The Daily Edit – Jasper Gibson talks about his 18-day sea-kayak-supported-ski-trip and his symbiotic relationship with the wild








Jasper Gibson

Heidi: The kayaker wading through the ice is one of my favorite images for “type 2” fun – can you share the backstory on this trip?
Jasper: This is from an 18-day sea-kayak-supported-ski-trip down the Stikine River in remote northern British Columbia. That image was taken within the first 10 minutes of the expedition, and luckily, it wasn’t our reality for the rest of the trip. The first day and a half of that trip we had to drag our 300lb sea kayaks across the river ice to reach the flowing, open water of the Stikine, and we would often punch through the ice as seen in the photo. The rest of that trip felt like a true adventure, gigantic, wild spaces, grizzly bears in camp, sketchy ski conditions, arduous climbs into the alpine through heinous slide alder and devil’s club, territorial elephant seals, hot springs, and some of the most beautiful places I’ve ever seen.

You grew up in northern Idaho and spent a lot of time in places like the Selkirks, the desert, and the Alps—how have those environments informed your work?
That’s a great question. The outdoors completely shaped my work. I wouldn’t have a career or a portfolio without the wild spaces in our world. Growing up in northern Idaho I was immersed in an outdoor lifestyle from birth; hunting, fishing, skiing and exploring the vast expanses of forests that blanketed the region. As I got older and picked up a camera, my photography instantly steered towards the outdoors and the adventure that took place outside. Photography and my time in the wild have a symbiotic relationship in the sense that photography has pushed me to go to places I maybe otherwise never would have and living an outdoor lifestyle has taken my photography to places I couldn’t have dreamed of.

Your imagery spans many sports and demanding environments—how important is staying physically fit to your ability to do the work the way you want?
It’s absolutely vital for me to stay all-around-fit for the outdoor adventure photography work that I do. I need to be able to keep up with professional athlete and I often carry more weight than them because of my camera gear. If I am dragging ass because of my fitness, not only am I a liability to the endeavour but I likely won’t be able to get myself into the positions I want to be in to photograph the adventure. Often, I want to be ahead of my subjects to get the shots I’m going for. Plus I want to be an integral team member and carry my own weight on any trip that I am on.

A lot of your images come out of friendships and shared time—how does being part of the crew, versus being brought in as a photographer, change what you’re able to photograph?
Again, great question. I would say that in the end it ends up being the same but a level of rapport must be established with my subjects for me to get the authentic style of imagery which I go for. I’m lucky that I am naturally a people person and can find common ground with just about anyone, so if I didn’t start off as friends with a crewmember, we’ll be friends by the end of the trip.

Do the folks in your images every get grumpy when you’re taking photos on a mission?
I can’t remember that ever happening to be honest. I try to be cognizant of when we need to focus on the task at hand or if I have time to photograph. Again, I don’t want to slow the mission down.

Can you share a pivotal moment in your photo career or what advice do you have for someone starting?
A pivotal moment in my photographic journey actually came pretty early on. When I was 15, Patrick Orton, a photographer a few years older than me saw that I took a liking to photography and he helped to show me that a life and a living could be made as a photographer. He became my first mentor and a bright light in showing me how it could be done. Unfortunately, he passed much too young at 24 years old as he was well on his way to becoming one of the most prolific outdoor adventure photographer to ever live. My advice for someone just getting started would be to find a mentor or to assist or intern for a photographer whom you admire and with whom you also get along well with.

Five days in—soaked, exhausted, morale slipping—how does that state change what you choose to photograph, and what you leave behind?
I feel like that is when the best photographs often occur. Thats when the real rawness and emotion of an adventure emerge: when you’re suffering and pushing your comfort zone. That’s honeslty when you should be shooting more than any other portion of the trip, because thats the realness.
You have to push past your own comforts to make great photography, and I think that applies to any avenue of photography. You must push past what you formerly believed to be your limits and set a new bar.




How did the work for Fjallraven come about? Do you suggest locations for them or does their creative team lay out the trip?
That shoot came from my connections with a producer within my network. In this case the producer and their creative team came up with the locations and activites based upon Fjallraven’s needs. Locations and location scouting is one of my favorite parts of production because I love nerding out on maps and reseaching areas.

What are you fired up about now?
I am so stoked on photography in general right now. I am always looking to learn, grow my skillset and find a new challenge and studio photography is that for me at the moment. It has been really fun to learn studio lighting and to practice more portraiture and lifestyle photography. I’m just excied to keep expanding my horizons while always coming back to water my roots in the outdoor adventure space.

The Art of the Personal Project: Howard Schatz

 The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Howard Schatz

 

I have been working on a “Human Body” project that looks like body painting but isn’t. ⁠

⁠Body painting, when done well by a skilled and talented make-up artist working with airbrushes, body makeup and other tools often takes many hours, if not all day. The event ties up the studio so that not much else can be accomplished. Also, once a body is painted,

that’s it; further exploration and discovery, the essential seeds of creativity, are only minimally possible. ⁠

⁠For this current project, I’m the “painter.” Using post production techniques, especially Photoshop, I adorn and cover the body fitting my own creative tastes. Exploring and experimenting is “play,” and the possibilities infinite. Most “trials” don’t work: I move on, open to examining others. Working hard to create imagery to surprise and delight myself, never knowing if or when it will happen and on only rare occasions, the creative gods astonish and bless, generously. ⁠

To see more of this project, click here

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Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Sara Swaty

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Sara Swaty

A series of individual stories told in pictures and words, exploring the real lives behind the public conversation surrounding the death of Michael Brown, Fragments of Ferguson exists to advance both personal and societal understanding of the volatile conversation about race and ethnicity underway in cities all across the country. Perhaps no story is more emblematic of this moment than that of Ferguson, Missouri. As a St. Louis native now living in Los Angeles, Swaty is positioned as the ultimate Insider/Outsider — one whose perspective includes both the macro and microcosmic experience of the time and place where the story unfolds. “I feel like a St. Louis artist,” she says. “My heart lives there.”

The shooting of Michael Brown on August 9, 2014, inspired a sustained national civil rights and social justice movement — starting with #blacklivesmatter and then subsequently #handsupdontshoot, #icantbreathe, and #sayhername, the movement that started in Ferguson turned outrage and resistance to oppression into a political rallying cry.

