Category "Art Producers Speak"

Art Producers Speak: John Fulton

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 John Fulton.

"Wrong Tools" campaign for Three Atlanta and CPA Global.

“Wrong Tools” campaign for Three Atlanta and CPA Global.

A young farmer/rancher burns some time after breakfast with a curious audience standing by. Part of a personal series featuring contemporary scenes in the South.

A young farmer/rancher burns some time after breakfast with a curious audience standing by. Part of a personal series featuring contemporary scenes in the South.

"Dirt Wave" motocross in the deep south. Part of a personal series featuring contemporary scenes in the South.

“Dirt Wave” motocross in the deep south. Part of a personal series featuring contemporary scenes in the South.

"Quail Hunting". Part of a personal series featuring contemporary scenes in the South.

“Quail Hunting”. Part of a personal series featuring contemporary scenes in the South.

"Fiddler Over Paris", a lone fiddler bares his soul to the denizens of the 7th arrondissement. Shot for an int'l travel company.

“Fiddler Over Paris”, a lone fiddler bares his soul to the denizens of the 7th arrondissement. Shot for an int’l travel company.

Pro bono series for my home town fire department. Hazmat crew takes one for the team as fire plane dumps it's payload.

Pro bono series for my home town fire department. Hazmat crew takes one for the team as fire plane dumps it’s payload.

"On The Way to Saturday". Campaign featuring college football mega-fans for BBDO.

“On The Way to Saturday”. Campaign featuring college football mega-fans for BBDO.

"Wrong Tools" campaign for Three Atlanta and CPA Global.

“Wrong Tools” campaign for Three Atlanta and CPA Global.

Campaign for Harley Davidson featuring real owners enjoying the thrill of the open road.

Campaign for Harley Davidson featuring real owners enjoying the thrill of the open road.

 "Lake of the Clouds Valley". Personal work captured on a trip to the high Rocky Mountains.


“Lake of the Clouds Valley”. Personal work captured on a trip to the high Rocky Mountains.

Firefighters photographed for South Magazine.

Firefighters photographed for South Magazine.

"We're there for you 24/7/365". Campaign for Georgia Power.

“We’re there for you 24/7/365″. Campaign for Georgia Power.

"For the longest lasting truck on the road". Campaign commissioned for Eaton Global.

“For the longest lasting truck on the road”. Campaign commissioned for Eaton Global.

Recent commission featuring speedo-clad mechanics to illustrate the client's heat generating product.

Recent commission featuring speedo-clad mechanics to illustrate the client’s heat generating product.

How many years have you been in business?
12 years.

Are you self-taught or photography school taught?
Both but I did the photo degree route. It was a good jumping board but, like most people, I learned more in just the 1st year working in San Francisco about the industry and my own work than I did during all of school.

Who was your greatest influence that inspired you to get into this business?
I was a skater kid in high school and a lackadaisical student, which took its toll on my studies. I took art classes because I thought they would be easy A’s. I connected with the creative arts immediately and felt myself come alive. Originally I wanted to be a sculptor and I worked diligently towards that goal but eventually I found myself sitting in a photography class. Seeing my first image appear in the developing tray was what set the hook. It’s a cliché’ sentiment at this point, but it was like magic. I was also exposed to the work of the great street photographers, especially the masters of composition and light; Cartier-Bresson and Harry Callahan among others. I worked at my local camera store talking with working photographers every day and developing their images late into the evening. It was an exhilarating feeling to see their work before they did and when talking with them about their assignments at pick up time, it became clear to me that this was the life I wanted. I was also able to work with Jim Erickson and Erik Almas through out my first year after school, which was also instrumental.

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 important to me to find inspiration from things other than photography whether that be other visual arts, travel, history, and simply conversing with people who are very different than myself. A lot of photographers choose to keep their exposure to other’s work at a minimal, I do the opposite. I look at an immense amount of images and I keep the ones that speak to me in an archive that goes back over 10 years. They cover the spectrum from photography, design, 3D, and fine arts and I often sift through them making mental notes of the things I like, don’t like, and want to experiment with before my next project.

Do you find that some creatives love your work but the client holds you back?
It varies widely from project to project but limitations can be a blessing. I’ve been studying film making lately and I read something from a feature director awhile back saying that often times he’ll limit himself to just one or two lenses for a whole movie because with every option available for every shot, it can be overwhelming and the images end up being too disjointed. I look at constraints that clients give in that way and it forces me to push my work and grow in a direction that I might not have taken on my own and I walk away with more tools in my creative arsenal.

What are you doing to get your vision out to the buying audience?
All the usual things but the most important to me is face-to-face exposure. The path of least resistance is always the most overrun and that right now is doing everything digitally. My reps are also paramount in connecting with buyers.

What is your advice for those who are showing what they think the buyers want to see?
Showing what you think buyers want to see is a loosing strategy if that’s your main motivation. Even if you’re scoring some projects, you won’t be shooting what you love and the work won’t be as affective as it should be. Ultimately, you’ll end up spending your career working on things that don’t inspire you and that’s not good for you or your clients.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Not as much as I’d like, but I’m working on that. It takes the willingness to say no to paying projects usually but I think it’s a good investment for one’s creative soul. Story telling in still frame, painting, modeling, motion, and writing is always on my mind from when I wake up until I finally go to bed. Lately, I’ve been spending the majority of my non-working time learning 3D modeling which has been a very captivating creative outlet and has already helped land some of my favorite projects to date.

How often are you shooting new work?
It varies from every couple weeks to a month. I prefer to do my own post work whenever possible and if it’s a series of multi-image composites that typically turns a 3 day shoot into a 3 week process from beginning to end but it’s an integral part of what I love about my job and what makes the images I deliver to my clients unique and impactful.

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John is an America photographer born and raised in the Rocky Mountains of Colorado. His work is often described as rich, fresh, and authentic. Clients recognize his consistent vision and adamant drive to deliver impactful and affective images through a broad range of subjects.

John is honored to have been included in Luerzer’s Archive Top 200 Advertising Photographers Worldwide and his work has been recognized by PDN, Communication Arts, Hasselblad Masters, Int’l Photography Awards, Prix de la Photographie Paris, American Photographic Artists, Int’l Loupe Awards, and Color Awards. His clients include AT&T, Harley Davidson, Captain Morgan, Airstream, Westin and Hyatt Int’l among others.

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: Reed Young

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 Reed Young. He is an editorial photographer whose work has so much story in it that I always stop and spend time with it. He really deserves some exposure for being interesting, thoughtful in the topics he covers and insightful in the compositions he depicts.

NOTE: Reed was nominated twice by two Art Producers from different agencies that have great reputations.

Angelo Maggi, the Italian voice actor for Tom Hanks

Angelo Maggi, the Italian voice actor for Tom Hanks

“Goldie” crossed the border when she was 16 and started dancing at a topless bar where most of the dancers were illegal immigrants from Juarez. She soon left that life behind, and now she owns Goldie’s Bar, a tiny cantina in an industrial section of south central El Paso. The walls of Goldie’s Bar are littered with pictures of her hero, Marilyn Monroe: “I like that she often said that women should be liberated, that men shouldn’t limit them, that a woman should be the way she wants to be.”

“Goldie” crossed the border when she was 16 and started dancing at a topless bar where most of the dancers were illegal immigrants from Juarez. She soon left that life behind, and now she owns Goldie’s Bar, a tiny cantina in an industrial section of south central El Paso. The walls of Goldie’s Bar are littered with pictures of her hero, Marilyn Monroe: “I like that she often said that women should be liberated, that men shouldn’t limit them, that a woman should be the way she wants to be.”

Bryan Toovak is a 7-year-old living in Barrow, Alaska. He goes to this playground from spring to fall despite the below-zero temperatures. On this rather mild spring day in early May, temperatures rose to almost 25 degrees Fahrenheit (-4 degrees Celsius).

Bryan Toovak is a 7-year-old living in Barrow, Alaska. He goes to this playground from spring to fall despite the below-zero temperatures. On this rather mild spring day in early May, temperatures rose to almost 25 degrees Fahrenheit (-4 degrees Celsius).

Konishiki Yasokichi is a 45-year-old one of Japan’s most recognizable celebrities. Now that he’s retired from Sumo Wrestling, the sport that made him so popular, he’s become a hip-hop artist and host of his own children’s television show. He was the heaviest sumo wrestler of all time weighing 580 pounds(264 kg). Two years ago he underwent gastric bypass surgery and has lost much of the weight that previously threatened his good health.

Konishiki Yasokichi is a 45-year-old one of Japan’s most recognizable celebrities. Now that he’s retired from Sumo Wrestling, the sport that made him so popular, he’s become a hip-hop artist and host of his own children’s television show. He was the heaviest sumo wrestler of all time weighing 580 pounds(264 kg). Two years ago he underwent gastric bypass surgery and has lost much of the weight that previously threatened his good health.

Felicia raises three of her grandchildren in small community deep in the sugar cane fields of the Dominican Republic. The family was supported by her husband’s pension until three months ago when he passed away. She lives in one of the few barracks that survived Hurricane George. She believes that the Lord will sustain her during this difficult time in her life.

Felicia raises three of her grandchildren in small community deep in the sugar cane fields of the Dominican Republic. The family was supported by her husband’s pension until three months ago when he passed away. She lives in one of the few barracks that survived Hurricane George. She believes that the Lord will sustain her during this difficult time in her life.

Seven days a week, 23-year-old Galson Mgaya rides from his remote village of Mtwango to the nearest city of Makambako, Tanzania. He straps 20 chickens to the back of his bicycle and then sells them in the city for twice what they’d go for in his small town. The trip takes him 3.5 hours each way, but it’s worthwhile because he makes about $8 each day. His daily profit helps support his parents and two sisters.

Seven days a week, 23-year-old Galson Mgaya rides from his remote village of Mtwango to the nearest city of Makambako, Tanzania. He straps 20 chickens to the back of his bicycle and then sells them in the city for twice what they’d go for in his small town. The trip takes him 3.5 hours each way, but it’s worthwhile because he makes about $8 each day. His daily profit helps support his parents and two sisters.

Many Brownsville residents say the area has more sneaker stores than after-school programs. Brownsville Brooklyn has only three sneaker stores. A few years ago, Penny began hosting an informal after-school program so that children in her building would have a safe place to go after school.

Many Brownsville residents say the area has more sneaker stores than after-school programs. Brownsville Brooklyn has only three sneaker stores. A few years ago, Penny began hosting an informal after-school program so that children in her building would have a safe place to go after school.

Minh Le is an unofficial spokesman for the Vietnamese community in Bayou La Batre, Alabama. Approximately one-third of the town’s population is of Asian descent, and of those, most are Vietnamese. Adopted by an American serviceman during the 1960s, Minh returned to his native Vietnam in the ’70s to act as an advisor to the US Navy. When he retired from the Navy, he moved to Bayou La Batre and bought several shrimp boats, including The Sunrise, pictured here. After the BP oil spill, Minh outfitted his boats to help with the cleanup efforts.

Minh Le is an unofficial spokesman for the Vietnamese community in Bayou La Batre, Alabama. Approximately one-third of the town’s population is of Asian descent, and of those, most are Vietnamese. Adopted by an American serviceman during the 1960s, Minh returned to his native Vietnam in the ’70s to act as an advisor to the US Navy. When he retired from the Navy, he moved to Bayou La Batre and bought several shrimp boats, including The Sunrise, pictured here. After the BP oil spill, Minh outfitted his boats to help with the cleanup efforts.

Comedian John Oliver for The Guardian.

Comedian John Oliver for The Guardian.

An advertisement for Dixan, an Italian laundry detergent.

An advertisement for Dixan, an Italian laundry detergent.

Bomb dog training school for Smithsonian Magazine.

Bomb dog training school for Smithsonian Magazine.

Inside the offices of Etsy for Inc. Magazine.

Inside the offices of Etsy for Inc. Magazine.

How many years have you been in business?
I’ve been doing freelance assignment work for 7 years.

Are you self-taught or photography school taught?
I graduated from Brooks Institute in Santa Barbara.

Who was your greatest influence that inspired you to get into this business?
There are many. I’ve always been inspired by the work of Irving Penn and Richard Avedon. When I was in photography school, Steven Meisel and Steven Klein inspired me to try and become a fashion photographer. But I learned early on that it wasn’t fashion I loved but the stylistic use of lighting. So I applied it to what I was most interested in –- portraiture.

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 was never a good writer, so photography became an excuse to be a storyteller in a different way. I shoot at least two personal projects each year on subjects that interest me. For example I lived in Italy from 2006 to 2009, and while I was there I became fascinated with how American films are always dubbed into the Italian language instead of subtitled. After some research I learned that Italians have grown attached to the voices they associate with each Hollywood actor – so much that they’ve come to expect the voice of someone like Tom Hanks to always be the same person. This inspired me to spend a month in Rome photographing the dubbers in recreated scenes from their characters most iconic roles. Last month The New Yorker featured the story, which has already led to some exciting new opportunities.

Do you find that some creatives love your work but the client holds you back?
When it comes to advertising, I look at every assignment as the intersection of the creative, the client and me. It’s my job to bridge everyone’s goals into one successful outcome of which everybody can be proud. I shoot a lot of magazine assignments as well and they allow for a bit more freedom. The photo editor usually has ideas in mind, and they encourage me to interpret their ideas in a way that works best with my style.

What is your advice for those who are showing what they think the buyers want to see?
My first job out of college was in the art production department at McCann here in New York. I learned more in 10 months than in all three years of college. The experience allowed me to learn the business from the inside, instead of the usual perspective of a photo assistant. I learned that art buyers are drawn to work even if it isn’t what they are producing on a daily basis. Art buyers and photo editors receive hundreds of promos each week, and they basically look at them only long enough to throw them in the trash or delete them from their inbox. I learned quickly that it’s important to have a consistent style and to show work that’s hard to forget.

What are you doing to get your vision out to the buying audience?
I’ve realized my best work comes from the heart. The beauty of doing personal projects is that I can market myself with the type of work I want to be assigned.

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Reed Young is an American photographer born in 1982. He grew up in Minneapolis and now calls New York City home. He shoots assignment work for magazines including Time, The Guardian Weekend, Fortune, Fast Company , Popular Mechanics and Runner’s World. Young’s work has taken him all over the world in search of stories that focus on the human perspective.

www.reedyoung.com +1 917.821.4449 me@reedyoung.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: Pip

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 Pip. We collaborated with him to shoot for one of our clients. He was a pleasure to work with and his photography is outstanding. He’s only 25 and he’s already short listed for the AOP awards and he made it into the Creative Review annual this year. Added to all this, he’s also self-taught.

Sir Ian McKellen

Sir Ian McKellen

Lawson – Album artwork

Lawson – Album artwork

Freerunner project – with world parkour champion, Tim Shieff. See the rest on www.bypip.co.uk

Freerunner project – with world parkour champion, Tim Shieff. See the rest on www.bypip.co.uk

Benjamin Francis Leftwich

Benjamin Francis Leftwich

The Novellos

The Novellos

Ellie Goulding in the rain

Ellie Goulding in the rain

Scottish actress Freya Mavor

Scottish actress Freya Mavor

Track & Field project – see the rest of www.bypip.co.uk

Track & Field project – see the rest of www.bypip.co.uk

Ben Khan

Ben Khan

British actor Jack Laskey

British actor Jack Laskey

Richard E Grant

Richard E Grant

Track & Field project – see the rest of www.bypip.co.uk

Track & Field project – see the rest of www.bypip.co.uk

How many years have you been in business?
I’ve been working professionally for 6 years now.

