I Take Photographs To Make Discoveries For Myself

I am interested in ideas. I am not interested in doing the same thing over and over again. The reason I take photographs is to make discoveries for myself. Always trying to piece together the puzzle, that’s where I get my rush. Once I find the answer I am looking for that’s usually it for a project, the excitement and energy is gone. I move onto something else, or away from that subject matter until I can view it with fresh eyes again.

via An interview with Trent Parke – Try Hard Magazine.

Steven Lippman: Husband/Father/Athlete/Artist/Humanitarian

Screen shot 2014-08-20 at 2.30.10 PM
Self portrait in a back side tube
Screen shot 2014-08-19 at 10.05.34 AM
Layback.  Photo: Justin Mehren
Screen shot 2014-08-19 at 10.06.24 AM
Tube time. Photo: Evan Conway
Screen shot 2014-08-19 at 10.03.11 AM
Hand plant 13 years old  Photo:  Bill Sharp
Screen shot 2014-08-20 at 2.33.25 PM
Carve. Photo: Bill Sharp… Now

 

Steven Lippman

Personal Site: Steven Lippman Print + Film
Agency Site: Stockland Martel
Instagram: stevenlippman

Heidi: Once and athlete always an athlete. You were a competitive skater and surfer on a pro level for most of your life. How often do you currently train?

Steven: I’ve been skating since I was 9 and I still skate pools and half pipes. I’ve been surfing since I was 16, still love surfing here in Malibu whenever I can, and I surf remote waves all around the world.
My training time varies because of family and work of course. I have an amazing wife and two children that I love spending time with. My daughter is 22 and my son is 6, I’m so proud. My daughter is about to enter the working world with the same ethics I’m teaching my son. Be respectful of your surroundings, be the best person you can, be active and do the things you love. My son and I ride BMX, surf, he takes karate, he’s so full of life! I mountain bike and surf with my daughter. Anyone in my position knows that you are at the mercy of spontaneous moments, family is dynamic, and they come before my love of sport. My wife is an amazing cook, we eat healthy, I’m so lucky. It’s important for me to stay healthy and limber. All of those assets transcend into my personal and work life.

I know you are a dedicated father and husband, do home and work life blend? How does  it all fit in?
As I mentioned it’s about seizing pockets of time and being able to roll with them. Yes, my home and work life blend, they have to. My studio/office is part of my home and I chose that situation so I’m not away from my family any more then I have to be. When I have a break in work, we can be together and if they need me, I’m right here. It’s the best of both worlds and a juggling act to fit it all in, but it’s about making time for everything in life that’s important to you and designing your environment around that.
IMG_3416
Family Portrait in Costa Rica
kids
Ryder and Reilley morning time
Screen shot 2014-08-19 at 10.04.41 AM
Mountain biking with my daughter
Screen shot 2014-08-20 at 2.31.57 PM
My son, Ryder
I know you’ve been busy with work, what are you up to these days?
I just finished  big projects with Leo Burnett, Showtime, Fry Boots and I’m doing a TV commercial for Griffith products. I feel so grateful when clients hire me for my entire skill set and are open to ideas/collaborating. Unfortunately I don’t have any creative I can share from those just yet, though here’s a selection of my editorial, advertising and directing work.
Screen shot 2014-08-21 at 4.40.54 PM
ESPN BODY ISSUE
Screen shot 2014-08-21 at 4.33.27 PM
Screen shot 2014-08-21 at 4.33.35 PM
Screen shot 2014-08-21 at 4.34.51 PM
James Pearse
Screen shot 2014-08-21 at 4.36.16 PM
Ed Hardy
Screen shot 2014-08-21 at 4.36.27 PM
Lifestyle
Screen shot 2014-08-21 at 4.36.43 PM
Lifestyle
Screen Shot 2014-08-22 at 4.37.08 PM
Screen Shot 2014-08-22 at 4.38.15 PM
Screen Shot 2014-08-22 at 4.36.51 PM
Screen Shot 2014-08-22 at 4.37.26 PM
Screen Shot 2014-08-22 at 4.38.35 PM
No Bad Days
Screen Shot 2014-08-22 at 4.38.55 PM

 

 

Surfing as a form of healing and therapy is a running theme in your life of giving back. I see you are Vice President of Operations for A Walk on Water (their primary goal is to share the therapeutic powers of the ocean through surf therapy for special needs children and their families) How do you organize your time to accomplish all of this?
I handle this the same way I do my work/family life. I flow with it and I’m dedicated. It’s organic and I make it all fit.
My love of surfing and skating shaped my career, they are intertwined. Prior to my photography and directing I was a model and surf/skate competitor documenting my friends and my life on the road, this is where I developed my eye.
I have so much to be grateful for from my surf/skate life. Once I focused more on my photography/directing career, I wanted to maintain the connection to my roots. For A Walk on Water I can transcend all my directing skills into producing big events, it’s a natural segway for me.
-2
Screen shot 2014-08-19 at 10.04.14 AM
Photo: Cat Gergory

My son Ryder, and our friend Sully whose father is Pat Notaro, founder of A Walk on Water.

You are also part of the The Blue Project (a nonprofit looking to  preserve the world’s oceans by rallying like minded people and educating the public) as well as an Ambassador for Surf Aid International, Life Rolls On, (a program dedicated to improving the life of kids with spinal cord injuries)  on Surfer’s Healing which specializes in autistic children. It takes a special type of person to volunteer and be such a giving ambassador, what speaks to you about these projects and how does this surface in your commercial and personal work?

It’s a constant reminder of how grateful I am for the life I’ve enjoyed and created for myself and family. Being able to see that same joy in a parents eye when their child catches a wave or simply enjoys the freedom of the ocean is an amazing experience for me. These projects bring me joy, ground me, and always drive me to the search for the truest meaning of reaching one’s potential.  To be 100% honest, I had founded the Blue Project, as time passed I simply couldn’t do it all, so that is currently on hold for the moment, there’s only so much I can do alone. There’s simply not enough time for me to do all I’d like to do, and do it well. What’s great about these interviews is that I have an opportunity to inspire people to get involved in the programs and events in the hopes they gain momentum and succeed.


Pricing And Negotiating: Directing Video For A TV Commercial

by Craig Oppenheimer, Wonderful Machine

Shoot Concept: Video of a restaurant interior

Licensing: Use of all video content captured in multiple broadcast television commercials

Location: A single restaurant location

Shoot Days: One

Director: Architectural and portraiture specialist

Agency: Medium-sized, based in the Northeast

Client: Large restaurant chain

Here is the estimate:

Creative/Licensing: A few months ago I worked with a photographer to successfully estimate an exterior architectural shoot that you can read about here. Within a week of delivering those files, the agency wanted to add on an extension to the project, and this time they needed video content to integrate into their commercial along with the stills. The concept was to capture video of the interior of one of their restaurants and stage a scene of professional talent interacting within the environment in the evening after the restaurant closed to the public. The final video would ultimately be edited down to just a few seconds, and the agency/client would be providing the location, casting, talent, wardrobe, styling and all of the video editing.

The photographer did not specialize in video, but based on his previous successful execution of the stills and the scope of this portion of the project, the client and agency were very comfortable with him taking on a directorial role, as opposed to being the man behind the camera. Therefore, rather than including a combined creative/licensing fee for the photographer, we simply labeled it as a “Director Fee” (hereafter I’ll refer to the photographer as “director”).

My first approach to determine the director fee was based on the previous estimate for the still photography. You can read how we arrived at a $50,000 fee in my previous article, but when analyzed in a pro-rated manner (which is how many agencies view estimates), it broke down to $2,500 per location or around $10,000 per day for 5 days of shooting (which is ultimately how long it took). Based on this information I felt that $6,000 was appropriate for a director fee, taking into account what the director had ultimately made as an effective fee on the previous shoot. I did, however, want to double-check this rate against other resources, and found that Getty charges around $4,200 for a 15-second clip for national broadcast TV use. Similarly, Corbis charges $4,500 for a clip with these specs. Based on my research I was confident that we were in the right ballpark.

I should also note that the format of our estimate in which we present the creative/licensing fee and the following expenses may be atypical for a video project. Since this was an extension of a still photo shoot, and since we were working with a print producer at the agency, the presentation and formatting of our document was appropriate. However, much larger video productions may warrant different formatting, and there are even industry standard documents (like theAICP bid form) that video production companies are accustomed to working with and are well received on the agency/client end.

Test Shoots: Prior to the actual shoot date, the agency and director agreed that a day was needed to not only scout the location, but to do a very rough test shoot using minimal gear to capture naturally lit video of the restaurant interior. It was an opportunity to give the agency a feel for the how the location actually looked, while also allowing the director to test out gear with the camera operator that would be working on the actual shoot. The fee included $1,500 for the director, $1,000 for the producer, $300 for an assistant and $750 for the camera operator, along with mileage, parking, meals and equipment expenses.

Director of Photography: The director was very proficient in lighting still images, but the level of production the agency required for the video meant bringing in an expert to help guide the grip and gaffer to set up the lights. We were shooting at night, but the interior needed to look like daylight was flowing in through the windows, and the DP would help to accomplish this while the director could primarily focus his attention on the overall concept and execution.

Camera Operator: While the director would be managing the talent and determining the primary camera settings, we accounted for the camera operator to be the one who would actually manipulate the camera while capturing the content. The rate we included accounted for a very experienced camera operator who would also be able to provide monitors/feeds for live client review.

Producer: The producer would be responsible for wrangling the crew, compiling a production book and handling pre-production arrangements. Additionally, the producer would make sure the shoot day goes according to schedule while ensuring the project stayed within budget.

First and Second Assistants: I accounted for two extra sets of hands to help out with gear on the shoot day, and to support the producer and all of the crew members throughout the day with miscellaneous tasks.

Digital Tech: While the camera operator would be providing equipment for the client to see the video on monitors in real time, the digital tech would be able to quickly process the video content for the client/agency to watch repeatedly in order to approve the content. This included $500 for their day, and $750 for a workstation. On a larger scale video shoot, this role might be labeled as DIT (digital image technician), but as I mentioned earlier, we were integrating formatting and terminology more in line with a still photo shoot.

