For Me Shooting Still Images And Motion Simultaneously Changes Everything

Guest post by Scott Pommier

Until recently I had no interest in the convergence of stills and motion. I bought a Canon 5d mark II well after the surge of photographer-made videos, and owned that camera for more than a year before I switched it to video mode. That was at the urging of my agent who had been telling me that it was becoming important to have some examples of moving-image to show clients. I shot one crummy video and went back to using my 35mm film SLR. I’d heard that photographers of the future would be shooting with magical hybrid cameras, but it didn’t seem relevant to my process (my camera of choice when shooting a portrait or a fashion story is still a Pentax 67). I knew that some photographers had been extracting stills from RED footage, but that was all purely academic, something that the Steven Kliens of the world were doing that made little sense for the way that I worked.
 
November of last year a friend let me know that RED was selling off their old Red One cameras at shockingly affordable price. These were cameras that company had taken as traded-in, and they’d been outfitted with a new sensor. Bigger and heavier than RED’s current models but fully capable of shooting a Hollywood feature. It seemed like an amazing opportunity and without nearly enough thought, I launched into a whole new dimension of my career. It’s now been a year since my first small moving-image production, and looking back it’s amazing to see how my mindset and how my way of working has changed. I thought I would share my understanding of what the latest breakthrough in cameras means for me.
 
I was looking to upgrade to a newer cinema camera, having outgrown the Red One. RED had recently announced an entirely new sensor. Current owners of the RED Epic could have their camera-bodies upgraded with the new 6k Dragon sensor (The Dragon camera is also available new, but, well, it’s complicated.

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RED has sort of tiered approach to ownership, which is a topic for another day.) I bought a camera from a guy who was already waiting in the upgrade line, he had quite a good spot as it turned out. Overnight I went from being 15-years behind the times to using a camera that only a handful of people in the world had access to.
 
Red has been claiming that their cameras were capable of producing a usable still image for some time now, and to be fair that was sorta’ true. With the best resources it was possible and there are Vogue covers to prove it, but, having pulled stills from both Red One and Epic cameras I have to say, the results were, maybe not underwhelming, but not exactly overwhelming either, maybe just whelming? But for anyone tempted to dismiss the latest hype about the Dragon camera as nothing more than the same predictable public relations blast, I will tell you, for me, this camera changes everything. The Dragon allows you to shoot still images and motion images simultaneously.
 
A few numbers, for the uninitiated: RED’s new Epic ‘Dragon’ is capable of producing 6k files. What that means is that each frame can be up to 19.4 megapixel or 6144 x 3160 which gives you a 20.48” x 10.53” image at 300dpi. The sensor boasts a 16.5 stop dynamic range.  Where the original Epic had a native ISO of 800, the Dragon performs well between 200 and 2000. Less impressive than the latest 35mm DSLRs but far more forgiving than current medium-format offerings (it is worth noting that DSLRs make use of ‘in-camera’ noise reduction, and which still results in significant loss of detail at high ISO settings.)
 
There are all kind of color-charts and controlled tests that plot one camera or film or digital back against another. I leave that kind of testing to people who are a good deal more thorough than I am. But after taking this thing out for a spin the difference was obvious. Shooting under the hot-noon sun yielded very similar results to print film, in terms of color rendering and contrast. There is also a sharp yet smooth quality to the images, like a high-resolution scan of medium-format film. In fact this ‘movie camera’ produces the best digital stills I’ve ever seen. I include in that list the Sony f55, the Arri Alexa, any and all DSLRs, Leica’s M9 and S2, The new Phase One back and even the Hasselblad that looks like a Ferrari, all of them. The Dragon is the first digital camera that has made me hopeful that I will be able to continue shooting images that match the look and feel of my current work even with the impending demise of film.
 
What does this all mean? Potentially it could mean a lot of things. One thing it could mean is that in many cases, photographers could be replaced. Talented DP’s who shoot day-in-day-out, use the sharpest lenses known to man and have a team of people to light a scene, they know how to take pictures, really good pictures. Now extracting those pictures is easier than ever, and the resolution of those pictures is greater than ever. Why bring in a photographer who’s going to disrupt the workflow when you could just reset, quickly change your shutterspeed/ISO (if that’s even necessary.) Imagine a 1st A.D. yelling out “Capturing for print! Okay, moving on.” Scary right?
 
Alternatively… say you’re hired to shoot stills but in addition to the stills you end up with broadcast-quality footage, footage that you could license to the client. Exciting right?
 
It’s what Homer Simpson might call a “crisi-tunity.” You can make of it what you will, but there’s every chance the world will change a little bit, for better or for worse, or perhaps for better and for worse.
 
