want to produce.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I do personal projects for promos. If there is time on jobs and the situation allows for it I try to do a version for myself.

How often are you shooting new work?
Every month.

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I am a Los Angeles photographer that works with a wide range of clients from commercial to editorial. My style has a natural aesthetic with a cinematic approach. I capture moments of people and things relating to their environment, either in harmony or discord. That relationship tells stories worth sharing.

Website: www.puhy.com
E-mail: Joseph@puhy.com

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Patrick Fraser

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Patrick Fraser. I worked with him on extremely complicated projects and he always over delivered. Understanding vision of agency creative, suggesting solution for unusual concepts, delivering beautiful photography and always under budget. What else can an art buyer want from the photographer.

Carla Korbes is a principal dancer with the Pacific Northwest Ballet.  I wanted to photograph her in a raw setting with very simple styling so I picked Long Beach WA in the early morning wearing this very simple black leotard.

Carla Korbes is a principal dancer with the Pacific Northwest Ballet.  I wanted to photograph her in a raw setting with very simple styling so I picked Long Beach WA in the early morning wearing this very simple black leotard.

Here is an example of my magazine portrait work.  Don Cheadle and Chloe Sevigny photographed for two different magazine features. The magazine ended up using color images for the features but I like to offer up some black and white.  For Don I used a 4x5 with BW film.  Chloe pictured in the window of a studio in New York was also taken with a roll of grainy BW medium format film.

Here is an example of my magazine portrait work.  Don Cheadle and Chloe Sevigny photographed for two different magazine features. The magazine ended up using color images for the features but I like to offer up some black and white.  For Don I used a 4×5 with BW film.  Chloe pictured in the window of a studio in New York was also taken with a roll of grainy BW medium format film.

My friends daughter Jane was taken with a disposable underwater camera.  Everything is working for me, her hair, the colors, the grainy real quality and her gaze.

My friends daughter Jane was taken with a disposable underwater camera.  Everything is working for me, her hair, the colors, the grainy real quality and her gaze.

I was walking the streets of Paris when I spotted these boys playing Rugby.  I walked up to them with my Leica M6 and started to shoot and they did'nt mind at all they just kept on playing.  I love the faces here and all that muddy skin. 

I was walking the streets of Paris when I spotted these boys playing Rugby.  I walked up to them with my Leica M6 and started to shoot and they did’nt mind at all they just kept on playing.  I love the faces here and all that muddy skin. 

I shot this lookbook all at night in Silver Lake CA.  The story was called Into the Night.

I shot this lookbook all at night in Silver Lake CA.  The story was called Into the Night.

One of those real moments caught between a friend Ceara and her dog.

One of those real moments caught between a friend Ceara and her dog.

This was taken for an editorial men's fashion story about night surfers in San Diego.  The art director wanted it as real as possible. I started the shoot by getting on my wetsuit and shooting the guys in the water with a flash. Shooting surfing at night is a challenge but the images came out great!

This was taken for an editorial men’s fashion story about night surfers in San Diego.  The art director wanted it as real as possible. I started the shoot by getting on my wetsuit and shooting the guys in the water with a flash. Shooting surfing at night is a challenge but the images came out great!

I love the spontaneous energy in this shot of two actors from TV show Nashville.  It shows my studio work and was photographed for Nylon Magazine's TV special issue.

I love the spontaneous energy in this shot of two actors from TV show Nashville.  It shows my studio work and was photographed for Nylon Magazine’s TV special issue.

This is a still from a music video I directed with musician Marissa Nadler.  I chose Lake Erie in Ohio for the location as a cold frozen lake spoke to me in her song Rosary.  I love this location and luckily it was the middle of winter so the lake was frozen which ads to the drama.

This is a still from a music video I directed with musician Marissa Nadler.  I chose Lake Erie in Ohio for the location as a cold frozen lake spoke to me in her song Rosary.  I love this location and luckily it was the middle of winter so the lake was frozen which ads to the drama.

This is one of the shots I took at Vail International Dance Festival in August 2014. It pictures Tiler Peck and Robbie Fairchild of New York City Ballet doing a pose from the Jerome Robbins ballet  "Afternoon of a Faun".  I love to shoot dancers as they know how to move.

This is one of the shots I took at Vail International Dance Festival in August 2014. It pictures Tiler Peck and Robbie Fairchild of New York City Ballet doing a pose from the Jerome Robbins ballet  “Afternoon of a Faun”.  I love to shoot dancers as they know how to move.

One of my all time favorite editorial shoots here with David Lynch.  I arrived at his home and his assistant told me he was in his art studio.  I carefully asked her if there was any way I could go up there and take pictures of him working.   She asked him and he agreed.  It really felt personal, like taking a look into an artists private space.  The result is I have a wonderful series of him working on his fine art.  