Grip, Gaffer and Grip Truck: The DP would give lighting direction to the grip and gaffer who would then be responsible for setting up and adjusting all of the lights. Both the grip and gaffer that I corresponded with about the project worked for an equipment rental company, and they would be bringing the gear with them in a truck. Given the last minute nature of the project, we weren’t quite sure what exact equipment would be needed, so I included the cost for a very well stocked grip truck. In addition to the truck rental (which would cost $675), this included a long list of HMI lights and generators, as well as an even longer list of stands, modifiers and grip equipment.

Additional Equipment Rental: This accounted for all equipment other than lights/grip, including two 5D Mark III camera bodies, multiple lenses, extra large memory cards and a buffer for any other last minute gear the photographer would need once he scouted the location. Some of the gear he owned, and some he would need to rent or buy.

Delivery of Video by Hard Drive: The digital tech would dump all of the video onto a drive after the shoot, and this included the cost of purchasing a drive large enough to hold the video content and the shipping fees to send it to the agency.

Catering: There would be about 20 people on set including the crew, talent and client/agency representatives, and I included $50 per person for dinner and snacks throughout the evening. Typically, I’d figure a client like this would provide meals, but since the shoot was happening after business hours, the restaurant wouldn’t be able to provide food.

Miles, Misc: The restaurant wasn’t located in a very convenient place, and I expected to pay the crew mileage to get out and back. I included $200 for mileage, and then added $300 to help cover any additional unexpected expenses that might arise.

Results: After submitting our estimate, the art buyer told us they had a budget of $20,000, and asked us to see what we could do to reduce the price. I knew we wouldn’t be able to come down by that much, but revised the estimate by removing the tech’s workstation (she’d just be providing a laptop which the client was ok with), reducing the assistant rates to $250/day (the director had a few assistants that were willing to work for this rate) reducing the fee for the grip and gaffer (which they confirmed they’d be able to be flexible on) and reducing the catering to $35 per person (and noted that it wouldn’t be quite as an elaborate spread). Those changes reduced our bottom line by $1,500. Even though we weren’t able to get under $20k, our estimate was approved and I produced the shoot a few days later. Here was the final estimate:

Blinkbid

Hindsight: As the still photography and video worlds merge, it’s inevitable that clients will soon expect all photographers to offer video services (or at least expect to get stills and video from a single production). However, it doesn’t necessarily mean that a photographer has to have experience shooting video. As in this case, photographers can take on the role of a director without actually being the one to light the scene or operate the camera. The director role still comes with great responsibility and pressure, but it’s ok for photographers to rely on lighting experts and experienced video crews to collectively get the job done.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.

This Week In Photography Books: Brad Wilson

by Jonathan Blaustein

I was riding in the passenger seat of a Volvo SUV. Headed North. My father was driving; my young son in the back seat.

We were going to Red River to ride some go-karts. A classic summertime ritual. The mountains were to the East, and out the driver side, we saw the great American desert, rolling all the way to the Pacific Ocean.

The western sky was dark and ominous, as there were massive rainstorms approaching us faster than an unarmed man can raise his hands at the sight of a loaded gun. It had been raining for weeks, so the deluge was clearly imminent.

Which made our go-karting endeavor look a tad futile.

My son asked whether we would make it in time. My father replied that he was an optimist, so we’d plow forward. My son, clever, but not omniscient, asked what an optimist was.

My Dad explained an optimist was a person who looked on the bright side, and expected things to work out well. A pessimist, he countered, tended to fear the worst, and assume it would come to pass.

“Which are you, Daddy,” the boy asked me?

“I’m neither, I said. I’m the third thing. A realist. I think sometimes things work out, and sometimes they don’t.”

“OK. You’re a realist. So will we get to ride the go karts,” he asked?

“That storm is coming really fast. If we get a ride in, I’d say we were lucky. I doubt we’ll get there before the track is too wet to be safe.”

Not that my predictive qualities are always spot on, but that day, it was not to be. The heavens opened, and we had to settle for raiding the candy store, and then getting back in the Swedish Tank to go home.

C’est la vie.

It’s easy, these days, to succumb to the belief that the world is coming to an end. The militarized mess in the St. Louis suburbs. Another war in the Holy Land. ISIS gobbling up territory in Mesopotamia. Planes shot out of the sky by a newly voracious and expanding Russia. (Forgive me, I meant Putin’s proxies in Eastern Ukraine.)

And then there are the stories about elephants being massacred for their ivory. Tigers killed for fake Chinese medicine. Or Rhinos slaughtered for horn to make some old guy’s penis hard.

Onward we march towards oblivion, it seems.

What sayeth the realist? Well, it is hard to be optimistic these days. But what choice do we have? If you’ve bred children, it’s far too sad to assume the world will die around them. Better to hope we’ll figure it out, but I’m not so sure.

Just in case, it might be wise to record nature’s bounty while it’s here. To embed likeness in paper, and safe keep it for future generations. (Sample conversation in 2114, “Daddy, what’s an elephant look like? Why did they go extinct?”)

Fortunately, the Santa Fe-based photographer Brad Wilson had done it for us. Even better, for posterity, he used a super-badass-high-end-digital camera, so the details are there in their hyper-real glory. (Eyelashes and all.)

I know this, because I went to photo-eye this week to pick up a new stack of books, as promised. And there the photos were on the wall, staring me down like an angry drunk mad-dogging you outside the movie theater at 9:45pm on a Friday night. (Speaking of Fridays, the exhibition opens tonight, if you happen to be in town.)

The prints are big, black and gorgeous. (Insert random inappropriate joke here.) If you have a chance to go see them, I’d highly recommend it. If not, of course, we always have the book, “Wild Life,” recently published by Prestel.

According to a promotional video they showed me at the store, the artist hired animal trainers to bring the creatures to a studio in LA. And the book says other pictures were shot at a raptor sanctuary in Española, a zoo in Albuquerque, and, of course, a location in St Louis, Missouri. (Wouldn’t be one of my reviews if the snake didn’t eat its tail.)

The pictures manage to be beautiful and heartbreaking at the same time. The chimps are so clearly sentient. The big cats so fierce. The eagles so mesmerizing. In fairness, the owl photos are trapped in full bleed in the book, so their impact is muted, compared to the prints.

But this book oozes “future-historical-importance.” I think I brought up some of these concepts when I reviewed Sebastião Salgado’s “Genesis” a while back. I prefer this book, though.

That one seemed a tad emotionally manipulative. This feels more clean. More objective, if I might use a taboo word, for once. He threw up a black backdrop, brought in some rapidly disappearing animals, got really close with a great camera, and made the pictures.

Here. Look.

For now, the photographs are representations of living creatures. If we don’t change course, however, they will be all we have left. So says the realist.

Bottom Line: Fantastic record of the animal kingdom, while we have it

To Purchase “Wild Life” Visit Photo-Eye

IMG_0001

IMG_0002

IMG_0003

IMG_0004

IMG_0006

IMG_0007

IMG_0008

IMG_0010

IMG_0011

IMG_0012

IMG_0015

IMG_0016

IMG_0017

IMG_0018

IMG_0019

IMG_0020

IMG_0021

IMG_0022

IMG_0023

Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Kristyna Archer

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 Kristyna Archer. Aside from her obvious talent as a shooter, she is personable, fun, able to roll with the punches and goes to the max to make people happy. We used her and my creatives are as smitten with her as I am. We are all excited about what the future holds for her.

This is part of a personal series I shot in 2012 called "Donut Doppelgängers." It seemed so nonsensical at the time, but I had to get out of my mind.  A 'stream-of-consciousness' later, I started comparing them to people.
This is part of a personal series I shot in 2012 called “Donut Doppelgängers.” It seemed so nonsensical at the time, but I had to get out of my mind.  A ‘stream-of-consciousness’ later, I started comparing them to people.
This image was inspired by Cast of Vices, an amazing Los Angeles designer who created these high end luxury versions of your average bodega bag (on right).  It struck a chord with me and I wanted to create a juxtaposition of the "faux" middle class trying so hard to uphold appearances, next to poverty level.  They are both still riding the bus ironically- not so far apart…
This image was inspired by Cast of Vices, an amazing Los Angeles designer who created these high end luxury versions of your average bodega bag (on right).  It struck a chord with me and I wanted to create a juxtaposition of the “faux” middle class trying so hard to uphold appearances, next to poverty level.  They are both still riding the bus ironically- not so far apart…
This image started with the phrase "We're all kids at heart" where I was using childlike props pairing them with adults showing vulnerability.  Yet this shot soon became about something entirely different when you pair a speedo next to a lollipop.  So I changed my crop and decided to get in your face about it.  I love how things can develop into something so much weirder and more vulgar- the subconscious at its best I guess?
This image started with the phrase “We’re all kids at heart” where I was using childlike props pairing them with adults showing vulnerability.  Yet this shot soon became about something entirely different when you pair a speedo next to a lollipop.  So I changed my crop and decided to get in your face about it.  I love how things can develop into something so much weirder and more vulgar- the subconscious at its best I guess?
Campaign I shot for Canon with GREY visually illustrating a sensory experience of the theme "baseball."
Campaign I shot for Canon with GREY visually illustrating a sensory experience of the theme “baseball.”
Campaign I shot for Oxxford Menswear.
Campaign I shot for Oxxford Menswear.
This is a personal project where I wanted it to feel like film stills, because the story is loaded with emotion.  The less purposeful and pulled back you are, the more honest it feels.
This is a personal project where I wanted it to feel like film stills, because the story is loaded with emotion.  The less purposeful and pulled back you are, the more honest it feels.
I do love denim- all kinds. And I wanted to celebrate it.
I do love denim- all kinds. And I wanted to celebrate it.
If you've grown up somewhere where you've never seen snow and freaked out when you saw it for the first time- thats how I felt when I saw an abundance of lemon trees in LA.  I was trying every possible way to make use.
If you’ve grown up somewhere where you’ve never seen snow and freaked out when you saw it for the first time- thats how I felt when I saw an abundance of lemon trees in LA.  I was trying every possible way to make use.
I like to document those people that have had an impact on my life.  Maren is one of them.
I like to document those people that have had an impact on my life.  Maren is one of them.
This happened randomly and all you can do is be ready to capture.  I thought for sure he would never smoke inside his beautiful "Restoration Hardware" home.  But I once I said it he was up for the challenge.
This happened randomly and all you can do is be ready to capture.  I thought for sure he would never smoke inside his beautiful “Restoration Hardware” home.  But I once I said it he was up for the challenge.