Thrilled as I am with my new camera and all that it does, I will be the first to tell you that having your still camera wrapped up in a movie camera creates some difficulties. Here are a few things to consider:
 
Cost
Crisis: Expensive, buying the camera is just the start
 
Opportunity: Two cameras for the price of one.  As expensive as the Dragon is, when is the last time Canon or Nikon allowed you to swap out your sensor rather than simply selling you a new camera? Or offered a factory trade-in program? The fact is for a camera that shoots capital M Movies the Dragon comparatively cheap. Red has also kept the same form factor, despite criticisms (believe it or not) that the camera is too small. The advantage there is that accessories carry over between models, even after upgrades. There are also a number of third-party manufacturers such as Wooden Camera that make some very clever and affordable components.
 
Storage
Crisis: You’ll need lots of it, backed up even. See above.
 
Opportunity: N/A
 
Workflow
Crisis: If you like to chimp in the field (you know: shoot, look, shoot, look) it’s not nearly so quick to review footage, especially slow motion to double-check that you’ve got the shot.
 
Opportunity: When you’re editing you have the opportunity to find moments you hadn’t considered during capture. On slow-motion takes you’ll be able to pinpoint the exact timing you’re after. Also, programs like Premiere Pro 6 handle the native RAW files in a really interesting way, allowing your to review and edit the footage at a lower resolution, if you edit at say ¼ resolution, the footage is still sharp (HD sharp actually) but even a laptop is often able to play everything in real time. This is a huge leap forward from the old days of RED footage, the memory of which still haunts a lot of people who will tell you that the post workflow with RED cameras is prohibitively cumbersome. These are the people who thought that Elvis’ pelvic gyrations on the Ed Sullivan show were too obscene for the viewing public. Feel free to ignore these people.
 
Lenses
Crisis: Cinema lenses are expensive and heavy.
 
Opportunity: Interchangeable mounts allow you to use your ‘still’ lenses, also cinema lenses can be incredibly sharp. Also, when collimated the ‘witness marks’ (distance scale) are accurate, so you can measure to ensure focus, or set marks on the lens to track focus on moving subjects. Inferior to tracking autofocus in some ways, better in others.
 
Weight
Crisis: Heavy! Hand holdable, but flying with cinema gear is a drag. Lugging it around a set is a drag.
 
Opportunity: Solidly built, steadier than your 7d footage. The system is modular and can be configured in all kinds of ways, from a fairly portable one all the way to a Hollywood technocrane setup.
 
Learning Curve
Crisis: Lots to learn, from the gear to the workflow, to the jargon.
 
Opportunity: Lots of support to help you learn. Learning is fun. Mashing buttons is learning!
 
The Dragon is just the first of many cameras will further blur the line between still and motion capture. No matter how you feel about that, this is not the time stick your head in the sand, or to wait for the storm to pass, or to hope that the genie will go back in the bottle. Quite the opposite, which I guess means that, it’s time to emerge from the sand during a storm and unleash a genie? What I’m trying to say is that sooner or later this kind of technology will become commonplace, and you should think about what that will mean for how you work and how you market your talents.

Sample Images:

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How Should Clients React to Sexual Coercion Allegations Against Terry Richardson?

…clients aren’t talking at all.

GQ and Harper’s Bazaar, which are two of Richardson’s regular (and most frequent) editorial clients, according to the Jezebel list, didn’t respond to numerous phone calls and e-mails for comment. The Wall Street Journal magazine, which has hired Richardson for several celebrity shoots in recent months, said through spokesperson Arianna Imperato, “We’re going to decline to comment.”

Modeling agencies are also silent. Requests for comment from Wilhelmina, Next, and Muse went unanswered.

via PDNPulse » How Should Clients React to Sexual Coercion Allegations Against Terry Richardson?.

This Week In Photography Books: Anne Noble

by Jonathan Blaustein

Speaking of Australians, I re-watched “LA Confidential” the other day. Really great film. Noir through and through, but with California color and light. What more could you ask for? How about some serious Russell Crowe action.

What’s that you ask? Haven’t I mocked the faux-Aussie on at least one prior occasion? Yes. Yes I have. But in this film, as he broke into the living room of a global audience, the guy had charisma. He was hulking and visceral. A movie star in the making.

He parlayed that into “Gladiator” a few years later. I saw that one too, back when I still watched studio blockbusters. What was his famous line? “Are you not entertained?” Jon Stewart glommed onto that at some point, because it’s so good.

I could ask the same question here, but I won’t. Because that’s not my point today. Whether or not I’m trying to entertain you, this column is built upon a situation that never ends. I look at a book, and if it catches my fancy properly, I tell you about it. Year in, year out, that’s happened. Which means with every passing week, there’s less out there that I haven’t seen yet.