Are you self-taught or photography school taught?
I’m self- taught, I didn’t go to college or university. I already had a solid technical understanding before I left school, and I’d never been particularly interested with conceptual analysis or the history of photography, so it didn’t make sense for me to go. I just wanted to get out into the world and start shooting without the limitations of working to a course project brief. Not having any qualifications has never inhibited me though – it’s important to remember that even with a first class degree from a top university, in the eyes of the client, you’re just as inexperienced as the day you enrolled. Portfolio is everything.

Who was your greatest influence that inspired you to get into this business?
I was always a big fan of people like Ansel Adams, Anton Corbijn and Kevin Cummings when I was growing up. Their cinematic, black & white vision was something that really spoke to me. They also all had a graceful way of combining landscape scenes with portraiture – something else I’ve always loved. I think the romance of their work is what drove me to pick up a camera in the first place and the business side of things developed naturally as I continued to create work I was proud of.

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?
Following on from my last point, the most important thing is to be shooting things that excite you. As primarily a portrait photographer, my work is about storytelling, so humans are my first love and my main inspiration. I love meeting interesting people, learning about their lives and the way they perceive the world – everyone has a different story.

Do you find that some creatives love your work but the client holds you back?
I’ve been generally pretty lucky with clients – I can’t think of many times I’ve been held back or asked shoot in a way I wasn’t comfortable with. When shooting commercially there always has to be compromises from each party, but I’ve found the best clients are good communicators – ones who lay down a thorough brief then take a step back and let the photographer approach it in their own way. The best results usually come out of a mutual trust between photographer, creative and client.

What are you doing to get your vision out to the buying audience?
I love doing editorial work – although budgets are small and turnaround times are nearly always tight, there’s more of a creative freedom to experience, compared to commercial work. It’s still one of the best ways to get noticed, having your work in print. Social media is also a big part of the game these days – twitter, instagram and tumblr are all great platforms for sharing your work and telling the world about what you’re up to. A massive percentage of the creative buying community now regularly use these networks to source new talent, get inspiration and keep up with the latest trends – embrace technology, get involved and get noticed.

What is your advice for those who are showing what they think the buyers want to see?
It’s never good to try and second-guess what people want to see, because half the time they don’t even know what they want to see, until they see it. From experience, you can win clients and jobs from the most unlikely places and you can fail to get something you feel like you were born for. The best thing you can do is shoot what you love in a style you love, and your work will have integrity. Passion resonates and is highly infectious.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Whenever I’m not shooting editorial or commercial work, I always try and get stuck in to personal projects. Because most of my work is portrait based, I try and mix things up when shooting for myself. Lately I’ve been doing a bit of landscape work – it’s a totally different experience to shooting people, but its nice to have the time and space to really consider the shots I’m taking.

How often are you shooting new work?
I prefer to shoot sets of images in the form of a personal project, rather than odd shots here and there. I usually do something big every couple of months if I can fit it in, but working regularly with clients tends to take up most of my time.

CONTACT

Name: Pip
Website: www.bypip.co.uk
Twitter: @bypip
Instagram: @bypip

BIOGRAPHY

Pip is a self-taught photographer from Yorkshire, Northern England. Avoiding conventional paths into the industry, he exchanged University and assisting for a start in professional work at the exceptionally young age of 19, when he was signed by London agency Shoot Group. Since then, Pip has worked internationally with a dizzying range of people, from the freshest bands and emerging acting talent to international pop stars and Hollywood greats. Recent subjects have included Ellie Goulding, London Grammar, Lawson, Professor Green, Conor Maynard, Jeremy Irvine, Harry Treadaway, James Nesbitt, Russell Brand, The Inbetweeners, Richard E Grant, Helen McCrory and Sir Ian McKellen. Last year saw him become the youngest ever cover photographer for ‘Photo Pro’, the largest professional photography magazine in the UK, and be featured in the prestigious Creative Review Photography Annual. With an extensive range of editorial clients and advertising commissions from Royal Opera House, Barclaycard, Waitrose, Channel 4, NASA, BBC Worldwide and Topman under his belt, at just 25 years old, Pip is currently one of London’s more exciting young portrait photographers.

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: Evan Lane

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 Evan Lane. 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.

Part of a personal series called Ambien. Those late night moments that feel like a waking dream. Los Angeles CA, 2014

Part of a personal series called Ambien. Those late night moments that feel like a waking dream.
Los Angeles CA, 2014

The beautiful Heather. I have shot her with long hair and with short hair and I’d shoot her any which way.

The beautiful Heather. I have shot her with long hair and with short hair and I’d shoot her any which way.

Calisthenics, with my friend Chelsea

Calisthenics, with my friend Chelsea

And I also love capturing those in between moments, the subject never thinks you are going to use.

And I also love capturing those in between moments, the subject never thinks you are going to use.

Nighttime conjures magic.

Nighttime conjures magic.

Best shots are the ones where they never even knew you were there.

Best shots are the ones where they never even knew you were there.

From an editorial I shot last month for Bright Ideas Magazine.

From an editorial I shot last month for Bright Ideas Magazine.

From an editorial I shot last month for Bright Ideas Magazine.

From an editorial I shot last month for Bright Ideas Magazine.

This is from a Toyota Prius campaign I shot for Saatchi.

This is from a Toyota Prius campaign I shot for Saatchi.

True love in Lake Havasu.

True love in Lake Havasu.

Lake Havasu, Arizona, 2014

Lake Havasu, Arizona, 2014

Lake Havasu, Arizona, 2014

Lake Havasu, Arizona, 2014

This is another one from the Toyota Prius campaign I shot for Saatchi.

This is another one from the Toyota Prius campaign I shot for Saatchi.

Set still from a music video for Artist, Emily Sundblad

Set still from a music video for Artist, Emily Sundblad

Artist, Emily Sundblad

Artist, Emily Sundblad

This tortoise was just chilling in the middle of the desert during my editorial shoot for Bright Ideas Magazine.

This tortoise was just chilling in the middle of the desert during my editorial shoot for Bright Ideas Magazine.

This is a print ad for the company I started, Langly Camera Bags. www.langly.co

This is a print ad for the company I started, Langly Camera Bags. www.langly.co

How many years have you been in business?
I have been shooting about 4 years professionally.

Are you self-taught or photography school taught?
I went to Emerson College for film. Photography was self-taught out of necessity for instant gratification. Filmmaking is such a lengthy and layered process from start to finish.

Who was your greatest influence that inspired you to get into this business?
I’d say it was a culmination of things. After my parents split when I was 4, my mom dated artists and scientists. These people influenced and strengthened my natural curiosity. My dad was a film editor and taught me how to be frame accurate. My grandparents exposed me to cultural experiences and would take me to tons of galleries and museums. From those experiences I was able to learn how to form my own subjectivity for art, the composition, textures, color palates and subject matter. I think narrative film has had a huge impact on the way I approach photography and see it as another form of story telling.

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 will never stop leaning or evolving as an artist and foremost as a human being. I think it is important to stay excited about what interests me. On many levels I am a documentarian and I approach photography as a window into my life.   I think I get hired for this unique perspective as result.

Do you find that some creatives love your work but the client holds you back?
I think it just depends on the client. A lot of the times there are really pragmatic reasons for a client to intervene, the nature of a forcing ideas for practical reasons can definitely cause the final product to deviate from the personal vision they hired you for to begin with.

I think it just depends on the client. A lot of the times there are really pragmatic reasons for a client to intervene, the nature of a forcing ideas for practical reasons can definitely cause the final product to deviate from the personal vision they hired you for. I personally like the challenge of thinking outside of the box, inside of a box.
 
Other clients have less pressure from a large chain of command and hand over the reins. Those are usually the best shoots because the best relationships are ones built on trust. They want what they saw in your portfolio.

What are you doing to get your vision out to the buying audience?
Of course there is the conventional way of getting out there, meeting art buyers and showing my book. I think it’s all about continually shooting new work, paid or not and then pushing that through social media. I have met a bunch of art buyers and art directors through Instagram. It’s a live-streamed portfolio that people are selectively subscribing to. It allows me to see how people react to my photos in an instant and on an almost subconscious level.

What is your advice for those who are showing what they think the buyers want to see?
If you stay true to your own personal vision, the ones who notice you are the ones who understand your work and see a place for it. You don’t find your audience, your audience finds you.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am always shooting for myself.

How often are you shooting new work?
2-3 days a week and I always have my camera on me.

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The work of LA-based photographer, Evan Lane, is unapologetically honest. His photography takes the form of a visual diary, documenting organic and relatable moments. The photos maintain that inherent effortlessness – breaths of life on pause. In 2012, Evan launched Langly to bridge the fashion and functionality of camera bags. Today, Langly can be seen on photographers on 5 continents and Evan can still be found on the road chasing down shots. If you need to get a hold of him, contact Dara at I Heart Reps.

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: Kris Davidson

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 Kris Davidson as one of our art directors really like her and she seems so great.

Returning to Sweden (my homeland), I spent 5 days traveling with migrating reindeer. It was very cold – but cathartic and utterly magical. In this image I was drawn to how the reindeer antlers resembled braches of the distant tree line.

Returning to Sweden (my homeland), I spent 5 days traveling with migrating reindeer. It was very cold – but cathartic and utterly magical. In this image I was drawn to how the reindeer antlers resembled braches of the distant tree line.

These two maniacs are in a “safe” naturally formed pocket at the top Victoria Falls in Zambia – near the Devil’s Pool. I still get dizzy just looking at this.

These two maniacs are in a “safe” naturally formed pocket at the top Victoria Falls in Zambia – near the Devil’s Pool. I still get dizzy just looking at this.

Sunrise somewhere in the Atlantic -- sailing with Semester At Sea as a staff photographer early on in photography career helped me build a beginning travel portfolio.

Sunrise somewhere in the Atlantic — sailing with Semester At Sea as a staff photographer early on in photography career helped me build a beginning travel portfolio.

On assignment for National Geographic Traveler in Key West – this wonderful mystic read my fortune as I photographed him – and he kept the details of my future to himself at my request!

On assignment for National Geographic Traveler in Key West – this wonderful mystic read my fortune as I photographed him – and he kept the details of my future to himself at my request!

Photographing Cochise County, Arizona for National Geographic Traveler has been one of my favorite assignments to date. Such a strange, wild place where history and the modern day converge. These cowboy actors relaxing in a saloon before their daily gun battle at the OK Corral in Tombstone.

Photographing Cochise County, Arizona for National Geographic Traveler has been one of my favorite assignments to date. Such a strange, wild place where history and the modern day converge. These cowboy actors relaxing in a saloon before their daily gun battle at the OK Corral in Tombstone.

I danced on the bayou with the inimitable “Wild Man” while on assignment for Lonely Planet Traveller in the Louisiana swamps.

I danced on the bayou with the inimitable “Wild Man” while on assignment for Lonely Planet Traveller in the Louisiana swamps.

The Cajun version of Mardi Gras (called Courier de Mardi Gras) is absolutely surreal. I found myself running after brightly dressed men (some on horseback) who were chasing after chickens (traditionally destined for communal gumbo) through miles of bayou wetlands.

The Cajun version of Mardi Gras (called Courier de Mardi Gras) is absolutely surreal. I found myself running after brightly dressed men (some on horseback) who were chasing after chickens (traditionally destined for communal gumbo) through miles of bayou wetlands.

In Key West again, for Lonely Planet Traveller. The egg and cheese sandwiches are delicious at the Cuban Coffee Queen.

In Key West again, for Lonely Planet Traveller. The egg and cheese sandwiches are delicious at the Cuban Coffee Queen.

This is the very first image I made for In the Southern Garden. Here is Walter in Glendora, Mississippi holding up an old Nat King Cole album titled “Love Is the Thing.”

This is the very first image I made for In the Southern Garden. Here is Walter in Glendora, Mississippi holding up an old Nat King Cole album titled “Love Is the Thing.”

Also for In the Southern Garden -- Swamp Thing is a street performer in the French Quarter.

Also for In the Southern Garden — Swamp Thing is a street performer in the French Quarter.

For my in-progress American Macondo project I am experimenting with mixed media – this is actually a photograph of a print that includes paint, pencil and gold specks. The image is a Mexican born US border patrol agent in what they refer to as “no man’s land.” Tijuana on the other side of the fence.

For my in-progress American Macondo project I am experimenting with mixed media – this is actually a photograph of a print that includes paint, pencil and gold specks. The image is a Mexican born US border patrol agent in what they refer to as “no man’s land.” Tijuana on the other side of the fence.

How many years have you been in business?
Full time, about 6 years – I gradually transitioned from a branding/marketing career into being a photographer and educator.

Are you self-taught or photography school taught?
After taking every single photography course at Loyola University in New Orleans I immediately enrolled at Brooks Institute for an MFA program. Beyond that, I feel compelled to credit the invaluable non-formal education I have received over the years as well – my career began in the San Francisco during the dot com boom in as a branding project manager. The time I spent learning how to dissect a brand was priceless. I owe a huge debt to my branding guides Renee Sheppard and Rita Damore. Also, photographer Catherine Karnow, who showed me how to really see people through a lens, demonstrating that it, is possible to make a living celebrating humanity.

Who was your greatest influence that inspired you to get into this business?
Two people: Dr. Leslie Parr, a photography professor at Loyola University in New Orleans. She is a wonderful photo historian with a focus on the documentary genre. Her classes were always the most delightful refuge for me. Also, Michael Sustendal, a commercial photographer who I assisted during my college days in New Orleans. A Southerner to the core, he is the most entertaining storyteller I have ever met. I could listen to him talk all day! He remains a life mentor and dear friend.

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?
Honestly, I don’t think too much about ways to stay fresh. Maybe I should! In truth, I just indulge my own curiosity — I feel most alive when traveling and telling/interpreting stories (whether in a far away land or just down the street). Curiosity drives pretty much all the work I do, from commercial work (branding IS a form of story-telling, after all) to editorial travel assignments and my personal work. I have come to regard the camera as a magical key that allows me to open doors into worlds that I have no reason to be in otherwise.

Do you find that some creatives love your work but the client holds you back?
I tend not to look at it that way. In my previous branding career incarnation I was privy to a topographical view of the branding landscape far before anyone ever paid me a dime to shoot a single frame. With my hands in everything from initial client meetings — including the occasional hellish moment of having to tell a new client that “their baby is ugly” as one of my first branding mentors wryly phrased it — to the end resolution/plan for moving a brand forward in a dynamic, collaborative way. The photography portion of a brand can be very important, but it is always a part of a larger effort. As such, I don’t view client pushback as a rejection of my own creativity — I view it as part of a larger conversation about an organic brand. My goal is to be creative — of course — but I always want to be in tune with how the rest of the brand is emerging and evolving. The collaboration itself is the creative challenge.

What are you doing to get your vision out to the buying audience?
Well, I am a people-person! I try to meet with creatives with my printed portfolio whenever possible – there is nothing that compares to a beautiful printed portfolio and eye contact. Other than that, I don’t like being too heavy-handed. I send a small set of promos of current/new work out a few times a year, along with short, personal hand-written notes — although I wonder if that is a good idea since my handwriting is questionable. Beyond that, a clean, focused tightly-edited website is my primary marketing tool – I update it about ever year with the help of my marketing consultant. I also blog — I like to write with the intent of providing a deeper insight into my photographic approach and who I am as a person.