How many years have you been in business?
I went out on my own as a photographer 3 years ago.

Are you self-taught or photography school taught?
I went to Columbia College in Chicago and received a BFA in Photography. The camaraderie I experienced from both faculty and classmates during my time there was electric. Then you work your first day on set and you realize you know nothing about how this industry works. A formal education was a great foundation, but only scratched the surface.

Who was your greatest influence that inspired you to get into this business?
I mean there’s a plethora of who, what, and whens that all culminated into “I don’t see how I could not do this everyday.” But specifically I had some amazing professors that would just rip apart your work in critique, which challenged me and pushed me to become a thorough and intentional artist. Linda Levy believed in me and pushed me out the door when I was afraid to make the leap from assisting to shooting. And of course there are those specific artists, directors, writers, cinematographers, that I am constantly inspired by and in awe of- Diane Arbus, Erwin Olaf, Wes Anderson, Anton Corbijn, Sagmiester, Larry David, Thom Yorke.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think the easiest way to answer this question is to “be random.” Put yourself in totally random places and situations, with different people all the time, and you will have a plethora of ideas to let bake until they are ready to hatch. That’s sort of what I do. Embrace the spontaneity in life. Also being present in the moment and in tune with all the hilarious human behavior that is happening constantly around you for great entertainment value. People are weird but we all try really hard not to show it. Yet the quirky parts of us are the best parts of us.

Do you find that some creatives love your work but the client holds you back?
Ok, I am not trying to be a “goodie-two-shoes,” but honestly every client I have had thus far has had a respect for what I am bringing to the table and has allowed me to do what I do best. And vice versa, I respect what they need to make their client and team happy. You get exactly what they want, and then you give them a different perspective that sometimes you are unable to see from being too close to a project. It’s the perfect balance and a great collaboration. Everyone wants the best results for the most reasonable cost. You problem solve and think ‘out of the box’ to make something look expensive in a “bogo” kind of way.

What are you doing to get your vision out to the buying audience?
There’s nothing better than meeting someone in person, getting to know them, and seeing what work strikes a chord most for them personally. Yet meetings are hard to get, so I try to make sure my personality comes thru in the marketing materials that I put out into the world. Business is personal, so I love to write notes or make ironic statements on my printed promos. And as much as I wasn’t fond of social media before, now I’ve truly accepted it’s essential and a great tool for business. There are those that abuse it, but I think the power of the potential networking outweighs it.

What is your advice for those who are showing what they think the buyers want to see?
It’s over before its even started. That might be a little harsh on my part, but one thing about this industry is you must have a thick skin, strong sense of self, and succinct vision to get anywhere. Who really wants someone to spoon-feed what you think they want? It seems so disingenuous and unattractive. I suppose I relate it to dating. Stop trying so hard and just be yourself. Whatever you are passionate about the most will be the most obvious anyway.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Constantly. That’s the only thing you can do to perfect your craft, develop your style, and find your voice. You can’t be afraid of bad ideas. I think there’s a lot more to lose by not getting it down on paper, or further, creating and being afraid to share. What’s the point? It’s just a discussion or conversation I am trying to start, and there’s no right or wrong. I understand being vulnerable can be scary, but how can you be an artist and not put yourself out there and literally leave your heart on the page. It’s always your best stuff, even if it’s too revealing. The process of discovery and evolution of a concept will help cause a breakthrough. The more you create the higher your chances of making your best work all the time.

How often are you shooting new work?
All the time. Once a week to once a month I’m working on personal projects depending on how busy I get with client work.

——————

Kristyna is an advertising and editorial photographer who specializes in storytelling.  Her work focuses on conceptual narrative and portraiture. Her clients range from Canon, to Inc. Magazine, to the New York Times.  After growing up blocks from 8 Mile Road and traveling all over the Asia-Pacific as an on-location retoucher, she’s capable of finding a common denominator regardless of upbringing, culture, or language.  She is inspired by her own paradoxical observations, the idiosyncrasies of human behavior, and an inherent love for fashion and design. She currently splits her time between Los Angeles and Chicago. Kristyna is represented by Friend + Johnson.

www.kristynaarcher.com
www.friendandjohnson.com

Say hello at me@kristynaarcher.com
Follow her antics:
Instagram @kristynaarcher
Twitter @kristynaarcher

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

The Daily Edit – Max S. Gerber iPhone Promo

-1

-3-2

iPhone  Promo

18×18” square, printed on uncoated text stock

Photographer:  Max S. Gerber
Instagram: @msgphoto

How difficult was it to edit down to 81 images of the 700 you shot?
Actually, I stopped counting after 700, so I’m guessing I’m near 800 by now. But yes, the editing and selection was difficult. From the beginning the important thing for me was that it not seem to be about any one picture, or about any one individual. That goes for putting the promo together and also for the project as a whole. Anyone I come across under the right circumstances – that is, the light and environment – I’ll ask if I can take a photo of them,  over time it became rather democratic.

The promo poster is a 9×9 grid of 81 portraits in total. Since I caption each individual image with the person’s first name and occupation only, when trying to get an edit that represents an overview of the larger project, who the people are mattered to me a lot. To edit them I just went through and picked out the shots that either had special meaning to me because of my relationships with the people in the photos, or I chose people who just had remarkable faces. Unfortunately that didn’t narrow it down altogether too much. Nearly everyone’s face is fascinating, depending on what you’re looking for. I think my initial edit had something around 150 images, and then was further narrowed down from there. I built it like a jigsaw puzzle. It was a lot of shuffling things around at first, but then I worked out of anchor points. The corners were important. The middle edges were important. The center of the poster was important.

When approaching the layout of the grid I wanted mostly to make sure that no one area drew too much attention. This thing is not about any one person. You should be able to look at it and focus on something – someone – different each time. Also, to be honest, I’m very aware of the potential to be messing with things indefinitely. At a certain point you have to just call it done and move on with your life. With any promo I’m absolutely certain I’m agonizing over details far more than anyone who will actually receive it.

How did you decide what images were edited into each row? Was there a mix you were looking for?
Yes, definitely. I wanted a good mix of male and female, and a good mix of different visual types of people and different occupations. I have everything from students and laborers, kids to CEOs, actors and even a Nobel prize winner. Like I said, the primary goal was to make it so that no one person, regardless of who they are or what they do, took precedence over another. Of course, everyone’s eye settles somewhere at first and I’m always interested to see which pictures stand out to people. It’s always different.

In laying out each row I just had to attempt not to cluster similar types. For example, I like that the Nobel prize winner is sandwiched between a PA and a security guard. It’s an equalizer.

How long had you been working on this series and is it still ongoing?
I took the first picture that could arguably be said to be part of the series in the early summer of 2012. I was introduced to instagram by Charlie Hess, an art director here in LA, and did the standard thing that people did at the beginning of instagram – pictures of my wife, my cat, my lunch, etc. It was great fun and taking snapshots was very liberating at first. After I took the first real portrait using this processing method, I looked at it in the overall instagram grid of what I was doing previously and thought it might be cool to try to get a whole row to match up. So I did a couple more and liked it. Then, of course, I thought it would look cooler if I could get the whole screen of thumbnails to match, and it kind of took off from there. Honestly, I didn’t expect it to continue for so long and I didn’t expect people to respond to it. At the time I was doing a lot of corporate photography that I wasn’t very invested in personally. The instagram portraits became something I could do for myself under my own parameters that reminded me what I love about portrait photography.

The project is definitely still ongoing. After 50 portraits I found myself actively looking for people every day. After 100 I started to get a good idea of what types of things would work – what environments, what light, what clothing, what type of people. After 200 portraits I started to appreciate the sheer scope of the people I’d encounter. I assume that one day I’ll stop doing these portraits – that I’ll either get bored of them, or the various apps I use to process them will cease to be supported. Every time I consider moving on to something else, though, I find someone with such a remarkable face that I’m sucked right back in.

Carmelo, doorman
Carmelo, doorman
Kyle, auto body tech
Kyle, auto body tech
Sharky, student
Sharky, student
Sergio, shop foreman
Sergio, shop foreman
Daniel, carpenter
Daniel, carpenter
Jose, carpenter
Jose, carpenter
Dwain, neuroscientist
Dwain, neuroscientist

I heard your filters are proprietary, do you have plans to develop and license this?
Ha! I suppose it says a lot about my business acumen that this has never occurred to me before.
Short answer: No. Long answer: No, because focusing on the how distracts from the why. From the beginning the most common question I heard was “Hey, man, what filter is that?” and right away that distracted from the point for me. When I look at all the portraits together it’s not the commonality of processing that’s interesting to me, it’s the commonality of people. The specific parameters of the style I chose to spit them out into the world hopefully makes them seem nifty enough to look at closer, and democratizes them. Everyone treated the same way – same crop, same process, similar light. Everyone as a group.

All the photos are shot and edited fully in the iPhone. I think if people knew how straightforward it really was they’d be disappointed. In truth it’s not one filter, it’s a combination of things through a handful of different apps. It’s just a process I stumbled upon accidentally and sort of liked enough to try again. Photography seems to suffer somewhat from being an inherently technical medium. Everyone looks for the trick rather than for the intent. Tricks come and go, and ultimately trends fade and shift and blend into each other. But I totally get it. I understand that feeling of seeing a picture and being struck by the wizardry of it and wanting to know how it’s done. That’s part of the wonder that a technically based medium affords. It’s great, when it doesn’t overtake the intention of the photo. I see this from photo students a lot. They figure out Photoshop, or they learn to crank the clarity slider all the way up to 100, or they figure out how to use edge lights.  All. The. Time. Rather than taking pictures that have emotional meaning or strive for connection they instead have . . . a look. That said, I completely understant. There’s a lot of noise out there and it’s incredibly difficult to get noticed in this business. Having a look gets you in the door, but then there’s got to be something else.

Then again, maybe you’re right? Maybe I should reveal the trick and license it, perhaps that would free me to go on to the next thing. I think I’d miss doing it, though.