That’s the real question I want to ask. Can a photo book show me something I’ve never seen? If so, you can bet I’ll write about it, because then it might be something you haven’t seen either.

Honestly, I don’t know where I heard that Russell Crowe is actually from New Zealand. It’s true, though. He’s a Kiwi.

As is Anne Noble, the photographer responsible for “The Last Road,” a new book published by Clouds, in New Zealand. The photos were made during a frigid residency in Antarctica. Better her than me, I say.

This is one of those books that has really excellent writing, but you’ll be hard pressed to have the patience to read. The pictures are witty and new; thoughtful in a manner that suggests she didn’t approach her tenure with pre-conceived notions. Rather, I’d guess she actually investigated the place.

What’s so new? Well, the opening salvo of images was made of piss poles. The kind of poles that made Bill Murray exclaim “It’s in the hole” so intensely in “Caddyshack” are hereby employed as targets for streams of urination. (As opposed to streams of consciousness, in which I occasionally engage.)

Piss poles in a frozen forever? Pee targets, so you don’t get lost in the eternal snow? Awesome. As are the pictures of snow billowing in the air, set against snow and more snow. They’re called “White Noise,” in a shout out to Don DeLillo, which I also enjoyed.

There are some documentary-style pictures that are just OK, with the standout being the truck crate full of Halloween decorations. Later, we see a set of pictures called “Bitch in Slippers,” which I’m guessing is the nickname for the industrial machines that follow. All of which have nicknames of their own. It’s the kind of detail you only think of as strange when you come from somewhere else. (Anywhere else that’s habitable for humans.)

The names are mostly of women, but others are silly, like Basket Case, Wild Thang, and Shagnasty’s Nightmare. (Of which I’d rather know nothing. If Shagnasty lives there all the time, he can keep his suffocating nightmares to himself.)

Anyway, I like this book a lot. You might find piss poles in poor taste, or “Spool Stonehenge” as too cheeky for your liking. I thought it was downright refreshing.

Bottom Line: Antarctic book of things I’ve never seen before

To Purchase “The Last Road” Visit Photo-Eye

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

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

Art Producers Speak: Max Dworkin

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

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

This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.
This was a shot from a story I did on a farm to table restaurant at Stone Barn in upstate New York.
This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.
This is a portrait of Richard Kern I shot for Remember Paper magazine, he was one of the first photographer I assisted when I came to new york. I loved working with him and he was a big help along the way, learning from on set and talking with about making a living in photography.
This is a shot from an ongoing series called “anonymous”
This is a shot from an ongoing series called “anonymous”
Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.
Another shot from the same series, this wasn’t a project I started intentionally I ended up realizing I was drawn to these shots of people with their faces hidden in natural ways.
This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.
This is a shot from a vacation with a bunch of friends, I love having people around who are always up for adventure, I was fully out the passenger window on the hood going about 30 on tiny back roads, it was great.
This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.
This was from a personal project I worked on and pitched to Greenpointers where we would sneak into abandoned Brooklyn factories, construction sites, and new buildings going up around the neighborhood.
This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.
This was a detail shot from some commissioned work I did for Red Clouds Collective, I have been really into working with different artists and companies documenting the design, making, and finished product. I enjoy watching the process and figuring out how to best tell the story, what the strongest images will be and how it all comes together.
I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.
I used to shoot a lot of skateboarding and I still like to try and incorporate some of that action into my work, this was from an apparel look book I shot with some friends. I have started to notice that a lot of times work I shoot for myself will end up helping me out in work situations, I found this location while shooting the Abandoned Brooklyn series.
Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.
Traveling has always been really important to me and getting to go out on the road has been a dream come true, this was from a 3 month shoot for Visa where I got to travel all through the US and Canada. It was the first big job I ever got and its what allowed me to make the full transition from assisting to shooting full time.
This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.
This is a portrait of my friend Maggie, Im lucky to have friends who put up with me pulling them into situations and letting me shoot them.

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

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

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

I did have an experience early on at SVA during a portfolio review where I was asked very straight forward “what was it that I want to do”? It seems like a basic question that I would have already asked myself but being put on the spot and seriously considering it made me realize what I wanted most was to be able to work and support myself as a photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I try to see new and different art as much as possible. It can get daunting at times to be so involved in my own process of shooting editing and retouching, seeing other work helps to break it up.