What is your advice for those who are showing what they think the buyers want to see?
Be honest with yourself about what kind of work you really want to do (often easier said than done). Then, with that defined, make every effort to understand the business side the specific market you are interested in. It is not the sexiest area of study (and you may need to devise your own education here to some extent), but it is essential. The consumer, editorial, commercial and art markets are all unique, and nuanced within themselves. I personally find it very useful to partner with industry experts/consultants to help organize and present my work. Just like I have an accountant who does my taxes (thank god), I have a consultant who helps me manage my portfolios/marketing strategy, a printer who makes my prints and a bookbinder for my portfolio book exteriors. It is an investment, but worth it. For me it is a huge stress relief not to have shoulder the weight of all that work by myself.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes. Being an immigrant to the United States, my current personal projects explore what it means to become and be an American. There are so many varying interpretations. I am working on two separate projects that explore this question. Currently, I am focused on American Macondo, which looks at migration in the US/Mexico borderlands through a magical realism filter (I am interested in navigating a line between a documentary aesthetic and the often fictional/constructed landscape of memory). And, being based in New Orleans for the time being, I am also working on a project titled In the Southern Garden, which considers how individual identity and collective social memory continue to unfold in the American South in the wake of the Civil War.

How often are you shooting new work?
Commercial and editorial gigs — as often as they come! Beyond that, I am almost always working on a personal project in some capacity. But I am not someone who shoots every day or carries a camera everywhere. Rather, my process tends to involve a lot of pre-shoot thinking and cross-disciplinary reading/research for inspiration. Right now for my American Macondo project I am reading three very different books: Being America: Liberty, Commerce and Violence in an American World (by Jedediah Purdy); Thirteen Crime Stories from Latin America (A McSweeny short story collection); and St. Lucy’s Home for Girls Raised by Wolves (another collection of surrealist/magical short stories by Karen Russell). I also have a standing coffee date with a friend who is a Mexican economist and we just chat about art, Latin America and his impressions of the US. Later this year I’ll head back down to the borderlands to shoot – and see what transpires.

—————-

Kris Davidson is a freelance photographer and educator based in San Francisco and New Orleans. Her specialties include travel/lifestyle and portraiture for editorial, commercial and corporate clients. Kris has an MFA from Brooks Institute and a BA (Communication Arts) from Loyola University in New Orleans. Prior to becoming a photographer, Kris worked as a marketing/branding professional for 8 years.

As a photographer, Kris has worked with various clients including Lonely Planet Magazine, National Geographic Traveler, Travesías Magazine, The Discovery Channel, MTV Networks, The Institute for Shipboard Education, Kimpton Hotels to name a few. She has been recognized for her work in PDN Magazine, American Photo Magazine and in the International Photo Awards.

Kris is also faculty at the Academy of Art University based in San Francisco, teaching several courses online in the photography school; additionally, she also teaches for the National Geographic Expeditions Photography Workshops.

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: Misha Taylor

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 Misha Taylor. He is probably my favorite my favorite, he has an incredible eye and always perfectly captures that specific mood in his photos.

I love these images of Jamie Foxx, these are outtakes from ad campaign we did together. He is the ultimate entertainer, it didn't just start when the camera was on him either. He sang and danced and ruled the room. These images really tell that story to me.

I love these images of Jamie Foxx, these are outtakes from ad campaign we did together. He is the ultimate entertainer, it didn’t just start when the camera was on him either. He sang and danced and ruled the room. These images really tell that story to me.

I was asked to conceptualize and shoot the Kisua Campaign, I really wanted to do something contemporary and pop yet still African.. I love how the image comes to life. Its almost a still life, but somehow really jumps around the page.

I was asked to conceptualize and shoot the Kisua Campaign, I really wanted to do something contemporary and pop yet still African.. I love how the image comes to life. Its almost a still life, but somehow really jumps around the page.

This is one of my favorite images, I find the similarities between his face and Johannesburg cityscape really moving. His eyes and scarred face tells the story of the beauty, pain, struggle, and resilience of the still young S. Africa. something about it really gives me hope.

This is one of my favorite images, I find the similarities between his face and Johannesburg cityscape really moving. His eyes and scarred face tells the story of the beauty, pain, struggle, and resilience of the still young S. Africa. something about it really gives me hope.

the way the ice-cream drips through his fingers give the picture a strange desperation, yet reminds me of slow summer days. There is something magical about that parallel that really draws me in.

the way the ice-cream drips through his fingers give the picture a strange desperation, yet reminds me of slow summer days. There is something magical about that parallel that really draws me in.

This was one of the most fun shoot I have ever done, I got a good number of my friends together for an underwear special for Selfridges.  I love this moment, it reminds me of that reckless abandon of long summer days. My friends and I sneaking into pools that weren't ours, jumping off roofs, basically being a kid.

This was one of the most fun shoot I have ever done, I got a good number of my friends together for an underwear special for Selfridges. I love this moment, it reminds me of that reckless abandon of long summer days. My friends and I sneaking into pools that weren’t ours, jumping off roofs, basically being a kid.

This image of Diane Pernet was taking in Paris. She is one of that last  true eccentric fashion icons and working with people like her make portraiture such an incredible experience. I love that you can almost see her eyes, but cant quite see where she is looking.

This image of Diane Pernet was taking in Paris. She is one of that last true eccentric fashion icons and working with people like her make portraiture such an incredible experience. I love that you can almost see her eyes, but cant quite see where she is looking.

This image was featured on Nowness and was taken on the pan African Rovos rail. I love the starkness of the Karoo as it glides by behind her, and how she bisects it in quite a violent way. I find this image quite jarring in the end, even though at first glance its so peaceful

This image was featured on Nowness and was taken on the pan African Rovos rail. I love the starkness of the Karoo as it glides by behind her, and how she bisects it in quite a violent way. I find this image quite jarring in the end, even though at first glance its so peaceful

This image has such a wonderful stillness, I almost find myself holding my breath when I look over it, I never really find peace as far as a place to settle my eyes. I love when pictures have have little lives of their own.

This image has such a wonderful stillness, I almost find myself holding my breath when I look over it, I never really find peace as far as a place to settle my eyes. I love when pictures have have little lives of their own.

These two images were taken in Johannesburg, I cant help but feel that I am in the middle of them as they look at each other.

These two images were taken in Johannesburg, I cant help but feel that I am in the middle of them as they look at each other.

This was taken in Paris, the intensity of the photo is odd  as I find it quite weightless. They seem to counter balance each other. Its beautiful but as their faces come together quite bizarre as well. I really enjoy all these little permutations

This was taken in Paris, the intensity of the photo is odd as I find it quite weightless. They seem to counter balance each other. Its beautiful but as their faces come together quite bizarre as well. I really enjoy all these little permutations

This is one of my favorite places in the world, fitting to its' name; "Natures Valley".  A giant indian ocean on one side and this view inland up the river on the other. The air there has a weight to it. I was really pleased with this image as I can feel that weight when I look at it.

This is one of my favorite places in the world, fitting to its’ name; “Natures Valley”. A giant indian ocean on one side and this view inland up the river on the other. The air there has a weight to it. I was really pleased with this image as I can feel that weight when I look at it.

How many years have you been in business?
This question is a little different for me as some of my earliest memories are from film sets, my father, and award winning director and photographer used to let me look through the lens or operate the camera before I was even a teenager. He also had his crews work me to the absolute bone as soon as I was old enough to hold my own. I worked 22-hour days fetching water and carrying stands. Driving Trucks, writing treatments, setting up lights and loading cameras. But I suppose the question you are after is as far as me being in creative control, to be safe lets say 8 years.

Are you self-taught or photography school taught?
I learned on the sets of my father and his friends, I tried taking a few classes in university but realized quickly that technically speaking what you learn through work experience and life far surpasses what you learn at school. Something also has to be said from seeing how the best in the world operate creatively, how they deal with clients, and how they stay true to their vision. However as far as theory goes, school was invaluable.

Who was your greatest influence that inspired you to get into this business?
First and foremost my parents, both artists filled our lives with art and travel. These memories dance their way through almost all of my creative process. Sitting on the front of small rubber boat in the deep Okovango delta and being charged by a giant bull elephant to beautiful girls in a studio.

When there wasn’t an adventure we made our own, seeing so many things allowed for me to see the world through my own lens. I was given the chance to allow my imagination to run wild, and this business gave me the incentive to want to tell stories beyond our day-to-day lives.

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 really try to live my pictures, I try to see myself in my work, the wonderful and the mundane the challenging, the obscure, the loss the gain. We all share a common emotive process, and I hope that what brings my imagination to life will have the same effect on others.

Do you find that some creatives love your work but the client holds you back?
Part of the process is reinvention to make old ideas new, to make bad ideas good, to make complex ideas simple. Of course there are moments in the bureaucracy of this business where the opposite seems to destine to happen, good ideas turn bad, the simple becomes complicated. In the end the fight for what we as creatives believe to be the best execution is best done with the image itself.

To show this image and let the story be right rather than the artist. However there are always the few that need convincing beyond the image, and this is as much an art as the work itself.

What are you doing to get your vision out to the buying audience?
I personally believe my work is better off for me concentrating on the art itself, rather than the propaganda and PR. Just to keep making art to keep shooting and experiencing and the reach of that is unmeasurable.

What is your advice for those who are showing what they think the buyers want to see?
Some people are better at this than others, if done correctly I think someone could do quite well. But in the end to live and love your work, you must do what it is that you want, and produce what it is you want to see.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
It’s important to constantly want to tell stories, even if this is done by other means than photography. To keep new ideas rolling off your tongue or your pen or out of your camera.

How often are you shooting new work?
This question is a bit convoluted, as we seem to be measured in quantity so often. I work everyday, and take a picture everyday. But I suppose I can only roll out new projects when they are finished. This can take less than a week from the birth of an idea to full realization. And there are other projects that I feel I will be working on forever.

But as I see an absolutely binding bond between work and life. I feel like I am working even when I am walking through town or lying watching the rain.

—————–

I was Born in Cape Town, South Africa, in the early 80’s, My Parents both Artists did their best to distract my sister and myself from the Politics at the time by taking us to the people, to the country, to what was real in a place plagued by misunderstanding and misinformation. We traveled feverishly, by all means and to some of the most remote and wonderful places in the world. Before my father’s career took us to the United States, they would pack us and our yellow dog in the back of our Landrover and drive for weeks on end.

When we moved to Los Angeles, in 1989 our lives changed somewhat. But our lust for adventure didn’t. They would pull us out of school and proclaim a fly-fishing trips to Montana or hikes through Monument Valley.

School in the United States was, incredible. I was able to be exactly who I was, and who I wanted to be. I grasped onto the contagious American mindset that allowed you to pursue your dreams and I was off.

I left California in 2000 and began my travels home and beyond. I wanted to see how much of my childhood imagination had painted of memories of Africa, I was desperate to be part of the new hope and new democracy. I fell in love with Africa all over again. And was able to see my life there through balanced eyes,

My love for travel however soon pushed me on my way. I wanted to live Italy and walk through the ruins of the Roman Empire, to live in France and read and drink wine in the same bars as my literary heroes. To Dance in the famous techno clubs of Berlin and ride bicycles down massively wide streets.

I did all this and more, everyday I wake up wanting to keep living, to keep watching all the serendipitous fortunes the world has to offer. I am quite young but have lived a life full to the brim. This is why I feel comfortable telling stories. Because I have so many to tell and the world has so many more to give us.

Check out more of Misha’s work www.assignmentagency.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: Tobias Hutzler

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 Tobias Hutzler. He has gorgeous work and he is so hardworking and humble. I think he is going to be a star some day! He also has some amazing video work on Vimeo.

A recent project for Sony Music, an exciting project with a lot of creative freedom. The light trails are created by the movement of the water.

A recent project for Sony Music, an exciting project with a lot of creative freedom.
The light trails are created by the movement of the water.

Shot in the SouthWestern desert at night in moonlight.

Shot in the SouthWestern desert at night in moonlight.

A series on energy, light and space, shot in deserts across the US.

A series on energy, light and space, shot in deserts across the US.

This image was shot on location at night.

This image was shot on location at night.

An international Honda campaign for Wieden+Kennedy . The concept was to create a warm graphic and modern look.

An international Honda campaign for Wieden+Kennedy . The concept was to create a warm graphic and modern look.

International campaign for Honda. The concept was to create mirroring images, a car that appeals to both, the head and heart. Images that highlight the versatility of the car.

International campaign for Honda. The concept was to create mirroring images, a car that appeals to both, the head and heart. Images that highlight the versatility of the car.

This cover image we shot recently in LA; illuminated solely by moonlight.

This cover image we shot recently in LA; illuminated solely by moonlight.

A portrait of Maedir Eugster from the personal film project "Balance," which led to a global campaign for Titan watches.

A portrait of Maedir Eugster from the personal film project “Balance,” which led to a global campaign for Titan watches.

This is from a series on dancers. We shot this image on a rooftop in midtown Manhattan New York.

This is from a series on dancers. We shot this image on a rooftop in midtown Manhattan New York.

Commissioned by TIME magazine, photographed in Brooklyn.

Commissioned by TIME magazine, photographed in Brooklyn.

Lower East Side at night, New York City

Lower East Side at night, New York City

this image is from a series photographed for TheNewYorkTimes Magazine, a huge festival in the unexplored Western part of India. We scouted locations and captured the stunning sceneries in different parts of the city, like this candle-lit ballon flying.

this image is from a series photographed for TheNewYorkTimes Magazine, a huge festival in the unexplored Western part of India. We scouted locations and captured the stunning sceneries in different parts of the city, like this candle-lit ballon flying.

The NewYorkTimes Magazine commissioned me to photograph a new concept for refugee camps on the border to Syria. We created a custom device to capture unseen overviews to show both the structure and how people interact with the space.

The NewYorkTimes Magazine commissioned me to photograph a new concept for refugee camps on the border to Syria. We created a custom device to capture unseen overviews to show both the structure and how people interact with the space.

This image was commissioned by The New Yorker Magazine, New York July 4th.

This image was commissioned by The New Yorker Magazine, New York July 4th.

How many years have you been in business?
I have been shooting professionally for 3.5 years, but I have been photographing since I was 13, inspired by the work of the German Becher school, Bauhaus, Pop Art and Cubism. I am very interested in illustration, film art, painting and contemporary culture.

Are you self-taught or photography school taught?
I studied photography at some of the best universities in Europe before receiving my MFA in the US on a Fulbright scholarship. That said, my work has also evolved through experience—learning by doing, constantly pushing the boundaries and experimenting in finding new ways. I learned to think outside the photographic box through things like studying film and contemporary culture in all facets.

Who was your greatest influence that inspired you to get into this business?
My greatest influence was traveling around the world. At an early age, I became very curious about the world and started backpacking throughout Europe, then Africa and Asia. Photography helped me to process all these experiences with different cultures worldwide. I crossed the Sahara and traveled in very remote corners of the world. Through photography, I was able to understand, communicate and tell stories.

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 be noticed or hired, but to create work that is new and significant. Inspiration is everywhere. I want to introduce new ways and perspectives and make visible what’s hidden. I want to photograph what we all have in common, to find something universal that we can all connect with. This is really a magical thing and so essential.

There is so much that goes into an image: the light, time, composition and intention. Photography to me is more asking questions rather then looking for answers. I am grateful for every opportunity to collaborate with creatives and to go out and shoot exciting new work.

Do you find that some creatives love your work but the client holds you back?
Every project is a collaboration. Art directors are creating great ideas. I am there to help the process come together as smoothly as possible. I’ve been fortunate to work with great art and creative directors. Recently, I had the chance to work with a wonderful creative director at Sony. The creative director was so open to my ideas; it was a dream collaboration.

What are you doing to get your vision out to the buying audience?
Shooting editorial is a great way to get my work in front of potential advertising clients. Editorial is also a great way to work with interesting people and explore fascinating subjects with a great creative process and freedom. One week this year, for example, I was photographing large crowds in an unexplored area in India, and a few days later, I shot a cover in the Californian desert, in moonlight.