One of my all time favorite editorial shoots here with David Lynch.  I arrived at his home and his assistant told me he was in his art studio.  I carefully asked her if there was any way I could go up there and take pictures of him working.  
She asked him and he agreed.  It really felt personal, like taking a look into an artists private space.  The result is I have a wonderful series of him working on his fine art.  

How many years have you been in business?
My first magazine assignment was 16 years ago.

Are you self-taught or photography school taught?
I didn’t go to photography school I actually studied fine art majoring in painting at University in England. Before that I took a foundation course in art & design in my hometown, which had a few photo classes. My father was a documentary filmmaker and gave me my first SLR at age 8. He taught me a lot about photography and showed me how to do black & white printing in the darkroom we had at our home.

Who was your greatest influence that inspired you to get into this business?
I used to collect photography monographs from a really young age and pore over new issues of The Face and Arena magazines as a teen. If it came down to one photographer I’d have to say Avedon. What inspired me about his work was his range of subject matter. He mixed fashion and celebrity in the studio with everyday American workers outdoors in the American West series.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I’m always shooting editorial which keeps me on my toes and keeps a constant feed of new work rolling in. Editorial gives me the creative freedom to experiment whilst collaborating with a photo editor or art director. I like how it sharpens my problem solving skills, which can be invaluable on advertising shoots. Editorial is a good way to experiment with new lighting set ups and keep visually exploring. It’s also a good way to keep your name out there.

Do you find that some creatives love your work but the client holds you back?
I’ve been lucky, as I can’t say I have had that experience. Once I have been selected for a project I like to keep up a level of communication, which makes it hard for this to happen. If the communication is clear from the word go and the collaborators are all working well together then the client is usually more than happy with the results.

What are you doing to get your vision out to the buying audience?
You never can market yourself enough and I should be more aggressive in this department. My marketing plan is multi layered and consists of personal printed pieces, e-mails, alongside my editorial credits. My agent also sends out marketing and they do showings of my portfolio.

I was skeptical at first of social networking for marketing and promo, I felt like it weakened the work. Now I have started to post more images that I love and behind the scenes shots on Instagram and have begun to use it more, like an online portfolio. I feel like Instagram is the best social network tool for photographers and a good way to get one’s work in front of creative minded people. You can see my posts @patchypics

What is your advice for those who are showing what they think the buyers want to see?
Photography trends come in waves. You’ll see a photographer being used all over for a couple of years, their style of shooting might start to get copied and then the market for that imagery gets saturated. One must always stay true to one’s own vision and continue to grow and evolve. Shoot what comes naturally to you. Following trends is the kiss of death.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes always. I’m always out there shooting a test, making a film or thrashing out an idea I had driving or even in my sleep! Just this past week I was up in Vail at a dance festival for a few days and then I started asking the dancers if they had some spare time for a session. I came back with some really strong new images and that started an idea for a new series for me.

How often are you shooting new work?
I have a constant flow of new work. I get excited when there is a gap in commercial or magazine assignments where I can just go off and make images for myself both stills and motion. That is the time to explore what you love and usually that’s when you come back with strong images which were self motivated.

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10 FACTS ABOUT PATRICK
1) When he was 18 he rode an Enfield 350 Bullet Motorbike around Northern India.
2) He is renovating a 1948 Homesteader cabin in Joshua Tree, CA.

3) Is reading The 100-Year-Old Man who Climbed out the Window and Disappeared

4) Made his first piece of furniture in 2012, a bench for his garden

5) Is restoring a 1973 Alfa Romeo GTV

6) Loves to sketch

7) He is big on roasting and using the BBQ for slow cooking

8) Rents a production office near Abbott Kinney in Venice, CA

9) 2014 completed a documentary about the art of Taxidermy called Skin Movers

10) He Plays the French horn

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Q. Sakamaki

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Q. Sakamaki. I always find myself lingering over Q’s dreamlike images. Even though many images in his mailers were taken with Instagram, they have a nostalgic vibe, especially the double exposures. Work on his site is classic, news journalism. He is not afraid to tackle difficult subjects, although it may be difficult to find commercial applications for his work.

Self-Metaphors Series: A small boy exploring the ancient time of Egypt, trying to look into the bottom of a more than 2300 year old sarcophagus of Wennefer. 2013.

Self-Metaphors Series: A small boy exploring the ancient time of Egypt, trying to look into the bottom of a more than 2300 year old sarcophagus of Wennefer. 2013.

A newly arrived Georgian refugee. Tbisili, Georgia, 2008.