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

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

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

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

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

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

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

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

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

In The Past A Formulaic Marketing Plan Would Work 9 Times Out Of 10

“In the past, if someone was talented you could put together a plan for them and if followed in a formulaic way, 9 times out of 10 it would work. Now it’s a little more unpredictable.” Patrick admits as we discuss how marketing is more important than ever. Luck and timing is much more of a factor now due to market saturation. “A great agent has to find smart and interesting ways of showing a photographer’s work and forge the right connections in the industry” says Patrick. Early on, however, a photographer is going to have to do this himself (or herself) before even trying to find an agent. Generally, a photographers’ agent will only sign a new artist who has an established client base. “The launching time to get photographers off the ground is so long now that photographers need to be able to sustain themselves, as well as the agency, during this period.  Being an agent is still one of the only jobs that works on spec and it may take years for the artist to start making real money.”

via ImageBrief Blog.

taking photographs changes the way we experience the world, but reviewing them can change the way we remember the experience

Henkel found “a photo-taking-impairment effect”—photographing the object led students to remember fewer objects and fewer details than those who simply observed the art. In a second study, she asked students to observe the objects and then to photograph them using the camera’s zoom. Instructing students to zoom in reversed the impairment effect, improving the memories of the photographers over those of the observers.

via A Thousand Words: Writing From Photographs : The New Yorker.

The Weekly Edit- The Hollywood Reporter

Screen shot 2014-03-24 at 8.43.47 PMPhotographer: Mary Rozzi

 

Screen shot 2014-03-24 at 8.48.43 PMPhotographer: David Needleman

 

Screen shot 2014-03-24 at 8.49.07 PMPhotographer: David Needleman

 

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Photographer: Mary Rozzi

 

Screen shot 2014-03-24 at 8.44.11 PMPhotographer: Blossom Berkofsky

 

Screen shot 2014-03-24 at 9.09.20 PMPhotographer: David Needleman

 

Screen shot 2014-03-24 at 8.47.30 PMPhotographer: Joe Pugliese

 

Click here for galleries and video of the issue.

The Hollywood Reporter

Creative Director: Shanti Marlar
Photography&Video Director: Jennifer Laski
Design Director:  Peter B. Cury
Deputy Photo Editor: Carrie Smith

Answers compiled by:
Photo/Video director: Jennifer Laski 
And Photo Editors/Producers:
Carrie Smith
Moira Haney
Audrey Landreth
Michelle Stark
Kayt Fitzmorris

Heidi: This portfolio is comprised of variety of photographers, and you had several different photo editors working on this. How far out did you have to start planning and since it’s so fluid how did you direct and unify this project?
THR: Being that we’re a weekly, shoots are generally last minute but with special issues, we usually have a little lead time. Thankfully, our Style Editor, Carol McColgin, is very organized. That said, our last shoot with Dakota & Elle Fanning and stylist Samantha McMillen was done 2 days prior to closing. We are accustomed to the hectic schedules of our subjects and their availability so turnaround on many shoots is insane. There often isn’t time to map out a grand plan, but as each shoot comes in all of the photo producers are able to discuss and collaborate on what is going to work best for the package. Having produced 400 photo shoots just last year, the photo department has a shorthand when it comes to a unifying aesthetic. It’s a total team here and we bounce ideas off of each other all the time.

What was the overall direction for the project, and where did the essence of the idea come from? 
This issue is a great opportunity to celebrate the behind the scenes ‘magic-makers’ who aren’t normally in the spotlight. Carol McColgin, comes up with her wish list of top stylists and books all of the talent. It’s great, because the talent is enthusiastic and grateful to participate simply to support their stylist. The stylists and their celebrity clients are usually good friends so its a fun collaboration from beginning to end. The general direction for this years package was beautiful portraits as usual but taken to another level with High fashion. It was fun to get the stylists out of their usual functional on-set uniform and glam them up to give them the star treatment usually reserved for their talent and to showcase them in a way that no other magazine does.

Was that cover image shot specific for the cover or was this an outtake?
Everything is a ‘cover try’at THR. In the end, the art always dictates what works best for cover. We shoot 2 looks with variations and then we see….. The beauty and sweet dynamic of the trio and the  buzz of Lupita at the time made it the obvious cover for us.

You have several different photographers in the portfolio, were they selected on their work alone or  did talent have a preference?
Fortunately people trust the work that we do at THR. With 50 original covers a year, people can see the kind of work that we continuously churn out. We find them saying to us “We trust you, we love what we see on The Hollywood Reporter covers..” A portfolio is a great opportunity to hire a balanced mix of our tried & true photographers with a few newer talents.

How important is video at THR  and what roles does it serve?
Video is vital to THR and a large part of what we do on a daily basis. Video is part of the complete experience now, no longer an afterthought. The content created on individual shoots is original and it allows our photos to come to life in a way that goes well beyond B-roll. Additionally, we have our successful Roundtable Series (which aired on PBS SoCal this past Oscar season) and a major video presence at various festivals and award shows with our THR video lounge.