Fragments of Ferguson recognizes the community of passionate and dedicated individuals who refused to be silent in the face of injustice — beyond the homicide and humiliation, but the subsequent lack of criminal accountability for Officer Darren Wilson. It takes communities from all walks of life to make change — activists on the streets and on social media, politicians, lawyers, artists, clergy, writers, musicians, and many more. People young and old are combining forces in the streets, courts, and online. No one can fight injustice alone. We all need allies.

Making big, broad ideas more accessible through the unique combination of visual art and the written word, Swaty’s documentary structure combines fine art portraiture with a set of questions whose answers become the captions, pairing moving artistic portraits with perspectives told in their own voices.

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her on Instagram

The Art of the Personal Project: Brian Pineda

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Brian Pineda

My Airports series is an intimate look at the heart of global transit, born from the experience of travel and my love of architecture. I spent time in airports around the world, drawn to the clean lines and the constant movement within these terminals. I have always been interested in the scale of the architecture—how the sunlight and shadows interact with the people moving through these massive hubs.

The way the natural light catches the glass and steel, along with the quiet moments of travelers in motion, creates a unique atmosphere in every terminal. This project is my personal tribute to the experience of travel and what airports can represent—a gateway to a new destination and the start of a journey. I hope these photographs invite others to find wonder in the vast scale and the stories that unfold within an airport.

To see more of this project, click

 

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Natasha (Tash) Hopkins

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Tash Hopkins

Qawiyah

I was the child that loved horses and constantly asked my parents for one so last year when I was researching the culture of Morocco to make a personal project, I discovered Tbourida and was hooked.

Five weeks later I was the only foreigner in the baking heat of a tiny town in Essaouira being crowded by 350 unpredictable horses and breathing in clouds of dust.
Born from the battlefields of ancient Morocco, Tbourida is a loud and adrenaline fuelled spectacle, like a modern-day Narnia but one with deep familial and spiritual roots. Histories are written in the saddles and every rider carries a miniature copy of the Qur’an.

A team of 10 to 25 riders thunder 200 metres down an arena then come to a screeching halt and single-handedly fire gunpowder filled rifles. It’s deafening and riders can lose their limbs or even their lives.

Until recently it was restricted to men only but now women have entered the fray, riding stallions and carrying guns to challenge stereotypes and change the face of tradition.
But like many women’s sports they have a lot to contend with behind the scenes. They have to dig deep to overcome resistance from their families, bans from sporting bodies and opposition from men’s teams who don’t want them to compete.

To see more of this project, click

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Flint Chaney

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Flint Chaney

One of the greatest things about photography is being in the right place at the right time. Sometimes that means chasing light, or waiting for a scene to reveal itself. And sometimes, it means noticing when something ordinary is about to turn into something unforgettable.

That morning in Chicago, I had no idea I was about to photograph a moment that would stay with me. I was staying at a friend’s place when I looked out and saw a crew of window washers making their way down the building across the parking lot. The scene grabbed me immediately. I’ve always wanted to photograph window washers, and this felt like one of those rare moments when timing hands you exactly what you’ve been hoping for.

I’ve always had a deep respect for window washers. They’re suspended high above the city, doing a job most of us wouldn’t dare attempt, just so the rest of us can enjoy the view from behind clean glass.

So I waited.

I told myself I wasn’t leaving that spot until they made their way to our side of the building. About an hour and a half later, the ropes finally dropped from the rooftop. That’s when I got pumped. As one of the workers lowered himself in front of my window, I asked through the glass if it was okay to photograph him. He looked over and gave me a thumbs up.

From that point on, I simply observed. I gave him no direction and just watched him do what he had clearly done thousands of times before. Fourteen stories above the ground, he moved with a kind of calm precision and confidence. It was remarkable to watch.

As he worked, the soap began creating these beautiful, almost abstract patterns across the glass. At times, it was hypnotic watching the suds slide and reshape themselves.

In the end, the whole moment lasted about five minutes. That’s how long it took him to clean the window. I hoped I made the most of those five minutes.

Photography often asks for patience. Sometimes you wait a long time for a single moment. But when it finally happens, when everything comes together, it’s one of the greatest feelings in the world.

Flint

 

To see more of this project, click here

Instagram

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Daily Edit – Miya Tsudome: Gripped The Climbing Magazine


Miya Tsudome

Heidi: The photograph of Laura Pineau on Wet Lycra Nightmare ultimately became the cover of Gripped. When you were hanging there watching Laura move through the crux, did you sense that the moment had the potential to become a defining image?
Miya: Initially I was up there to film Laura climbing Wet Lycra Nightmare so when she actually sent the crux, she was climbing in the shade and I was filming it. Higher up on the wall, I was waiting to shoot another pitch and I watched this sliver of light hit the wall, with the valley still mostly shaded in the back, and I knew I wanted to go shoot the crux in that light. So when Laura sent the route I convinced her to stay another night on Ahwahnee Ledge with me so we could get photos of the crux pitch. I knew that it would be an impactful image – it’s not every day you get to watch history being made in rock climbing with a female first ascent of a notoriously difficult route. We both were committed to bringing that photo to life, knowing it would be an important one.

When a woman photographs another woman in a space like Yosemite — a place with such a long photographic legacy — do you think the image carries a different kind of narrative weight?
I think it does carry a different kind of narrative weight. I love the camaraderie that comes along with women shooting women, which is something we experience together on the wall. But also creating photos together that will go down in Yosemite history feels meaningful. There are so many incredibly strong women in the sport, absolutely dominating big wall free climbing. And I feel like it’s significant when women are behind the lens as well to capture it.

Because you’re also a climber, you’re not just observing the moment — you’re  part of the system on the wall. How does that embodied perspective change the way you compose an image or anticipate a moment for your work on the Free Wall Kit and your Gripped cover?
Being a climber who is familiar with big wall environments has become a huge advantage in what and how I shoot. One of my biggest concerns is always how to move around athletes in the least impactful way possible, and knowing how to adapt quickly to different scenarios. Whether that’s climbing ahead myself, or fixing lines, sleeping on the wall, or rappelling in; it is a constantly shifting environment and each assignment demands different tactics. And a lot of the time I’m shooting things in real time as they happen, like shooting Doerte Pietron and Daniel Gebel for the Freewall Kit in Madagascar as they attempted to send King Line, 8a+ (5.13c/d), which means I don’t always have the luxury of composing and recreating a shot like I did with Laura. So I have to rely on my instincts as a climber and photographer to capture what I can the best I can.

