Posts by: Suzanne Sease

The Art of the Personal Project: Ransom & Mitchell

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Ransom & Mitchell — the collaborative storytelling team of Digital Artist + Set / Prop maker Stacey Ransom and Director + Photographer Jason Mitchell.

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How long have you been shooting?
We’ve been working together with a focus on still production as a team for six years. Prior to that, our main focus was narrative film production. We both had been working in or near the industry for over 20 years.

Stacey started out art directing photoshoots while working in-house for major retail brands like Limited Stores and Columbia Sportswear. She then was the VP Design Director in charge of visual design and branding at the VIA San Francisco office. Soon after she transitioned behind the camera, to get back in touch with her roots as a set and prop maker for photos and film.

Jason was a broadcast journalist in the Navy for seven years before moving to San Francisco. There he began working in studio and field production for corporate clients which evolved into freelance commercial production as a cinematographer and director.

Are you self-taught or photography school taught?
Interestingly enough, Stacey majored in photography at the Bauhaus-focused Columbus College of Art and Design, but it was the set design and art direction that really captured her interest. Jason first studied acting at Carnegie Mellon University, then decided to jump behind the camera. He joined the Navy and went through their year-long journalism school that incorporated photography and motion production. After working as a Navy broadcast journalist that included four years in Japan, he came back to the States and finished a degree in Cinema at San Francisco State University.

With this particular project, what was your inspiration to shoot it?
We had been looking to create something that could take advantage of all of our skills, from photography to digital painting and compositing, to CGI. We also wanted to develop a body of work that lovingly recreated the once-common side show that was so filed with curious tales of mystery. It was wonderful to have so many different ideas to pick and choose from! Since many of the carny characters are infamously iconic, we were able put our own personal spin on the subjects and they were still very recognizable.

How many years have you been shooting this project before you decided to present it?
The initial release of this project was slated for a gallery show we had at Bash Contemporary in San Francisco in October of 2014. We shot the first series in May of 2014 and worked on the post production over the next few months. We approach all of our shoots in much the same way as we would produce a commercial shoot. In this case, we pulled together the right team of costume design, hair design and make-up artists to tackle the 10 shots of the various talent in two days (and we actually added on two other concepts to maximize our time). The post end was much more intensive, with each image requiring around 20 hours each to finish. Some images required a bit of CG and the gathering of other elements to be composited together.

The series has been received very well, and it has gone on to show at Scope Miami, The LA Art Show, and Vanilla Gallery in Tokyo. For the Vanilla show, we did another shoot in February of this year and finished two new images in the series, and we still have three more pieces from that shoot to release. One will be released in early fall 2015 with Loved to Death, the infamous shop of curiosity from the TV show “Oddities.” Two more will debut in a soon-to-be-announced gallery.

How long do you spend on a personal project before deciding if it is working?
We often will develop an idea anywhere between weeks and months until we feel that the concept is solid. In truth, we don’t move forward with any project until we feel it is 110% dialed in. We meticulously plan all of our shoots and treat them in many ways, the same way we treat a commercial job, often building treatments to communicate clearly with everyone on the project so very little is left to chance. By the time we move into production it becomes more of an execution with room for flexibility and collaboration.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
We try to satisfy both worlds whenever possible, or at the least, gather something for each. More and more, we’re finding that we tend to keep our portfolio pieces simpler in presentation, whereas our personal projects can become much more baroque and elaborate The artistic work is tremendously satisfying, and there are many, many roads we see that are worth exploring. The portfolio projects are great for really exercising our restraint, and challenge us to focus on the core concept of the image.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Instagram is our favorite outlet as we get to share so much of our art from works-in-progress, to on-set behind the scenes, to final pieces. We each have our own accounts (Stacey is @hld4ransom and @impureacts for Jason) where we share our individual processes, and we both use our artist account @ransom_mitchell to mostly focus on the finished work. These all feed into our Facebook and Twitter accounts, and occasionally Tumblr. Our recent expansion into international markets has us a little more focused on interacting on Twitter directly. We also participate in Behance, and we keep a few personal blogs such as http://www.fakebelieve.net that shares the Ransom & Mitchell process, http://jasonmitchell.org/blog/ where Jason shares his process and observations, and http://www.ransom-notes.net where Stacey writes about various artists and their work.