A newly arrived Georgian refugee. Tbisili, Georgia, 2008.

Nearly burned out wedding album remained at a tsunami destroyed and burned down area in Kesennuma, Miyagi, where many people inside the cars and ships were washed out and trapped and killed due to the tsunami. And survivors could hear the crying all the night. Japan, 2011.

Nearly burned out wedding album remained at a tsunami destroyed and burned down area in Kesennuma, Miyagi, where many people inside the cars and ships were washed out and trapped and killed due to the tsunami. And survivors could hear the crying all the night. Japan, 2011.

Fukushima series: Radiation-contaminated crop supporters remain at no man land in Iitate village in Fukushima, on the 3rd anniversary of Japan’s 2011 monster quake and tsunami. Fukushima, Japan, 2014.

Fukushima series: Radiation-contaminated crop supporters remain at no man land in Iitate village in Fukushima, on the 3rd anniversary of Japan’s 2011 monster quake and tsunami. Fukushima, Japan, 2014.

Flower series: A broken, dead sunflower in winter’s morning light. 2014.

Flower series: A broken, dead sunflower in winter’s morning light. 2014.

Fukushima series: A baby swallow at an abandoned elementary school in Ukedo, a highly restricted area in Fukushima, due to the radiation caused by the 2011 Fukushima nuke power plant disaster. Fukushima, Japan, 2014.

Fukushima series: A baby swallow at an abandoned elementary school in Ukedo, a highly restricted area in Fukushima, due to the radiation caused by the 2011 Fukushima nuke power plant disaster. Fukushima, Japan, 2014.

Self-Metaphors series: Coney Island before the summer frenzy. New York, 2013.

Self-Metaphors series: Coney Island before the summer frenzy. New York, 2013.

Self-Metaphors series: Harlem security guard. New York, 2013.

Self-Metaphors series: Harlem security guard. New York, 2013.

Self-Metaphors series: A girl in Osaka, one of my home towns. Osaka, Japan, 2014.

Self-Metaphors series: A girl in Osaka, one of my home towns. Osaka, Japan, 2014.

Self-Metaphors series: A businessman with an arrow head, in Marunouchi, Tokyo, Japan, 2013.

Self-Metaphors series: A businessman with an arrow head, in Marunouchi, Tokyo, Japan, 2013.

Self-Metaphors Series: A small Japanese Korean girl in Kyoto shows an extremely tiny fish, as the city, as well as Japan, has a very tense relationship between Japanese and Korean communities. Kyoto, Japan, 2013.

Self-Metaphors Series: A small Japanese Korean girl in Kyoto shows an extremely tiny fish, as the city, as well as Japan, has a very tense relationship between Japanese and Korean communities. Kyoto, Japan, 2013.

How many years have you been in business?
More than 25 years.

Are you self-taught or photography school taught?
I think both. I went to a photo school in New York, but the curriculum was very short (9 months or so). Indeed, for many parts of photography, I learned by myself.

Who was your greatest influence that inspired you to get into this business?
Deborah Turbeville and Sara Moon. And Yukio Mishima might have given a big influence to me even for the question, though he was a novelist.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
By checking, feeling, reading and listening to any kind of great art. Also lately I have been dong Instagram through which I can get inspiration, especially when I encounter great, yet different type of photos.

Do you find that some creatives love your work but the client holds you back?
Yes. It is natural in this industry, but also one of the most disappointing things, especially after committing lots of energy and time.

What are you doing to get your vision out to the buying audience?
Recently I have found that Instagram would help for the purpose, though still on the way of the experiment. Also my agency Redux helps. Though the best way is to directly communicate with those in face to face.

What is your advice for those who are showing what they think the buyers want to see?
Thinking too much about what they want to see is not good. It makes less originality. Any great art comes from the artist’s original vision, not from others.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I often shoot for such a purpose somehow or to make myself grow more.

How often are you shooting new work?
In recent years, I have started to shoot New York again, very often, most time purposely by iPhone. Though I may restart using more other cameras, too.

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Q. Sakamaki is a documentary photographer, covering war to socio-economy in the world, as well as many other social issues, combining the journalistic views and the story-telling with aestheticism. In recent years, his works also contain many of personal matters and views. Actually by dong so, he is exploring and shooting his own self-metaphors. His photographs have appeared in books and magazines worldwide including Time, Newsweek, and Stern, and have been exhibited in solo shows in New York and Tokyo. He has received many international awards, including World Press Photo and Olivier Rebbot of Overseas Press Club. Sakamaki holds a Master’s degree in International Affairs from Columbia University in New York. He has published several books, including “Tompkins Square Park” – photo essay of New York Lower Eastside’s anti-gentrification movement, by Power House Books. Sakamaki is represented by Redux Pictures.

