The Art of the Personal Project: Clemens Ascher

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:  Clemens Ascher

“A Modernist Lunch break “

In “A Modernist Lunch break “ I show business people eating their lunches on the go.

Therefor I’ve created abstract spatial compositions, populated by surreal figures – like marionettes on a theatrical stage.

With a certain ironic elevation I explore the relation between past visions of a modernist future and contemporary sociological phenomena – People feeling free within a very limited spectrum of acceptable opinions and generated desires, for which to be satisfied they have to function within the system.

As a recurring topic of all my personal works I continue to explore the subliminal effect of colours and some of the most relevant and distressing topics of our times. Societal control through generated desires; alienation from nature and other uncomfortable contemporary truths build the superstructure of my surreal photography.

In my work process I builds stage like scenarios and populate them with surreal figures performing their everyday life. I often utilize a slightly exaggerated advertising aesthetics, contrasted with calm and detached minimalism. I’m combining various styles and elements from art history and our collective visual memory to form new contemporary statements.

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 @SuzanneSeaseInstagram

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 – Modern Huntsman: Tyler Sharp


Modern Huntsman

 

CEO and Editor-in-Chief: Tyler Sharp

Heidi: You’re a photographer, a writer and a CEO, how did all that braid together to launch this magazine?
Tyler: This may sound trite, but perhaps destiny and a bit of serendipity. I studied film and photography at USC, and in a random stroke of fate my first job out of college was in Tanzania working for a safari company. I went from Los Angeles to the middle of Africa and spent six months documenting fishing, Kilimanjaro trips and hunting. It changed my life completely. This led to that, I was whisked to over 35 countries in a few years, and exposed to a myriad of cultures, conservation issues and hunting traditions. I was photographing and writing about my adventures on the side, and eventually started to pitch to other magazines and brands, utilizing my access to remote locations as a way to get my foot in the door. It worked, and I was very fortunate to work with some great people over the years. But I was constantly frustrated by two main things regarding hunting: one, that hunters for the most part do a terrible job of communicating ethics and the majority role that hunting plays in conservation, and two, that many non-hunters are either not educated about this reality, or are mis-informed by false or sensationalized media. We started Modern Huntsman to bridge that communication gap, and have based a lot of the philosophy off the wisdom, beauty and respect for wildlife that I’ve been witness to, but is rarely highlighted. Our hope is to make the topic of hunting less taboo, and to showcase how it is still very much a part of the natural order. Then I lost a bet and got promoted to CEO. 

Your most recent theme was all about women (which is outstanding) how did that theme evolve?
From the very beginning, we’ve had women involved in this venture, and my dear friend Jillian Lukiwski (@thenoisyplume on IG) was actually the one who encouraged us to keep the more poetic “Huntsman” in the title, and to shirk any criticisms that we weren’t inclusive of both genders, in the same way that the word “human” refers to male and female. As we started to do research and collect more stories, it became very clear that not only was there a treasure trove of female creative talent in the hunting and conservation space, but that many of them were not being featured and celebrated the way they should be. So we decided to do an entire book about it, and rather than pretend like I know what the hell I’m talking about, I stepped aside and brought in four women editors to take the reins. What resulted was one of the most inspiring and rewarding experiences of my life, and to my knowledge is the first time it’s been done in this way for the genre. Feels like we barely scratched the surface with 272 pages, and while we could easily do another four books, we all feel proud of what we accomplished in showing a diverse range of women who hunt, fish, ranch and fight to save wild places. It’s really something special, whether you’re a hunter or not.  

Did you have any criticism from the female community?
Before we start on every issue, we lay out all of the possible pitfalls and potential criticisms, and do our best to be mindful and intentional as we move forward. We knew that people would say this was a “publicity stunt,” or it was “men talking about women,” and even that “there should be no division between men and women in hunting and that it was patronizing to focus entirely on female hunters.” Our amazing team of tenacious women shot it all down, and forged ahead bravely with what they felt needed to be said to engage readers from diverse backgrounds, and hopefully generate more interest, despite the fact that women are the fastest growing demographic within the hunting industry. Surprisingly, our biggest criticism came from women within the hunting industry itself, claiming that our cover choice was not “hardcore enough to represent them as hunters.” Again, this was a deliberate choice. Yes there are many women who are just as tough, if not more tough, then men. There are photos of them with blood and dirt on their faces and animals on their backs as they hike out of the backcountry. We wanted a cover that showcased a more graceful and feminine side – that you can be both a hunter and a mother, killer and nurturer, angler and gatherer. The Salmon Sisters from Alaska are a perfect representation of that, and Dawn Huemann’s photo of them is so iconically idyllic, we knew right away that it was the cover. Being that our goal is to engage with non-hunters and hunters alike, we felt this image choice would help accomplish that, but no decision is without critics and this was no exception. 

How do you compensate your contributors?
I tried to base the model off everything that I didn’t like about working with other magazines: a lack of camaraderie or community, a simple exchange of services with little shelf life beyond the print release, and the sometimes “thank you, bye” tone of assignments. So in addition to pay, we do ongoing social promotion of our contributors work, website features of their portfolios, films or products, and pull them into podcasts, speaking events and newsletters. Every volume I also give some contributors a percentage of sales, which helps them feel a bit more invested in the cause, and incentivises them to help us promote the finished work. We also connect many of them with our brand partners to do additional commercial assignments. Modern Huntsman wouldn’t be anything without the contributors, so I do my best to advocate for them and provide as many opportunities as I can. We push our photographers and writers hard and demand excellence, but it’s a very involved, collaborative process that is rewarding for all of us in the end. I’d like to think that we’re doing things a little differently, and so far it seems to be appreciated with those we bring into the fold. 

How did you get started and how many issues do you publish annually?
While the idea for the brand and the book was in development for a year prior, we launched a Kickstarter in the fall of 2017. Our instinct that this was a much needed fresh take on hunting traditions was proven true, and we successfully raised about $110k to produce the first book. It took about four months to gather all of the content from our faithful contributors, and Volume One shipped in early 2018. We’ve done three additional books since then, and I say books because they are 250+ pages with no ads. So call it a biannual publication, and while I don’t foresee a way to publish more than two a year, we’re going to be launching some smaller collaborative projects this year in addition to a lot more digital content, podcasts, and educational events for those who want to learn more about food sourcing and conservation. 

How can photographers contribute?
While our next two books have been mostly commissioned, we’re always publishing stories on the site and across our social channels, and are always trying to diversify the voices and backgrounds that we feature. As much as possible, we try to present a wide array of perspectives that bring about constructive conversations. It’s not just hunters and anglers who contribute, and in my opinion, therein lies one of our strengths. Given the amount of unsolicited submissions we’ve been getting, we haven’t really opened a formal process for that yet, but hope to in the near future. For now the best channel is the submission link through our site, and typically story ideas that adhere to current or upcoming themes are the most relevant.