You are a weekly, with a ton of shoots each week.  The title seems to be getting bigger all the time, which is rare for magazines these days.  And, now you’re working on Billboard too. How big is the team? Does Jennifer use a team of freelancers?
It’s kind of like being on a crazy train or roller coaster ride. Everyone we work with is with us on this  fast-paced locomotive and any photographers that come on the train with us,  go on the ride with us, and understand our deadlines. With the support of our Creative Director, Shanti Marlar, and her team, there is a definite collaboration between photo and art department which is extremely important. She is willing to take risks and we brave exciting ideas together. We are super busy managing two titles now. Its about having a team of people (staff and freelance) who truly trust each other and we can get the work done. There’s no time to micro-manage or second guess. Being budget conscious makes us more thoughtful about what we want and need to get. We don’t need to be overwhelmed by the do-dads of production. It’s liberating in a way that as it forces you to take simple, honest and beautiful portraits. We are excited about photography and luckily we have the opportunity to do it week after week.

Historical research—indeed, humanistic inquiry as a whole—is being undermined by the constant plugging of economic value as a measure of worth

And so @HistoryInPics makes me angry not for what it fails to do, but that it gets so many people to participate in it, including people who care about the same issues that I do. Attribution, citation, and accuracy are the basis of understanding history. @HistoryInPics might not care about those things, but I would like to think that you do. The next time you come across one of these pictures, ask yourself what it shows and what it doesn’t, and what message you’re conveying by spreading it.

via it’s history, not a viral feed | Wynken de Worde.

This Week In Photography Books: Trent Parke

by Jonathan Blaustein

I used to have an Aussie friend named Pappy. We met when I was still impressionable, and were the best of mates for nearly 15 years. He looked like a pirate and drank like a Marine, so I did too.

Having an Australian wingman is kind of like having a criminal for an accountant. You might feel proud of yourself, for putting one over on the powers that be, but in the end, it’s not likely to work out very well. Australia is a culture in which drinking, partying, fighting and meat-binging are the norm.

Think about that for a second. All cultures have their oddities. Like the French and their extra-marital affairs, or the Puritans with their hatred of dancing. That’s part of what makes a culture distinct, as we’ve discussed here previously.

But an entire country, nay, Continent, filled with the descendants of law-breakers, all of whom like to get wasted and crash motorcycles? Can you imagine? What would that look like?

I’m so glad you asked.

I’ve just put down “The Christmas Tree Bucket,” by the Australian photographer Trent Parke, so we have a good chance to peek in on things. The book was published by Steidl, which does make me wonder what the production meetings might have looked like. (Perhaps some pursed German lips at the sight of such class-less behavior?)

The title refers to the bucket kept around, presumably, to be grabbed by the next person to vomit on Christmas. At the very least, we do get one photo of the putative subject filled with vile goop. (Has anyone started a satirical Gwyneth Paltrow blog with that title yet? Vile goop?)

One can only imagine the subtitle, “Trent Parke’s Family Album” is a truthful moniker. In which case, the many excellent photos within give us an inkling of what life is like at that time of year. The dude in the Borat suit in front of the open swimming pool reminds that Christmas comes in summer Down Under, and that’s enough to make your head spin. (As opposed the the bed spins. Which I’m sure were in evidence here too.)

Meat on the grill, dead mice on the floorboards, screaming kids, oddly placed blow up dolls, denuded Christmas trees: it’s all here. The run of pictures where everyone’s sleeping was a particular favorite. Great rhythm.

There are a lot of photos in the book, and they all have that hipsterish-off-kilter vibe. The awkwardness of a record store clerk who knows so much about esoteric music, but can’t quite figure out how to ask a girl out. So what does he do? He downs a bottle of Jack Daniels and drives to her house, where he sits in the driveway, idling the car, and scaring the bejeezus out of her dad, who comes out with a shotgun after 45 minutes of wondering who the asshole is on his driveway.

Sorry. I got off topic. That doesn’t actually happen here. But if it did, I’m guessing the father wouldn’t wait 45 minutes to see what’s going on. He’d come out after 90 seconds, with a baseball bat, pull the dude out of his car, beat him senseless, and then ask what the hell he was doing there anyway. Goodonya.

Bottom Line: Absurd Aussie take on Christmas in summer

To Purchase “The Christmas Tree Bucket” Visit Photo-Eye

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

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

Do we want a tech world defined by compassionless jerks?