Personal meetings with clients are also very important to me. There is nothing better then a one-on-one and getting a feel for who the other person is.

What is your advice for those who are showing what they think the buyers want to see?
You must create your own market. You must develop a true self.
Who needs a copy of a copy of a copy?

As a photographer, I think it is very important to be able to come up with new ideas, perspectives and solutions. This helps the creatives produce something original and unique. And that’s everybody’s goal, isn’t it?

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes. This is the most important part of my work. I am constantly shooting, pushing the boundaries, exploring, challenging myself and working outside my comfort zone.

How often are you shooting new work?
At least weekly. If I’m not shooting, I am thinking about a new way, researching, planning or developing a concept.

In 2013, Time magazine debuted my short film “Balance,” which was produced with cutting-edge technology, It started as a personal project and soon went viral. Many millions of people around the world have viewed it, and it inspired an international ad campaign. For me, personal work is essential to growing as an artist as well as attracting new clients.

http://tobiashutzler.com/index.php?/motion/balance/

—————

Tobias Hutzler presents subjects in striking new ways, possessing a distinct point of view that has attracted advertising and editorial clients including Honda, Hyundai, Titan watches. He studied photography at some of the most prestigious schools in Europe and received his MFA in the US. He is a Fulbright Scholar and recipient of the prestigious DAAD and European Union fellowships. His work has received numerous international awards and he was named one of PDN’s 30 photographers to watch. “His pictures are both consistent and filled with surprises,” legendary director of photography Elisabeth Biondi wrote of Tobias’ images. As an image maker Tobias captures the pulse of our constantly moving and contemporary culture.

He is a regular contributor to The New Yorker, The New York Times Magazine, TIME magazine and has been called “visionary” by AD Magazine and “one of the most exciting new artists working in photography.”

He is based in New York City and represented by Stockland Martel.

represented by Stockland Martel
www.stocklandmartel.com
talentinfo@stocklandmartel.com

New York studio:
www.tobiashutzler.com
tobias@tobiashutzler.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: Michael Weschler

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 Michael Weschler. His signature style remains defined and he is collaborative, supporting and enhancing the creative vision of any project he participates in. His numerous awards, active participation in industry activities and charitable initiatives, coupled with his passion for mentoring are a testament to what propel photography as an industry and an art.

The Compost Wizard

The Compost Wizard

The Cast of Tattoo Rescue

The Cast of Tattoo Rescue

Family at Stoneridge, Malibu

Family at Stoneridge, Malibu

Richard Gere at His Restaurant, The Bedford Post

Richard Gere at His Restaurant, The Bedford Post

The Antiquarians, Brooklyn

The Antiquarians, Brooklyn

Wine and Conversation

Wine and Conversation

Prepping Vegetables at Dinner Party, Chicago

Prepping Vegetables at Dinner Party, Chicago

The Pod Hotel, NYC

The Pod Hotel, NYC

Liev Schreiber at Home

Liev Schreiber at Home

Liev Schreiber at Home

Liev Schreiber at Home

Liam Neeson at Home

Liam Neeson at Home

Kelly Ripa at ABC Studios

Kelly Ripa at ABC Studios

The Family Meal

The Family Meal

Couple in the Kitchen, Chicago

Couple in the Kitchen, Chicago

Chuck Close in His Studio, NYC

Chuck Close in His Studio, NYC

The Big Hair Girls

The Big Hair Girls

Alicia Silverstone at The Farmers Market, Los Angeles

Alicia Silverstone at The Farmers Market, Los Angeles

Alexander Wang at Balenciaga, NYC

Alexander Wang at Balenciaga, NYC

Kids in the Kitchen, Chicago

Kids in the Kitchen, Chicago

Father and Son in the Kitchen

Father and Son in the Kitchen

Rob Lowe at His New Home, Montecito

Rob Lowe at His New Home, Montecito

How many years have you been in business?
16 years

Are you self-taught or photography school taught?
Well, I started shooting portraits of my friends when I was 8 and was always the kid with the camera. Later I learned to use photography as a tool to draw better, while studying architecture in college. When I switched majors to fine art, I also started working in a gallery, a photo lab, a camera store, and that all led to assisting professional photographers and shooting for them as an associate.

Who was your greatest influence that inspired you to get into this business?
My mentor was Jerry Burchfield, who used to hang out with Garry Winogrand & Robert Heineken. He helped to create the World’s Largest Photograph, by converting an airplane hanger into a pinhole camera, so he was a historical figure. Anyway, he introduced me to lots of people in the Arts, which opened a lot of doors for me, like shooting with the 20×24 Polaroid camera. He taught me how to make Photograms, which are camera-less photographs made by painting with light on Cibachrome in complete darkness. A couple of years before he died, we took a trip to the Amazon with the same boat Captain for the National Geographic expedition, and he always encouraged me to go further with my work.

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?
Because everyone is a photographer these days, in a way, I focus on making signature images that cut through the noise. Of course, that is easier said than done, but I’m always trying to raise the bar, so that I’m creating something fresh. When I recently shot Chuck Close for Architectural Digest, I knew I couldn’t do a picture of him anything like what he might do, close-up. My portrait of him in his studio was recently selected for the Communication Arts 2014 Photography Annual, so that was very validating. Trust your gut.

Do you find that some creatives love your work but the client holds you back?
It would be easy to say that, but the constraints you find working for others offer new challenges. With personal work, an artist can be selfish, and not be so concerned about pleasing other people’s tastes. However, making a marketable image that millions of people like is quite hard, so any informed input is often helpful to get you there. In the end, photography is very collaborative, whether it is yourself and one person, place or thing before your lens, or a team of sixty people helping produce a compelling campaign image.

What are you doing to get your vision out to the buying audience?
It’s hard to keep things under wraps these days, and one thing often leads to another. My agents and I share our updates often, so there’s continuous conversation. While some clients’ projects can be confidential, I’m always testing and shooting outtakes whenever I can. The way we share images has changed and we’re always concerned about the value and integrity of the work. We try to unveil a new image each month, one way or another.

What is your advice for those who are showing what they think the buyers want to see?
Buyers want to see that you can produce what they need, at a bare minimum, and then they want to see your personal work. They’re not going out on a limb for somebody who shoots a bunch of grainy black & white nudes, or just because they’re cool. You’ve got to learn how to show a balance of marketable pictures, as well.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
As my career progresses, I find myself shooting more for others, and less just for me. Because the level of production has increased, it becomes harder to let go, and just make a simple image that still fits with the larger body of work. When I’m able to just shoot and let go, I’m reminded of why I got into Photography in the first place. While these pictures often don’t become part of my portfolio, they are all part of the creative process and keep me in tune.

How often are you shooting new work?
Almost every day. Otherwise, I’m sorting out the details for the next project or the last one.

Michael Weschler Bio:

Michael Weschler started doing portraits of his friends at the age of seven with a Kodak 110 camera. After studying Architecture, he switched to Fine Art Photography at Cal State University & began showing his photographs, installations, and 20×24 Polaroids in galleries. Gaining experience assisting alongside high-profile photographers like Peggy Sirota, the larger assignments gave him the confidence to quickly rise as a renowned photographer in his own right. Known for capturing the detail, personality, and moment that make a photograph unforgettable, Michael is highly sought after to collaborate with other talented creatives. His Portrait work includes notable personalities: Richard Gere, Liam Neeson, Donatella Versace, Liev Schreiber, Don Cheadle, Isaac Mizrahi, LeAnn Rimes, Meredith Vieira, Carrie Underwood, Wolfgang Puck, John McEnroe, and Julia Louis-Dreyfus to name a few. His Editorial work has run in magazines such as GQ, Vogue, Architectural Digest, Oprah, Allure, Life, Newsweek, Stern, Men’s Health, Dwell, Food & Wine and more. He has worked collaboratively on many books and his pictures have been included in Photography textbooks, most notably, “Photography in Focus”. Michael has captured interiors for Giorgio Armani, Ferragammo, and Frederic Fekkai as well as The Gramercy Park Hotel, Grand Hyatt, Liberty Hotel & Hotel Carlton. His Portrait & Lifestyle work has also graced over 20 covers of magazines such as U.S. News & World Report, and he works frequently for such high profile newspapers as The New York Times. Recent Ad campaigns include Nestle, Johnson & Johnson, Marriot, Bank of America, The National Pork Board, National Car Rental, etc. His personal work has been exhibited in art galleries and museums from LA to NY to Paris, and he is a national board member of the American Society of Media Photographers (ASMP). Recent photography awards include Communication Arts 2014 Photography Annual Winner, American Photography 2014, 6 Honorable Mentions in The International Photography Awards and Archive’s Top 200 Ad Photographers. He’s received grants to teach Photography from The California Arts Commission, and is currently a mentor for the Young Photographers Alliance. Michael also works with 2 charities in New York City that improve the lives of foster children: (HeartgalleryNYC.org & WeDeserveLoveToo.org) Michael has a studio in New York City, but travels frequently for shoots in Los Angeles, Miami, Chicago, and around the world. Since he believes “getting the shot” requires fitness & movement, Michael trains as a triathlete managing to get 4 triathlons under his belt, while also enjoying tennis, hiking and yoga.

Represented by:

WSWcreative
212.431.4480

Anne Albrecht Artist Agents
312.315.0056

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: Willem Vrey

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 Willem Vrey. He is a Namibian photographer who has an exceptional eye when it comes to photography.

I took this picture at a fish market in a small town close to Cape Town in South Africa, a few weeks after I bought my first camera. I'm not sure why, but I still really like it – especially the way your eye is drawn towards the center.

I took this picture at a fish market in a small town close to Cape Town in South Africa, a few weeks after I bought my first camera. I’m not sure why, but I still really like it – especially the way your eye is drawn towards the center.

I took this during my first week of working on the cruise ship, in a town called Colón in Panama. This was one of those moments that I love in photography where my instincts took over as soon as I saw the bird flying. I brought the camera to my eye, snapped one photo and new that I had caught it at just the right moment – another early image I am still very proud of.

I took this during my first week of working on the cruise ship, in a town called Colón in Panama. This was one of those moments that I love in photography where my instincts took over as soon as I saw the bird flying. I brought the camera to my eye, snapped one photo and new that I had caught it at just the right moment – another early image I am still very proud of.

Still from my time on the ship – we were docked in Auckland, New Zealand overnight and I spent most of the evening walking around the city. It was very misty and with the lights of the city made the sky glow. I got a number of great images of the city by placing my camera on it's back on the ground to keep it steady and doing some long exposures to capture the colours. This is one of my favorites from that night.

Still from my time on the ship – we were docked in Auckland, New Zealand overnight and I spent most of the evening walking around the city. It was very misty and with the lights of the city made the sky glow. I got a number of great images of the city by placing my camera on it’s back on the ground to keep it steady and doing some long exposures to capture the colours. This is one of my favorites from that night.

This was taken soon after I got back home from my stint on the ship. It's a 30 second exposure with two cars driving past (streaks of lights in the foreground) and a dancer friend who I asked to run and jump in front of the camera. While she was in the air I hit her with a speedlight I was holding in my hand... Just one of those images where everything works out even better than I could have hoped.

This was taken soon after I got back home from my stint on the ship. It’s a 30 second exposure with two cars driving past (streaks of lights in the foreground) and a dancer friend who I asked to run and jump in front of the camera. While she was in the air I hit her with a speedlight I was holding in my hand… Just one of those images where everything works out even better than I could have hoped.

This is from a series of aerial photographs of the Namib desert. It's truly one of the most beautiful places in the world and looks especially spectacular from the air. The prints from this series are still some of my best sellers.

This is from a series of aerial photographs of the Namib desert. It’s truly one of the most beautiful places in the world and looks especially spectacular from the air. The prints from this series are still some of my best sellers.

This was taken at a place called Dead Vlei, in the Namib desert in Namibia. The dead trees in front of the huge red sand dunes (the highest dunes in the world) made for a number of very surreal looking images.

This was taken at a place called Dead Vlei, in the Namib desert in Namibia. The dead trees in front of the huge red sand dunes (the highest dunes in the world) made for a number of very surreal looking images.

Just an image I like of one of my portrait client. The sun was going down, everything was working, and I just love how well she is engaging with the camera.

Just an image I like of one of my portrait client. The sun was going down, everything was working, and I just love how well she is engaging with the camera.

Another portrait I like from a portrait shoot outside the city – beautiful model, beautiful hair and one of my favorite portraits – even though the sun was already down and the light was fading.

Another portrait I like from a portrait shoot outside the city – beautiful model, beautiful hair and one of my favorite portraits – even though the sun was already down and the light was fading.

This was taken late one night in the informal settlement on the outskirts of the city where I live. It was part of a series to show what the area looks like at night where the people don't have electricity. People streaming to the city from the more rural regions are building these small corrugated metal houses faster than the municipality can supply services – so here are thousands of people living with now running water, sewage or electricity. It's a very early place to be because there where almost no people about, but inside every house you walk past, you can hear people talking, radios playing and children laughing. Despite the poverty, it's actually quite a clean and orderly society with every little crime and social problems one would usually equate with such conditions.

This was taken late one night in the informal settlement on the outskirts of the city where I live. It was part of a series to show what the area looks like at night where the people don’t have electricity. People streaming to the city from the more rural regions are building these small corrugated metal houses faster than the municipality can supply services – so here are thousands of people living with now running water, sewage or electricity. It’s a very early place to be because there where almost no people about, but inside every house you walk past, you can hear people talking, radios playing and children laughing. Despite the poverty, it’s actually quite a clean and orderly society with every little crime and social problems one would usually equate with such conditions.

This is from a portrait session I did in the informal settlement. I love her attitude and the colours.

This is from a portrait session I did in the informal settlement. I love her attitude and the colours.

This was casual photo I took while exploring an old rock quarry with a friend. She was wading through the water when she found a rock to stand on that was just below the surface, making for a very surreal moment.

This was casual photo I took while exploring an old rock quarry with a friend. She was wading through the water when she found a rock to stand on that was just below the surface, making for a very surreal moment.

This is a friend of mine who I like to shoot. She has the most beautiful long hair and a very natural look. She is looking down, yet still engaging with the viewer.

This is a friend of mine who I like to shoot. She has the most beautiful long hair and a very natural look. She is looking down, yet still engaging with the viewer.

This was during a boat trip in large bay on Namibia's coast. It was very misty, with only 50 meters or so of visibility. I loved the calmness of the water in the bay and waited for ages for a bird to fly into the frame to break the pattern a bit.

This was during a boat trip in large bay on Namibia’s coast. It was very misty, with only 50 meters or so of visibility. I loved the calmness of the water in the bay and waited for ages for a bird to fly into the frame to break the pattern a bit.

A few months ago I wanted to get out of the city and bit and decided to try and drive a 125cc motorcycle about 6000 miles from Namibia to Zanzibar and back. I ended up not taking as many photos as I would have liked, but I did get some great images walking around Stone Town (Zanzibar). I am proud of this one because I managed to time it just right with the guy on the scooter driving past me at high speed – just as he was level with the woman walking ahead of me. I like the contrast between the traditional and the modern.

A few months ago I wanted to get out of the city and bit and decided to try and drive a 125cc motorcycle about 6000 miles from Namibia to Zanzibar and back. I ended up not taking as many photos as I would have liked, but I did get some great images walking around Stone Town (Zanzibar). I am proud of this one because I managed to time it just right with the guy on the scooter driving past me at high speed – just as he was level with the woman walking ahead of me. I like the contrast between the traditional and the modern.