CEO and Editor-in-Chief, Tyler Sharp on assignment in Africa

The Daily Promo – Jonathon Kambouris

Jonathon Kambouris
IG: @the_mrjk

Who printed them?
Smart Press. I came across them randomly a year or two ago and found their prices to be very reasonable and the quality I felt was really great!

Who designed them?
I designed the mailer books myself. Being a photographer, I always want the mailers to be really focused on quality imagery and minimalist design. So, I kept the images big and let them speak for themselves.

Tell me about the images?
The majority of my work is focused on the beauty and cosmetic world. It is what I love to shoot the most and also what the majority of my work is. Twice a year I send out a “best of” beauty book and this body of work was from my Fall’19 book. Additionally, I sent out my first conceptual printed mailer. I constructed it in the same way as my beauty books and plan to send this out twice a year as well to build new connections with different clients and potential clients outside of the beauty and cosmetic world.

How many did you make?
I made 250, sent out around 200 and kept the remaining for leave-behinds at meetings and for my agency.

How many times a year do you send out promos?
I consistently send out a beauty/cosmetics book twice a year, in Spring and Fall. I have been doing this for a few years now and it is a great way to show clients and potential clients what I have been up to. Since I am mailing out just twice a year, I feel like it is really important to send out something that is more substantial than a single card of just an image or two. It needs to be something just a bit more special than that. Also, it is a great leave behind after meetings with an art director/creative. A sort of a “best of” portfolio that they get to keep after getting your larger portfolio reviewed. I think it is really important to keep up with a consistent schedule of how/when mailers are sent out to clients and potential clients as it is an effective way to keep new and fresh work out there and in front of the creatives looking to hire photographers.

Do you think printed promos are effective for marketing your work?
Short answer yes, but more importantly; I strongly feel that to be successful at marketing one needs to use many different platforms to get their work seen. Printed mailers are just one way of marketing that connects to create a complete marketing platform that needs to be balanced with other marketing methods and tools. Every client is different and will react differently, some love digital posts, instagram and email newsletters while others love receiving a physical piece in the mail. Often it is near impossible to know who will react to what method, but keeping a consistent schedule for marketing is key to making sure your new work as an artist and photographer is getting seen by as many people as possible. Often it is really about timing and catching the right person at that right time. It is all about consistency, keeping up with producing quality work, consistently marketing on several different platforms/methods and keeping up with it year after year.

This Week in Photography: “Going South-Big Sur”

 

I tracked Storm Dennis for a week.

Chiara had hit the UK and Northern Europe hard, right before I left for Amsterdam, and I was concerned.

Schiphol Airport had been interrupted, with many flights delayed, and there was flooding across England.

So yeah, I was worried.

Throw in the wall-to-wall scare coverage about the coronavirus outbreak, and I was more than worried.

I was crap-my-pants-frightened as I left my house for the big trip.

Fucking Storm Dennis was looming out there, a Bomb Cyclone. The European version of a hurricane.

Yet when I asked people about Dennis, after I’d traversed a third of the globe, actual people on the ground in Amsterdam, they chuckled, and looked at me funny.

“Are you serious,” asked Jimmy, as he checked me in at the brilliant Hotel Mai? (More on the hotel in an upcoming travel piece.)

“Yes, I’m serious,” I said. “I tracked the hurricane online, and it looks bad. Will the power go out? Will the window panes get blown in? Will the restaurants stay open?”

“Don’t worry,” said Jimmy. “We don’t get hurricanes. It won’t be a big deal at all. I promise.”

And of course he was right.

I got caught in one little squall, (which I’ll write about in a future piece,) but beyond that, it was walking weather the entire time I was in the Netherlands.

Which teaches us two things.

One, the shit we read on the internet and social media really does mess with our emotions. I was a wreck leaving town, (which is uncharacteristic,) yet I saw only a few face masks the entire time I was on the road, and no panic.

The streets of Amsterdam were thronged with people, even if the Chinese tourists were on lockdown at home.

Two, is that weather really needs to be felt on the ground, to be understood. You need to live weather, and know it by the way it interacts with your bones.

Growing up in New Jersey, I was trained to believe it would always be crappy out, 3-4 days a week. All year round. (Maybe you’d get a 5/2 split for a month of summer, if you were lucky.)

Here in Taos, I know we’re leaving late-winter and entering early-spring around now, so I should start getting 4-5 nice days a week. (Until April, which is always grumpy.)

When it’s too dry, two warm, or even too cold, after 15 years living here, I know it.

And it all makes me think of the Summer of 2016, when my family and I went on a big California road trip, from Taos up to Big Sur, and then back.

I’m sure I wrote about it then, as this is a long-running blog about my life and times, as much as it’s a weekly critique of a photo book, an art exhibition, or a restaurant somewhere cool.

So, going back in time, there we stood, on a hilltop in Big Sur, looking at the bone-dry-golden-hills.

(Those hills were drier than Donald Trump’s mouth, after he smokes a fat doobie and eats a jar of peanut butter.)

Jessie and I looked at the Big Sur landscape, and then we looked at the one way in, from the North, and the one way out from the South.

It was the same road.
Highway 1.

At that point, one of the most touristed pieces of asphalt anywhere in the world.

“It’s not good,” Jessie said. “One way in and one way out. All that dry grass. It’s like a tinderbox, waiting to go up. Not good.”

“No,” I agreed. “It’s not good. This place is ready to go up.”

And so it did, a few days later.

The fires were so bad that when the rains eventually came that winter, they denuded the hills of mud, and the bridges connecting Big Sur to the outside world were trashed.

Useless, for around a year.

The town was cut off, for all intents and purposes.

One could hike in, or maybe take a helicopter?

Did anyone use boats, as the deeply blue Pacific Ocean is rather hazardous in the area?

My wife’s family, who have a home there, had to abandon their place, taking what they could, as most people left quickly.

I’d say Big Sur was reduced to a ghost town, but given the insane tourist crowds, it probably reverted back to the lush-forest-paradise it was before humans came around to try and tame it anyway.

I always wondered what it looked like, during that pause, before the bridges were fixed, and HBO’s “Big Little Lies” was filmed in the region, making it even more touristy.

Now, we don’t have to wonder, as I just looked through “Going South Big Sur,” a book by Kirk Crippens, published by Schilt Publishing in Amsterdam.

It turned up in the mail last fall, and I’m glad I got around to checking it out today.

The truth is, it took me 24 hours to get home, in one stretch of travel, and I only took a couple of short cat-naps the entire time. So that travel-gut-punch, plus the serious jet lag, has put me down for the the past week.

This book, in its quiet elegance, is just right for my addled mind.

It shows a lot of empty places, with the formality that only a big camera can bring. (And having been on press myself last week, which I’ll write about soon, I was ogling these reproductions.)

At first, I admit, I was craving a tad more dynamism.

But as I turned the pages, one at a time, the reserved color/light palette, and the structured pictures began to seduce me with their quiet and their calm.