Patagonia’s The Freewall Kit was designed around the realities of long days on the wall. How do those design details change the experience of working as a photographer in that environment?
The Freewall Kit was designed for big wall free climbers, which has become the new frontier of modern rock climbing. But photographers and filmmakers are doing just as much work, jugging like crazy up fixed lines, hauling, managing ropes, only to sit for hours shooting. So a kit that emphasizes durable, flexible layers like the Freewall Kit for when you’re moving but also for when you’re resting is also a big wall photographer’s dream. We have to prepare to shoot in any conditions that the athlete wants to climb in, and taking care of yourself up on a wall is really important. And a huge part of that is having the right layers. You never want to be the reason why something can’t happen.

You spent time working with photographer Corey Rich and his production company Novus Select. What did that experience teach you about the craft and logistics of adventure photography and filmmaking? 
Interning under Corey Rich was a huge stepping stone in my career. At that point I knew how to use a camera, but knew next to nothing about the broader world of photo and video production. I was able to take part in such a variety of shoots, and absorb what it takes to be the best at your craft as well as run a production business. I think mentorship in this career path is essential. And there’s no easy, straightforward path to finding the right mentors. I’ve been lucky to have people like Corey as well as Ben Ditto to get me on jobs and give me advice. Corey also introduced me to Sarah Steele who helped to found an all-female production company called Well Travelled which has grown my network of female creatives to look up to.

Your work often sits at the intersection of athletics and storytelling — you’re a strong climber yourself, but also documenting the moment. How has developing your own climbing ability influenced the kinds of images and films you’re able to make?
Developing my own climbing has definitely helped with what types of images and films I’m able to create. I used to be a guide for the Yosemite Mountaineering School, and those skills also have come into play a lot when I’m out shooting. Not only do you have to be fit enough to keep up with athletes, but you have to have a keen awareness of how to adapt to different climbing environments. Being someone who is really dedicated to my personal climbing allows me to know I have more wiggle room in planning logistics of a shoot. Because sometimes the easiest way to shoot is by climbing ahead of a team yourself.

You started in Yosemite with a one-way ticket, a service job, and a life built around climbing. Now you’re photographing historic ascents and landing magazine covers. When you look back at that version of yourself arriving in the Valley, what would surprise her most about where you are now?
I was just talking about this to a friend the other day. What would me 10 years ago think about me now?? We take so much for granted in our present realities. And I’m guilty of falling into the trap of “not good enough, have to work harder, have to do better,” that it’s good to remind myself that the me 10 years ago, who was bussing tables in the Ahwahnee dining room and climbing 5.8 would be utterly in awe of who I am now. I think she would feel amazed that she gets to work regularly with a brand like Patagonia, and gets to shoot all around the world for her job. It’s a good reminder. Always look back to see how far you’ve come. And always strive for more.

What are you working on now (photographically and personal climbing objectives)?
Right now I’m coming off a wonderfully simple winter of being at home in Bishop, California, working on some local photo and video jobs and putting time in out at the boulders to build up my strength base for the year. I’ve got some exciting international work trips planned this summer, and am going to the valley in the spring to try to tick off some personal climbing goals and get back into route climbing and multipitch shape. It’s a constant management of expectations trying to balance my personal climbing and my job, but I love both so much and am so grateful to be able to do what I do.

The Art of the Personal Project: Stefan Falke

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Stefan Falke

Personal projects are the backbone of my work. The topics usually find me, there is very little thinking or planning involved, they usually start with a visual impulse. I often work on some new series between my assignments as a professional photographer; sometimes the paid work leads to a project which in return could – and have – lead to paid work. I published 4 books about my personal work so far, two with publishers (“MOKO JUMBIES: The Dancing Spirits of Trinidad” and “LA FRONTERA: Artists along the US-Mexican Border”, and the latest two self published (“Keep Going New York !!” and “Reflecting New York”). Since most publishers demand the full costs for printing and layout etc these days before they commit to publishing your book I switched to self-publishing my books on the print-on-demand platform Blurb.com.

REFLECTING NEW YORK:

It started with a series of photographs I took from my window, year in year out, of Hudson Yards with an overlaying reflection of clouds or sunsets – or both – in the window I shot through. One day I used a mirror to make that photo more interesting and multi layered. It didn’t really work, but I took the mirror to the street to see what else I could with it. Long story short, using the hand held mirror in locations around my chosen hometown New York I invited distant buildings, structures or other nearby scenes into the main photo to create a viewing experience that requires a second look. My goal is to visually loosen up the obvious, to create images that often surprise me as much as I hope they will surprise and intrigue the viewer. It took me most of 2024 to finish this series in New York.

I started working on REFLECTING DUBAI last year too but I need to secure more funding to finish that book project.

Photos from REFLECTING NEW YORK were published in WIRED online, chosen by American Photography, featured by LensCulture and received The Award of Excellence from Communication Arts for books in 2025.

The book is available here:

Regular soft cover (10×8 in): https://www.blurb.com/b/12090895-reflecting-new-york

Collectors extended hard cover (13×11 in): https://www.blurb.com/b/12276784-reflecting-new-york-collectors-edition

To see more of this project, click here

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Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Adam Moran

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

 

Today’s featured artist:  Adam Moran

When the world started to shut down due to Covid 19, all my future shoots were cancelled/postponed, and like many other parents suddenly my wife was working from home full time, and we had lost our childcare. Since I had no future work, I was there to take to over the childcare full-time for our daughter Mabel who was almost 2. She’s a kid with a lot of energy, she wants to be out running, chasing squirrels, climbing stairs, or just about anything active. Since I could no longer take her to the playground we only had a small grassy park in our neighborhood and our backyard as our little world to burn out her energy.
I take a million photos of her already to share with our families on the East Coast, but suddenly I found myself taking more and more since we were together 24/7.  I would shoot a photo either on my iPhone or mirrorless that I bring everywhere, and then I started to notice funny similarities between some of my sports and fitness work.  Sometimes it was the light and lines, sometimes the pose, and sometimes it was just a funny coincidence. I quickly realized that at times I couldn’t help it, I was trying to frame photos the same as I did at work, when she was just playing around. After a few weeks I started to dig into the drives, and match up the photos for fun, and then I started posting them on my instagram account. I’ve kept my instagram mostly work related for the last year, so this was suddenly making my daughter more public on there, but in a funny way. After a few shots I started getting so many messages from people to keep it coming, and they were looking forward to it each time. In the end I did 16 match ups with Mabel and athletes like Mike Trout, Tony Hawk, Megan Rapinoe and more. My time with Mabel is a break from all the craziness in the world right now, and I think these photos matchups were a simple way to keep things light, when it all seems so heavy.  At one point I was stressing that I didn’t have a “corona project” like everyone else was talking about, and then I realized I didn’t need to come up with one, my project was our life together, and I just getting to shoot that is the best project possible.