I’ve written before about the toxicity of the Silicon Valley/San Francisco cult of “disruption,” which has no empathy for the disrupted, and little place for any empathy at all. But my hackles were raised again by a BusinessWeek review of venture capitalist Ben Horowitz’s new book, which confirmed that Silicon Valley’s power brokers are passionately devoted to creating a society at war with itself.

via Why I Don’t Want My Daughter to Work in Silicon Valley | News & Opinion | PCMag.com.

Art Producers Speak: John Davis

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

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

Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.
Wesleyan Student for Wesleyan University Marketing Materials and still to be used in student profile video.
Baltimore Musician Katrina Ford of 4AD band Celebration.
Baltimore Musician Katrina Ford of 4AD band Celebration.
Tufts University for Marketing Materials.
Tufts University for Marketing Materials.
CEO of Mayorga Coffee for Inc. Magazine.
CEO of Mayorga Coffee for Inc. Magazine.
Runner for personal project.
Runner for personal project.
Junior Olympic Championships
Junior Olympic Championships
Junior Olympic Championships
Junior Olympic Championships
Student for University Alumni Magazine.
Student for University Alumni Magazine.
This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.
This is something we shot for online education company, 2U inc. for their Semester Online Ad Campaign.
This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.
This is from an image Library we shot for an East Coast Restaurant chain, The Green Turtle. They were trying to rebrand themselves as more than just a sports bar.
The Green Turtle
The Green Turtle
From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.
From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.
From a project, titled Anhinga, that I worked on with Baltimore based video production company, Shine Creative. It was part personal/test and part fashion spec for a Baltimore Vintage Clothing store. Images are in camera double exposures that combine our models with vintage clothing details.
From Anhinga

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

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

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

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Is this a trick question?

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

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

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

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

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

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

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

———–

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

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

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

 

The Daily Edit – Julia Fullerton-Batten: Blink

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Ikebana: Ikebana is commonly known as the Japanese art of flower arrangement and origami the art of folding paper. However, the Korean term for paper folding is ‘ikebana’. In Korea the spiritual aspect of ikebana is considered very important to its practitioners. Things in nature are appreciated. Koreans are inspired to identify with beauty in all art forms. In this image we see a two-fold use of ‘ikebana’, the paper folding and using the end product for decoration of a tree.

 

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Fish: Koreans love raw fish and raw shellfish. They are a staple component of the Korean diet, especially raw fish, ‘hweh’.

Forest:  In this scene the artist skilfully hijacks a hoarding hiding an industrial site that is artistically painted as a forest. Reflecting back to the past, the women are burdened with bundles of wood to fuel the fire at home.

 

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Ladder: Beset by invasions from neighbouring countries, including most recently by North Korea, their blood brothers to the north,  this image symbolises the resistance of the South Korean folk to these attacks.

Harvest: Like its neighbouring countries, Japan, China, and Indochina, Korea is also a tea-drinking country with a rich ceremonial tea culture. In this image Fullerton-Batten captures the impression of Hanbok-clad women harvesting tea in the middle of Seoul. In reality the tea plants are boxwood plants.

 

 

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Rickshaw: For many thousands of years Korea was a single, independent kingdom  and resisted many invasions. But the country was defeated by Japan in 1910 and occupied to the end of WW II in 1945. At the end of the war Korea was divided into two nations, south and North Korea along ideological lines. This image reflects back on the Japanese occupation with a Japanese ‘rickshaw’ being drawn by Korean bearers.

Rope: At the end of WWII Korea was split into two separate nations along ideological persuasions, South Korea and North Korea. Tensions built between the two countries. On June 25, 1950, North Korea invaded South Korea, starting a bloody war that lasted more than 3 years and involving more than 20 countries. The image ‘Rope’ symbolises this war and the continuing political struggles between the two nations in the form of a tug-of-war between the two participating countries.

Blink Magazine

Creative Director: and Founder: Aram Kim
Photographer: Julia Fullerton-Batten

Heidi: What drew you to Korea to create this body of work?
Julia: I was asked to exhibit work from several of my projects and host a ‘talk’ at the Dong Gang Photofestival, curated by Louise Clements and Joanne Junga Yang, title, UK PHOTOGRAPHY NOW: The Constructed View. The Festival is held at several venues in the city of ‘Yeongwol”. I try to organize a personal shoot whenever I am asked to travel somewhere specifically for an exhibition opening. In this instance I decided to extend my stay in Korea by  eight days and complete the planning of my project, as well do an unplanned visit to “Everland” for a shoot there, similar to one I had done in Tokyo on a similar visit several months prior.

Korea has fascinated me for a while now, with its history, and its long term unresolved tensions between North and South Korea. I therefore decided to use this opportunity to combine the Festival with a personal shoot in Seoul. I had quite some time in which to prepare my ideas for the project. This I finally decided would be an attempt to combine the traditions, culture and history of South Korea against the modern architecture of Seoul. I did a lot of research online and also liaised closely with people in Korea.