This is from an amazing contemporary dance piece that I was involved in as the stills photographer. There were many images from that job that I liked, but this is one of my favorites. The show is called Anima, and it was put together by the talented people from First Rain Dance Theater – a contemporary dance company based in Namibia.

This is from an amazing contemporary dance piece that I was involved in as the stills photographer. There were many images from that job that I liked, but this is one of my favorites. The show is called Anima, and it was put together by the talented people from First Rain Dance Theater – a contemporary dance company based in Namibia.

How many years have you been in business?
The first time I asked for, and received a bit of money for a freelance job was in 2010, and things just sort of grew from there. Word got around and more and more people began to call me and I eventually had to register my business and make it official.

Are you self-taught or photography school taught?
At the start of 2009 I felt like I had to make some changes in my life and just get away from everything for a while. I went to into the Namib Desert for a few days for some peace and quiet and space to think clearly. I decided I just needed to get out of the country for a while and simplify things. After a few weeks of narrowing down my options, I decided to apply for a job on a cruise ship. I (literally) threw a dart at a list of jobs I might qualify for, and it hit “on-board photographer”. I applied, got a camera and some lenses and immediately started reading books and blogs and watching YouTube tutorials all day. I also forced myself to shoot in manual mode right from the start, which I feel is probably the one of best habits that a new photographer can have – even if you end up messing up 60% of your shots in the beginning. 

I got the job and soon I was boarding a large ship in Miami, on which I worked for the next 6 months.

It turns out that cruise ship photography is one of the worst jobs out there. I was shooting, printing and selling for 14 hours a day, 7 days a week. The pay is terrible and there is absolutely no scope for expression or creativity, BUT: I was taking 1500 – 3000 pictures a day with manual controls and every photo I took was printed and put up on a wall for everyone to see. Tie this to the fact that my boss on the ship was one of the most uncompromising people I have ever met, I was forced to become very good with my gear very quickly.

After 6 months I left the ship in Australia, flew home and, being broke, started to turn to my photography for an income. The rest of my education came from reading and learning diligently every day, shooting a lot, spending time with other experienced photographers and business people, and making an effort to be honestly critical of my own work.

Who was your greatest influence that inspired you to get into this business?
There are many great photographers and other people who inspire me on a daily basis, but I think getting into the photo game was simply a combination of providence and a lack of other opportunities at the time. It’s funny where life takes us sometimes.

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 can be difficult sometimes, especially for someone as hard on himself as I am, but when I feel uninspired and unmotivated I find that the best thing to do is to simply start and do SOMETHING – even if it’s bad. I don’t have a team of creatives to draw on, and my clients always expect me to come up with something new and fresh every time.. so when I can’t think of anything, I often have to force myself to go out and begin shooting anything to see what develops, or to sit down and begin writing down anything that comes to my mind. 99% of what I produce during these sessions is usually pretty bad, but that other 1% has very often turned out to be where my best work has come from.

And then, when you have created something worthwhile, you have to make sure that as many people as possible see it and know where to reach you.

Do you find that some creatives love your work but the client holds you back?
When someone is paying me for something, I try to keep in mind what would be best for the client and how I would feel in their shoes. I have had to learn to curb my arrogance and ego if I am going to make it in business. Having said that though, I do believe that that it is very important to only put out work that you are happy to be associated with, and those two ideals can sometimes be in conflict. When that happens, I try to think about the situation reasonably and figure out how the decision is going to affect me in the long term. Sometimes that has meant saying no to work when I couldn’t really afford to say no to, and sometimes I have had to swallow my pride, take the money and let it go.

I also try to keep a separation between the commercial and the fine art parts of my operation and to only compromise when it makes sense to me.

What are you doing to get your vision out to the buying audience?
I have been lucky enough, and work in a market that is small enough, to be able to rely mostly on word-of-mouth and repeat clients. I try to keep my social media updated and to keep my website in order, but generally I prefer to be shooting, printing and editing. I have found that as long as my work is good enough, most jobs will lead to further business.

What is your advice for those who are showing what they think the buyers want to see?
Invest in a good printed portfolio. Yes, have a website, have Facebook, have an iPad with a portfolio app… but remember that the buyers often get thousands of electronic portfolios sent to them by email – sometimes from people who are better than you are. What stands out these days is something physical like a high quality portfolio book, or even a collection of loose prints in a nice box. Spend the money to have it done by someone who knows what they are doing, and print it on fine art paper. You can show it to them in person, or ship it to their offices with a note saying it will be picked up again after a week or two. I’ve also found that including a pair of white cotton gloves in the package makes the prints immediately seem more impressive and will make them last longer. If you want to replace a print in your portfolio, and it was handled carefully by the people who saw it, you can always frame and try to sell it, or give it away as a gift.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I try to always be working on some sort of series or project during my spare time. I also find walking around the city with my camera has a very therapeutic effect on me. Often great images can come from these excursions. To be honest though, I do find that the more of a business the photography becomes, the less often I think about grabbing my camera as I head out somewhere… something I should maybe work on.

How often are you shooting new work?
That’s a difficult question to answer – I’d have to say that it depends on what I am working on. I would guess that on average I am actually out shooting for profit for about 2 days per week, with the rest taken up with post-processing, seeing clients, making and framing prints, teaching and running the business.

About the Photographer:

Born and bred in Namibia, Willem’s interest in photography started relatively late at the age of 23. However, his eye was developed from an early age through his love and proficiency in fine art. In 2005 Willem graduated and immediately embarked on several successful business ventures, but changes in outlook and values in his early twenties finally led him to discover photography as a way to satisfy, develop and share both the creative and the analytical parts of his mind in a fulfilling and meaningful way.

Mostly self-taught, Willem has approached the subject with diligence, constant self-assessment and high personal standards and over the course of only four years, the scope and nuance of the construction and composition of his work have increased exponentially. Today, he is a force to be reckoned with in the world of photography.

Willem is one of Namibia’s most avant-garde and exciting photographers whose talent for shooting movement is unparalleled. In the commercial realm too, Willem has experienced much success and is in high demand as a portrait and fine-art photographer. He is known for his technical skill and knowledge, his versatility and ability to work equally well with both controlled and natural light.

Contact details:
Email: willem@willemvrey.com
Phone: +264 81 238 7654
Website: www.willemvrey.com
Facebook: www.facebook.com/willemvreyphoto

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: Cedric Angeles

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 Cedric Angeles. His images of food and travel always have an angle or composition that makes you see things from a different perspective, resulting in an a-ha moment.

A boy jumping into the Black Sea in the coastal town of Batumi, Republic of Georgia. This was my first assignment for Travel and Leisure Magazine.

A boy jumping into the Black Sea in the coastal town of Batumi, Republic of Georgia. This was my first assignment for Travel and Leisure Magazine.

Portrait of poet Marilyn Nelson at the Soul Mountain Retreat, a writer’s colony she started in East Haddam, Connecticut. Commissioned by Oprah Magazine.

Portrait of poet Marilyn Nelson at the Soul Mountain Retreat, a writer’s colony she started in East Haddam, Connecticut. Commissioned by Oprah Magazine.

Portrait of a mento band, the Jolly Boys. Photographed at their favorite bar in Port Antonio, Jamaica for British Airways High Life Magazine. The band is experiencing a resurgence in popularity after releasing a cover af Amy Winehouse’s song, Rehab, in 2010.

Portrait of a mento band, the Jolly Boys. Photographed at their favorite bar in Port Antonio, Jamaica for British Airways High Life Magazine. The band is experiencing a resurgence in popularity after releasing a cover af Amy Winehouse’s song, Rehab, in 2010.

Publix 2013 Milestone 1:00 Spot. Publix wanted to show the significant milestones in our lives such as a birth of a baby, a birthday, graduation and getting married. The production and filming were done in Tampa, Florida. In conjunction with the video, I also shot print ads for this campaign. This is a great example of the blurring of lines for photographers being asked to be directors as well.
This is part of an entertaining story for Bon Appetit Magazine with musician Jack Johnson and his friends,  shot in the North Shore, Oahu in Hawaii.

This is part of an entertaining story for Bon Appetit Magazine with musician Jack Johnson and his friends, shot in the North Shore, Oahu in Hawaii.

A fashion story in Mazatlan, Mexico for Travel and Leisure Magazine.

A fashion story in Mazatlan, Mexico for Travel and Leisure Magazine.

Part of an Ad campaign for ARUBA.

Part of an Ad campaign for ARUBA.

Personal. My wife as the artist Frida Kahlo with our youngest daughter, Gala. Photographed in our living room.

Personal. My wife as the artist Frida Kahlo with our youngest daughter, Gala. Photographed in our living room.

Portrait of writer Malcolm Gladwell for RED Magazine. Photographed in his apartment in Manhattan.

Portrait of writer Malcolm Gladwell for RED Magazine. Photographed in his apartment in Manhattan.

A video portrait of Jody Meche, a frogger living in Henderson, Louisiana. Commissioned by Garden and Gun Magazine.
Backstage at the Bolshoi Theatre in Moscow during a performance of Swan Lake. A story about Moscow for Conde Nast Traveller UK.

Backstage at the Bolshoi Theatre in Moscow during a performance of Swan Lake. A story about Moscow for Conde Nast Traveller UK.

School children playing along the Indian Ocean in Colombo, Sri Lanka. Commissioned by Travel and Leisure Magazine.

School children playing along the Indian Ocean in Colombo, Sri Lanka. Commissioned by Travel and Leisure Magazine.

A shepherd in Madagascar. Part of my on-going project on animal herders around the world called Milk and Blood.

A shepherd in Madagascar. Part of my on-going project on animal herders around the world called Milk and Blood.

How many years have you been in business?
I would say that it officially started when I moved to New York from Los Angeles in 2000, so this is my 14th year.

Are you self-taught or photography school taught?
My “on-the-job” training started when I lived in Los Angeles. Shortly after graduating High School, I worked as a Grip in commercial shoots, music videos, and films. I learned lighting and cameras from the directors and cinematographers that I worked with on set. I wanted to be a filmmaker but my desire to travel and take pictures took precedent and I left the film world and formally studied photography at the Art Center College of Design.

Who was your greatest influence that inspired you to get into this business?
My love for photography began with my father. He was an amateur photographer and would share his photos with me. He subscribed to National Geographic magazine and I would spend hours reading and fixating on images of faraway places. I think that the urge to see these places began my interest for telling stories through images. And I knew that photography was my ticket to travel the world. I grew up in the Philippines, from a small town and becoming a photographer was the least likely thing to happen. I immigrated to the United States and lived in Los Angeles. I found work in the film industry and this was when I discovered the works of cinematographers and photographers that pushed me to pursue image making. I watched films shot by Michael Chapman, Raoul Coutard, Janusz Kaminski, Georgi Rerberg, Sven Nykvist, Vittorio Storaro, Christopher Doyle and devoured photography books by Danny Lyon, Robert Capa, Larry Clark, Miguel Rio Branco, William Klein, Richard Avedon, Werner Bishchof, Jim Goldberg, Manuel Alvarez Bravo, Nan Goldin, Malick Sidibe, Josef Koudelka, to name a few.

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 is important for me to take a break from taking pictures. My wife is an artist, a painter and sculptor, creating gigantic sculptures made out of steel. Watching her create works in steel that weigh thousands of pounds is a revelation. She has been a source of inspiration for me. We have 2 daughters and I don’t need to say how kids can light a fire under your ass when it comes to creativity. I read a lot, listen to music, watch films constantly, maybe a little too much.

Do you find that some creatives love your work but the client holds you back?
Once I am awarded a job, I know everything about the shoot. Creative calls have happened, layouts have been shared and I become part of the team with the creatives and the client. The creatives I have worked with have been supportive of ideas I bring to the project I would say being held back meant that I was not awarded the project as the clients may have found another photographer’s work more fitting. Commissioned work always comes with a shoot list or a layout to follow and obviously, there is always more freedom in editorial projects. Clients hire you for your aesthetic and wants you to bring your vision to the their project. I have done editorial travel stories where I am not given a shoot list, no leads, no contacts. Just a general sense on what the story would be about. Complete freedom, dream shoot, right? Not for me. I actually like directions from my editors, to be given a specific story to follow. It gives me more freedom to shoot things that are not on the list but at least I would know that I am telling a more cohesive story. I would probably not say “holding me back” – it is more a collaboration between myself, the creatives and the clients and it is one aspect of commercial photography that I truly enjoy.

What are you doing to get your vision out to the buying audience?
Since partnering with MONACO REPS, I haven’t had to think much about designing and distributing promotional pieces for commercial work because they do an excellent job as my representatives. So instead, I think about ways to promote my work as I personally see it. For instance, I redesigned my website to focus primarily on storytelling, to include more images surrounding a piece that illustrate it in detail. I have a Tumblr page that I update with outtakes from shoots or to share new ideas, and I have a Facebook page for my photography that shares recent work and favorite images from my archive.

What is your advice for those who are showing what they think the buyers want to see?
Be careful of trends. Only show work that you love. Create work that is personal. I mean, these are advice that have become cliche but very important to heed.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I am working on several projects at the moment. My projects are long term in nature and involve a lot of travel. I don’t believe in shooting everyday. I like shooting projects in chunks of time and taking breaks in between. A big part of nurturing my personal voice comes from functioning as a husband and a father. It is fairly easy to be consumed by photography and the time I spend with my wife and my two daughters plays a big part of making sure I stay honest with my work.

How often are you shooting new work?
My work keeps me busy three out of four weeks every month. I plan it out so that I have enough time in between to edit and decompress after days of non-stop shooting. But my wife says I am shooting new work in my head all of the time

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Cedric’s brand of lifestyle photography is simultaneously joyful and moving. When viewing Cedric’s Lifestyle photography, one cannot resist an instant sense of longing to join the scene. He is a man constantly on the move, photographing places and cultures with the goal of understanding how other people live. He approaches photography with an interest in narrative and the spirit of a documentarian. Photo District News (PDN) named him as one of the 30 Under 30 Young Photographers to Watch. He is a Co-Founder of INTERSECTION PHOTOS, a boutique photo stock agency that deals with high end travel imagery. He is represented by MONACO REPS.

Clients Include: Aruba / GQ / Travel+Leisure / Food&Wine / Bon Appetit / Gourmet / Vogue / GLAMOUR / W / Men’s Journal / Men’s Health / Self / Real Simple / Publix / Sarabeth’s / Conde Nast Traveler UK / British Airways High Life / Martha Stewart Living / Departures / Royal Caribbean / O Magazine / Discover / Lifetime / Time Inc. / Los Angeles Times Magazine / Four Seasons Magazine / Rolling Stone 

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: Lance Koudele

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 Lance Koudele because in a large project he was able to handle every aspect with grace under fire. He was able to handle the unexpected and somehow found a way to capture the true essence of the project. His eye for beauty was something I have only had the pleasure of witnessing a few times in my career.

Shot from a campaign for Sensi Graves Bikinis. All of the ladies were professional athletes… awesome to work with females who have not only beauty but an incredibly powerful presence.

Shot from a campaign for Sensi Graves Bikinis. All of the ladies were professional athletes… awesome to work with females who have not only beauty but an incredibly powerful presence.

Photo of Phil Sullivan in Boston for a Life Is Good rebranding I recently shot with Straub Collaborative. Always awesome to work with a brand to help them redefine themselves.

Photo of Phil Sullivan in Boston for a Life Is Good rebranding I recently shot with Straub Collaborative. Always awesome to work with a brand to help them redefine themselves.