The portraits are great, and liven up the group overall.

I like the inclusion of selective captions at the end, because I was craving a spot in that cliff-side hot tub, and knowing it was shot at world-famous Esalen makes it that much juicer.

Whenever I’m most spent, the truth is, a photo book with a clear narrative and strong intentions, without too many essays, is always the best way to go.

(It’s one of my tricks, staying weekly for nearly nine years.)

This one fits the bill.

See you next week!

Bottom Line: Eerie, calm, quiet photos of a nearly abandoned Big Sur

To Purchase “Going South-Big Sur” click here 

If you’d like to submit a book for potential review, please email me directly at jonathanblaustein@gmail.com. We are interested in presenting books from as wide a range of perspectives as possible.

The Art of the Personal Project: Tom Hussey

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: Tom Hussey

It’s late and we’re looking for a Second Line Band to photograph with no luck

We are one block north of Congo Square, deep in the heart of New Orleans’ Treme district. We stop and ask a man, who introduces himself as Oswald, if there’s anywhere close by that has live music? He points across the street to a faded yellow building. Oswald says he’s pretty sure his son’s band is playing later — it’s 8:00pm Sunday night.

Drink, Eat, Dance

The lounge is one big room with a bar, pool table and a large painted dance floor. The band is setting up in the back. Our bartender tells us the lounge has been here since ‘79, three years before Katrina took the roof off. He says there’s a cash bar, free red beans and rice, the best live music in NOLA, and you better know what drink you like when you approach the bar.

Around 10:30 the bass line kicks in and the room begins to move. The band tonight is the Treme Funktet. There’s no play-list just old school New Orleans music mixed with brass band, funk and some mainstream jazz. The group leader is Corey Henry. Corey is Treme royalty. His Grandfather played at Preservation Hall. His Uncle is Benny Jones of the famed Treme Brass Band. And, his cousin, Ms. Leona, owns the lounge.

We ask about the band to find out more about their music. They’re known for a Treme born style of funk, based in the New Orleans Second Line tradition.  That doesn’t mean much until someone explains that “Second Line” is a four/one drumbeat — not on the beat or off.  The unique rhythm was picked up by Motown in the 1960’s and made famous by James Brown. The room is warm but the sound is shifting from hot to cool.

The sound bounces off the plywood ceiling, as the whole room seems to move to the bass line groove.  It’s after 11:00 and the band is just getting started. New Orleans Treme Funk is a part of life for this neighborhood.  The roots are Afro-Cuban, but the music is universal.

After Midnight

 It’s getting late but there’s no set time for when the band will quit. We pay our tab and exit into the humid night air making way for people that are just coming in. The Candle Light Lounge is the beating heart of the last live music in the Treme.  As we head back to the hotel, a quote I had read earlier in the day, by Ellis Marsalis seems dead on to me —

“In other places culture comes down from on high.  In New Orleans, it bubbles up from the street.”

 

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 @SuzanneSeaseInstagram

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 – Steve Peixotto: The Twilight Twirlers

 

Steve Peixotto

Heidi: Did you stage this bowling alley image, tell us how this photo came to be.
Steve: It seems like almost always; shoots are magical.  We work really hard to create the opportunity for chance to go the right direction and somehow it works.  Yes this image is staged, BUT there was no shortage of magic.

Do you grow up bowling?
I’ve been connected to bowling as long as I can remember. The couple in the photo was on a team in “The Twilight Twirlers”, the Tuesday night league my mom and dad bowled in for something like 20 years.  When my dad became ill my brother and I became fixtures in the league covering for dad when he couldn’t bowl.  Pete and Marie, when they travel, they bring their bowling balls and they bowl basically everywhere they go. I understand taking your passion with you but traveling for bowling always just sort of stood out to me as a little unexpected but rad at the same time.

The traveling bowlers concept marinated in my head for several years, but not necessarily as a photo, it was just something that I thought of.  I’m not sure how to explain it, but I get these thoughts that are almost like recurring dreams.  They evolve over time, then every once in a while, one will turn into a photograph. This one did.

I knew for sure that I would shoot it at Country Club Bowl in San Rafael, Ca. After all, it was our home field and it had all the perfect elements, the neon sign, the 60’s “inexpensive modern” architecture, a big parking lot, and I knew the owners so since it was a personal project I might be able to pay the location fee with a bottle of someone’s favorite spirit.  Pete and Marie were the obvious choice for talent, they had the right look and even better the photo really was about THEM.  The only problem was that they drive a minivan with no style.  So the hunt was on for a big old Caddy or Lincoln, something from the late 60’s – mid 70’s was preferable.

Where did you get the car?
I got the green light from bowling alley (miraculously they had just finished redoing all the neon on the sign), and Pete and Marie were on board so I sent emails to a few art department friends to see if anyone had a line on the car I needed for my shot.  Literally the next morning that Cadillac roll up my street, so of course I followed it.  The owner was super stoked to let us photograph the car he had just finished restoring.  His mom was the original owner.

What type of work have been doing lately? did it build from this most recent shot?
I don’t care if it’s a personal shoot or a big ad shoot, when you throw the right energy at it, you get magic.  “Bowlers” is on the long list of magical shoots. Since that bowlers shot, I have done several senior lifestyle shoots for a variety of clients ranging from pharmaceuticals to senior living communities and banking.  The first senior shoot I was hired for after the bowlers shoot was a direct result of having shared the bowlers shot, in fact, the client used the bowlers image in selling their concepts to the client.  It’s been a few years now and I’ve been shooting for that client 2-3 times a year.

 


Has your personal work ever translated into paid work?

Yes, about 10 years ago. An Art Producer that I used to work with a bunch loved a personal project I did which was portraits of people with wandering eyes.  Her agency (Cutwater) was pitching LensCrafters. They wanted to create a book of portraits of people doing different things with glasses I think the ta line was “What will you do with them.”  Jen Worth, the Art Producer presented my Wandering Eye series to the Creative Director, Joe Kayser.  He liked the work, subject matter / concept / style and he asked Jen if she could get me in to shoot each of the employees at the agency with glasses and create a treatment for the body of work that would make it stand out. They got the business and eventually hired me to shoot portraits which were used in all of the LensCrafters stores as in print ads, direct mail and web advertising.  My personal project led to helping the agency win new business which led to a fun portrait project used in a national campaign.

What advice would you give your younger self as a photographer?
I would commend my younger self for starting a list of creative ideas for photography and other media.  Then I would tell me to execute those ideas faster and more often, and most importantly I would tell me to make sure to share the results with the world regularly.  I’m telling my older self the same thing.