To see more of this project, click here.

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 establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSease.  Instagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

 

The Daily Edit – Tracy L Chandler – A Poor Sort of Memory


Tracy L Chandler


Heidi: You talk about the desert as a ‘silent character’. How do you think it’s harshness and beauty influenced the emotional language of the images, beyond simply being your physical past?
Tracy: The desert is both a container and a character in this work. I grew up there. I breathed that air, I was shaped by that light. It’s in me.
What makes the desert so particular as a photographic subject is the way it refuses neutrality. The light alone can shift from oppressive to tender within a couple of hours. At high noon it obliterates everything. It’s so vast and so harsh that it becomes almost claustrophobic, which I know sounds contradictory, but there’s something about that relentless, unforgiving openness that offers no refuge, no shade, no place to hide. You can’t escape it. That sense of being exposed and trapped at the same time, that was the emotional texture of growing up there. But then at the edges of the day, that soft pastel window at dusk, the desert can feel like the most gentle thing. And then at night it gets strange. There’s this deep black with nothing in the distance to emit or reflect light. Everything just falls into the absolute unknown. I think that swing between beauty and threat is the same emotional range I was navigating as a kid. The desert didn’t just inform the pictures’ content and aesthetics. It became the psychological language of the work.

How do you wrestle with time’s passage and nature’s relentlessness in shaping how we feel and remember? Here I was thinking about time as a photographic element and how you created portals for us to explore….or simply put, how do you approach photographing time?
Time in the desert is genuinely strange. The natural environment is so prehistoric and durable. Any trace of humanity just accumulates dust and holds its shape for decades. So when I’d return to a site from my adolescence, the architecture or object often hadn’t changed. But I had. Time had changed me. And now my memory of those places wasn’t the same as what I was looking at. So what you get is this uncanny collision where the present physical reality clashes with the ghost of your past experience of it. And then to photograph it morphs the perception once again.

I tried to honor that strangeness by working slowly. I use a large format camera, which forces you to be deliberate and spend real time in a place. And I’d return to the same sites over years, letting meaning accumulate rather than looking and moving on.

The portals and other constructed objects in the work were my way of using symbology to make time and transformation visible as a concept. A door in the middle of nowhere is absurd. It asks a question… What is on the other side? For me those objects function as portals in the most literal sense, apertures between past and present, between what I remember and what actually exists and what could be in the future. 

You noted photography is a “fraction of truth,” what does photography fail to capture in this work, and how might that failure be as meaningful as what is shown or remembered?
Photography only records a surface, a fraction of a second, framing more out than in. I knew this going in but the full weight of it hit me hard on this project specifically, because I wasn’t just grappling with photography’s limits in the abstract, I was living them.

Years before I began this work, a storage unit fire took everything. Every photograph I had ever made. All of my family albums. And the photographs I had of my father, who died when I was seven. All I had left of him visually were my own memories, which are unreliable and fading. So I went back to the desert to make new photographs, partly to replace that lost archive, but what I came away with looks nothing like what I lost. What I made is not a document of my story. It’s more like a fiction based on a true story. And strangely, it feels more true to me than the literal photographs ever could have.

That’s the paradox I keep circling. Photography’s failure to capture the full truth created the space for something more emotionally honest to emerge. The fire took away a whole version of history and forced me to reconstruct. I had to invent. And what I built is mine in a way that a documentary record never could have been.

How does your personal narrative intersect with broader cultural or socio-economic narratives of the American desert (e.g., displacement, development, tourism, climate)?
I grew up in Palm Springs, which is a strange place to be from. It was built as a playground for Hollywood elites and retired snowbirds, gated communities, golf courses, tennis clubs, designed for people who were passing through or escaping, not for the people who actually lived there year-round. My family was not wealthy. We were locals on the fringe, and I always felt like an outsider in my own hometown, a kind of reversed displacement. So when I photograph, I’m not photographing Palm Springs the brand. I’m in the peripheral spaces of my youth, the dry lake beds, and makeshift shelters at the margins, places that hold a different story. One of people who couldn’t afford the fantasy. And maybe that’s a class narrative as much as a personal one.

And then there’s the land itself. The Coachella Valley is in the middle of a desert. It only exists the way it does because of massive water infrastructure, aqueducts that pull water from hundreds of miles away. The whole thing is precarious at best. Climate is not an abstraction here. As I photograph, I’m aware that this landscape has its own timeline that dwarfs all of our efforts to control it, and hoarding these resources will prove unsustainable.

I didn’t set out to make a political project, but I think those tensions are in the work. I think personal work does that. We can’t escape being part of the whole.

What does the title A Poor Sort of Memory suggest about the reliability of memory?
The title comes from Lewis Carroll’s Through the Looking-Glass, where the White Queen tells Alice: “It’s a poor sort of memory that only works backwards.” On its face that’s nonsensical. How else would memory work? But that’s exactly what makes it interesting. Carroll is suggesting that memory doesn’t have to be fixed or unidirectional. It can work forward. It can be circular. The past doesn’t just recede behind you, it’s also present, maybe even ahead of you in ways you haven’t recognized yet.

For me, “poor” doesn’t just mean unreliable. It means limited, insufficient, sad. When I first started making this work I was trying to recover something fixed, to return to a static past and document it. What I found instead was that the past kept shifting under my feet. My childhood home was much smaller than I remembered. Specific locations looked nothing like my mental image of them. The camera kept showing me how partial and warped my version of events was.