How did you select your subjects?
One of the nice things about the instagram portraits is that they’re truly not for anyone but myself. I didn’t start taking them with an eye toward making a promo, toward impressing an art director, toward pleasing a client, toward satisfying a subject. I just liked straightforward portraits, found a process that worked for me, and wanted to pay more attention to the people in my life. That’s really what it boils down to now, after so many. Photography has long been used as a tool for memory, and it’s been really wonderful having this record of all the people I encounter. I remember things better this way. I remember names. I remember where we were. I remember what we talked about. Without being vigilant for the next face I worry that sometimes the days would just blend into each other too much, if that makes any sense.

In terms of selecting subjects. . .well. . . first of all, any person that comes to my house during daylight hours is pretty much fair game, as far as I’m concerned. That’s why I’ve got so many pictures of handymen and contractors and cable installers and plumbers and such. My wife is very patient with me doubling back into a store or down a street to ask a stranger if I could take their picture while she waits. Someone on my feed recently commented “I love how you collect people”, and I hadn’t really thought of it like that, but maybe that’s what it is. Charlie Hess refers to it as my Family of Man, though that seems fairly lofty to me. I just like taking portraits with my phone. It’s great fun, even when other aspects of photography are not great fun.

How long did each portrait take, describe the process please.
I have a very low rate of refusal. Out of 800 or so subjects I think I’ve been turned down maybe 20-30 times. I consider that quite good. The actual process is very simple, and usually takes only around 30 seconds to a few minutes, depending on how chatty we’re all feeling. Some open shade or a good window, and a plain white wall, that’s it. I try to keep it as simple as possible so that the person can be the interesting thing. I don’t want it to be about the light or the environment.

We live in an age where people are hyper aware of the power of their image, of what it can be used for and how far it can travel away from them. People are cautious, and rightly so. Still, I think the fact that I’m shooting on my phone negates some of people’s suspicions. Certainly if I were walking around with a Canon and a 24-70mm lens trying to do the same thing I’d get shut down far more often. Everyone has an iPhone and everyone takes pictures with it all the time. It’s perceived as no big deal. I have a grid of about 30 of the photos on my phone’s lock screen and if someone asks why I want to take their picture I usually just show them my phone and say “Oh, I’ve done about 700 of these.” Which, of course, is not a reason at all, but that usually is all it takes. I think that because there are so many, and I tell potential subjects that there are so many, it both relieves them of the pressure and also gives them just enough attention that it’s incentive to proceed. That is, sure, it’s a little momentary ego boost, and then they can get lost in the crowd if they’re not thrilled with the result. At least, I think so. It probably also helps that i’m a short, scrawny man who seems vaguely non-threatening.

How did you take your portrait?
I took that on my birthday in 2012. Honestly I don’t know why I did a profile that day, maybe just to accent my out of control bedhead. In terms of using it on the reverse of the promo poster, that was a somewhat last minute decision. Initially I wanted to do a grid of silhouettes with captions to mimic the grid on the front of the poster. That proved to be too difficult in light of my limited Photoshop skills, low patience level and also because I was afraid it would bleed through too much once the final piece was printed. Ultimately in deciding to just put one larger photo and captions on the back it always seemed like it would be a self portrait. If I chose just one of the random 800 to make larger it would give that one person too much weight and it didn’t really make sense. Then again, now that i’m talking about it, it sure does seem egotistical to make my own head the biggest thing there, doesn’t it? I think I chose that one because I wanted it to be decidedly different from the main group. That profile makes me laugh, reminds me that I should get a haircut more often, and hopefully doesn’t seem too serious.

Has this promo been well received and gotten you some work?
I’ve printed 1000 pieces. I printed so many because separate even from photo editors and art directors/buyers/whatnot, I want to make sure that the people who actually like this series of pictures have the opportunity to get a poster. Therefore a lot of my first run of mailing was to non-potential-clients, some of whom I know personally, some not, who I just thought would enjoy having it. I plan to mail out approximately 600-800 or so. I’ve already sent out about 75 and gotten a pretty good response, mostly from people I already know. I’m in the process of addressing and sending out the remainder – which I’m doing by hand, therefore it’s taking a long time. Probably not the best plan, now that I think about it, but it feels so much better. Again, little details that nobody cares about except me. I still maintain that the survival rate of all of these promo pieces that photographers send out is so abysmally low that unless you’re doing something almost entirely for yourself because you want it to exist in the world as an object somewhere, then there’s really no point. I’m fully aware that 90% of them are destined for the trash. Life is an impermanent thing. I would be sending them out a whole lot faster, but at the moment I’ve been distracted by a week old infant. These portraits are at @msgphoto – The cutest newborn the world has ever seen is at @miloandclark.

-11

What are you typically shooting these days?
Most recently portraiture. I’ve photographed Frank Gehry for El Semenal, the largest Sunday magazine in Spain. Earlier this week I photographed a trauma surgeon in a specially configured operating room partially funded by the DOD for a hospital research magazine here in Los Angeles. Unfortunately those publications haven’t yet gone to print so I can’t share the photos. Most of my clients have long publication cycles, but here are a couple of relatively recent things.

Nicholas, 29 year old stomach cancer patient, for Discoveries Magazine
Nicholas, 29 year old stomach cancer patient, for Discoveries Magazine
Dr. Arieh Warshel, 2013 Nobel Prize winner in Chemistry, photographed for USC
Dr. Arieh Warshel, 2013 Nobel Prize winner in Chemistry, photographed for USC
DL Hughley for New Wave Entertainment/DVD Cover (out-take)
DL Hughley for New Wave Entertainment/DVD Cover (out-take)
 
Dan Curry, Visual Effects Supervisor for the Star Trek TV shows, photographed for Middlebury College.
Dan Curry, Visual Effects Supervisor for the Star Trek TV shows, photographed for Middlebury College.

The Costly Business of Photo Book Publishing

Founder and publisher Daniel Power says that as long as they believe they can sell a minimum quantity—a good portion of a 1,000- or 1,500-print run—they don’t ask the photographer to subsidize production costs.

Yet if the house sees potential in a project, “but not enough to pay for everything the artist wants—to make it really big or deluxe,” they will ask the artist to contribute to cover those costs.

via PDNonline.com.

This Week In Photography Books: Mark Mattock

by Jonathan Blaustein

I saw my first yellow leaves this morning. It’s August 13th, as I write this. Seems a little early to be thinking about Autumn.

In fact, you’re probably sitting on a beach just now, nursing a cold one, cursing my reminder of Summer’s impending end. I hate you, Blaustein, you mutter under your breath.

Every year, I think I’m going to do so much more, with my free time in Summer, than I actually do. My wife and I make a metaphorical list of adventures, and then succumb to hanging out around the house, cooking good meals with farmers market produce.

No mountain climbing. No swimming in Abiquiu Lake, in the shadow of Georgia O’Keefe’s Ghost Ranch. No road trips around the Southern Rockies. I guess we’re just lazy.

Hell, I didn’t even go fishing this year, and I have a trout stream in my backyard. (It might have less to do with my torpor, and more to do with the nasty, fishy taste of trout. Not enough honey and lemon in the world, to cover it up.)

I did take my son fishing a couple of years ago, with my wife’s family. We went to Hopewell Lake, less than an hour away. Most people would call it a pond, but f-ck those guys.

It ended up as one of the more traumatic experiences of my decade. Why? Because the entire place was covered with caterpillars. Am I exaggerating? For once… no.

They were so thick they blanketed every surface you could see, in 3 inch intervals. It was an alien infestation gone wrong. (As opposed to an alien infestation gone right?) They came in to eviscerate the local Aspen trees, and simply sucked all the fun out of our day. (Damn Global Warming. Such a buzz kill.)

Needless to say, I don’t know much about fishing, beyond the fact that I’m no good at it. But it is a Summer activity par excellence. So what do we do when we want to go fishing, that perfect euphemism for “not working,” but can’t do it IRL?

You know the answer. We look at a photo book. Or in your case, you look at pictures of a photo book, and read the nonsense I type above. (Yes, this nonsense.)

“The Angler who fell to Earth,” is a new hard cover book that ended up in my stack from photo-eye. It’s a gray, slim hardcover, and looks like something that MACK would put out. (Like the book from 2 weeks ago.)

Surprisingly, though, it’s an independent publication, designed and published by the artist, Mark Mattock. I learned that from the post script, as nothing in the volume itself suggested it was DIY.

In fact, nothing in the book suggests much of anything. It’s dedicated to Matisse, opens with a cool quote by Thoreau, and then is all pictures.

Like last week’s book, this one is abstract and obscure in it’s thinking. It gives you nothing but pictures, and leaves the rest up to you.

Who is our angler? Where is our angler? What does he do but fish? Why is he riding a train? Is he riding a train? What is going on here? How many questions can I ask in a paragraph before the Internet police arrest me for being overly inquisitive? I don’t know.

I like a book that crawls down into my brainstem, and this is one of them. Lots of cool pictures. Still lives mixed in with more narrative shots, which is another of MACK’s hallmarks. Does Mark Mattock like MACK books? Does he sell sea shells by the seashore? I don’t know, but I’m betting yes.

I love the upside-down newspaper headline about a worm crawling into someone’s brain. (Written in the first-person to boot.) And the fishhook tattoo. And especially the photo of a note telling our angler not to fish in a particular spot. (The detail “We know who you are” is so good I might have to steal it. Is it real? Once again, I don’t know.)

Last week, I ruminated on the beauty of the potential dialogue between artist and audience. Here, the artist is clearly going for it. Here are my pictures. I will not tell you what they are about. If you like my book, you’ll probably try to figure it out. If you don’t, you’ll likely get angry and confused, and hurl it against a wall, sad it won’t shatter.