In the three months of preparation for this project did you work with any native Koreans that had cultural knowledge?
I worked very closely with a local Korean producer, a location finder, local stylists and hair and make-up artists. This cooperation also helped me with ideas for the shots. For one thing, although I had heard of the Hanbok traditional dress before, I had never actually seen it. Many of us in the West are aware of recent Korean history – the Korean war and the current political tensions between South and North Korea, but minor cultural details such as not using green paper for wrapping presents I found by searching on Google.

I also worked with Kim Aram, the editor and owner of the Korean ‘Blink’ Magazine. She helped me find the girls for the shoot by blogging about my visit to Korea on Facebook. We had many responses. Although I didn’t meet the girls until the day of the shoot, I had a lot of contact with them by email beforehand. The props that I used were sourced from prop houses in Korea, as I wanted to give a feel of authenticity.

I took my London assistant, John, with me to Korea as we work very well together and we were able to prepare many details of the shots ahead of time.

You had mentioned you arrived during monsoon season, how difficult was that for you personally and your equipment? 90% humidity seems quite high and yet the women look so cinematic and perfect. What were the obstacles in those conditions?
The date of the Festival was, of course long fixed, and it just happened that it took place in the middle of the Korean monsoon season so there as no way to avoid that at all. Before we flew to Seoul there were heavy rainstorms. I was told that 6 people had sadly been washed away by severe flooding along the river.

Upon arrival in Korea, my producer told me that some locations would be too dangerous to shoot at, and that I would have to rethink my ideas. This was worrying as I had each location, each model and each prop all mapped out in my head. However, I was very lucky as the weather changed and the dangerous areas were opened again by the authorities.  We just needed to go there and see if it was possible to shoot.

I feel now that a lucky star was following me during those intense 5 days of shooting. The rain seemed to hold off until the moment that I put my camera back in its case. On other occasions, we would get up at 4am and it was bucketing down with rain, and I prepared mentally to drop a shot or two. But again, upon reaching the location the weather had miraculously cleared and we could shoot in the dry after all.

The humidity was very tough. As neither John  nor I were used to it, the humidity was quite a challenge for us both. John suffered in particular as there was considerable physical effort involved in moving lighting from one location to another, and in setting up and changing power-sources when daylight changed.

The girls also suffered. They wore layer upon layer of material in their Hanbok dress. Fortunately, we had hired an air- conditioned bus for them to escape into and cool down. I also tried to prepare everything and then get them on to the set at the very last minute.

As you explained, the contrast of the austere backgrounds and Korean traditions is at the core of this work.
On your site  Images 1-8 PERSONAL section 3  it looks as though some were shot during your three month stay. How was your approach to these images different from the Korean traditions body of work? 

 

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I spent two days with my London assistant in a fascinating place called “EVERLAND” We were accompanied by a local assistant from Seoul, who helped to  translate and set up the lighting. Yong-sik Shin from Hasselblad also joined us as he wanted to see me on a shoot and he very kindly organised access to the location, as well as a loan of a Hasselblad camera.

“Everland” is a huge theme park in Yongin, Geyeonggi-do province. It is South Korea’s largest theme park, with about 6.6 million visitors annually. It is a truly spectacular place to visit, filled with fantasy buildings, thrill rides, fairground attractions, African safari bus rides, parades and festivals. I didn’t have enough time to see it all, so I concentrated mostly on one area, the “Caribbean Bay”. I approached this shoot in a totally different way from how I normally arrange a shoot – nothing was planned or organized, we just turned up and walked around (with permission of course!) with a suitcase full of lighting and approached visitors to photograph. It was very refreshing to be more carefree with the approach. This is probably the closest I will get to being a reportage photographer, except when I photograph my boys!

This Week In Photography Books: Linda Fregni Nagler

by Jonathan Blaustein

Have you ever seen “After Life,” the Japanese film by Hirokazu Koreeda? If not, you probably ought to slap it up on your Netflix queue. Or go to the video store, if such things still exist in your neck of the woods.

I saw it some time ago, and it has stuck with me ever since, as its premise bores down deep into your soul, like a groundhog. The idea is that we all get to choose one memory to re-live, forever, in the afterlife. Good movie, sure, but once you hear that concept, who wouldn’t begin to contemplate?

Now that my daughter is beyond the baby stage, there are far more opportunities to stare in wonder at her beauty, as the initial stress chemicals have mostly receded. My son’s a looker too, so I often find myself trying desperately to cherish the time, as it recedes from my grasp.