The Daily Promo – Peter Yang

Peter Yang

Who printed it?
Madison Print Solutions
Printed on with a 4 color process on an HD Indigo 12000

Who designed it?
David Calderley of Graphic Therapy

Tell me about the images?
Andy Samberg: This was shot quite a while back at Sun Studios in NY. It was one of my favorite spots and was sad to see when they closed. During the Andy shoot, I noticed this really cool spot architecturally and thought it would be funny to see Andy’s head peeking around the corner. It kinda reminds me of a moment in an old cartoon. It was actually a pretty tough shot to execute, to get his head that high and that horizontal. There’s a lot of core work and balancing going on behind the scenes. I also recall we had a photo assistant grabbing his belt so he wouldn’t fall over ledge. I could be mixing that up with the many times I’ve shot over a ledge with a hand on my belt. Safety first.

BTS: The graphic treatment on the singles was inspired by old Interview magazine covers. The band was a rad group of guys. You could tell they were exhausted from their travels and their schedules but they were so nice and super pro. On the group shot, I was laying on the ground with a silver tarp draped over me to bounce up light. I had purchased a dozen full apple boxes (I’m always looking for excuses to buy photo equipment) and surrounded myself with these boxes to help the band members stand further above camera. I kept the members walking in the circle, and stopping over once in a while for the still moment.

Maya Rudolph and Fred Armisen: Big ups to Meagan and Kendall Faeth for this awesome set build. Since it was editorial, they built four sets in the am while stills were lighting, and we shot in the afternoon. I don’t recommend it..heart attack city. Fred and Maya were a joy to work with. I’m a big fan of theirs so it was a thrill to work with them.

Jeff Goldblum: What more is there to say, awesome dude in front of a giant painting of himself? The painting is from The Life Aquatic and Jeff actually had this painting at his house. We had to put it to use.

Bill Hader: I wanted to create a Twilight Zone meets film noir kind of vibe where a lot of detail was lost in the shadows. We were able to shoot on the set of Barry just as they were wrapping up the season and there were all these cool corners and wall textures to play with. I’ve shot often with will Bill over the years and he’s super fun to work with. He’s so great with facial expressions and can say so much while doing so little.

Jordan Peele: In this concept, we were speaking to race and the fact that Jordan is biracial. I really wanted to find a subtle and clever approach to illustrate this. We ended up painting this gradation of colors on the cyc and painting Jordan on-site to match the background. I had my camera locked in place so the lines would match. It wasn’t the initial intention to show the edges of the paint but it looked so cool that I shot this wider version. Also, I have a shot of him giving me the bird with a Freddy Krueger glove but it didn’t make the cut.

Kristen Stewart: I did this shoot this in a fairly generic hotel room and this shot came from trying to find interesting spaces within that room. This was a small mirror at the base of a bar. I knew if Kristen would be game to squeeze in this tiny uncomfortable corner we’d get a cool shot. Luckily she was game and when I asked she was fine being all scrunched in there, she replied, I’m cool dude.

How many did you make?
1250

How many times a year do you send out promos?
Not often enough. Probably twice a decade.

Do you think printed promos are effective for marketing your work?
I’m not sure honestly. I hope so. I really enjoy the process of curating images and working with a designer.

This Week in Photography: Re-discovering Marcel Sternberger

 

“The very basis for the existence of human society has become corroded with brutality, doubt, cynicism and distortion of truth- and the end is not yet in sight.”

-Albert Einstein

 

I’m the last guy you’d expect to defend Donald Trump, right?

Of all the people you know, (if this counts as knowing me,) you’d never predict that I’d go the mat for old DJT, would you?

Except it happened last week, and I was as shocked as you are.

The conversation wasn’t even about politics, but a like-minded, similar friend, (liberal, artist, Jewish, male, ) kept comparing Trump to Hitler.

Hitler, Hitler, Hitler.

I let it go the first and second time, but at the third mention, I interjected.

“Please, forgive the interruption, and I mean no disrespect about what I’m about to say. You know I love you. And I don’t even feel this is controversial.

Trump is an awful person. I dislike him as much as you do. But Adolf Hitler killed what, 30 million people or something. He killed 6 million of our own.

He started Wars, and destroyed a Continent.

Donald Trump may be a gigantic asshole, but he hasn’t done that. He hasn’t killed 30 million people, or whatever the number was.”

“Right,” he retorted, “but what about the kid jails for immigrants? And barring Muslims from coming into the country?”

“Again,” I said, “awful. But not the same thing as the Holocaust.”

“Ok, fine,” my friend continued, “I’ll give you that. Trump has surprisingly little blood on his hands at this point, for how awful he is. It’s true.”

“That’s all I’m saying,” I said. “If the nicest compliment you can give someone is that at least they’re not a genocidal, Hitler-esque maniac, I don’t think that’s such an endorsement.”

“Then again,” he said, “there are a lot of people who’ll probably die from what Trump’s doing around Climate Change.”

“Ok,” I replied, “I’ll give you that. But we’ll have that conversation another time.”

And that’s where we’re at as I write this, on a Wednesday after Bernie Sanders took the New Hampshire primary. (Who saw Amy Klobuchar coming? Does it count that she’s now the stronger candidate of the 2 NYT picks?)

We’re publishing this a fair bit later, as I’m leaving for Amsterdam this week, in order to supervise production of my impending book, “Extinction Party.” (I’m writing ahead of time, so there will be far-more-current political news between now and then.)

Also, the trip will mean a fresh batch of travel stories, exhibition reviews, restaurant tips, and an inside scoop on what it’s like to go on press for a photo book.

(All that, though, is in the future.)

Today, I want to talk about the past.

I lead this column with an insanely relevant quote from one of the smartest men who ever lived, and then followed up with a discussion of a would-be tyrant, and the proper one to whom he is sometimes compared.

With our times, as with all times, we look to historical precedent to understand what’s happening around us.

Everyone does it.

But the sad (or maybe just realistic) truth is that just a handful of people alive today will make it into the history of the future, should humans stay alive long enough to have one.

Of the Billions walking and talking, so few will make enough of a mark to be woven into future history.

Is that such a big deal?

How many of us need that?

And do we not achieve that, in some small way, if our work makes it into book form? Paper doesn’t last forever, sure, but books on shelves outlast people all the time.

Even generations.

I’m about to make my first book, waited 10 years, and that seemed long.

What if a book is made, long after someone has died, and long after their chosen memory keeper passes on as well?

What if that book ends up on a shelf somewhere, after a book reviewer decides it isn’t his cup of tea, and then his wife rearranges the book shelves, and he takes another look years later, and realizes the book is just what he needs to see on a given day?

What then?

Well, the book would be “The Psychological Portrait: Marcel Sternbergers’s Revelations in Photography,” which showed up several years ago, written and edited by Jacob Loewentheil, published by Rizzoli.

I swear, when I began writing this, I really didn’t consider the connection to the “make people cry” column from a few weeks ago.

Sorry for swinging back to that, but this is a true life story.

Marcel Sternberger and his wife Ilse were European-Jewish refugees of the Holocaust who turned up on America’s shores in the late 30s.

Unlike many refugees, however, Mr Sternberger had originally come at the request of President Roosevelt, to make his portrait.