Bottom Line: Cool, strange pictures about an Alien Fisherman

To Purchase “The Angler who fell to Earth” Visit Photo-Eye

IMG_0001

IMG_0002

IMG_0003

IMG_0004

IMG_0006

IMG_0008

IMG_0009

IMG_0010

IMG_0012

IMG_0013

IMG_0014

IMG_0015

IMG_0016

IMG_0017

IMG_0018

IMG_0019

IMG_0020

IMG_0021

Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

Art Producers Speak: Chris Sembrot

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

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

Personal work and having fun with a new underwater housing.
Personal work and having fun with a new underwater housing.
Part of an ongoing personal project on androgyny.
Part of an ongoing personal project on androgyny.
Personal work from a mid-summer tri in Asbury Park, NJ 2013.
Personal work from a mid-summer tri in Asbury Park, NJ 2013.
Personal work from a mid-summer tri in Asbury Park, NJ 2013.
Personal work from a mid-summer tri in Asbury Park, NJ 2013.
I love shooting friends especially on the first warm day after a long Winter.
I love shooting friends especially on the first warm day after a long Winter.
Cover assignment featuring Annie Clark (St. Vincent) and David Byrne for the Guardian Guide. Was shot on location in David Byrne's studio in NYC.
Cover assignment featuring Annie Clark (St. Vincent) and David Byrne for the Guardian Guide. Was shot on location in David Byrne’s studio in NYC.
Music feature assignment for Billboard Magazine with DJ Martin Garrix, shot in Atlantic City, NJ.
Music feature assignment for Billboard Magazine with DJ Martin Garrix, shot in Atlantic City, NJ.
Ad campaign for Mississippi Gulf Tourism. We shot 14 locations and activities over the course of 4 days.
Ad campaign for Mississippi Gulf Tourism. We shot 14 locations and activities over the course of 4 days.
Ad campaign for Mississippi Gulf Tourism. We shot 14 locations and activities over the course of 4 days.
Ad campaign for Mississippi Gulf Tourism. We shot 14 locations and activities over the course of 4 days.
Cover assignment featuring the band Phoenix. Shot on location at the East Village Standard hotel in NYC.
Cover assignment featuring the band Phoenix. Shot on location at the East Village Standard hotel in NYC.
Cover assignment featuring the band Phoenix. Shot on location at the East Village Standard hotel in NYC.
Cover assignment featuring the band Phoenix. Shot on location at the East Village Standard hotel in NYC.
Part of an ongoing personal project on androgyny.
Part of an ongoing personal project on androgyny.
Cover assignment featuring Annie Clark (St. Vincent) and David Byrne for the Guardian Guide. Was shot on location in David Byrne's studio in NYC
Cover assignment featuring Annie Clark (St. Vincent) and David Byrne for the Guardian Guide. Was shot on location in David Byrne’s studio in NYC
Feature for Running Times highlighting an elite women's high school cross country team in Pennsylvania.
Feature for Running Times highlighting an elite women’s high school cross country team in Pennsylvania.
Feature for Running Times highlighting an elite women's high school cross country team in Pennsylvania.
Feature for Running Times highlighting an elite women’s high school cross country team in Pennsylvania.
Personal work and having fun with a new underwater housing.
Personal work and having fun with a new underwater housing.
Part of my ongoing personal project titled "Urban Surfers." Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject's home.
Part of my ongoing personal project titled “Urban Surfers.” Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject’s home.
Part of my ongoing personal project titled "Urban Surfers." Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject's home.
Part of my ongoing personal project titled “Urban Surfers.” Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject’s home.
Part of my ongoing personal project titled "Urban Surfers." Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject's home.
Part of my ongoing personal project titled “Urban Surfers.” Each portrait was shot around sunrise (the coldest months reserved for only those dedicated to Winter surfing), and within a 2 block radious of the subject’s home.

How many years have you been in business?
I’ve been on my own professionally for the past four years.

Are you self-taught or photography school taught?
A combination of both. But, the best part of my education came after I left school. Working as an art buyer for five years really allowed me to learn the business of commercial photography from the inside out. Plus it gave me direct access to art/creative directors on a daily basis. It helped forge relationships with people I work with today.

Who was your greatest influence that inspired you to get into this business?
It had to be my mom. When we were growing up, she’s the one who always had a camera in her hand, capturing whatever moments she could. When referring to my eye, she always says, “You got that from me.” Hearing her say that always makes me smile!

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 and shoot personal projects that have a different look and feel than my “normal” work. My biggest goal whenever I concept a project idea is to somehow bring out my personality. I stay in the moment and enjoy the freedom of capturing something that strikes me on that day, hour, minute. I don’t shoot nearly as many tests shoots as I do personal projects, because I want my personal work to stand on its own.

Do you find that some creatives love your work but the client holds you back?
I think the honest answer is sometimes, yes. However, recently (more often than not) I have had the good fortune of creative freedom. Working with creative and account teams who trust that my creative vision will ultimately fill the needs of our client makes all the difference in a shoot. It’s not always easy but when you communicate with each other and collaborate as a team, it makes all the difference.

What are you doing to get your vision out to the buying audience?
When I’m not sending out my quarterly mailers, and personal emails, I’m meeting face to face. If I’m given 15 minutes of a busy art producer’s time, you better believe I’m giving it my all. Social media is also huge. I blog 2-3 times a month and am consistently reaching out on LinkedIn, Facebook and Instagram.

What is your advice for those who are showing what they think the buyers want to see?
Don’t. Show what moves you – what you’re proud of. Show work that is inspiring for a creative to see and hopefully he/she can envision it in a campaign or editorial spread. Be bold and show what you’re passionate about.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am always keeping notes on ideas when they strike. I cull through them constantly and pursue the ideas that keep me inspired. I think many of my Facebook or Instagram friends would agree that I like to utilize both as creative outlets.

How often are you shooting new work?
I’m shooting every week. And when I’m not shooting, I’m thinking about it. New ideas fill my head constantly.

——————

Chris first cut his teeth in the commercial photography world while working as an agency art buyer and producer. He consciously chose the agency route because it offered him experience on the business side and allowed him to shoot and build his first professional portfolio.

Chris now works and lives in his hometown of Philadelphia where he is channeling his love for photojournalism into commercial work. His work has been featured in Communication Arts, Graphis, PDN, American Photography and OneEyeland. His clients include Converse, Reebok, Fuse Network, Guardian Guide, Red Bull Majestic Athletic and Nylon Magazine.

In his spare time, Chris enjoys surfing, building furniture, brewing beer and developing ideas for his next adventure.

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

The Daily Edit – ESPN/ The Body Issue : Karen Frank

Screen shot 2014-08-08 at 6.18.20 PM Screen shot 2014-08-08 at 6.18.33 PM Screen shot 2014-08-08 at 6.18.42 PM Screen shot 2014-08-08 at 6.18.49 PM Screen shot 2014-08-08 at 6.18.57 PM Screen shot 2014-08-08 at 6.19.05 PM

ESPN


VP Creative Digital and Print Media:
John Korpics
Senior Director of Photography: Karen Frank
Creative Director: Chin Wang
 Magazine Art Director: John Yun
Senior Deputy Photo Editor: Nancy Weisman
Project Photo Editor: Kristen Schaefer Geisler

Heidi: What type of body celebration are you looking for from each of these shoots?
Karen: We’re looking to celebrate the athletic form – in all shapes and sizes. our goal is to capture the personality of each subject as well, and to create an intimate, intensely personal and radically different look at the most amazing bodies in the world.

Describe some of the considerations that go into choosing a final image. Do some of the images share the same attributes?
The body issue is about a six-month production. the first shoot happened in early January, and the last shoot in mid-June. we edit the shoots as they come in, and look for the strongest images overall. when we have a majority of the shoots, we take a look at the collection and edit for a mix of different moods and styles throughout the portfolio. it’s important to us to have a good amount of the images show the athlete engaged in his or her sport. we find that this really frees them up to be less self-conscious about being naked, and has made for some dramatic images and some beautiful locations. coco ho surfing in hawaii, ginger huber cliff diving in Texas, NigelSylvester with his bmx bike in an abandoned construction disposal site in Los Angeles, and Jimmy Spithill sailing in San Francisco harbor are some examples of this.

With a 6 month long production, is it hard to loose the flow? Do you revisit your previous shoots to refresh yourself?
Although it was a long production, the shoots seemed to happen in a fairly steady flow.  we did look back as new shoots came in, but we also kept in mind what we had already shot as we made new assignments.  it was exciting to see how everything came together.

Is this one of your most challenging edits?  If so why?
Yes, and no.

No, because the athletes we photograph are stunning, and each of them are totally committed to making strong images. the energy and integrity that they bring to the shoot is reflected in the images, and there are always lots of great shots to choose from. plus how lucky am i to be editing images of amazing bodies?

Yes, because the athletes who participate are taking a risk when they sign up for this. we want to honor that by choosing images that best reflect their strength, beauty and personality. Often – but not always – the athletes see the images on set, and have a strong opinion about their favorite images. there are a few – and it always surprises me – who choose not to look at the images, who completely trust in the process and are confident that we’ll represent them at their best. they put so much into it, and it’s difficult to choose just one image from the many strong options.

Fortunately, we run an extended online gallery where we get to share images that don’t make it into the magazine.
http://espn.go.com/espn/photos/gallery/_/id/11143740/image/1/venus-williams-bodies-want

In one of the behind the scenes galleries, you have poses sketched out on a paper plate, besides this sketch what other interesting reference was supplied by either the photographer or the athlete?
Peter Hapak sent us photo reference of a wood paneled gymnasium, reminiscent of an old Adirondack camp.  he asked that we try to find a basketball court like that for our shoot with Serge Ibaka.  we eventually did find the perfect place – it was an old court on the top floor of a church in Brooklyn. Mark Williams + Sara Hirakawa really wanted to shoot bob sledder Aja Evans on location rather than in studio and had their hearts set on a space that felt sleek and aerodynamic, like Aja’s state-of-the-art bob sled.  they sent images of airplane hangars, and we ended up doing the shoot in a private airplane hangar at the Danbury, Connecticut Airport.
Travis and Lyn-z Pastrana had some very specific ideas about shots we could try and they had a jump built specifically for the shoot.  unfortunately, we weren’t able to use it on the day of the shoot due to the rain.  but the rain did make for some excellent mud, and they enjoyed having a mud fight with each other!

Can you share the process that happens for choosing the athletes and the appropriate photographer?
We worked with an extraordinary group of photographers on this portfolio: Mark Williams + Sara Hirakawa, Richard Phibbs, Morgan Maassen, Carlos Serrao, Peter Hapak, Martin Schoeller, Alexei Hay, Dean Treml, Art Streiber, Finlay Mackay, Max Vadukul, Paola Kudacki, Peggy Sirota, and Steven Lippman.

We take the athletes personalities into consideration when choosing photographers for the shoots. as with any shoot, but even more so in this case, it’s really important to create an atmosphere of comfort and trust. the athletes’ trust in the photographers with whom they are paired and willingness to reveal themselves is evident in the images that result from these collaborations.