Ryan Huggins atop Illumination Rock on Mt Hood, shot for Native Eyewear. The snowboard descent under starlight and sliver of moon was magical.

Ryan Huggins atop Illumination Rock on Mt Hood, shot for Native Eyewear. The snowboard descent under starlight and sliver of moon was magical.

Cloud break in Tengboche Nepal. This portrait for WEND magazine is of TREW clothing co-founder Chris Pew, it was one of the only cloud breaks we enjoyed on our 3 week trip there.

Cloud break in Tengboche Nepal. This portrait for WEND magazine is of TREW clothing co-founder Chris Pew, it was one of the only cloud breaks we enjoyed on our 3 week trip there.

Owen Leeper launches- Jackson Hole, Wyoming. The mountains have been the source of my creativity for the last 25 years. Nothing gives me more stoke than a steep canvas of untracked snow. “Snow Spoken” a self published photo journal will be released this fall.

Owen Leeper launches- Jackson Hole, Wyoming. The mountains have been the source of my creativity for the last 25 years. Nothing gives me more stoke than a steep canvas of untracked snow. “Snow Spoken” a self published photo journal will be released this fall.

Taken from Beach Life. A self produced project.

Taken from Beach Life. A self produced project.

Stand Up Paddle-boarder shot for Slingshot SUP. I am a fan of the underside of bridges. So many people never take the time to explore what lies under them. Each bridge is an opportunity for adventure.

Stand Up Paddle-boarder shot for Slingshot SUP. I am a fan of the underside of bridges. So many people never take the time to explore what lies under them. Each bridge is an opportunity for adventure.

Mountain Biker. Taken from a series of portraits of downhill racers.

Mountain Biker. Taken from a series of portraits of downhill racers.

Dutch Red Bull athlete Ruben Lenten. Like herding cats this one… very enjoyable and one of my dearest friends in the world of kiteboarding, something I’ve shot a lot of over the years.

Dutch Red Bull athlete Ruben Lenten. Like herding cats this one… very enjoyable and one of my dearest friends in the world of kiteboarding, something I’ve shot a lot of over the years.

Friendship Glacier British Columbia. Campaign for HydroFlask. We were airlifted to a remote hut for a week without running water or electricity to self access ski tour the surrounding mountains.

Friendship Glacier British Columbia. Campaign for HydroFlask. We were airlifted to a remote hut for a week without running water or electricity to self access ski tour the surrounding mountains.

Travel piece shot for Men’s Journal- Isabella Caves, Puerto Rico.

Travel piece shot for Men’s Journal- Isabella Caves, Puerto Rico.

How many years have you been in business?
8 years.

Are you self-taught or photography school taught?
Well, both… I went to the Art Institute of Portland and studied Digital Media. I really twisted the curriculum to study the things I wanted- sound, photography, especially film. After graduation I soon found doors kept opening for photography so I rolled with it. When issues arose along the way I problem solved, and figured it out myself.

Who was your greatest influence that inspired you to get into this business?
I think initially it was the people that truly live the subject they shoot- the Buddhist Matthieu Ricard, adventure work of Jimmy Chin and the mountain culture of Jordan Manley. It also was the people that capture the lifestyle- Daniel Blom, Chris Burkard. Lately I’ve been inspired by the more fashion travel lifestyle work of Misha Taylor.

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 never set the intention to do something to be noticed. I want the subject to be noticed, it’s not about me. I want people to experience a place and moment that they normally never would. I want them to be inspired to explore. I also want a sense of fun to radiate into the viewer… a sense of empowerment that there is a life much deeper than the one they are told of on TV.

Do you find that some creatives love your work but the client holds you back?
Sometimes, but like any collaboration there is give and take. I always push the boundaries when I think it necessary, it always seems to be appreciated in the end.

What are you doing to get your vision out to the buying audience?
I recently enlisted the help of Amanda Sosa Stone and a brilliant boutique marketing agency based out of Portland Oregon called Owen Jones and Partners. We just rolled out a new website and I’ll be following it up with a direct marketing campaign this summer.

What I am finding is when I fly out to Boston, LA or NYC to work people instantly notice my vibe is different. I live in Jackson Wyoming in the winter and Hood River Oregon in the summer and that’s refreshing to them. New bookings happen with them as a result. I really like meeting face to face with people and hope to do more of that once the summer shooting season slows to show my work.

What is your advice for those who are showing what they think the buyers want to see?
I think it’s important to show what you want to shoot. Show what you like. Show the story of who you are. Those authentic images hold the most magic.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I find the more I shoot the more creatively inspired I am to shoot. It goes hand in hand. Living in two locations keeps me going and grounded as well. The Pacific Ocean and Teton Mountains are powerful places.

How often are you shooting new work?
Weekly.

————–

Lance Koudele is an American photographer born and raised in the Pacific Northwest. His early adult years were shaped by his experiences as an extreme snowboard athlete, traveling and riding mountain regions and deserted surf breaks across the globe.

Those that know him will tell you he is naturally full of peace and compassion. It was no accident that his ease of connecting personally compelled him to begin to combine people and place. His talent for capturing the magic that happens when the two come together form the foundation of his growing career.

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: Sean Murphy

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 Sean Murphy. Sean is tenacious at living. He is vibrant, happy with an eye of the finest artist. Each of his takes makes me say AH! and I am an artist, so that’s not always an easy thing. He goes anywhere and traveling in his giant truck, he becomes part of the culture of what he is shooting and it shows.

Monterey Tourism / Cramer-Kresselt

Monterey Tourism / Cramer-Kresselt

47 Brand / The Fantastical

47 Brand / The Fantastical

Personal trip to Nicaragua

Personal trip to Nicaragua

SRT / The Richards Group

SRT / The Richards Group

Tosin Abasi / Guitar World

Tosin Abasi / Guitar World

Stock shoot for Image Source

Stock shoot for Image Source

Cedar Fair / Cramer-Kresselt

Cedar Fair / Cramer-Kresselt

Evan Seinfeld

Evan Seinfeld

Nature's Recipe / Draft

Nature’s Recipe / Draft

AAA / The Richards Group

AAA / The Richards Group

How many years have you been in business?
Well, I got out of college in 1993. It was around 1995 that I started getting my first jobs, which at that time were mostly editorial. I knew a lot of bands, so I also ended up shooting rock and roll and album covers. I didn’t get my first advertising job until 1999, but by 2000 it became and remains the primary work that I do. I still do shoot music and editorial and I love the creative freedom it brings, but I don’t focus my energy on acquiring that work so much anymore. So, that’s the “too long” answer…it’s been about 20 years. :)

Are you self-taught or photography school taught?
School. I spent a lot of time painting and sculpting while I was growing up. I had a girlfriend with an old Pentax that she loaned me and, on a whim, I signed up for a photo class at a community college in Orlando, Florida. I got the bug immediately, quit mid-semester, and moved to Boston to go to the New England School of Photography. I graduated Valedictorian in 1993.

Who was your greatest influence that inspired you to get into this business?
Before I went to Boston, I attended that photography class in Orlando. The teacher was a retired Time-Life photographer. His hands were gnarled from years of working with the chemicals. Cool guy. He said to me, “I never say this, but you have something special. If I were you, I’d leave here and go to Boston or New York.” So I did. Within a month, I was gone.

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?
Well, for starters, I’m shooting ALL the time. I surround myself with uber-talented people. I get fueled by their vibes. And I have a crew of crazy, crazy-talented friends. They’re always keeping me laughing and I’m always inspired. So ultimately, I’m just photographing my life. I’m just grateful that who and what’s around me happens to be interesting.

Do you find that some creatives love your work but the client holds you back?
Hmm, I don’t know if I really get that direct input from the client. The creatives are acting as the intermediary.

I present my work as I see fit on my website and on social media.

Frequently, I’ll be asked by the creatives to put together a selection of work or a special presentation that they can show to the clients. If the client approves, I guess I get hired. Lately, I’m having the most fun in my career I’ve ever had. I’m getting hired to shoot exactly what I love to shoot. :)

What are you doing to get your vision out to the buying audience?
As far as the internet is concerned: website/blog, Facebook, and Instagram. The usual suspects.

My primary engagement from the buying audience comes from my website, with Facebook coming a close second.

I travel a great deal. When I do, I always make arrangements to meet art buyers and creatives all across the country.

I’ll do a mailer a few times a year, and I also have books made of my work that I’ll bring with me to show to prospective clients.

Lately, I’ve been getting more attention for some of my rock and roll photography from years past, which is now going to be shown in some galleries, so that is also another new avenue that is exposing my work.

What is your advice for those who are showing what they think the buyers want to see?
You need to show a cohesive body of work. I’ve found that that’s more impressive to the buyer than trying to show your entire bag of tricks. You want to create a relation of your name to the type of work you are selling yourself to do. You want them to say “Sean” or “this guy” can do this type of work. You don’t want to show a thousand styles.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Non-stop. I shoot everyday. I don’t leave the house without my camera strapped around my back. I’m not doing it on purpose to keep myself fresh. I’m doing it because I love it so much.

How often are you shooting new work?
Pretty much all the time. If I’m not shooting paid work, I’m busy lining up pro-bono shoots for companies that I find interesting, working with new super creative art directors, working on collaborations with other artists, or shooting new material for stock with Getty. So my time is always busy. I’m not motivated by the money. I’m just motivated by shooting cool stuff all the time. :)

————

Over a decade later, Sean is now internationally known for creating influential, diverse award-winning campaigns for clients such as Ford, Chevy, Old Navy, Playstation, Wal-Mart and Hard Rock Café – and he’s always on time and within budgets, even when they seem unrealistic. He has also shot album covers for bands like Weezer and Tenacious D. Sean is universally recognized for his approachability with his subjects. From kids to celebrities, businessmen to bikers, everyone is at home with Sean’s larger-than-life personality, and that comfort level brings out the best in people.

www.seanmurphyphoto.com
Represented by Tom Zumpano 310-409-0249 tom@zumpanos.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: Therese + Joel

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 Therese + Joel as they are a great team and the one’s to keep an eye on!

Portrait of pop singer Betty Who for Out Magazine's "The Young and Restless" Musician Portfolio.

Portrait of pop singer Betty Who for Out Magazine’s “The Young and Restless” Musician Portfolio.

Victoria's Secret Model Elsa Hosk channeling Nancy Sinatra for Galore Mag's "Women Who Rock" issue.

Victoria’s Secret Model Elsa Hosk channeling Nancy Sinatra for Galore Mag’s “Women Who Rock” issue.

Campaign for FLKLR Surf, shot at Rockaway Beach, New York.

Campaign for FLKLR Surf, shot at Rockaway Beach, New York.

Portrait of the actress and filmmaker Greta Gerwig shot for TIME Magazine. It was also named one of TIME's Best Portraits of 2013

Portrait of the actress and filmmaker Greta Gerwig shot for TIME Magazine.
It was also named one of TIME’s Best Portraits of 2013

We were commissioned by TIME Magazine to document New York Fashion week. This is one of our favorite photographs, shot at the Marc Jacobs Fall/Winter 2013 show. The image depicts models walking towards a large indoor "sun" installed at the venue, referencing artist Ólafur Elíasson's weather project.

We were commissioned by TIME Magazine to document New York Fashion week. This is one of our favorite photographs, shot at the Marc Jacobs Fall/Winter 2013 show. The image depicts models walking towards a large indoor “sun” installed at the venue, referencing artist Ólafur Elíasson’s weather project.

One of our favorite photographs of model Sara Blomqvist, included in our personal series "On Leaving".

One of our favorite photographs of model Sara Blomqvist, included in our personal series “On Leaving”.

Fashion editorial for Revs Magazine, shot in Lidingö, Sweden.

Fashion editorial for Revs Magazine, shot in Lidingö, Sweden.

Campaign for womenswear label Skotison. We absolutely loved the concept of the collection: B-list horror movies, The Cramps and goths at the beach.

Campaign for womenswear label Skotison. We absolutely loved the concept of the collection: B-list horror movies, The Cramps and goths at the beach.

Personal work, from the series "Three Graces", photographed in Sweden.

Personal work, from the series “Three Graces”, photographed in Sweden.

A very recent portrait of director Woody Allen, together with theatre director and choreographer Susan Stroman for TIME Magazine, shot at the St. James Theatre in New York City.

A very recent portrait of director Woody Allen, together with theatre director and choreographer Susan Stroman for TIME Magazine, shot at the St. James Theatre in New York City.

How many years have you been in business?
About four years now. 

Are you self-taught or photography school taught?
We met while both studying at Parsons in Paris and later transferred over to Parsons the New School of Design in New York, from where we graduated.

Who was your greatest influence that inspired you to get into this business?
Therese was very influenced by her mother, who is a photographer. Joel doesn’t have one exact source of inspiration; the fascination for storytelling has been there as far as he can remember – it has just perhaps changed mediums over the range of years from written to visual. However, the greatest inspiration for both of us must be film - early European cinema, great minds like Ingmar Bergman, Carl Theodor Dreyer, Douglas Sirk, the melodrama of film noir, our similar taste in music (power ballads, italo disco), as well as 90s masterpieces like Twin Peaks, and Tim Burton’s Catwoman – tragic pop culture icons.

We were also heavily influenced by our Nordic surroundings – Therese grew up in Stockholm, Sweden, and Joel in Finnish Lapland. Even if a bit of a cliché, the pitch-black, arctic surroundings have definitely played a great influence on us. 

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?
Perhaps it’s not so much about staying fresh and/or following trends – we rather try to do what we find interesting, inspiring and beautiful. 

Since we are two it is important for us to discuss and communicate our ideas with one another. It is helpful though that we share a lot of interests, but also important to disagree at times to challenge each other. Usually one of us comes up with something they find inspiring, and the other one takes it to another level. In that way, we complete each other’s sentences. 

Do you find that some creatives love your work but the client holds you back?
Communication is truly key, as well as staying true to your vision and doing what you do best – not trying to mimic something else to become more accessible. That being said, it is of course important to stay flexible. And occasionally art buyers or creatives find our darker work the most interesting, but have a difficult time to convince the client to go for something less mainstream. 

What are you doing to get your vision out to the buying audience?
Editorial work has been very important for us in approaching different and larger audiences.

We find social media to be extremely helpful: Instagram, Facebook and Tumblr. Not only just to get our work out there, but also for other reasons like casting for example. We also find that social media makes us more accessible; it’s a great way to interact, as well as to show our process.

What is your advice for those who are showing what they think the buyers want to see?
Understand your audience. Taste varies, but it’s really hard to get away from bad editing – sequencing your book appropriately is a crucial step in storytelling. 

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
We work when we are not working: personal projects are incredibly important to us. We find it very helpful to our creative process to constantly produce new work – not only to try out new things, but also keep exceeding at what we do.

How often are you shooting new work?
As often as possible - commissioned work keeps us very busy, but we try to shoot at least one new personal project every month.

————-

Therese Öhrvall and Joel Jägerroos are a Swedish-Finnish photography team. They live and work in New York City.

Therese + Joel’s work has been exhibited internationally, including The Georgia O’Keeffe Museum, Santa Fe, New Mexico, The Hermitage, St. Petersburg, Russia, Krasnoyarsk State Museum in Siberia, Milk Gallery & F.L.O.A.T. Gallery in New York City, Gallery S. Bensimon in Paris, France and Ricoh Ring Cube Gallery in Tokyo, Japan.

Their clients include TIME Magazine, Wired, REVS, The Wall Street Journal, The Times, S Magazine, Out Magazine, FLATT Magazine, Milk Made, Galore Mag, IVANAHelsinki, Bullett Magazine and New York Post, amongst others.