I often ask myself, might this be the moment?

We all know what I should be doing, right? I need to document the crap out of the next few years. Photos, videos, audio clips. You name it. That’s the done thing. Try to defeat time by selecting moments, culling them from the herd, and permanently enshrining them in binary code.

But I don’t do that as much as I should, because I secretly hope that if I pay enough attention, as it’s happening, I might have the chance to relive one of these brief periods of intense happiness. That blasted film really stuck.

This urge, or impulse, has existed at least since we’ve had cameras. And likely before.

Close your eyes, and you can almost see a bearded man with spectacles looming above you, entreating you to hold still. He smells like a mixture of sweat and tobacco, with a hint of peppery bacon. Then he disappears under a black curtain, and POOF, there is smoke everywhere. You begin to cry, and reach for your mother, who is conveniently beneath you, enveloped by a different black cloth.

What?

That’s the rub, when you look at “The Hidden Mother,” by Linda Fregni Nagler, a new book published by MACK, in conjunction with the Nouveau Musée National de Monaco. From what I could tell from the end notes, it might have also been the Italian pavilion at the Venice Biennale last year. (In case you were wondering.)

There is no text to set up the premise, except the title. They saved the essays, by Massimiliano Gioni and Geoffrey Batchen for the end. To contexualize what you just saw. But is it necessary?

I’d say no. Page after page gives us images of anonymous children, perched upon their hidden Moms. Ghosts, phantasms, KKK figures too stupid to know the proper sheet color, all those ideas pop into your head. But you always know what’s going on. The mothers are there to help the children hold still, as the exposures at the time were most certainly not 1/8000 of a second.

Will the book hold your attention? I can’t really say. It is fascinating and chilling at the same time. All those babies, gone forever. All those memories brought together by a futuristic stranger, so it can be called “Art.”

Is it? Undoubtedly. A compelling project too, if only for the manner in which it so clearly subverts the intentions of the long-dead shrouded sitters. All they wanted was a piece of paper to help them remember what their dear children looked like, when they were little.

I’ve got pictures of my own too. Don’t you worry. You do to, I’m sure. But the act itself, the desire to will something into a memory that will last a lifetime, is the part that makes us human. Because Elephants can’t operate a camera. Right?

Bottom Line: Very interesting archive, creepy and smart

To Purchase “The Hidden Mother” Visit Photo-Eye.

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

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

Art Producers Speak: Helen Cathcart

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

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

I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.
I chased this candy floss seller down Chowpatty beach like a madwoman. I was out there photographing for Mr. Todiwala’s Bombay Cookbook and this image made it onto the cover.
I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.
I have photographed backstage for Nicholas Oakwell Couture since his first show. He produces the most beautiful clothes. I love the crescendo that builds up backstage until the models walk out on the runway.
This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.
This shot was part of an Australian themed recipe shoot for House and Garden. I have a wonderful picture editor there and he has given me many opportunities in shooting a range of different things for the magazine.
This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.
This was an advertorial shot for John Lewis and commissioned by the Guardian. I love to make my images look painterly and was particularly pleased with this one.
Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.
Conde Nast Traveler US sent me to shoot this amazing hotel in the desert in Israel and my poor friend got roped into donning a swimsuit and posing for me.
I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.
I really like this shot of Derren Brown standing in front of a painting he has done of his father. I think it captures a moment which shows his personality, which is actually quite shy, and also that it showcases the fact that he is an amazing portrait painter which not a lot of people know him for.
This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.
This is one of my favourite recipe shots of Limbu Pani, which I shot back in London for the Mr. Todiwala Bombay Cook Book.
I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.
I absolutely fell in love with the Isle of Skye on this commission. This shot is of a deerstalker on the hunt for some venison.
I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.
I shot a lovely book this year which was a bit of a departure for me called ‘The House Gardener’. This was an interior shot from a great location house we used.
I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.
I got up at 4am to go out with Olivier Parpillon on his boat. It was for a feature on Bourget du Lac, a village with 4 Michelin starred restaurants. He supplies them all with Lavaret, a fish only found in that lake.
This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.
This was one of my favourite shots from a Cookbook I shot on recipes from the Amalfi Coast by the Caldesi’s. It was in fact my first of many cookbook’s, commissioned by Hardie Grant who I love working for.
This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!
This image was part of a shoot for a Corney and Barrow Christmas Catalogue. It was the first time I realized the feel I could get if I was shooting in near darkness!

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

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

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

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

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I have to say this can be quite difficult when you become busy and are shooting commissioned work all the time. For me I make sure to mix up the work I am doing which is why I shoot a lot of different things.

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

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

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

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

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

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

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

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

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