We look at photographers who are at the top of their field for some of the action sports. Morgan Maassen who photographed surfer coco ho is an example. Morgan grew up surfing, is well-respected among the surf community, and has a cult following of devoted fans.

How much discussion is there about the actual body language prior to the shoot? Are details reviewed with each athlete or does it unfold organically?
There is lots of discussion that happens prior to the shoot. Some athletes are very involved from the beginning stages before they even arrive on set, and contribute ideas about how they’d like to be photographed. the Pastrana’s are an example of this. Martin Schoeller photographed them at their home in Maryland where all of their “toys” (bikes, boards, jumps and pits, etc.) were at our disposal. we were conceptualizing ideas with them months in advance. they were invested in, and part of, the creative process which fostered the collaboration and feeling of trust that we hope for. their willingness to try anything and their fun-loving spirit really comes through in the photos.

Were you on set and what can you share?
Yes. What amazes me, year after year, is the great energy and spirit of fun that happens on the body shoot sets. there’s always a bit of nervousness and trepidation at the beginning of the shoot, but it quickly dissolves and the athletes, in general, become very comfortable being naked. We try to keep the set intimate when the shooting begins. some athletes prefer a closed set, and need time to warm up to the process. others arrive ready to go, and have absolutely no inhibitions about posing naked.

There are lots of fun moments that happen on set. for the past two years, we’ve created a behind-the-scenes gallery from the shoots.

http://espn.go.com/espnw/photos/gallery/_/id/11139818/image/1/venus-williams-scenes-body-2014

Did you have styling on set or just props?
We have a glam squad on set (hair, makeup, manicurist), a prop stylist, and sometimes set designers as well. An example of this is the Angel McCoughtry shoot where a silver basketball court was constructed within the set designer’s studio warehouse in Atlanta.

I had been on nude set recently.  I remember having some anxiety days before the shoot. It all seemed to fade away once I was actually on set and in production, business as usual. I glanced towards the talent wearing just a belt and heels thinking,  “Aren’t you….cold?” Did you have any matter of fact thoughts?
The biggest practical concerns i have are about the safety of the athletes and the photo crew. It was pouring rain in Graford, Texas on the day of our photo shoot with Ginger Huber, and the rocks were slick. Jimmy Spithill sailed in the frigid San Francisco bay on the windiest day of the year, he had to stop often to warm up and avoid hypothermia.

What type of range were you looking for from the collection? ( sport to body type? )
We look to represent a wide range of sports and body types in the portfolio. this year, we showcased athletes in tennis, football, surfing, bmx biking, soccer, rallycross, skateboarding, basketball, baseball, cliff diving, swimming, boxing, bob sled, snowboarding, hockey, and sailing.

 

If you had to choose an adjective for the body issue what would it be?
Revealing

 

 

Screen shot 2014-08-08 at 4.23.26 PM

Travis + LynZ Pastrana photographed by Martin Schoeller

 

Screen shot 2014-08-08 at 4.23.37 PM

 

Venus Williams photographed by Williams + Hirakawa

 

 

Screen shot 2014-08-08 at 4.23.49 PM

 

Larry Fitzgerald photographed by Richard Phibbs

 

Screen shot 2014-08-08 at 4.24.22 PM

Larry Fitzgerald photographed by Richard Phibbs

 

Screen shot 2014-08-08 at 4.24.34 PM

Coco Ho photographed by Morgan Maassen

 

 

Screen shot 2014-08-08 at 4.24.50 PM

Coco Ho photographed by Morgan Maassen

Screen shot 2014-08-08 at 4.25.26 PM

Megan Rapinoe photographed by Peter Hapak

Screen shot 2014-08-08 at 4.25.42 PM

Nigel Sylvester photographed by Carlos Serrao

 

Screen shot 2014-08-08 at 4.25.11 PM

Nigel Sylvester photographed by Carlos Serrao

Screen shot 2014-08-08 at 4.26.12 PM

Serge Ibaka photographed by Peter Hapak

Screen shot 2014-08-08 at 4.37.41 PM

Prince Fielder photographed by Alexei Hay

Screen shot 2014-08-08 at 4.37.55 PM

Ginger Huber photographed by Dean Treml

 

Screen shot 2014-08-08 at 4.38.24 PM

Angel McCoughtry photographed by Art Streiber

Screen shot 2014-08-08 at 4.38.38 PM

Michael Phelps photographed by Carlos Serrao

 

Screen shot 2014-08-08 at 4.38.55 PM

 

Michael Phelps photographed by Carlos Serrao

Screen shot 2014-08-08 at 4.39.08 PM

Danyelle Wolf photographed by Peter Hapak

 

 

Screen shot 2014-08-08 at 4.39.21 PM

 

Omar Gonzalez photographed by Finlay MacKay

Screen shot 2014-08-08 at 4.39.38 PM

 

Aja Evans photographed by Williams+Hirakawa

Screen shot 2014-08-08 at 4.39.51 PM

Tomas Berdych photographed by Max Vadukul

Screen shot 2014-08-08 at 4.40.06 PM

Amy Purdy photographed by Paola Kudacki

 

Screen shot 2014-08-08 at 4.40.20 PM

Bernard Hopkins photographed by Max Vadukul

Screen shot 2014-08-08 at 4.40.33 PM

Marshawn Lynch photographed by Carlos Serrao

Screen shot 2014-08-08 at 4.40.48 PM

Jamie Anderson photographed by Peggy Sirota

Screen shot 2014-08-08 at 4.41.11 PM

Hilary Knight photographed by Martin Schoeller

Screen shot 2014-08-08 at 4.41.26 PM

Jimmy Spithill photographed by Steven Lippman

Pricing And Negotiating: Executive Portraits For A Large Agency

Jess Dudley

Shoot Concept: Create executive portraits and corporate lifestyle images of employees at work in their corporate headquarters and on-site at one client location

Licensing: Digital collateral and digital advertising use of up to 40 images

Location: Corporate headquarters and one retailer location

Shoot Days: Three

Photographer: Corporate lifestyle specialist

Agency: Large agency in the Mid-Atlantic

Client: Business consultant

A well-known ad agency recently commissioned one of our East Coast photographers to shoot a library of images for their client’s rebranding effort. The agency’s B2B client provides consulting services to mid-large sized national brands. The goal of the shoot was to capture a range of corporate lifestyle images of real employees at work in their company offices and on-site at one of their client’s locations. The images were created for, and would be primarily used on, the client’s newly redesigned website, so while the production machine was in motion, the agency wanted to create 10 executive portraits to round out the website about page. On top of the web use, the agency also requested digital/web advertising use to cover their trade advertising needs.

Although all of the images would be used on the site, it was likely that only a handful would be used for any of the somewhat limited advertising use granted. However, as is often the case, the agency was unwilling to carve up the usage into different components, making it impossible to impose more than one licensing agreement on different sets within the library. Additionally, the agency was unwilling to bend on the duration of use. Just as with the extent of the usage, we determined that the likelihood of the client taking full advantage of perpetual use was low enough that we were willing to be flexible on that point. The images have a shelf life, and we assume that the value to the client degrades considerably after three to five years — executives change, services change, and imagery needs to be refreshed. After careful consideration and discussion with the art buyer, we decided to price the usage closer to the value of the intended use.

To determine the licensing fee, I considered the caliber of the photographer (in-demand), reputation of the agency (solid), size of the client (niche), intended audience (non-consumer), limited use (web/digital only), assumed shelf-life, number of shot days (2.5, but we priced as 3 — half days are a myth) and intensity of the production (pretty low). I also considered that 1/4 of the images would consist of executive portraits. After weighing all of the factors, we landed at $20,000. Other pricing sources like Fotoquote, Blinkbid’s Bid Consultant and the various stock sites would have us quote the usage fee in the six-figure range, but those pricing resources don’t account for the nuance and just keep multiplying, regardless of the influencing factors and/or diminishing value to the client, and photographer, over time.

From a production standpoint, this project was relatively low impact. The photographer would need to show up to the provided locations with his or her crew, and make pictures of the provided resources. That being said, because we were working through a fairly large agency, their expectations would be slightly more intensive than you may initially expect.

Here’s the approved estimate:

P and N July

Tech/Scout Day: I included a tech/scout day for the photographer and agency to walk through the offices and client locations to make sure everyone was on the same page creatively, and allow the photographer to consider lighting and equipment needs.

1st Assistant Days: I included four days for the first assistant — one to prep gear (and/or attend the scout) and three to shoot.

2nd Assistant Days: The second assistant would be on hand for all three shoot days.

Digital Tech Days: The tech would only be needed on the corporate lifestyle days. The agency wouldn’t need to review the executive portraits on set, so we were able to forgo that expense on the portrait day.

Equipment: $4500 covered costs for a DSLR, a backup, lenses, grip equipment and portable strobe kit, some of which the photographer’s production company owned and would be renting at market rate for the shoot and some that would need to be rented from a local rental house.

Producer: Even though a great deal of the production elements would be provided by the client and agency, we felt that a producer would still be beneficial during the shoot. Since there wasn’t much in the way of pre-production I only included one day for prep (arrange catering, book/confirm the five crew members and pull together a call sheet), one day for the tech/scout and three days for the shoot.

Production RV: The client couldn’t guarantee the availability of convenient staging area so I included a production RV for the two lifestyle days. Since we would be stationary for the executive portraits, it wasn’t necessary on the third day.

Groomer: The subjects would be instructed to arrive camera-ready. The groomer would be on hand to make sure they were finessed a bit and looked their best when on camera.

Shoot Processing for Client Review: Covers time, equipment and costs for the initial import, edit, batch color correction and upload of the images to an FTP for client review and selection.

Selects Processed for Reproduction: Color correction, basic touch-up and specialized processing of the 40 selects. As the result of considerable post-processing, all of photographer’s images all have a distinct feel, which increases the cost for standard file prep.

File Transfer: This covers the cost to deliver the 40 selects via FTP.

Catering: I estimated to provide lunch on the two corporate lifestyle days. Because the third day was a “half day” we didn’t need to cover catering.

Miles, Expendables, FTP, and Misc: This covered out-of-pocket expenses the photographer and crew would accrue between mileage, FTP costs and any other miscellaneous expenses that may arise.

Housekeeping (see the project description): I noted all of the production elements the client would be providing.

Results, Hindsight and Feedback: The photographer shot the project and the client came back to licensing 10 additional images. We set the rate for those at $750 each, including processing.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.