So the title is both a confession and a provocation. Yes, my memory is poor, unreliable, incomplete, distorted by time and trauma. But maybe that instability is what makes memory a living thing rather than an archive. It keeps reshaping itself in response to who you are now. That’s actually how we survive.

How does the inclusion of human figures, such as your son, affect your interpretation of the narrative? Are they bridges from past to present, self reflective metaphors or memories? I was thinking about the ramp image here…
All of those things at once, which is what makes it complicated.

Eli (my son) wasn’t part of the original plan. I started making this work alone, out in the desert, and then COVID hit and there was no school, and suddenly I was bringing a tweenager on my photography trips. I was initially annoyed, I was in work mode and now I had to be in mom mode, and those felt like incompatible states. But then I turned around and saw him sitting on top of this old motorcycle ramp in the middle of nowhere, and something shifted. It was like a Hitchcock zoom. I looked at him and I saw myself as a kid. I saw my father. He loved motorcycles, he died in a motorcycle accident, I had lost every photograph of him in the storage fire, and here was this ramp in the landscape he would have loved. And in one frame I had all three of us: him, me, my dad. Past, present, and future all collapsed into each other. 

Eli became a child guide, a protagonist to lead me through my own story. But the closer I got, the more he resisted it, and I think that resistance was honest and important. He wasn’t going to simply be a vessel for my projections. He’s his own person. And that pushing back, that refusal to stay still as a symbol, that became part of the work too. The mother-and-son dynamic folded back on itself and complicated everything, which is exactly right for a project about the instability of memory.

There’s also Uncle Bill in the work — this adult male figure who carries both the longing for a father and the menace of the stepfather simultaneously.  Longing and danger. That’s a pretty exact description of what it felt like to be a kid in my house growing up. Together they hold this protagonist-antagonist tension throughout the work. There’s a sense of chasing ghosts and evading monsters.

Which places in your work feel most alive — and which felt like ghosts and why? Did reframing meaningful events act as a release or allow you to heal?
The places that felt most alive were the edge spaces, concrete washes, the end of a dirt road, etc. There was still a charge in those places. The isolation, the sense of potential danger and freedom existing right next to each other felt like a homecoming of sorts, even if it was an uncomfortable one.

And then there were the objects. Found things, constructed things, totems I placed in the landscape. Those became some of the most alive moments in the work for me, because an object in the right context stops being a thing and starts being a symbol. It opens up. It becomes a portal into something larger than itself, a way into a story that language alone couldn’t access. That’s where I felt most free as a photographer, in that space between the literal and the symbolic.

As for healing, I want to resist that framing a little. I don’t think this work healed anything or released anything in a clean sense. What it did was build complexity. It gave me a more nuanced relationship to my own history. I came to understand that memory isn’t a fixed record, it’s a living thing, and the only constant in it is change. It’s something more like making peace with ambiguity. 

Now that you’ve had distance on the project – what have you learned about yourself as a creative? Or what surprised you? 

The thing that surprised me most was the gap between what I set out to make and what the work actually wanted to be. The pictures I felt sure about at first weren’t the ones that lasted. The quieter, stranger, slightly-off images were the ones that kept creeping up on me over time and revealing more meaning the longer I sat with them.

That taught me something real about patience and about listening, to the pictures, to the place, to the process itself. The best images in this project are NOT the ones I planned. They arrived sideways. And I think that’s true of creative work more broadly: you have to make your way toward the thing you don’t know you’re looking for. You may have to be wrong first. I’m still learning to trust that. 

       

The Art of the Personal Project: Todd Antony

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Todd Antony

Buzkashi, meaning “goat pulling” in Persian, is the wild, brutal sport of Tajikistan and its neighboring ‘Stans.’ Think polo – but with a headless, eviscerated goat standing in as a ball, hundreds of riders, and no formal teams. Rooted in the nomadic cultures of Central Asia and played for hundreds of years, riders, or chapandaz, battle for control of the goat while dodging rivals (and the occasional whip or elbow) in scenes reminiscent of a Napoleonic battle painting. The rule book is less of a book and closer to a couple of sentences, with the match often overflowing into the fleeing crowd (something I can testify to firsthand) games can last for hours until one rider hauls the goat across a hay-marked goal line in the dirt. Once a pastime of the steppes, Buzkashi is now a beloved spectacle at festivals and major gatherings such as weddings.

Watching Buzkashi matches was often like stepping directly into famous Napoleonic battle paintings. A seething morass of fighting players and horses, kicking up clouds of dust and visceral noise. I wanted some of the images from the project to take on the visual cues of those old paintings. Idealized in the middle of what is an otherwise brutal moment.

To see more of this project, click here

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Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Stephen Wilkes

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

 

Today’s featured artist:  Stephen Wilkes

“To me, every hour of the day and night is an unspeakably perfect miracle”.

-Walt Whitman

Day to Night is a 16 year personal journey to capture fundamental elements of our world through the hourglass of a single day.  It is a synthesis of art and science, an exploration of time, memory, and history through the 24- hour rhythms of our daily lives.

I photograph from locations and views that are part of our collective memory.  Working from a fixed camera angle, I capture the fleeting moments of humanity and light as time passes. After photographing as many as 1500 single images, I select the best moments of the day and night.  Using time as my guide, all of these moments are then seamlessly blended into a single photograph – a visualization of our conscious journey with time.

In a world where humanity has become obsessively connected to personal devices, the ability to look profoundly and contemplatively is becoming an endangered human experience.  Photographing a single place for up to 36 hours becomes a meditation.  It has informed me in a unique way, inspiring deep insights into life’s narrative, and the fragile interaction of humanity within our natural and constructed world.

-Stephen Wilkes

To see more of this project, click here

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To purchase “Day to Night Monograph, Taschen, click here

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

Pricing & Negotiating: Motion Content Bid For A Household Product Brand

By  Andrew Souders, Wonderful Machine

Each month, we analyze a recent cost estimate, contract, or purchase order and present it in the form of a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share useful information that would otherwise be confidential. You can learn more about how we can help you with Pricing & Negotiating on the Consulting Services page of our website.