The husband and wife duo had come from Europe, where he had quickly become the official photographer of the Belgian Royal Family.

Over a twenty year career, (in which she was often a vital part of his practice,) he’d go on to photograph a chunk of people who have made it into the permanent history books:

FDR, Sigmund Freud, Jawarhalal Nehru and Indira Gandhi, George Bernard Shaw, Frida Kahlo and Diego Rivera, and the aforementioned Albert Einstein.

Quite the line-up, right? (It’s like Peak-Golden-State-Warriors, or the ’27 Yankees.)

Sadly, Marcel Sternbeger’s career was cut short when he was killed in a car crash in 1957, between New York and Mexico City, where the couple had moved.

He was on the verge of publishing a book about his methods, which broke sitters down in detail by personality type, and then described specific, psychological methods for making connection.

In combination with lighting tips, based on minimalistic technique, and a reliance on hand-held Leicas rather than big formal cameras, the book likely would have launched Sternberger to the next level.

But it was never published.

Ilse lived on, and in 1996 bequeathed the archive, hoping someone would make the book one day.

And then that day arrived, and when I saw the book, I chucked it into the maybe pile.

Until today.

Reading FDR’s humility in his own words, or hearing advice from Einstein, and knowing they lived through things far worse than we are, (for real,) made me feel better this morning.

Knowing I could use this platform to help share Marcel and Ilse’s story, all these years later, made me feel pretty good too.

And speaking of Einstein, (and relativity,) by the time you read this, I’ll be home from a trip I haven’t taken yet, and promise to share lots of crazy stories with you then.

Stories which haven’t happened yet?

Bottom Line: A Posthumous book of portraits by a forgotten master

To purchase “They Psychological Portrait” click here 

 

If you’d like to submit a book for potential review, please email me directly at jonathanblaustein@gmail.com. We are interested in presenting books from as wide a range of perspectives as possible.

The Art of the Personal Project: Kremer Johnson

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: Kremer Johnson

After waking up and piecing the previous evening together, this quartet of lifelong friends enjoys a fun filled winter day at the beach. Unaware the world around them has changed. Unaware their appearances will no longer be considered normal. For who’s perception of beauty is in the eye of the beholder or is it in the eye of society in a place we call, The Twilight Zone. ~ Based on the “Eye of the beholder” – season 2 episode 6. Released 11.11.1960 ~ Thank you to Oscar winner, Kevin Haney for the SFX Make up

 

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 @SuzanneSeaseInstagram

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 – The Rotarian: Ian Curcio

The Rotarian


Art Director: Jennifer Moody
Photographer:
Ian Curcio


Heidi: What is the Rotary?

Ian: Rotary is a global network of 1.2 million neighbors, friends, leaders, and problem-solvers who see a world where people unite and take action to create lasting change – across the globe, in our communities, and in ourselves. They have a magazine call The Rotarian

Who assigns this work to you?
I’ve been working with Rotarian Magazine art director Jennifer Moody on these assignments. I just finished another one photographing Sarah Parcak, the Space Archeologist, for the March issue.

Who was the subject and what was the event?
Kiran, a Type A British-born Sikh, is president of the International Storytelling Center in Jonesborough, TN. ISC is a nonprofit that has hosted its annual National Storytelling Festival for more than 35 years. With a population of 6000, the oldest town in Tennessee, now known as the Storytelling Capital of the World, brings in visitors from all over the world every year, doubling the population during the festival.

What direction did the magazine provide?
The creative direction was very specific; Jennifer wanted to make sure Kiran wore the same outfit and that we captured him with a variety of different expressions against white. With that direction, I started to explore Kiran’s personality.

Did you have to direct Kiran?
Kiran was a ball of energy from the very start. He was excited about the shoot and fully engaged. It didn’t take long to realize that I was interacting with was the same Kiran everyone interacts with. His personality doesn’t change based on his environment or the company he’s mixing with. He is unapologetically himself.

Where was this shot?
The shoot took place at The Storytelling Center Theatre. Afterward, we went across the street for lunch. Not much conversation there, though. Kiran knows everyone, and everyone wants a minute of his time.  It seems to me that the juxtaposition between the Type A individual and the Type B town is a perfect balance for Kiran.

 

The Daily Promo – Lauren Crew

Lauren Crew

Who printed it?
Newspaper Club – they are a specialty (and award winning) newspaper printer based out of the UK. They’ve been around for over 10 years and their small team of 12 are all art school graduates with expertise in print and publication design. Their goal in creating Newspaper Club was to make newspaper printing accessible for smaller businesses and artists.

Who designed it?
George McCalman and Ali Cameron of McCalmanCo Studio, a boutique design firm that works a lot with photographers and photography.
Website: https://www.mccalman.co/
Instagram: https://www.instagram.com/mccalmanco/

Tell me about the images?
George McCalman: “The philosophy behind the image selection and design was defined before the process started. I wanted to show Lauren a different perspective on her own work. I wanted her to see that aspirational part of her work was there in plain sight. Lauren placed a whole lot of faith in our studio. She said basically: “just do it”. The image selection process was based on selecting avatars, aspects of her cinematic and street-level photography, honest moments that looked like movie stills”

Lauren Crew: This was my first time working with someone other than myself on a promo so letting go of any control of the image selection and sequencing was equal parts terrifying and invigorating. The temptation was to freak out and dispute his selects but it was important for me to be mindful of myself in the process; where do I get in my own way? I took notes where I was holding on, what work I was attached to and why and that helped me let go and trust deeper in the process. My aim was to detach from my work in a way that would allow me to see the images through the edit of someone else’s gaze; someone who has been familiar with work my over the span of 10 or so years more or less. It has been important in my process to learn and do as much as I could with what I had, but at a certain point – you have to outsource your weaknesses so I was really excited to let George do his thing.

How many did you make?
I printed 100. I wanted to be more intentional with who was going to be receiving the promo – people who I have built relationships with as well as people with who I am looking to collaborate with in the near future rather than a huge distribution to a bunch of strangers.

How many times a year do you send out promos?
I am committed to my craft and my personal growth as an artist, therefore, it is important to send promo at least once a year to display that progression. People may not have a project for you at that exact moment that you mail your promo – but when you send aligned work annually, you are educating them on the maturation and evolution of your own visual voice and those are the creative seeds I like to plant in the relationships that I build.
A lil somethin’ somethin’ to remember me by ;)

Do you think printed promos are effective for marketing your work?
Absolutely. Early on in my career, I used to be a photo editor. The promos that stood out to me were printed well and had strong curation even if it was just a simple postcard. However, if you sent me a promo on flimsy paper with shitty inks, that showed me you that you didn’t care that much, so why would I care to hire you? I took that note from that experience and applied it to anything I was making for any sort of distribution, even when the budget was slim to none. If you let it, promo can be an extension of yourself. During my first portfolio review ever, there was a man who flipped through the pages of my book with a quickness and told me I was “not ready”. After that awkward encounter, my ego threw him a handmade zine I made the night before as I walked off. (I had been saving the zine for someone worthy of receiving it so I was reluctant to give it to him but clearly, I had something to prove.) He called me back over and said, “what is this? THIS is you. THIS is interesting. You should have just shown me this”. Ever since then, I have always made sure to make promo that excites me before anyone else. Fast forward to being on a panel in 2018 about inclusivity within the industry – I did my research in advance of who would be alongside me on that panel and learned about a woman named Jigisha Bouverat of Bouverat Collective. I saw that she was an artist rep (something I had long given up on) yet still brought a leave behind promo to plant a seed. After the panel, I handed it to her and introduced myself. A year later, we signed and she is now my rep. So yeah, making printed promos has been very effective within my experience.

