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.email@example.com
Anonymous Art Buyer: I nominate Brendan Meadows. I love the way his images show the drive and determination that young girls possess while still maintaining the light, fun spirit of youth. Fantastic work!
Broncolor had approached me about producing a shoot to help bring some attention the their lighting equipment. This was shot in Vancouver at Bryan Adams’s studio last spring.
Real Housewives of Vancouver Season II key art. A game changer for me here on the West coast.
My daughter back from Miami and having some professional make-up applied. This would later become the album cover for Fur Trade.
A personal studio still.
Publicity portrait for a friend turning the children’s book into a motion picture.
Album publicity for Last Gang Records. Zero photoshop here. C-Print images sent down to Chicago to be made into puzzles, then frozen in blocks of ice and reshot in their organic natural state. 8 months of work.
Personal body of work using the Spanish Civil war as inspiration, primarily the work of Robert Capa and the first real ‘media war’
Killing Season III publicity for AMC
Pilot publicity for CW network. My first big US job, and big deal for me and even bigger deal with Frank Ockenfels III shooting the hands portion in LA a few months later. Retouching done by John Crawford who brought all elements together. First billboard….stoked.
Publicity work for Lab Magazine, shot this before a show in Portland last fall on Type 55 Polaroid.
How many years have you been in business?
I’ve been in the industry now for just over a decade, but only started calling myself a photographer with conviction for the last four years.
Are you self-taught or photography school taught?
I held my first camera at the age of ten and my first Polaroid was of Lady Diana at Expo 86. I still have that picture. I got my feet wet scholastically at Ryerson University taking darkroom and theory classes. It wasn’t until a fortuitous opportunity came along at Westside Studio to ‘first’ under Chris Gordaneer that things really began to take shape. I did almost three years there under his wing really learning the business, production and direction first hand. After that I kept my training going and started assisting with Frank W. Ockenfells III, Nigel Parry, Andrew Eccles and Kevin Lynch.
Who was your greatest influence that inspired you to get into this business?
Frank (fwo3.com) has and continues to be a constant source of drive and inspiration. At the beginning I was all over the place and trying to weave in between different arenas to stay versatile and fresh. My book was everywhere and filled with music, portrait, advertising, fashion and personal work…a nightmare to get in front of an art director or potential client. Some of the best advice he gave me early on was remove myself from thinking I was going to change the market in any regard. This was in Toronto at the time and he told me to create a book that was clean and on brand, the rest would come, but don’t think by pushing your vision that the work will come your way.
This was also at a time when I was unsure of my place in the industry. There was no money in music, didn’t want to stray into the fashion, advertising wasn’t my biggest draw and felt somewhat lost as to the direction I should be heading. Staying close to a classic portrait foundation was essential and wanted to still work with actors and musicians who brought something personal to the table. Staying inside the entertainment industry was a perfect fit and now my primary drive for work and finding new clients.
How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think that should come naturally to any artist. Motivations are a huge catalyst for any creative endeavor. You wake up, get out of bed each day and push yourself with the only a reward being reached once the project/piece has fully been realized. Getting noticed is part of the territory that falls into the tasks column of this profession and can sometimes cloud efforts I find.
Do you find that some creatives love your work but the client holds you back?
Not at this point in my career. The biggest struggle I have with clients at present is primarily budgetary. They go through my book with big eyes and seem frustrated they cannot get this look for a quarter of the budget.
I got a call from an East coast record label this year and he said to me; ‘We hear you’re the guy to call when we want an amazing shoot with zero money.” Flattering and insulting at the same time. And yes I bust my ass for every production and have done so since the beginning…..some of that has crossed over from the start and I still look at every opportunity to be shooting as a gift. It’s very lucky to love what you do. Maybe it’s a Canadian thing because we’re all peppered with a little production, post-production, lighting and skill sets that we have had to earn along the journey to get into that professional realm. You’re getting the full combo package having me on set.
What are you doing to get your vision out to the buying audience?
Always looked at traditional means of exposure from the other side of the river bank. I could not really afford to get my work into annual submissions and thought staying original was a better means of getting noticed.
The first of which was an event I created and co-founded called Drawn to Develop. It worked directly with Street Kids International who supplied drawings from street kids around the world that I then allocated to the best Canadian photographers working at that time who had to render the drawing into a finished photographic piece that we auctioned off at a gala event in Toronto during the fall of 2008. It did 4 strong years and has raised over $140,000 for Street Kids International since its conception. That gained a ton of attention due the ambitious amount of work involved and curious nature of the project.
“Who are you exactly?” Got that a lot of that, but getting Floria Sigismondi to create an image from a drawing was worth every hang up.
From there I did a few curated shows; tried to stay relevant as best I could before moving out to Vancouver in the fall of 2010. Then I went back to square one on the ol’ rolodex and the phone went from ringing every once in a while to almost never.
Covet was started to make my presence known in Vancouver. It was also me throwing a wrench into a photographer’s inspiration to see what comes up. Bring 30 photographers to the mix who supply a subject and location that they themselves hold dear. At random each of us chose from the two groups and went out and created an original piece for the show. Did that two years in a row, got on the map and earned the attention of one of my biggest clients of my career.
Is there a formula for any of it? Not a chance. Everything I do inside the professional circuit is based upon working hard and knowing that there is someone younger and hungrier out there behind me.
What is your advice for those who are showing what they think the buyers want to see?
Eventually these efforts will run themselves short and just be in vain. Staying true to you audience and finding your stride is key. With the tireless dedication this craft demands it crucial to make your efforts worthwhile and garnish a return.
Would you plant a garden for your neighbors?
Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Constantly. My ambitious cup is always brimming over with ideas and creative ventures. Have been slowing down the project scopes as of late and asking myself more questions than just running out into the night with a burning spear, full of rum and generally running amok as I did in my 20’s. Trying to embrace a fully realized project from conception to hanging have become important lately, while still keeping content and intention at hand.
Having my commercial work grow into what I’m now showing now is starting to allow those questions relevance.
I’ve been failing upward for years and am really excited for the next couple of years.
How often are you shooting new work?
As often as possible.
I’m just now getting serious with all the extra work I shot this year and getting ready to rotate the portfolio, the website and putting together a small promo from some recent time in Japan.
Brendan Meadows is a photographer based in Vancouver, Canada.
He began his professional training at Westside Studio in Toronto. Today, after a decade of experience in advertising, publicity, editorial, music and portrait photography, Brendan has developed into a versatile professional, known for his ability to comfortably weave through many different arenas. His professional travels have taken him from the Swiss Alps, to the Arizona desert, to the high Arctic and the Caribbean, shooting everywhere from grand hotels to gritty slums.
The dominant thread in Brendan’s signature style is his strong interest in photographing people. He considers this focus to be his greatest strength and concentrates the bulk of his creative efforts towards creating images that celebrate all aspects of humanity. Brendan has produced pictures that brim with conviction, demonstrating a vision that is both raw and precise.
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.