Concept: Short-form video content for a household product brand’s social media campaign.
Location: Eastern US metro area.
Client: Global consumer goods company.
Agency: Dedicated creative division within a global advertising network, working exclusively on behalf of the brand.
Director: Product and Brand Narrative Specialist.
Licensing: Copyright transfer (work made for hire).

I recently worked with a director to develop a competitive bid for a social media motion campaign for a well-known CPG (Consumer Packaged Goods) brand. The creative brief called for a series of playful and visually engaging product videos blending various content, physical gags, and clever prop builds to highlight the brand’s hero product. The agency was seeking a team that could elevate the product conceptually while executing with polish and impact on a fast-paced schedule.

The scope included one primary shoot day in a studio setting, preceded by multiple set-build days and a dedicated pre-light day. Expected deliverables included five unique video assets (ranging from 6 to 15 seconds each). The brand would use the content across its web channels, organic social platforms and in paid social media campaigns.

Because this project was part of a closed bid process with a stated budget ceiling rather than a more flexible estimate or negotiation, we were working against a firm deadline and in competition with other vendors. That meant ensuring the numbers were precise, costs were well defined, and that the bid was ready to withstand both agency scrutiny and internal brand approvals.

Bid vs. Estimate

Since this was a firm bid, not an estimate, we shaped our approach accordingly. Unlike a conventional estimate, in which final costs can be accounted for during invoicing to reflect actual expenses, a firm bid must be submitted with a locked bottom line. The agency’s bidding platform required fully itemized pricing to make it easy for them to compare bids.

That meant we needed to add in enough budget wiggle room to stay flexible while remaining competitive. Our goal was to create a competitive submission while still supporting the production’s creative ambition. We made sure the bid clearly identified agency/client responsibilities (including final editing, talent releases, talent payment, and production insurance).

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Fees

We proposed a Creative Fee of $22,500, plus $6,000 for pre-production fees to cover the director’s creative development, pre-production, set-building, pre-light, and oversight throughout the process. The agency wanted the project to be a work made for hire, making the client the copyright holder. Pricing work-for-hire is tricky because creative and licensing fees for photographers are usually proportional to the usage. If the usage is infinite, you can’t charge the client an infinite amount of money for that use. So you have to imagine what the maximum practical use is and price it based on that.

The other consideration when pricing video is that while still photographers have historically retained their copyright and charged a fee based on the extent of the licensing agreement, film and video directors have historically charged a project fee (often tied to a “day rate”) in exchange for a transfer of copyright. So, regardless of any theoretical value we might dream up, we always have to consider the value that other photographers/directors (or their agents) would assign to the project.

We grounded our number in precedent: a similar campaign for another consumer brand (also structured as work-for-hire) had landed at the same $22,500 fee for a one-day shoot. The fees also reflected the directors’ intent to keep the costs competitive without sacrificing quality. With much of the budget going toward studio rental, set builds, specialty camera kit/rigs, and a robust crew, the goal was to secure the award and ensure the creative could be executed properly, even if it meant keeping the creative fee leaner than it might be under a typical licensing/usage-based model.

Crew

The crew was scaled to support the full technical and creative needs, including high-speed camera work, motion control, and practical rigging effects. Crew positions included Director of Photography, Assistant Camera, DIT, key grip, swing, and production support roles.

We included seven producer days and three days for a dedicated on-set production coordinator, providing support across prep, pre-light, and the shoot itself for communication between creative and technical departments throughout the schedule.

Equipment

Given the creative camera techniques called for in the treatment, including slow-motion style gags and macro product shots, we included a healthy budget for two full camera packages, including a Red Vista Vision Raptor and a Phantom high-speed camera, a range of lenses, and a motion control system. Additional budget for the DIT’s workstation and monitors, lighting and grip rentals, AC kit fees, storage media, and contingency for other supplies and expendables brought our estimated equipment costs to $39,450.

Styling & Set Build

While the shoot was limited to hands-only talent, the styling and art departments still played an important role. Art direction required the build of multiple stylized environments: a custom interior, tabletop setups, and a monochromatic seamless background. The most complex element involved a rigged creative gag that would require prototyping and practical effects planning.

To support this, the bid included several dedicated art department crew members, rigging, and a staging fee to cover testing and prep work. It also allocated additional budget for painting and restoring a studio cyc wall and other surfaces to match the brand palette. While none of the builds were overly complex in isolation, success would rely on thoughtful coordination among set, styling, and performance, all working in service of quick, inventive storytelling.

The budget included a professional manicurist to ensure a clean, consistent, and camera-ready appearance across all scenes involving talent. Wardrobe and HMU were intentionally excluded — the concept called for bare arms and neutral skin tones to keep the focus on the product and set design.

Casting & Talent

The project called for three non-union, non-recognizable hand talent to be featured performing simple product interactions throughout the footage. Our bid included a $4,000 casting fee, which covered coordination and prep for a video-based casting process led by an external casting agent. We planned to make talent selections via casting decks and pre-recorded submissions shared with the agency for review and approval.

While the director was going to manage the casting, the agency wanted to pay the talent directly. We noted this division of responsibility in the bid details to prevent any overlap or budget conflicts.

Locations

The shoot would take place in a rented studio in the same building as the directors’ workspace. This was a convenient, cost-effective option that allowed for coordination during prep and shoot days. The studio featured a full cyc wall, sufficient square footage for custom set builds and rigging, and easy access for art department and gear delivery. While it was not the directors’ primary studio, its availability and proximity made it an ideal choice. A dedicated prelight day was also added to finalize technical and lighting setups ahead of the shoot.

Meals

Catering and craft services were included to support a full-day shoot with client, crew, and talent present, with additional budget padding to accommodate a longer 12-hour day and some basic meal options for crew on prep and pre-light days.

Miscellaneous

The bid included $1,000 to cover shipping, messenger services, and minor incidentals, as well as a separate $386 fee to account for the 0.25% platform fee charged by the agency’s bid submission portal. Production insurance was to be provided directly by the agency, so we chose not to include this as a passthrough expense in our bid.

Post-Production

We noted in the bid that the client’s in-house team would handle all post-production, but that the directors would consult during the early stages of the edit. This collaboration ensures they can offer feedback and maintain consistency with their creative vision, specifically regarding shot selection, pacing, and tone. The agency was keen for us to include this for continuity of tone and the creative integrity of the final work.