This Week In Photography Books: Brian David Stevens

by Jonathan Blaustein

By now, you know me pretty well. I’ve discussed just about every personal quirk and lifestyle detail possible. You name it, I’ve been willing to put it out there every Friday, for nearly 3 years.

All in the name of what, exactly? I write about photo books, so that you can look at the pictures.

I try to pick interesting, smart, challenging, or beautiful offerings every time. But occasionally, the stack runs short, and I have to pretend to be more excited than I really am. Those weeks, I might amp up the absurdity a hair. Turn the Blaustein-dial on the speakers up to 11. (Even if it’s meant to top out at 10.)

But rarely do we take a moment to ask why there are so many damn photo books to be begin with. It’s been accepted wisdom, these last 5 years, that every photographer wants a book. Today, I thought it might be worthwhile to stop and ask why.

I began thinking about it earlier this summer, when a colleague admitted to considering expansion into the publishing business. This, from the same person who swore to never go that route, as there is an occasional whiff of exploitation about the process. Seems the ridiculous dollars people are willing to spend were too alluring to ignore.

The industry seems to have moved over to a pay-to-play model to a shocking degree. That’s why we see another Kickstarter entreaty every day now. Artists, not the wealthiest of types, are seeking to raise anywhere from $20,000 to $50,000 to have someone design and arrange for the printing of a paper-based-object. (Printed by a 3rd party, in most cases.)

I can’t help but wonder if that’s the most effective use of people’s time and money. Is this not a vanity business, for the most part? How many books do we need?

Every photographer is clearly entitled to spend his, her or (other peoples’) money however they like. It’s still a free country. But what is the end game?

Is it that a permanent object will outlive them? That it shall adorn countless shelves, when their bodies are decomposing in the ground? Or perhaps it is still a marketing object, as I was told by many in 2011-2? A marker of career success that makes people take you more seriously?

The problem with that line of reasoning is that when everyone has a book, having a book is no longer an exclusive proposition. And if everyone can and does have one, then having one does not make you automatically more successful than the hordes. Right?

Couldn’t 25G buy you a new car? Or pay off your student loans? Or cover year of graduate school? Or a trip around the world?

Might not a trip around the world add more than a bound-sheaf-of paper to a photographer’s burgeoning gravitas?

How many artists actually view making a book as an opportunity for communication? How many consider a book an expression of dialogue between themselves and an anonymous collection of strangers?

I ask you, having recently leafed through “Notting Hill Sound Systems,” for the third or fourth time. It was recently sent my way by English photographer Brian David Stevens, having been published by Café Royal Books. The artist and I have traded witticisms on Twitter occasionally, so he sent the book to see what I thought.

Book might not be the right word here. It’s more of a catalogue, or you might even call it a leaflet. It’s on decent-quality paper, and stapled in the middle. No separate cover at all.
So it couldn’t possibly have cost that much to make.

The entire book is filled with images of stacks of speakers sitting on the streets of London. Or so we assume. As there is no supporting text in this publication at all. No hints. No screeds. No explanation of what is going on.

Is it the documentation of an art school project? Are they readymades? Were they put there to be photographed, or were they a part of an existing system? There is almost no way to tell.

I wrote Brian to see what the deal was, and he provided me a link to some backstory. Apparently, right around now, there’s a big Reggae festival in the streets of Notting Hill, a posh West London neighborhood. The whole place becomes an epicenter of reefer madness for a day, and then it all goes back to normal.

He crept around the streets, early in the morning, well before the festivities, just to get this set of photographs. (In all their trippy ambiguity.)

Sitting here in Taos, there was no way for me to possibly know that. But the artist didn’t care. He wanted the viewer to see these things for what they were. Beautiful objects? Fascinating combinations of metal, wood and screen? Quiet totems that represent insanely loud bits of fun? (A nod to John Cage’s silent music?)

Again, we don’t know. After he told me what was up, I perused more carefully, and noticed that several images had “parking suspended” signs embedded within. The kind of things that municipal workers post right before a festival, or a film crew comes to shoot for the day.

So that’s at least a clue. But no more than that. To Londoners, this book will have a completely different meaning than to the rest of us. He’s communicating with them in code.

We get another read entirely. One that absolutely arouses curiosity. What is going on here, and why?

It makes me think the artist has given this whole publishing endeavor a lot of thought. He worked with a publisher, rather than self-publishing, but obviously found someone who understood his vision. And given that CRB is based in England, they were clearly down with the double meaning of the pictures.

They didn’t spend a Range Rover’s worth of cash to get the thing printed. (Or half a Bentley?) And then the first edition sold out quickly, so they got a second edition humming right away. (Which would have kept the costs down further, until a clear market was established.)

Yes, I’m rambling longer then normal today, which is odd, as I normally like to coast in the Dog Days of August. But I’ve been out of the classroom since mid-May, so you’ll have to allow me a teachable moment.

Please, don’t make a book unless you really know why you’re doing it. And if someone tells you to give them $40,000 so you can have your dreams met, just think carefully before writing the big fat check. Or maybe start summoning cheaper dreams.

Bottom Line: Cool catalogue to disseminate cool photos, not a paperweight

Go Here To Purchase “Notting Hill Sound Systems”

IMG_0016

IMG_0017

IMG_0018

IMG_0019

IMG_0020

IMG_0021

IMG_0022

IMG_0023

IMG_0024

IMG_0025

IMG_0026

IMG_0027

True Professionals Will Adapt And Find Ways To Work Within The New Visual Environment

Mobile photography is photography. Though if you say that mobile photography is only photography it’s like saying there’s no difference between driving a car or catching a bus, it’s just transport, right? Yet the actual experiences are vastly different. No one questioned the name “mobile phone” when it was used compared to a fixed line phone.

[…]A generation of professional photographers will appear from the impact of mobile photography, and true professionals will adapt and find ways to work within the new visual environment.

via #LightBoxFF: Oliver Lang’s Crash Course on Adapting to Instagram – LightBox.

Art Producers Speak: Erik Umphery

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 Erik Umphery. I love him not only as an artist, but as a person. He has an unique style and was great to work with.

Michelle Williams single art work for "Say Yes"
Michelle Williams single art work for “Say Yes”
Personal work shot in London
Personal work shot in London
Personal work shot in Barstow, CA
Personal work shot in Barstow, CA
Editoral shot for 360 Magazine
Editoral shot for 360 Magazine
Editoral shot for 360 Magazine
Editoral shot for 360 Magazine
Personal work shot in Tijanna, Mexico
Personal work shot in Tijanna, Mexico
Personal work shot in Barstow, CA
Personal work shot in Barstow, CA
Personal work shot in London
Personal work shot in London
Personal work shot in Malibu, CA
Personal work shot in Malibu, CA
Personal work shot in Palms Springs, CA
Personal work shot in Palms Springs, CA
Usher Raymond shot for BET Networks Image Campaign
Usher Raymond shot for BET Networks Image Campaign
Adesuwa shot for Essence Magazine denim Story
Adesuwa shot for Essence Magazine denim Story
Personal work shot in Downtown Los Angeles
Personal work shot in Downtown Los Angeles
Erykah Badu shot for Essence Magazine
Erykah Badu shot for Essence Magazine

How many years have you been in business?
3yrs 3months

Are you self-taught or photography school taught?
Self-Taught

Who was your greatest influence that inspired you to get into this business?
I worked in corporate America for 9 years prior to becoming a professional photographer, and when the recession hit a lot of my friends lost their jobs and decided to pursue their passions. I was doing extremely well in my career, receiving accolades and a level of financial success that I had not believed I would have achieved at a young age, but I was unhappy. And the more friends I saw doing what they loved, even with the stress of booking that next job or knowing how everything was going to work out, the more I desired to pursue my passion. I guess it was like one of my favorite quote’s from Marianne Williamson, ”As we let our own light shine, we unconsciously give others the permission to do the same.” For me, my friend’s light gave me the permission to leave my comfort zone and being really living and pursuing something I love.

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?
Traveling is a big part of my life and it influences how I create. I think the biggest thing for me is being visually stimulated, so when I’m given the opportunity to go somewhere new I always jump at the chance. Living in Los Angeles, is the perfect place for me, because California has so much visually to offer, and it is accessible. I can hop in my car and in a few hrs, I can be on a mountain, in the desert, at the beach, on a cliff, etc…, so I’m always traveling being inspired and recently I’ve developed an appreciation for other types of arts (writing, acting, illustration) which has opened my eyes to an entirely new world of inspiration. The way I translate all of that into my own creativity is by taking everything that I see or read, and I try to do my best to translate that to my own experiences, to create something how I see it from my own perspective, so if I read something that inspires me I say how does that look in my mind, or if it’s a location I’ll ask myself what would be something I could see happening here.

Pushing the envelope creatively for me is always about doing something that I feel uncomfortable with. When I have butterflies in my stomach about something or I start hearing that little voice in my head questioning what I’m doing it let’s me know that I’m pushing myself to refine my true vision and creating something truly unique and from my perspective. I look for those feelings in everything I shoot.

Do you find that some creatives love your work but the client holds you back?
I’ve been really fortunate that the assignments I’ve received early in my career the clients have given me a lot of flexibility, I’ve heard that isn’t always the case in this industry. I learned early on that you should focus on accomplishing what the client is looking for first then push the envelop with your creativity and typically the images that I find myself pushing the envelop on are the clients favorites, so it’s a win-win, I give the client what they want and I’m able to use the resources/production they have to create something I love.

What are you doing to get your vision out to the buying audience?
I make it a point to travel to NY once a month and meet with agencies and magazines. I’ve been doing this for about a year now and it’s really been paying off. I do not have a rep, so I have to beat the pavement myself, but for me it is fun. I get to travel to an amazing city and meet so many interesting creative people. Not starting my career in this industry I look at as a positive and negative when it comes to reaching my buying audience. The positive is I don’t know how people in the industry reach their buying audiences so I’m not restricting myself to any industry norms that may exist, so I’m not tied to doing things a certain way because “that’s how things are done traditionally”. The negative is since I did not go to arts school, I do not have the network already of art directors and producers that I would have attended school with, but that’s ok I just have to work harder to build that network now.