Contact Info:
Q. Sakamaki
info@qsakamaki.com
qsakamaki@yahoo.co.jp
www.qsakamaki.com
http://instagram.com/qsakamaki

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

Art Producers Speak: Anthony Blasko

- - Art Producers Speak

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Anthony Blasko. I’m keeping a close watch on him. There is a current of quiet drama flowing through Blasko’s photographs that harkens back to the works of 20th Century painter, George Bellows. I especially love Blasko’s “Jon Jones” series for Victory Journal.

This was part of a shoot for Nike with Doubleday & Cartwright. During the scout we joked about how amazing it would be if it snowed, and it ended up snowing 4–5 inches while we shot. We were very lucky.

This was part of a shoot for Nike with Doubleday & Cartwright. During the scout we joked about how amazing it would be if it snowed, and it ended up snowing 4–5 inches while we shot. We were very lucky.

This was shot in Las Vegas for Nike. I like that it’s just a simple portrait.

This was shot in Las Vegas for Nike. I like that it’s just a simple portrait.

I shot this at the Arnold Classic in Columbus, Ohio for Victory Journal 7.  This is part of an ongoing project about bodybuilding.

I shot this at the Arnold Classic in Columbus, Ohio for Victory Journal 7.
This is part of an ongoing project about bodybuilding.

 This was also shot for Victory Journal. It was part of a story we shot at the Saratoga Race Track.

This was also shot for Victory Journal. It was part of a story we shot at the Saratoga Race Track.

This is from a shoot I did for Levi’s Commuter.

This is from a shoot I did for Levi’s Commuter.

I shot a series of outdoor courts and fields in Brooklyn for Nike Air Force 1 right after Hurricane Sandy. We ended up biking around for 3 days because of the gas shortage. It was strange because almost no one was out, but it worked well for the shoot. There isn’t a single person in any of the images.

I shot a series of outdoor courts and fields in Brooklyn for Nike Air Force 1 right after Hurricane Sandy. We ended up biking around for 3 days because of the gas shortage. It was strange because almost no one was out, but it worked well for the shoot. There isn’t a single person in any of the images.

A cliff diver I shot at a competition in Boston for Victory Journal.

A cliff diver I shot at a competition in Boston for Victory Journal.

A portrait of a cattleman and his kids in Florida. This is part of a long-term project I working on in the South.

A portrait of a cattleman and his kids in Florida. This is part of a long-term project I working on in the South.

Another image from the same project, shot at a river in Mississippi.

Another image from the same project, shot at a river in Mississippi.

This is one of my favorite shots of my cousin Amber from another ongoing project. I’ve been shooting my father’s side of my family for around 8 years now. The first 5 years are in the book The Way Things Are, Volume I.

This is one of my favorite shots of my cousin Amber from another ongoing project. I’ve been shooting my father’s side of my family for around 8 years now. The first 5 years are in the book The Way Things Are, Volume I.

How many years have you been in business?
I’ve been shooting professionally for about 3 years.

Are you self-taught or photography school taught?
I have a BFA. But that’s not a road I would take again.

Who was your greatest influence that inspired you to get into this business?
It’s hard to cite one influence. Robert Frank, Bruce Davidson, Mark Cohen, Sally Mann and Garry Winogrand have all had a large impact on how I look at things.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Being fresh isn’t something I ever think about but I do try to push myself with every project and try to make it my own. What drives me is looking at the work of others, there’s a lot of great work out there that sets the bar really high.

Do you find that some creatives love your work but the client holds you back?
I know this happens, but I haven’t had much experience with it. But I understand that when you’re working with bigger brands other things need to be considered, and that might be limiting. But at that point you work with the creative to come up with something interesting.

What are you doing to get your vision out to the buying audience?
I find people really love books. I like to print books or magazines of my personal work to send out. Right now I have 4 projects that are close to being done that will become printed pieces in some form. I’ve also worked on a number of projects with Victory Journal, which has allowed me to shoot some interesting stories, as well as get my work in front of a lot of people.

What is your advice for those who are showing what they think the buyers want to see?
I’m sure it works for some, but I think in the long run you’ll probably enjoy your work more if you’re making it for yourself. In return you’ll probably work more because of it. I also think that if you’re not shooting work that’s your own, people will notice.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I’m always shooting personal work. At the moment I’m working on numerous projects, the largest is titled The South. I’m spending 3–4 weeks shooting in each Southern state with another photographer, Chadwick Tyler. We’ll publish books for each state. I’m also finishing up a project on competitive bodybuilding, which will also be a book.

———————

Anthony Blasko is a NYC based photographer. Represented by McDermott Management.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

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