This Week in Photography: Conversations on Conflict Photography

 

I’m keeping it super-short today.

(Like, for real.)

If all goes well, as you read this, I’ll be on my way to Amsterdam to supervise printing of my first book.

I’m a ball of nerves, if I’m being honest, but the upside is, I’ll have lots of new things to write about for you.

Between the global panic over the corona virus outbreak, and the fact that I’m flying into a bomb cyclone hurricane, (Storm Dennis,) I think you’ll allow me a rare quickie.

To balance the brevity, though, we’re going heavy.

Here’s the rub.

In the middle of #2019, well before I began doing book reviews again, NYU Professor Lauren Walsh, whom I’d interviewed for a story before, reached out to see if I’d be interested in seeing her upcoming book about conflict photography.

She long-form interviewed a host of the top names in photojournalism, including photographers like Nina Berman, Ben Lowy, Susan Meiselas and Shahidul Alam, and editors like Santiago Lyon and MaryAnne Golon.

(Top, top people.)

I told her I wasn’t reviewing books for a few months yet, and had almost never reviewed text-dominant books before, outside of a few rare exceptions.

Undaunted, Ms. Walsh sent the book, content to wait six months for a review, and then she followed up several times thereafter.

Finally, I took a look and tried to read it, but it didn’t grab me in the “right” way. I kept getting bogged down, perhaps because I’d interviewed several of the people before, and did these types of interviews myself, here, for years.

And the pictures are so hard to look at, this being a book about conflict journalism.

It was easier not to engage.

(And isn’t that just a metaphor for all of it.)

I wrote to Professor Walsh to apologize, and say, “Sorry, this one’s not for me.”

In reply she asked me to reconsider.

“Perhaps,” I said, “I’ve done it before,” and here we are.

“Conversations on Conflict Photography” by Lauren Walsh, was published last year by Bloomsbury. And when I took another look at it yesterday, I realized it was something worth showing you.

It’s just not what I first expected it to be.

You don’t have to read it cover to cover in one sitting.
It’s not meant for that.

Rather, I began to think of this book as a resource, to be sought out for knowledge for anyone learning the craft; a guidebook into a vital segment of the photo industry.

It’s crammed full of famous pictures, like Eddie Adams shot from Vietnam, the burning Twin Towers from Time Magazine, or Nina Berman’s Marine Wedding photo. (Which we showed here in 2011.)

I just needed to realize that because I’d read and written about these things before, that didn’t meant it wasn’t newsworthy or beneficial for many of you now, in 2020.

Given the subject matter, there will be a lot of photos of violence below. (Or its remnants.)

Be forewarned.

But just as I can reconsider whether a book is worthy of review, I can also wrap up quickly, and let the photos do the talking.

I think we all believe this kind of photography has a social value, bearing witness to suffering, for posterity.

But it also allows us to understand geo-politics on a local, human level.

Kudos for the job well done.

Bottom Line: Fascinating, dense resource book on conflict photography

To Purchase “Conversations on Conflict Photography” click here

 

If you’d like to submit a book for potential review, please email me directly at jonathanblaustein@gmail.com. We are interested in presenting books from as wide a range of perspectives as possible.

The Art of the Personal Project: Mead Norton

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:  Mead Norton

Sepak Takraw – The People’s Game

There’s a scene painted on a wall in the Temple of the Emerald Buddha where the god Manuman plays a game with 3 monkeys. The game is called Sepak Takraw, one of Asia’s most oldest and most popular sports. There are references to the game being played as far back as the 1500s. A cross between Hacky sack & volleyball, this timeless activity is the most widely played sport in Thailand. Sepak Takraw is simple; all that’s required is a ball, a net and an extraordinary amount of skill and athletic ability. It is today what is always has been, a game played by gods and by people.

As a child, I grew up playing soccer and when I didn’t have a soccer ball to play with, I spent hours playing what we called Hacky sack- where I would kick a cloth/knitted sac filled with beans around either by myself or with my friends. When I saw Sepak Takraw on a TV show where they were highlighting sports from around the world and I remember thinking that it was a wild sport.

Last year, when I had a chance to travel to Bangkok, Thailand, I decided to use the opportunity to explore the sport and the people who play it. Through the images I wanted to focus on the simplicity of the game- playing with the shapes of the court, net, ball and also the lack of equipment needed to play it- a lot of the players would play the game barefoot and at the same time highlight the athleticism of the players.

 

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 @SuzanneSeaseInstagram

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: The Group

Nick Nacca

David Zaitz

Dana Hursey

Ali Donzé

Tracy+David

The Group

Heidi: Why did you choose to form this?
The Group: It has become harder and harder for individual photographers to secure a book showing at advertising agencies. We’ve banded together a diverse group of photographers in order to efficiently meet with agencies where solo shooters might have more difficulty securing a show. Art producers and creatives have very limited time, so this is a way to meet several artists at once.

Does one of you act as the agent or is it a shared responsibility?
There is no agent. Each of us are independent photographers and we work together to build name recognition for the group, and to prepare for and plan our group showings. We do have a coordinator that does our outreach, books our showings and acts as the point person for agency communications. We don’t book jobs through the group or have a point person working in an agent’s capacity of estimating, negotiating, or marketing any of us individually – that’s up to each of us separately.

Does everyone travel or one photographer travels and brings all the books?
We feel it is important to meet with creatives directly. These days it is about building relationships and each member is committed to doing just that, bringing a personal touch and a true sense of artistic collaboration to everything we do. Consequently we all try to attend every showing.

Do you have to apply to join?
The Group really is a democratic collaborative. We as a group definitely vet each potential member to ensure that they are like minded and of a certain caliber so as to keep the quality of work at the highest level.

What are the requirements to be involved?
Each member must contribute in an equitable fashion, both financially as well as with tasks. Each member is forthcoming in their strengths and weaknesses and everyone is quick to take on duties that speak to their strengths.

Why this over an agent?

We’ve often heard that creatives like to meet the artist they will be working with. Artists are able to create a more personal connection to their work and also verbalize their process and workflow on a deeper level than an agent might. Also with group showings, individual creatives can get more personalized attention while reviewing a portfolio, than with a single agent showing multiple books.