Therese + Joel were selected as one of the 30 emerging photographers to watch in 2011 by Photo District News. Their photo of Greta Gerwig was named as one of TIME’s Best Portraits of 2013.

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: Josh DeHonney

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 Josh DeHonney. I’m a big fan of his work. One of our favorite portrait photographers who is exceedingly nice guy who I praise his humbleness when he is praised for his craft.

I love radio, and I love New York.  So shooting Ty Bentli of CBS 92.3 all around the city was a great commission.  Ty was new to the city but felt very at home there, and we wanted to convey that.  We had planned to take that standard picture of him waiting for the train as it rushed by, shutter open.  As we waited, I turned the camera away from him and for a moment he relaxed and leaned on the pole naturally.

I love radio, and I love New York.  So shooting Ty Bentli of CBS 92.3 all around the city was a great commission.  Ty was new to the city but felt very at home there, and we wanted to convey that.  We had planned to take that standard picture of him waiting for the train as it rushed by, shutter open.  As we waited, I turned the camera away from him and for a moment he relaxed and leaned on the pole naturally.

The London Souls, a rock band from New York, used this image as the cover art for their sophomore record, Here Come The Girls.  We had great chemistry, like we went to high school together.  The album looks -- and sounds -- great.

The London Souls, a rock band from New York, used this image as the cover art for their sophomore record, Here Come The Girls.  We had great chemistry, like we went to high school together.  The album looks — and sounds — great.

I took this shot on the train tracks behind the client’s warehouse … without permission.  I lost my wallet making this one happen.  Two weeks later, I get a call from the Kearny Rail Police.  The good news was, they found my wallet.  The bad news was, they weren’t happy I was on the tracks.  Luckily the ad had printed by then, so I had more than a business card to back up my story.  I got away with it this time.  But next time, I’m told it’s going to cost me $10,000! 

I took this shot on the train tracks behind the client’s warehouse … without permission.  I lost my wallet making this one happen.  Two weeks later, I get a call from the Kearny Rail Police.  The good news was, they found my wallet.  The bad news was, they weren’t happy I was on the tracks.  Luckily the ad had printed by then, so I had more than a business card to back up my story.  I got away with it this time.  But next time, I’m told it’s going to cost me $10,000! 

Bucks Life magazine sent me to cover a young new DJ (then still in high school). He was making some cool events happen, all for charity.  We met at the Jersey shore in the summer and got this great shot in a matter of minutes.

Bucks Life magazine sent me to cover a young new DJ (then still in high school). He was making some cool events happen, all for charity.  We met at the Jersey shore in the summer and got this great shot in a matter of minutes.

I met Mac Miller by Union Square.  We walked over to Irving Plaza together, where he was performing that night.  As we got close to the venue, I noticed Mac getting his game face on.  He turned his hat around, zipped his jacket, and pulled up his pants.  When we rounded the corner, there were a dozen fans waiting for him, as he knew there would be.  The kids went crazy for him.  He was cool as hell.  He took the time to take pictures with each kid.  It was great to capture that.

I met Mac Miller by Union Square.  We walked over to Irving Plaza together, where he was performing that night.  As we got close to the venue, I noticed Mac getting his game face on.  He turned his hat around, zipped his jacket, and pulled up his pants.  When we rounded the corner, there were a dozen fans waiting for him, as he knew there would be.  The kids went crazy for him.  He was cool as hell.  He took the time to take pictures with each kid.  It was great to capture that.

This image is another good example of an instant where the subject feels totally comfortable.  In this case, Director Ulysses Terrero was standing behind me, where the director normally stands.  Although I had my camera metered for the strobes in the background, there was enough ambient light available to cut the wizard and still get a great exposure when I turned to grab this shot.

This image is another good example of an instant where the subject feels totally comfortable.  In this case, Director Ulysses Terrero was standing behind me, where the director normally stands.  Although I had my camera metered for the strobes in the background, there was enough ambient light available to cut the wizard and still get a great exposure when I turned to grab this shot.

This commission took me all the way to Hawaii to shoot a look book and some ads.  Beautiful girl, cool clothes, and a tropical island.  You can't miss.

This commission took me all the way to Hawaii to shoot a look book and some ads.  Beautiful girl, cool clothes, and a tropical island.  You can’t miss.

I have contributed to Urban Latino magazine for years.  I love making awesome images happen for them.  When John Leguizamo came up as a cover option, I was extra excited.  One of my favorite actors, John was a total pleasure to photograph and could not have been more humble.

I have contributed to Urban Latino magazine for years.  I love making awesome images happen for them.  When John Leguizamo came up as a cover option, I was extra excited.  One of my favorite actors, John was a total pleasure to photograph and could not have been more humble.

When I left NYC in 2011, I couldn't help noticing the growing number of vacant properties around me.  This is from a series of images of massive abandoned buildings within ten miles from my house.

When I left NYC in 2011, I couldn’t help noticing the growing number of vacant properties around me.  This is from a series of images of massive abandoned buildings within ten miles from my house.

This is one of my good friends taking a break while we were shooting on location in LaQuinta, California.

This is one of my good friends taking a break while we were shooting on location in LaQuinta, California.

Before linking up with the band Brother to shoot a portrait for YRB magazine, I checked out their video for "Darling Buds of May."  I was really impressed.  I chose a location that was inspired by the video, hoping to keep the band’s image consistent while shooting with a style that comes naturally to me.

Before linking up with the band Brother to shoot a portrait for YRB magazine, I checked out their video for “Darling Buds of May.”  I was really impressed.  I chose a location that was inspired by the video, hoping to keep the band’s image consistent while shooting with a style that comes naturally to me.

Spike Lee was my first professional portrait assignment in NYC.  He’s a legend, of course.  So no pressure.  We shot this at NYU, where he’s a film professor.  The story I shot the pictures for was about sneakers.  So that made the experience that much more fun.

Spike Lee was my first professional portrait assignment in NYC.  He’s a legend, of course.  So no pressure.  We shot this at NYU, where he’s a film professor.  The story I shot the pictures for was about sneakers.  So that made the experience that much more fun.

As a big fan of Bobbito Garcia, this early shoot for Kicksclusive magazine really stands out for me.  Bob is one the coolest dudes ever and also a photographer.  I can't front for one second.  This shot was all his idea.  I simply executed.

As a big fan of Bobbito Garcia, this early shoot for Kicksclusive magazine really stands out for me.  Bob is one the coolest dudes ever and also a photographer.  I can’t front for one second.  This shot was all his idea.  I simply executed.

This is a selection from a series called Watching.  I aimed to capture the presence of the growing number of security cameras in the public space.  I had no intention of photographing the guy who blocked his face from my camera … the irony.

This is a selection from a series called Watching.  I aimed to capture the presence of the growing number of security cameras in the public space.  I had no intention of photographing the guy who blocked his face from my camera … the irony.

As far as easy and amazing assignments go, The Ting Tings take the cake.

As far as easy and amazing assignments go, The Ting Tings take the cake.

I was so thrilled to photograph Esperanza Spalding.  She was very cool, easy to work with, and personifies Jazz.

I was so thrilled to photograph Esperanza Spalding.  She was very cool, easy to work with, and personifies Jazz.

When Natalia Kills showed up at the studio for a portrait session, I knew we were going to make some cool images happen.  We had instant chemistry and came up with a few solid concepts right away.  Narrowing the edits down was as tough as expected.  This image didn't make the print book.  But it really stood out.

When Natalia Kills showed up at the studio for a portrait session, I knew we were going to make some cool images happen.  We had instant chemistry and came up with a few solid concepts right away.  Narrowing the edits down was as tough as expected.  This image didn’t make the print book.  But it really stood out.

How many years have you been in business?
For years I worked as an assistant and at Pier 59 Studios in New York while simultaneously building my brand. But in 2010, I quit assisting and have since focused on my own work full time. As much as I loved assisting and working at the Pier as a side hustle, it’s great to be shooting on my own.

Are you self-taught or photography school taught?
A little of both. School gave me the fundamentals. But I also learned a lot on the job and by being around world-class photographers on a near-daily basis at the Pier. Also, the Pier used to let employees test once a month for free. I took full — and I mean full — advantage of that deal. Between that and my assisting work, I was able to shoot and test a ton. Studio photography is amazing. It’s an important skill to develop. All of the techniques and lighting tricks you learn are universally applied when you don’t have the luxury of a fully-stocked equipment room.

Also, packing jobs for remote locations, where there are no stores, let alone EQ rooms, teaches you the importance of triple-checking. You can never take anyone’s word on equipment that you didn’t see. And sometimes going without it is not an option. No art school can teach you pragmatic things like that.

Who was your greatest influence that inspired you to get into this business?
My mom always stressed the importance of doing what you love, no matter what. She travelled the world taking pictures for fun. Though she chose a stable career as a dental hygienist, her pictures covered the walls. She is also a long-time subscriber and avid collector of National Geographic. Those magazines were major influences. And for years I assisted Kip Meyer, who is an awesome photographer. I really admire the way he interacts with clients and models as well as his general approach to projects.

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?
Inspiration is the easy part. Being inspired is a prerequisite for the job. I get ideas for pictures from the imagery I see all around me. I drive a lot, ride my bike a lot. I find inspiration in that. I can’t help but notice amazing landscapes, or an interesting building, even if I can’t shoot them. Then I imagine what I see as context for a subject. So when I arrive at a location for a client sight unseen and have to make an interesting image happen no matter what, I have a whole catalog of ideas in my mind to draw on.

Do you find that some creatives love your work but the client holds you back?
It seems the work that gets the best response from creatives and peers isn’t always what appeals to a client’s target audience. Just because an image or series of work is cool on tumblr, or gets a bunch of Likes, doesn’t mean it will sell.  The most important thing about photography is being creative.  But with commercial work, you have to consider the client’s goals.  I am providing a service, and incorporating what the client has in mind is the most important thing. I still try to be sure you can see my thumbprint on the final product, since the client chose me to make the image, after all.

What are you doing to get your vision out to the buying audience?
I have a show at the end of April to celebrate the 20th anniversary of Urban Latino magazine. I’m the photo editor of ULM. I’ve worked with them for years. The show will highlight the work I have done for the magazine. I also stay up on social media as much as I can. And I’ve been known to cold call brands that I love and want to work with. I also love to make new connections through editorial work. But what usually works best is sticking with the network I know.

What is your advice for those who are showing what they think the buyers want to see?
Being a photographer is a lot like being a writer. Great writers have a very clear voice. That’s how you distinguish yourself from the crowd. I love looking at other photographer’s work, taking in as many photo books, blogs, and magazines as I can. This process helps me find my voice. So look at as many pictures you can. Know the landscape. Look at your own work all the time, too. Be sure your images speak to your vision. Know what you want to shoot. Be very clear in your mind what it is you want to see before you make it happen. As with all other art forms, there are lots of trends, but honesty never gets old.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always. One of my favorite things about location shooting is that you have to get an idea of where you are shooting by walking around, and of course you are going to bring your camera. So at that moment, it’s nice to relax and imagine that you are just out in the park, shooting pictures with no pressure, and there is no art director 10 yards away stressing because it’s overcast or the model is late.

Also, I have two young children who are changing by the second — it’s amazing to see them grow. I want make sure that I am changing and developing, too. I don’t want to take the same pictures my whole life. That just doesn’t make sense.

How often are you shooting new work?
At least 3 times a week. In the summer, almost every day. Photography is built into my life. There is always a camera in arm’s reach.

Josh was born in Toronto and grew up in nearby Oshawa. He relocated to New York in 2000, where he was on the grind until 2011. Josh now resides just outside of the city with his wife, Melissa, and their two photo assistants-in-training, Jalen (3) and Janessa (1).

http://joshdehonney.com
jd@joshdehonney.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: Max Dworkin

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 Max Dworkin. He is a great up and coming photographer who I had the pleasure of working with him on a very large project for a major account. Its exciting to watch his career develop as well as be selected in PDN’s-Emerging Photographer’s Spring 2014 issue.

This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.

This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.

This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.

This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.

This is a shot from an ongoing series called “anonymous”

This is a shot from an ongoing series called “anonymous”

Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.

Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.

This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.

This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.

This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.

This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.

This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.

This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.

I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.

I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.

Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.

Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.

This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.

This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.

How many years have you been in business?
I am happy to say this was my first year shooting for myself full time, I have been getting work for the past 3 years or so but it was hard to fully transition out of assisting.

Are you self-taught or photography school taught?
School, I went to the school of visual arts for photography, but I was getting into experimenting with photography way before I had considered any formal training. I was really into the dark room and built one in my bathroom during high school.

Who was your greatest influence that inspired you to get into this business?
That is hard to say as I had a lot of great teachers who were very encouraging and gave me opportunities that opened my eyes to the different ways I could work with photography. I was a TA for Sarah A. Friedman right after I graduated and also started assisting her, that was a great leaning experience as far as seeing what it looked like to make a living in the business, she is a great friend and still always down to give advice or get an honest opinion from.

I did have an experience early on at SVA during a portfolio review where I was asked very straight forward “what was it that I want to do”? It seems like a basic question that I would have already asked myself but being put on the spot and seriously considering it made me realize what I wanted most was to be able to work and support myself as 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?
I try to see new and different art as much as possible. It can get daunting at times to be so involved in my own process of shooting editing and retouching, seeing other work helps to break it up.

It gives me more confidence to try new things and take some chances, sometimes when I let go a bit and stop thinking so much about where I’m going with an image or series, I stumble across a fresh perspective. I like to go sit with a pile of magazines somewhere and just see whats out there from the ads to the stories, the internet has so much content available but to physically see who is shooting what and how the photos are run seems to help my process and inspire me.

Do you find that some creatives love your work but the client holds you back?
I have never experienced this to the point where I feel like I’m compromising my work but having someone who may not share the same vision can either hold you back or push you further. Personally I have had good luck working with clients that are on board with what I do, and if certain things do come up, I welcome the challenge to problem solve and shift things so everyone involved feels like they are being heard and are happy with the results.

Probably not enough…. As I’m learning more and more about how the promotional side of this business works I’m trying to come up with creative ways to get my work seen. I love having the outlet of a blog and website but I like the idea a making something physical and putting it out into the world. I’m working on editing and printing small editions of books with different themes or subject matter and sending them out as gifts or giving them away to anyone interested. Email me and I would love you send you one! maxdworkinphoto@gmail.com

What is your advice for those who are showing what they think the buyers want to see?
This can be especially tricky and in the past I have found myself going in a direction I may not necessarily have gone because I thought it was what people were looking for. At times it can be harder to stay true to yourself and show what you feel is your best work because it dosnt seem like its what people are responding to. In my experience, the payoff has been so much bigger when someone connects with work I have put a lot of myself into, In the end those are the people I want to work with anyway.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes I am shooting all the time, if I’m not booked for a job I’m going out on self-assigned projects or helping out anyone who is interested in collaborating. I have a blog Pictured.tumblr.com where I have been posting a photo a day since 2011 it has been a great outlet for work that doesn’t really have another place to go. The work could be from a recent trip, an outtake from a job, or just a photo I shot that day. Having the structure of an ongoing project like this has kept looking at photos and made sure I always have a camera in my hand. Another unexpected thing I enjoy about it is that it serves as a visual journal for the past week, month, and even year, I can go into the archive section and see 30 or so images from the past month that show where I have been or what I was working on. There has been some great feedback from this and I like that it can showcase a really large range of work that I wouldn’t necessarily want on my website. I don’t like to be labeled as a photographer who does just one thing…. Part of the reason I love this job is because it allows freedom and creativity to work with so many different kinds of people and explore new places… I can be shooting a portrait in the studio one day and be out in the street shooting skateboarding the next. It’s really what keeps me going.