Outside of face to face meetings, I attend Adhesive as often as I can to connect with creatives and sending personalized emails vs the typical email blast have help tremendously in starting a dialogue that will ultimately lead to new opportunities down the road.

What is your advice for those who are showing what they think the buyers want to see?
I know about this all to well, simply don’t do it. When I started I knew I wanted to shoot campaigns, so I’d shoot what I though art directors wanted to see. That did not get me far at all, and luckily I had a decent relationship with an art director that helped guide me as far away from that as possible. People want to see something different than what they have already seen and we all have the ability to create something different if we show things from our own experiences and perspective. You want the work you create to represent you, and to be work you are passionate about, which ultimately leads to you booking work that falls into your sweet spot vs work that you are not passionate about, and it definitely has away of showing.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I try to shoot for myself several times a month. At times when I’m really busy it can be challenging but, in order for me to continue growing and developing my vision/style it requires shooting a lot. Even though shooting jobs is great and required to sustain a living, there is nothing better than being able to create something that you have full creative control over. I plan to continue shooting for myself several times a month, 5, 10, and 20 years from now, because I love photography as a medium to create.

How often are you shooting new work?
This year has been really great for me both commercially and personally. I’ve been able to create new work that I’m extremely proud of every month, both personal and commercial.

—————–

I’m originally from Baltimore, MD. I was introduced to photography by my Mother at a young age and developed my love for it. She passed when I was 11 and I stopped shooting. As I got older I had the desire to get back into photography, and even signed up for a course when I was in college, but you had to purchase a SLR camera and I could not afford it at the time. I graduated with a degree in Finance and went of to work in corporate America, several years into my career a friend posted on facebook, “who wants to take a photography class with me”, I went out purchased a camera and signed up for the 6 week class. This pretty much sums up my life now:
Running shoes, check. Camera, check. iPhone, check. I’m good. Gave up suits & ties for a camera and a hell-of-a-life.
 My mantra is to live, love, travel, eat and along the way capture these moments.

Erik Umphery
www.erikumphery.com
erik@erikumphery.com
310.387.1715

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

The Daily Edit – Communication Arts: Randal Ford

JA14_Cover_Ford

Communication Arts

Photographer: Randal Ford

Heidi: How hard was it to take that photograph of your son?
Randal: It actually wasn’t hard at all.  By the time I set up the portrait, he was in good spirits and we already had him checked out by a doctor. My son is such a sweet kid, but definitely all boy. And while this was his first shiner, it was definitely not his first bruise.  However, it was harder seeing the photos on screen than in person.  Looking at them on the computer was heartbreaking. Photographs immortalize a moment and maybe deep down I was scared that his face would always be like that.
 
What was your intention for this photo, posterity or something else?
As a parent I’m always photographing my kids.  Whether it’s with my iphone, a mirrorless camera, or a full setup with strobes.  I want to document their life, well, our life.  And this was part of that process.
 _CM18805 _CM18784 _CM18710 _CM18666
At what point did you know it was ok to take the portrait, did Ellis (your son ) give you any cues? Did you ask your wife for permission?
Once we knew he was physically okay and in good spirits, I felt like it was fine.    My wife knows I photograph everything, especially events like this so I had her full support from the get go.
 
I know you sat on these images for a few months after shooting them, thinking you may composite Ellis into a scene. How did you end up with this final image? 
As I mentioned it was tough to look at these on-screen so they sat on my hard drive for a couple months.  I thought it would be cool to composite him into an environment to further craft a story.  Maybe he was standing on a playground with a bunch of big kids behind him all laid out, or maybe he was in the middle of a boxing ring during a fight, or maybe we digitally painted a super hero sign on his chest.  For some reason I wanted to complicate things.  To further challenge myself.
None of the ideas really stuck though and I finally selected my favorite image and retouched it.
What was going on at the very moment of this particular shot?
The shoot itself only lasted 15 minutes and for a lot of the time he was sitting in this baby seat called a ‘bumbo’ which allows infants to sit up a little easier than if they were in a chair.  For this shot, he probably only looked at me like that for a split second.
I love showcasing kids (and animals) expressions that anthropomorphize them.  Or in other words, apply adult attributes to their character.  This shot, for example, conveys a toughness, a so-what, an I’m tough sort of look that an adult might give a opponent or enemy.  Maybe he was even thinking that for a split second.
 
1054_FORT_WORTH_AD2_4b_RGB 1064_RF_AQUARIUM_1c_RGBShovel-Head-Farmer-Layered-F3 Travaasa-TM-Cover-hw38452_1d_RGB_DEV_FORD_VERSION
This portrait seems like a departure from the layered, rich body of work on your site.
What did you learn about yourself?
A lot of advertising work is layered and complex.  And I’m drawn to that and appreciate it.  I love the challenge of crafting a story in one image.  And sometimes that requires a lot of compositing, retouching, layering, and even CGI, to draw in the audience.
 
However, what I learned in this instance, with this photograph, was that the best way to tell a story is the simplest way.  I had these grand ideas of compositing him in an environment with layers, more talent, skies, and even cgi.  But I don’t think any of that would have been as compelling as this simple image.
 
Einstein said, ‘Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius — and a lot of courage — to move in the opposite direction.’  I’m no Einstein and I’m no genius, but this sure does resonate with the lesson I learned with the success of this photograph.
 
Have you done any documentary work? Did this give you an insight into the moral banter that goes on in taking hard images?
I did a bit of documentary work in the early part of my career.  I don’t know if I gained any insight here.  I tend to stay out of moral banter and focus on creating compelling work. If the works gets people to talk, even if it’s banter, then I’m okay with that.

_CM18819 _CM18855
I know you keep a camera around the house and take photos of your children, how did that influence this portrait?  
I always have a camera on hand.  Whether it’s an iphone, mirrorless, or dSLR.  It’s not often that I setup strobes and a background for my family stuff.  But this seemed like a fitting opportunity and my kids are used to having their photo taken so this wasn’t a unique situation, they know the deal.
 
How long did the transition take for you to go from father to photographer. I’m certain your first reaction was not to take a photo. 
When it happened I definitely didn’t have any thought that I should setup strobes and create a portrait.  But after he checked out okay, and was in good spirits, I thought, ‘I should really create a portrait of this.’  it needed to be shot.
 
Once you released the image to the public, were you concerned about backlash similar to what Jill Greenberg had experienced with her crying kids series?
I wasn’t concerned about it and in fact, it didn’t cross my mind until after it was published.  People who know me, know I have good intentions and would never place a kid in an uncomfortable situation.  However, his face was still going to be bruised up if I documented it or not.  I try to create compelling work first and foremost.  If I get criticized for documenting what’s in front of me, then I’m okay with that because personally I know my intentions were right.
 
What made you decided to include this image in your submission to CA? What did you think this image conveyed to fellow photographers?
Each year I submit 4-5 images to CA.  Some of my peers liked this image and some of them didn’t.  Obviously I’m biased but I felt like it was strong, graphic, and told a story.
Tell me about the full circle moment when  you received the email letting you know you had the cover?
So I’m sitting at our breakfast table reading some stuff on my computer with Ellis sitting in my lap.  During that time, I see an email come in from CA asking for permission to use the image on the cover.  I literally yell out loud, ‘what!? what!? Ellis, Buddy, you are going to be on the cover of CA, are you kidding me!?!’ I literally almost fell out of my chair.  I was elated to say the least and it was icing on the cake that I found out while he was sitting in my lap.  I can’t deny feeling that things happen for a reason and are not just coincidence.  Not the way this whole thing unfolded.


I know you have a son on the way, congratulations. How if at all has your family life impacted your career?
Thank you!  Okay, great question.  Family life has for sure impacted my career.  In a good way.  As the CA cover was about to come out I was running hard to get my website as fresh as possible and finish out a couple personal projects.  At one point, I expressed some frustration to my wife that I didn’t have enough time or energy because the kids were being a pill.  My wife looks at me and says, ‘you wouldn’t be in this situation if it weren’t for them!’  In other words, you wouldn’t be on the cover of CA if the kids didn’t present these daily challenges to you.  And I thought to myself, wow, how narcissistic am I thinking that this was all me!
 
The environment around you deeply influences you and my family is no exception to that.  Yes, I have less free time to snowboard and ride my mountain bike.  But I also have a lot to lose so motivation is not hard to come by.   I’m very focused and work very hard.  
The free spirit of children, without a doubt, enhances my creative outlook.  I’m a family guy.  And my family life deeply inspires me and provides great perspective for my personal and commercial work.
  COLORUN001 COLORUN002 COLORUN003 COLORUN004
Valspar_PaintBrush
Veiled_Chameleon_crop2
ford_tiger_01 elcapitan_road_fordBullBlack_FinalImage
Ford-Lion-37858_R1-v10-RANDAL_CROPford-44farms-folio-1014
You have such a range of imagery on your site, how would you describe your work.
I have a passion for photography and that passion spans multiple genres, and has grown significantly over the last couple of years.  I shoot everything from kids to cows to landscapes with an intent to always tell a story.  I sometimes struggle with it, but my goal is to create a common thread throughout my body of work.  I hope my audiences sees that commonality.
 
Do you ever get criticized for having too much range?
I’m very self critical.  Potentially to a fault, so I think about this a lot.  At the end of the day, I have to follow my gut and right now, I feel like I’m doing the right thing.  Time will tell if that’s true but I am grateful to be doing what I’m doing right now.
How has living in Austin shaped you as photographer? Is it nice to be out of the fray NYC and other major cities?  
Austin is a great place to call home.  I travel for 95% of my work but it’s a great home base and easy to get to both coasts.  Don’t get me wrong I would love to work more and shoot more in Austin.  There are just certain advantages and production needs that are better suited for NY or LA.  Being a Texan has definitely shaped me as a photographer.  I think that’s evident in my imagery for sure.  I also think by living in Texas I get slightly different perspectives, creative or otherwise, than if I lived in NY or LA.  I also like my space (smile)

My Photo Went Viral, And Nothing Could Have Prepared Me For What Happened After

the media attention, coverage, and money was and continues to be great. I loved it all. But what’s even cooler is that I have been contacted by people, companies, and organizations that I never expected that I’d be in touch with. Airports, local and abroad, have contacted me with an interest in hiring me to do work for them. Airplane manufacturers and leasing companies have been in touch…

This image truly has created opportunities that I never thought possible.

via fstoppers.com.