 

The Daily Promo – Danielle Paul

Danielle Paul

Who printed it?
The promo was printed by Newspaper Club. Their tabloid format has so many creative possibilities and I felt that the laid-back feel of a newspaper suited my work.

Who designed it?
As I am also a graphic designer, I was excited to take on the challenge of designing a piece for myself that represented both my design aesthetic and my photography. I wanted it to feel fun and approachable.

My experience of being a Photography Director in New York and Atlanta for seventeen years guided my goals for the promo: show Creatives my work and my ability to craft a visual story and also create a piece of work that might be pinned onto an inspiration board in a Creative’s office.

Tell me about the images?
The Wall Street Journal has been a client of mine for many years and several of these stories were commissioned by them. Frequently they send me to shoot for their Mansion section which combines interiors and lifestyle photography. I love the challenge of building a story from whatever I find when I arrive at the location, as there are no stylists involved.

The family and child photography was done for a small magazine here in South Carolina. I adore photographing children because they are so fun and imaginative. I usually give them some basic starting direction and then follow their lead. Ultimately, I’ve realized that they are way cooler than I am and it’s better to just let them do their thing!

How many did you make?
I’m just now making a concerted effort to broaden my client base, so I started with a small print run of 50 pieces. Newspaper Club makes it easy to go back and re-print as needed.

How many times a year do you send out promos?
This is my first time making an organized effort to edit, design and send out a promo. Although I have been shooting regularly, Greenville, South Carolina is a far step from being a hub for photography. After living in New York and Atlanta for so long, I felt out of the loop in a much smaller city and unsure how to proceed with marketing. Finally, I just decided to start with this first piece and decide where to go from there.

Do you think printed promos are effective for marketing your work?
Based on my experience as a Photo Director, I definitely think that printed pieces are an effective marketing tool. It’s true that we are deep in the digital age and online marketing and portfolios are efficient and effective, but at the end of the day, I think creative people will always appreciate holding a pretty printed piece in their hands. And if you’re lucky, maybe they will pin it on their inspiration board.

This Week in Photography: Reviewing “Next of Kin”

 

Quick question.
What’s the fastest way to make someone cry?

Easy answer: encourage them to think about their loved-ones dying.

Either in the present, (which is super-sad,) or deep into the indeterminate future, once they’ve grown old.

Imagine saying goodbye to your life-partner, in your 80’s, after decades together, and then living your final days alone?

Guaranteed waterworks.
Do you doubt me?

Consider the opening 2 minutes of “UP.”

How quickly did you cry?

Or what about that massive Google commercial during last weekend’s Super Bowl? My son and I were mostly skipping the ads on the DVR, briefly stopping at the ones that seemed intriguing, or were worth mocking.

(His criteria.)

We saw the Google ad in question featured an old man, interacting with an AI, which through smart-learning could begin to categorize his memories, via his digital footprint.

(Rough synopsis.)

He recalled his dead wife, in a tragic, breaking voice, and then they showed old photographs of their life together.

Good thing we were skipping quickly, or I would have cried for sure. Theo was of the opinion the ad was emotionally manipulative, and I had to agree with him.

Very often, memories need triggers, in order to dislodge from wherever it is in our deep-brains they reside, so they can flash back to the front of our consciousness. (Like going from the hard drive to RAM.)

We all know that smell can trigger us, or sound.
Who hasn’t gone back in time when they hear a certain song?

(Seriously, if you play “Don’t You Want Me,” by the Human League, I will regress to a 7 year old.)

And, of course, we have photographs.

If ever a process were invented to aid memory, it was the one cooked up by the collective geniuses who figured out how to chemically capture light. (Or is it genii?)

Those brilliant 19th Century bastards who gave us the medium we now treasure.

And what a time it is to be a photographer.

Sure, photography was adopted by the masses each time technology allowed it, but the IPhone/smartphone revolution has taken things to new levels.

So much so that the concept of photography as separate and apart from other things is beginning to seem quaint.

So much so that venerable photo institution PDN closed last week, and the Washington Post folded its photography newsletter, almost simultaneously.

The nature of photography has changed, and it’s now a living thing, a visual language, and even temporary, as much as it’s supposed to be a physical, permanent record of what really was.

(Frozen light particles that bounced off of real things in the real world.)

Now, we photograph our parking space at the airport, or the information on a flyer we want to remember for a day, or a selfie because the light was good, but we’re never going to look at it again.

Digital photos, the lingua franca of our time, are not designed to be archived forever, like a contact sheet in 1983.

(Or 1883, for that matter.)

But objects, real physical things in the actual world, do retain resonance.

T-shirts can smell for a while, because of your cousin’s distinctive detergent. Boots and Barbies and Bibles can trigger memories too.

And of course books are also well-suited to capturing the spirt of the dead.

In this case, I’m thinking of “Next of Kin,” a recently published set of photobooks that turned up in the mail in late #2019, from Inbal Abergil, published by Daylight.

The covers, in blue and red, are marked Part I and Part II, and the first book has little text beyond a dedication and section breakers.

From the get-go, we see only one word, (a name,) printed sideways, but after one or two sections, you suspect you’re looking at the artifacts of dead soldiers.

I wasn’t certain until the third section, when we see a full storage unit stuffed with life-remnants, but the second section features some heavy-duty storage objects, so the hints are there quickly.

All the text beyond those soldier names is saved for Part II, which is a decision I understand. It says, this is not one object, but two, conjoined by the elastic band, and therefore, the viewing experience will be guided.

That is seemingly the main purpose of Part II, using words to house stories and memories from Gold Star families, the people who suffered the loss of a loved one.

To keep things intriguing, I think, the book opens with a historical death, from WWII, but of course most of the stories are modern, from Iraq or Afghanistan.

Most of the wounds are fresh.

The pictures are gracefully shot, and unlike that Super Bowl Commercial, are respectful with their handling of emotion. They’re sad, for sure, but not dripping.

(You can’t hear the strings in the score, if you know what I’m saying.)

Perhaps it’s a quibble, but I’d say that four commissioned essays, at the end of Part II, are a bit much. None are too long, and leading with the always-intelligent Fred Ritchin is a good idea, but given how many books I see, I think two contextual essays is plenty, maybe three if you’re being generous.

(Especially with all the other text.)

Early on, I asked myself why the artist was telling these stories, and if she mentioned her ethnicity when she originally reached out, I’d forgotten, as her name suggests she could be from many places.

Turns out, Inbal Abergil is Israeli, was a solder herself, and wanted to understand grief and loss in American culture.

This was a smart, elegiac, thoughtful way to explore the subject matter. And I hope all those families felt a measure of peace, after seeing their fallen warriors memorialized in such a classy way.

Bottom Line: Sad, graceful look at the aftermath of soldier’s deaths

To purchase “Next of Kin” click here 

 

If you’d like to submit a book for potential review, please email me directly at jonathanblaustein@gmail.com. We are interested in presenting books from as wide a range of perspectives as possible.