How often are you shooting new work?
As much as possible, maybe 3-4 times a week. If I’m not shooting for a client I’m usually out shooting for a personal project or for someone who has reached out about working together. I like to keep really busy and having the luxury of working with digital and not paying out of pocket for jobs with no money I take on almost any project I’m approached with as long as I’m interested in the subject matter and have creative control.

—————-

Max Dworkin is a NYC based photographer who lives and works in Brooklyn. He is the photo editor of Remember Paper magazine and co founder of Get Summered an arts and lifestyle company.
He is currently looking for representation.

Max Dworkin
Maxdworkinphoto@gmail.com
413 822 1480
maxdworkin.com
pictured.tumblr.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: John Davis

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 John Davis. His demeanor and professionalism, combined with his creativity and flexibility, make John our top choice for many different types of projects. He has literally turned a cloudy day into a sunny one! His work always exceeds our hopes and it’s a pleasure to review photography knowing that John sets out to deliver something truly impressive.

Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.

Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.

Baltimore Musician Katrina Ford of 4AD band Celebration.

Baltimore Musician Katrina Ford of 4AD band Celebration.

Tufts University for Marketing Materials.

Tufts University for Marketing Materials.

CEO of Mayorga Coffee for Inc. Magazine.

CEO of Mayorga Coffee for Inc. Magazine.

Runner for personal project.

Runner for personal project.

Junior Olympic Championships

Junior Olympic Championships

Junior Olympic Championships

Junior Olympic Championships

Student for University Alumni Magazine.

Student for University Alumni Magazine.

This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.

This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.

This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.

This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.

The Green Turtle

The Green Turtle

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.

From Anhinga

How many years have you been in business?
More or less, 15 years with the requisite assisting overlap.

Are you self-taught or photography school taught?
I started as a Fine Art major at the University of Maine and transferred to The Maryland Institute, College of Art (MICA) where I graduated with a BA in Photography.

Who was your greatest influence that inspired you to get into this business?
I didn’t really have a professional influence until I was already in the flow of the photo assisting world. The business of photography, at least my perception of it at the time, seemed like my only option at the time. I knew I wanted to make a living doing something creative and I had just graduated with a degree in photo so that was that. There were definitely photographers that inspired me, but they were mostly fine artists/teachers of art that didn’t push the business side of things. Helen Levitt, Sally Mann, Emmit Gowin and my first Basic Photo professor at U. Maine were big ones for me artistically. Professionally, I would say Dan Winters and Chris Buck.

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?
Is this a trick question?

I try to keep an open mind and let things happen organically. If I’m shooting a lot of higher ed or people, I’ll force myself to do a multilple exposure light test with still life.

A couple of years ago I decided to work with a consultant to completely overhaul my website and put together a new book. The goal was to steer my business away from a certain kind of client. Within two months of the new site launch I was caught in an avalanche of RFPs to shoot for exactly the clients I was lookin for.

Do you find that some creatives love your work but the client holds you back?
I’ve been pretty lucky. The last few years clients have been mostly on board with my take on things. I think a lot of times they are hiring me because they want me to do what I do best.

What are you doing to get your vision out to the buying audience?
Everything. Networking, Direct mail, Email promos, Social Media and other online resources like Wonderful Machine, Photoserve and ASMP Find a Photographer.

What is your advice for those who are showing what they think the buyers want to see?
If it’s original it will stand out. If it isn’t, it won’t.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, as often as I can. I wouldn’t be in business right now without it.

How often are you shooting new work?
I’m always making pictures and keep a notebook / Evernote of ideas and images that inspire me. I love a good Moleskin but the Evernote app is great because it syncs across all my computers and devices. Realistically, I try to shoot a project every few months and don’t worry too much about whether the personal projects jive with my current paid gigs. I’m always thinking about how to change things up. I also try to collaborate with other artist friends.

———–

John is a photographer based in the Baltimore/Washington, DC Corridor and is represented by Wonderful Machine. He specializes in telling stories with images for a wide range of clients, from higher education and advertising to national editorial publications. On his “off” days he keeps busy by training for his next Marathon and photographing his fellow athletes.

You can see more of John’s work and a list of clients here http://www.jdph.com
Contact: john@jdph.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: Helen Cathcart

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 Helen Cathcart who is a wonderful talent who deserves greatly to be recognized as she is an incredibly well-rounded photographer who can shoot just anything and make you want to either eat it/visit it/or meet it.

I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.

I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.

I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.

I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.

This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.

This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.

This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.

This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.

Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.

Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.

I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.

I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.

This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.

This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.

I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.

I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.

I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.

I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.

I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.

I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.

This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.

This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.

This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!

This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!

How many years have you been in business?
I actually started out as a photo editor for 5 years and when my boss found out I did photography too, he let me commission myself for some features, but I made the leap to full time photographer about 3 years ago.

Are you self-taught or photography school taught?
I did a degree in Photography but I would not attribute that in any way to me making a living from Photography today. It was a very fine art based course with no interest in actually teaching you how to get a job at the end of it. I spent 8 hours a day in the dark room which isn’t very useful to me now. I followed it up with an MA in Design and Art Direction in order to get me out of waitressing and I learnt much more from that!

I gained most of my technical knowledge from two photographers I worked with on my picture desk but mainly I believe you learn on every shoot and that there is a way of seeing things that you can’t really teach.

Who was your greatest influence that inspired you to get into this business?
I was given Eve Arnold’s Book ‘In Retrospect’ my by Aunt when I was quite young. I absolutely loved her style and what she captured and how she had just gone out there and put herself in situations. I think that was definitely my main inspiration that I could be a photographer. Although I don’t shoot fashion, fashion photography always inspired me and especially the early fashion photographers such as Richard Avedon and Herb Ritts.

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 have to say this can be quite difficult when you become busy and are shooting commissioned work all the time. For me I make sure to mix up the work I am doing which is why I shoot a lot of different things.

I am trying to be more strict with myself to shoot more personal work but I made a concerted effort at the end of last year that I was going to take some time away from shooting altogether to get my creativity back. I went to Cape Town for 6 weeks at the start of this year just to get to the light, get into a different way of life, even paint! It was just what I needed.

I find that somehow my work has always been inspired by nature and going back to that always helps me.

Do you find that some creatives love your work but the client holds you back?
Every shoot is so different but this can definitely happen. At the end of the day you and the creative are usually on the same page so you will try to push the boundaries as much as possible. A lot of it is about dealing with people and explaining your point of view on the shoot. Almost selling it I guess. Once they see what I am doing they usually go with it. I have very rarely felt restricted and having been on the photo editor side of things I think I can see things from both sides quite well.

What are you doing to get your vision out to the buying audience?
It is sometimes so hard to find time to update the buying audience on your work but so important. I try to do a little newsletter every so often. I use instagram a lot and I have a blog that I like to show personal work and recent shoots, and this goes out to art buyers I have worked with and would like to work with.

What is your advice for those who are showing what they think the buyers want to see?
I think you can easily slip into this, especially because it is very important to listen to what the buyer has asked for and make sure they get it, but I have always found that when you produce something that is entirely your point of view and you are really happy with it, it is usually different to anything else and that is the work attracts other work.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I’m not shooting for myself as often as I would like. I really want to get a film camera so that when I shoot for myself it doesn’t feel like work, it feels completely different. I find it takes me a few days to unwind, not shooting at all for me to see things for myself again so I try to block out days where I don’t take commissions for this to happen. I get a lot of inspiration from travel though and this usually keeps my work fresh. I have been planning for ages to shoot behind the scenes at a strip club but can’t find any strippers! If anyone knows any, let me know!

How often are you shooting new work?
At the moment I’m shooting almost every day. I love what I do and keep getting commissions that I love which are very hard to say no to!

———-

Helen specialises in photographing food, travel, interiors and portraits. She started her career as a photo director, followed by freelance picture editing and photo direction on various news stand titles including British Vogue. After a move to Sydney she made the transition to full time photographer and now shoots for numerous magazines and brands and has photographed a number of cookbooks. Helen is currently based in London.
www.helencathcart.com
www.helencathcart.blogspot.com
twitter and Instagram: @helencathcart

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: Topher Cox

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 Creative Director: I nominate Topher Cox. His book pretty much speaks for itself.

Mike Stoddard.  Rodeo series

Mike Stoddard. Rodeo series

Personal work

Personal work

Philips Healthcare.  All actors

Philips Healthcare. All actors

Alex S.

Alex S.

Cut Flowers

Cut Flowers

Black Angels Project

Black Angels Project

Charlie Vagabond, Skater, Travler

Charlie Vagabond, Skater, Travler

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Philips Healthcare, All Actors

Playball Foundation, MMB

Playball Foundation, MMB

Wilnor Tereau, Haitian Footballer

Wilnor Tereau, Haitian Footballer

Welder, Maine, Bangor Savings Bank

Welder, Maine, Bangor Savings Bank

Cybex International

Cybex International

Bombay Beach, CA.  Post shoot walkabout.  If you have not been there yet you must go now before it is gone!!!!

Bombay Beach, CA. Post shoot walkabout. If you have not been there yet you must go now before it is gone!!!!

How many years have you been in business?

When did I start. Hmmm, hard to say. I would say it has been a good 7 years now. Before that I was a freelance photo assistant, which is a whole business in itself. Shooting for your self while helping others out. That got me ready to break out on my own. It taught me a thing or two… or three.

My folks told me I was helping at my dad’s studio before I could walk.

Are you self-taught or photography school taught?

I took a couple of classes (thank you Mr. Simon, TR and Doc), but I guess you could say I am mostly self-taught. I grew up in the photography business. My father was a photographer and my mother was the art director at Cosmopolitan Magazine. So my nursery was my father’s studio, and then when I got a bit older I would go to my mom’s office and play with my toys on the floor as my mother and Helen Gurley Brown would be looking at slides on the light box above me. I would go hang out on shoots all the time as a kid. I would watch and learn. That was my school. Not only how to shoot, but how to work with people.

I went to school and studied Psychology at Syracuse University. During the summers I would work as a photo assistant, studio aide, and stylist assistant. It was a great way to see the business from all sides. After graduation I busted my ass as a photo assistant for a long time. I went all over the world carrying camera bags and such. That’s an education!

One time I had a photo student ask me a bunch of things about the strobes and ratios, f stops etc. Sure, I know all that, but I told him, “brother, when it is too dark I turn them up, and when it is too bright I turn them down”. I think education is really important, but owning what you know and putting it to use is what is really important.

I did a short stint working at MTV. That taught me a lot about making budgets, the corporate life, and being in a cubicle for 8 hours a day.

Who was your greatest influence that inspired you to get into this business?

As I said previously, I grew up in it. It was kind of the family business it is the business I know. I still had to make my way up the ladder. No one handed anything to me.

So I wouldn’t say it was any one person, it was all the photographers I knew as a kid. I loved what they did.
Funny thing is that when I told a bunch of them that I was going to be a photographer they all suggested I do otherwise. They told me the photo days of the 80′s and 90′s were long gone. It is true, but it is whole new era….an exciting one.
I love to keep it simple. I have always loved the work of Richard Avedon, Paolo Roversi, Bruce Weber, and Irving Penn.

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?

One thing I love is the opportunities of the digital era and how technology is constantly changing and improving things. I can shoot stills for a client and shoot video at the same time. That way their stills and video match in style and vision exactly. They love it, I love it. I get to see my photos come to life in video.

You have to look around you all the time, see what is out there, look online, look in magazines, see what you love and try to bring it to your vision. Make it your own. Growing up in NYC everything was constantly changing, I think you have to do that with yourself. Reinvent yourself all the time, but keep your true self in there.

One thing about photography is that it takes you to places that you would otherwise never go and meet people you would never meet. I find that to be so inspiring. Every model or subject has a story, every place has something new to offer. I find inspiration there.

Photography has taken me all over the world. It has shown me so many things and opened so many doors.
If I go somewhere on location for work I make sure to get up early and stay up late to wander around. I am lucky to be there, and I find inspiration from what is around me at all times.

Do you find that some creatives love your work but the client holds you back?

My job is to take what the client and creatives want, and translate that into my photography. I have to bring all that info and pull it down to a moment in time that may last 1/1000th of a second. That is my job. “Hold me back”, no, I want to give them what they want. I want to make them happy. Making them happy inspires me. If you feel they are holding you back I feel you have to rethink what you are doing. Sure, this is art, this is vision, this is a piece of you…..but this is also work and a job. And your (my) job is to give them what they want….and maybe show them something they didn’t know they wanted. You can always do it both ways, your way, and their way. Then they can look to see what they like best. I did that for a big client of mine. I would shoot the way they wanted and then I would shoot the way I wanted. In the end, they liked my vision more. Now when you look at all their photography it is in my style. That didn’t happen over night, but over time they changed and reinvented their image. If you really get frustrated, then do some work on the side for yourself….which you should be doing anyway.
I hear about photographers who are difficult to work with or get mad at everyone on set. What is that!? We are so lucky to do what we love for a living. We should get down and kiss the ground every day to be thankful. Hold me back, ha, I should be throwing rose petals at their feet as they walk into their office everyday for giving me the opportunity to live like I do. Right now I am sitting in my sun filled studio next to my sleeping dog while my kids are healthy and happy at school and my wife is at work….I have nothing to complain about. My work gave me this….and my clients gave me this.

What are you doing to get your vision out to the buying audience?

The internet is an amazing thing. You can show your work to folks all the time. You can show them things in bits and pieces. Over time they will remember you.
I hated carrying my portfolios around from place to place. I would pick them up and realize that no one had even opened them up. That sucks….BUT, you have to keep picking yourself up and keep going. Some will give up and some will make it.
AND….I have an agent:-) She is great at getting my work out there. It really helps to have someone give you a kick in the ass too when you are feeling down. She knows the ins and outs of how things work.

What is your advice for those who are showing what they think the buyers want to see?

OK, Here is where I am supposed to say “be true to yourself”, right?. Yes, be true to yourself. Make your style. Refine that style. Show that style.

BUT… remember there is A LOT of money riding on these shoots. There is so much time put into them before you even came into the project. Clients are quick to move on if they don’t like the work. There are a lot of other options out there. SO, they also have to see that you can do what THEY need.

I had a client tell me the other day that last year was their best year in sales ever and that it had a lot to do with my photos. Holy crap! How happy did that make me feel! That is also a lot of pressure. Better sales mean that they can keep all their workers and stay open. All those workers can keep their jobs and feed their families. Not only here where they make the product, but also all over the world where the parts are made or the metal is …wait…how do they make metal?
Anyway you get the idea. You have to show yourself in the work, but that work also has to work for them.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?

Of course. I love to shoot. The money is the bonus. With digital there should not be anything holding you back from shooting everyday. There was a time when I had my fridge stocked with film. I was limited by choosing to eat or processing my film. Now, you can shoot, shoot, shoot.
It doesn’t have to be a big production. You can keep your camera next to your bed and shoot before your feet hit the floor if that is your thing. But it is fun to put something all together and see it come to life.

How often are you shooting new work?

All the time. And even that isn’t enough. Shoot to live, Live to shoot.
If It is not on a CF card yet, it is in my head. Sleeping can be difficult at times because you are thinking about what you want to shoot and how you are going to make that happen.

——————-

Topher Cox grew up in New York and now lives outside of Boston. No longer a huge rock star in Japan, he lives in a house with a white picket fence with his wife, two kids, and a dog. No minivan yet.

They all get back to NYC often for work, friends, and family.

Topher is represented by Katherine Hennessy at www.kate-company.com.
His work can be seen there and on his website www.tophercox.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.