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.

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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.

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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

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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.

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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