The Art of the Personal Project: Bil Zelman

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: Bil Zelman

“And Here We Are- Stories From the Sixth Extinction” examines the current condition of our rapidly changing landscape, the punishing impacts of invasive species, the accelerated rate of extinctions and the fragile places where man and nature collide.

I present this work as evidence. Light and sound pollution, fences, roadways, water diversions, terraforming, agriculture, temperature rise, deforestation, globalization vectors in the movement of goods, newly introduced resource competition by invasive species, and innumerable other recent changes have made much of our planet unrecognizable to the existing instincts and genetic memory of countless species.

Shooting at nighttime visually isolates my subjects from their environment and allows me to illustrate the distress on an individual life sans all of the sunsets and mood lighting we often associate with nature photography. The darkness that surrounds my subjects is also analogous to the lack of familiarity and inability for organisms to recognize and adapt to the new world around them.

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 @SuzanneSeaseInstagram

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: Chris Arnade


Dignity

Photographer: Chris Arnade


Heidi: Tell us why you choose to shoot digital despite having a penchant for film?
Chris: Like many photographers I prefer the look of film. It is what I grew up with and how I learned, so I transitioned to digital late and without a lot of love. Yet for what I ended up doing, taking pictures of people struggling, it ended up being necessary. Digital allowed me to immedietly show people their pictures, and should they not like them, allowed me to delete them. Few of the people I photograph ever have any control over how they are seen or viewed. Allowing them to look at my pictures of them, and then delete the ones they don’t like, gave them a little bit more control over the process.

You had an early interest in cameras, then it halted, what reignited your interest?
I stopped taking pictures when it became hard to get film developed (2000-ish?). Until then I kept a few old fully manual cameras around, each with a different type of film in them, and would shoot whatever interested me.When it became hard to get the film developed as the industry transitioned to digital, I just kinda gave up. Also it was nice (as any photographer who has quit for awhile will tell you) to not feel pressure to “capture the moment” That changed when I started going on longer walks into areas I had not been before. I had always spent my free time going on very very long walks (20 miles sometimes) through NYC, but mostly it was Manhattan. Around 2006 I started walking more in Brooklyn, Queens, and what I saw there, and the people I met and the stories they told, got me interested in taking pictures again. Initially it was just a cheap point and shoot digital, but eventually I got so into it that I bought a high end 35MM camera

How did you come up with front row/ back row? or what that already a term?
I came up with that term after roughly four years of documenting frustrated communities. Initially that meant spending time in South Bronx & Queens & poor other mostly urban neighborhoods in the North East (Bridgeport CT, Providence RI, etc). Eventually I included poor rural communities in Ohio, West Virginia, and Texas. What I realized was despite the differences, despites some being rural, some urban, some mostly African-american or Hispanic, or White, all had many things in common.  Not just physical things, but in the challenges the residents faced, and how they responded, and how they viewed the world. Also, almost all of these communities where filled with people who hadn’t gotten a lot of education beyond High School. That was very different from the communities I had spent the prior twenty five years of my life in, and where my family lived. Those communities, while spread all over the country, were similar in that almost everyone had an advanced education. The split I was seeing in the country was as much, if not  more, about education than anything else.

How does your previous Wall Street Job of analysis work transcend into this visual analysis and does one inform the other?
While I am proud my book uses no statistics, which can only dehumanize the problem, I did spend a lot of time looking at maps, statistics, and data when I chose where do go. I wanted to give a realistic and balanced look at poverty in America, so I went to places that in aggregate reflected the statistics on poverty. By race, geography, and community size. In that sense, my prior Wall Street work was useful. Mostly however, this project was about unlearning so much I had learned on Wall Street. How to look beyond those statistics to see the individuals impacted.

Describe your drift from the trading floor to taking photos only, what changed within you?
I wish I had a simple answer to this, but I just don’t.  As my career on Wall Street progressed I became more and more frustrated with it and how we thought, and found my interest drifting towards other things, like my hobbies (photography & walking) and my family. I stopped spending the extra weekend in the office and spent that time going on extra long walks, or small trips with the family. It is those walks, ones that had no real point beyond seeing, talking, and photographing people, that I realized I was the happiest. Work, which I once enjoyed, became more and more a chore, and I focused less and less on

What has the past few years taught you about yourself?
I hope humility. Many of us in the front row feel we have all the answers, and one of the things I tried to express in my book is we probably don’t. Which is why I didn’t include any solutions in the book. I realize I have a long way though before I can really claim to have learned true humility.

What would you tell your younger self?
Don’t listen so much to gatekeepers. Those people in industries (Photography, journalism, business) who try and define what and how something can be done. There is less gatekeeping in things like Physics or Math, but they are there also. Be more confident when you think the status quo is wrong.

How difficult was it to arrive in a neighborhood with no camera and just be, try to fit in? and what myth or misconception revealed itself?
For me it has never really been a problem. My general rule is be confident without being arrogant. Don’t cause problems. You are a visitor and that means respecting how things are done, and to do that you have to figure out first how things are done. That means watching and listening, not questioning and rocking the boat. I realize being a kinda large white guy makes it easier for me. I think the biggest myth is it is hard to get people to talk. Often it is the opposite. It is hard to get them to stop talking!

Why is the backrow easier or different from the front row since you vacillate between both?  you said at one point on our call the back row was less measured and simpler in a way
I think there is more forgiveness for failure, or for sins, or for mistakes. Partly this is a necessity. Most people in the very back row have had a life filled with problems, and have to be more forgiving of the mistakes of others. There is an understanding that life is tough and most people do their best to survive it. I also find that friendships and personal dealings feel more genuine, and less about seeing what someone else can do for you.

How does this freedom of toggling affect you? or does it make being in the row tolerable because you can leave it?
It is confusing and frustrating. I am firmly a member of the front row, there is no denying that. Most of my best friends are front row, and I enjoy their company. I also like much of what the front row likes. I love academics, I love reading obscure academic books. But I also don’t feel I fit in anymore, because I don’t necessarily share the values I used to have. I don’t fit in with the back row either, simply because that isn’t who I am anymore, despite having grown up surrounded by it. So it is frustrating

Why did you stop working and start taking photographs?
I started taking pictures again, more seriously, around 2009 and eventually left my full time banking job mid 2012

Tell us about your next project and how you chose those locations?
I have two projects in mind. One is a continuation of the Dignity project, but with more in depth interviews and less of my voice. Over the last seven years I have briefly visited places that stay in my mind, that I can’t shake. I want to go back to those places and spend two weeks in each, talking to whoever.

The other project is on global slums. I spent a month recently in Jakarta, just walking around the poorer parts of the town, without a camera. Roughly 1/5 of the world lives in these ad hock self organized poor neighborhoods (slums, or barrios, or whatever derisive term), in mega-cities we never really talk about. Like Calcutta, or La Paz, or Jakarta, or Dhakka, or so many others