Because the agency wanted the majority of control of post-production editing, we kept our post budget minimal. We included a $1,000 fee for video processing, delivery, and archiving, as well as three days’ worth of post-production management, oversight, and consulting at $1,500 per day to account for the director’s time reviewing and providing feedback on the first round of agency edits.

Results

The project was officially awarded to the director shortly after our bid submission and internal review. The agency noted they were particularly moved by the thoughtful budget structuring alongside a treatment the directors put together to show their intended visual approach. They also emphasized that the pricing clarity and confidence we presented were key factors in their recommendation to the client. Pre-production scheduling kicked off immediately, and the campaign launched at the end of the year across the brand’s social channels.

Follow our Consultants @wonderful_at_work.

Further Reading
Read more articles about Pricing & Negotiating on our blog.
Specialty: Still Life/Product Photography

The Art of the Personal Project: Cade Martin

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Cade Martin

The Chelsea.

An eclectic and electric icon in a city brimming with icons.

Written. Wolfe. Twain.

Shouted. Vicious. Pop.

Whispered. Keroac. Cohen.

Sang. Dylan. Hendrix.

Too alive with tall tales, deep secrets and notable guests not to photograph.

New York City. Even in the most seen city, there is adventure in chasing a what-might-be-around-the next-corner feeling. My favorite work is often something that catches me in the moment, scratching the itch of the unexpected in an obscure corner of an unknown town, or on the west Side of Manhattan. I wasn’t planning on it, but the Chelsea was spinning tales that I had to listen to.

– Cade Martin

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Daily Edit – Trevor Traynor book, Newsstands preserves memories and archives a fragment of the world through art.


Photographer: Trevor Traynor

Now that NEWSSTANDS has been published as a hardbound book — a substantial archive of 110 kiosks across 22 cities over 12 years — how has the act of sequencing and preserving these images in print changed the way you think about the project as a cultural artifact in 2025?
When I first started photographing Newsstands it was all about framing and collecting kiosks so to speak, It felt like an open ended series that was endless and I was working very much in the present tense. What’s interesting now is that a project rooted in constantly changing headlines and the documentation of isolated kiosks has been preserved in book form. Read this way, the images function as cultural markers, mostly paired as diptychs to reveal visual and social parallels, whether it’s a sidewalk book stall along the Nile in Cairo or stacks of magazines at El Periódico on La Rambla in Barcelona. So in short, the series feels complete in book form. It’s my first hardbound book, self-published edition of 250 and I’m grateful to have it out in the world for people to enjoy.

When you transitioned Newsstands into tangible objects — from an NFT collection to broadsheet posters with a QR link — what role did the physicality of print play in how you wanted audiences to experience the work?
This marked an exciting transition for me. The book quickly became the goal and was something I felt compelled to realize but by 2022 I was also curious about the idea of preserving art on the blockchain. Because the series already had continuity in its presentation, the unified golden border naturally lent itself to becoming a cohesive on-chain collection, readable as a single & recognizable body of work rather than isolated images. To elevate the launch of that NFT collection it was important to create an IRL experience. I built a replica newsstand where visitors could physically engage with the stand and take away a piece of actual newsprint which honored the project in its most elemental form. I’ve often used the phrase Web0 kiosks, shot on Web2, minted on Web3 as a kind of tagline during that time. It speaks to pre-internet kiosks photographed on an iPhone and shared via Instagram, then permanently preserved on the blockchain. So a bit of irony in what was never meant to last has now become permeant.

When did the series shift from “something fun between commercial shoots” to a body of work with its own artistic and cultural significance?
I think the shift happened the first time I photographed a newsstand outside of New York City. It opened up a new perspective on what these kiosks might look like on a global scale. It was a top box to tick during my down time on work trips and a necessity during personal travel. I never treated it like work though, and made sure all the small encounters with kiosks operators were genuine which was important for the integrity of the project.

You’ve called a wall pop-up in Cusco, Peru “probably the most unique.” What about that specific site stood out to you?
The wall pop-up in Cusco felt like it could appear on any corner. Assembled with a metal frame and clothes pins it gave the operator the ability to set-up and takedown fast. That mobility, paired with a focus on classic items such as magazines & newspapers made the stand feel singular & somewhat timeless. Also the stack of coins he collected struck a familiar chord that echoed my childhood memories of subway tokens, or watching adults place coins on a bodega counter for a newspaper and a cup of joe. It was a quiet reminder of simpler times.

Looking at a newsstand now—amid digital media’s decline of print—how do you think these kiosks function as time capsules, and what do you hope this book preserves for future audiences?
I think simply put, it preserves memories. The act of archiving a fragment of the world through art. One of I hope to be a handful of my small artistic contributions that find their way into bookstores and libraries. I will always love photography books. Having the opportunity to release one and have folks collect it for their coffee table is an honor and feels like a rarity in this digital era.

What was the defining moment or experience that made you realize this project deserved a standalone book rather than remain a long-term photo series?
With each newsstand sharing a common thread across continents and time, creating an artifact that is itself a collection of artifacts felt important to archive. I briefly entertained going a bit meta by printing the book on newsprint, allowing the physical object to age and decline more quickly, much like the printed matter these newsstands were built to serve but in the end, I chose to give the book a little more time which in turn will feel like a true relic of relics to our newly born generation beta.

The Art of the Personal Project: Olivia Bee

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Olivia Bee

“How To See In The Dark”

My best friend Dylan and I went to Southern Appalachia to experience the natural phenomenon that is the synchronous fireflies’ mating ritual that happens in the late spring. I was newly pregnant with my now one year old daughter, and everything was about to change. These images and her essay document witnessing this supernatural event through the lens of our friendship — and a friendship shifting. I photographed us dancing, waiting for the light to dim so that we could see the forest light up like Christmas lights. I photographed a single firefly landing on her hand. I photographed the fireflies double exposed with the stars, foils of each other in nature. Every night for a week, we explored the Great Smoky Mountains National Park in the dark, waiting to see if the spot we found on Reddit held the magic we sought. About half of the time, it did. For 30 minutes, the light show was absolutely out of this world. I have truly never seen anything like it in my life.

I made the choice to shoot film which I only half regret. It was definitely the most challenging scene to shoot: it was dark (naturally), and fireflies are small, and they move. I pushed all my film and with each closing of the shutter during my long exposures, I really took a chance with God. About half of my pictures ended up completely black, while the other ones glimmered with a sliver of the magic I had seen with my two eyes. Every time there was a frame with even a distant feeling of being an image, I held on to it to see what it might mean.

The experience is a difficult one to put into words, but Dylan wrote an incredible essay about our experience, to see more of this project see Dylan’s incredible essay, click here

Instagram: Olivia Bee

Instagram:  Candace Gelman

Representing Olivia Bee:

 415-897-0808  
candace@candacegelman.com   candacegelman.com

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Art of the Personal Project: Steve Prezant

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist:  Steve Prezant

I grew up in Brooklyn and lived most of my life in NYC–never really thinking about living outside of the energy and tumult of the Big Apple. Then, during COVID, my wife and I moved to farm country in Pennsylvania.

‘A Pennsylvania Project’ explores life in rural America–the ‘fly over country’ full of beauty, quirkiness and small-town values. Here, I looked for and found life far from the glamour and rhythm of our esteemed cities. I found life grounded in a working-class and sometimes rebellious perspective that is, hopefully, to some degree, at the heart of us all.

To see more of this project, click here

Instagram

Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

Instagram

The Daily Edit – Pierre Lavie: Bearing witness and creating a record in Minneapolis.

Photographer: Pierre Lavie

Heidi: How did your HEFAT training influence the way you approached the Minneapolis scene — both in terms of keeping yourself safe and in how you mentally and emotionally navigated the tension of the protest?
Pierre: Being situationally aware is crucial, and that’s something Global Journalism Security really drove home during their 3-day HEFAT course I took last August in D.C. Like many photojournalists, I have a family/loved-ones to get home to, so I want to be as safe as possible. To me, being safe in a hostile environment means being prepared and preparedness is achieved by learning how to conduct yourself in such an environment. It’s not magic. It takes time and practice. GJS provides the opportunity to learn and practice skills that might come in handy, like navigating a mob or splinting a leg. I can’t recommend GJS enough — they’re a top-notch outfit, I learned a lot, and honestly enjoyed every minute of it. My only regret is not having done it when I first started.

Can you describe the moments before this photo was taken, and your relationship to John?
As the police lined up to press the protestors, everyone knew what was coming. I put on my gas mask and helmet and waited with everyone else for them to make their move. I didn’t know John at all before this happened, but we’re texting just about daily now. He’s a great guy and I expect we’ll keep in touch.

What were the visual and emotional cues that made you decide to press the shutter at that exact split-second?
I noticed John getting swarmed by the police. As he went down, he managed to get into a prone position…instead of sprawling out flat as most seem to do, to me…while the officers piled on top of him. I moved around to face him, thinking he might look up — and he did. We saw each other. Click. He prepared to throw his camera — click — then actually tossed it — click — and then tossed his phone — click.

In your view, what story does this image tell about press freedom, civil tension, and the role of photojournalism?
John had a remarkable instinct to protect his images, and I really applaud him for that. People say/joke that he was saving his camera; he was saving his images. In all likelihood, the police would have confiscated his camera and phone and deleted everything. History keeps teaching us the same lesson: bearing witness and creating a record of events is essential to the survival and healthy growth of any democracy — through good and bad times. John gets that and had the wherewithal to respond accordingly.

What information can you share for anyone setting out to photograph these highly charged moments?
Be smart and be safe, please — for your sake and everyone else’s. Educate yourself. There are some amazing, even legendary, photographers and journalists working in Minneapolis right now (Guttenfelder, Haviv, Guzy, Moore, Decker, Rudoff, Davis, Fedorova, Allen-DuPraw, Farina Lott, Gray, just to name a few) and across the globe.
Learn from them. A lot of them are generous with their experience and wisdom if you politely reach out. From what I’ve seen, none of them are careless; they’re calculated. Emulate them.
Learn your gear. Practice using it. Have the right PPE. In these particular type situations (like Whippple), I wear a vest all the time that’s clearly marked PRESS and keep a tactical helmet, gas mask, and saline eye wash with me. It might be overkill, but it makes me feel safer, which keeps me relaxed and gives me the confidence to put myself in the situations where I can make the images I want to make and stay clear headed and calm. We all operate differently, so you need to find what works for you. …I mean, while I’m out in body armor, others are out in pants and t-shirts. We both make images. Do you.

As a parent, how has witnessing and documenting such an intense moment influenced how you think about your work and the example you want to set for children and younger photographers?
My children worry about my safety and (still) miss me when I’m away, and I take that seriously. I was talking with my son about it just the other night.

If this were my community, my family, or my friends, I’d want people to be there — observing, recording, bearing witness, helping. Out there, the lines between press and everyone else blur; it’s a community, all trying to document what’s in front of it —the good and the bad. John went right back out in the field after everything he went through, camera in hand. That kind of commitment says something and, as far as examples go, is one I will try to follow.

For my kiddos and for younger photographers — know that this community’s work matters. Not because it might put you in the frame, but because it preserves the story for everyone else and gives us something on which to look back and learn from or celebrate…and allow for better decisions in the future. 

Seeing a respected photojournalist like Ron Haviv engage with and share your image — someone with deep experience documenting conflict and human rights issues — what does that kind of recognition from a senior figure in the field mean to you personally and for your career as a photographer?
It blows my mind.  Fun short story:  The first time I met Mr. Haviv was on the Capitol grounds in D.C. during a protest — which one exactly is escaping me at the moment — maybe four years ago. I spotted him in the crowd, introduced myself and asked if I could follow him around. He sort of shrugged at me, which I just took as a ‘yes’. I tagged along for maybe forty-five minutes, thanked him, he gave me his email, and we went our separate ways.

Since then I’ve run into him maybe a half-dozen times at different events in different places. The most recent being just outside of Chicago at the Broadview detention facility. I always say hello, and he’s always cordial. Having Mr. Haviv recognize my work is an honor, and, again, I’m humbled by it. As for my career as a photographer, I’m just going to keep showing up and working at it.

Now that this image is being discussed widely and even called one of the defining photos of the year, how does that resonate with you?
I’m humbled by the overwhelming, positive response this image is getting. Truly. That, in its own right, is reward enough. Thank you to everyone.