If so, has the work ever gone viral and possibly with great press?
We had one really evocative image called “It Will Be Ours,” http://art.ransommitchell.com/overview/1 of a young boy in a bare room watching TV with the room behind him consumed by an embodied Mother Nature. It was shared on Facebook a couple of days before we planned to released it for a gallery show — they had pulled it off of our website where we had parked it in preparation for our PR release. There was a sudden influx of hits — a quick Google image search showed us the breadcrumbs to find the first share. By the time we saw it, it had around 40 thousand likes and been shared thousands of times and was all over the place (mostly without attribution). We still find it here and there, and have thankfully seen an uptick in it leading back to us.

Jason’s personal nude series Dream Away http://jasonmitchell.org/dreamaway/ was just shown in May of 2015 at 111 Minna Gallery in San Francisco and was also a finalist for Critical Mass 2014. That series has been picked up by a number of international art and culture blogs as a result.

Have you printed your personal projects for your marketing to reach potential clients?
We love using our personal work for marketing as it can really show off how much we can flex our talents. And this work is always nice to send as a follow up to make a personal connection.

We created an art card box set of our bizarre “Die Familie” series which is sold through our art store. http://store.ransommitchell.com/product/die-familie-postcard-set Since it’s such an elaborate and unique set, it made a great impression on the select folks in the ad world who we sent it to as a gift. We find that sending unique art pieces that art Directors and Art Buyers can have for their own personal collection is a welcome way to reach out.

We’ve used “A Curious Thing” from our Undertow series http://art.ransommitchell.com/undertow/2 and “The Last Good Man” http://art.ransommitchell.com/artist-portraits/3 from our Artist Portrait series as postcard mailers. We then further our outreach by using the remaining postcards to increase our social media followers and fan mailing list. We simply ask followers to email us with their address and we send them an art postcard for free anywhere in the world. It’s amazing how the meager cost of postage creates incredible “share buzz” which in turn really increases our fan base.

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Ransom & Mitchell is the the creative team of director – photographer Jason Mitchell and digital artist – set and prop designer Stacey Ransom. Together they create highly-detailed and visually-lush photographic portraits and scenarios. By seamlessly weaving their photography, digital artistry, CG, and motion skills, their unique style blurs the lines of photography and illustration. http://www.ransommitchell.com

The results of this pairing have been selected for Lürzer’s Archive 200 Best Ad Photographers, twice for their 200 Best Digital Artists Worldwide, and included in the Photokina 2014 Best of CGI Gallery. Their clients include Young & Rubicam, DDB, DDB Remedy, Hub Strategy, Duncan/Channon, JVST, Virgin Records, KVP, Juxtapoz, Hi-Fructose, Decibel, Magnet, Apex, Kixeye, and The Oakland Museum of California.

Their fine art work draws upon the darker undercurrent that exists within all aspects of society. Described as pop-baroque, their art has exhibited worldwide at art fairs (Scope NY, Art Miami, LA Art Show) and galleries in cities including New York, San Francisco, Los Angeles, Miami, Seattle, Berlin, Tokyo, and Melbourne.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Christina Richards

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Christina Richards

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How long have you been shooting?
About 10 years

Are you self-taught or photography school taught?
I studied photography at the Savannah College of Art and Design.

With this particular project, what was your inspiration to shoot it?
As a kid I loved flipping through the family photo albums at my great-grandmother’s house. Her name was Georgena, everyone called her Ena. Ena also had a painting of a house on a green hill. She told me this was the house she was born in, at Lake Ainslie in Cape Breton, Nova Scotia. I loved hearing stories about the house, Ena was a great story teller. When I found out that the house was still there and was still owned by a family member I knew I had to go and see it for myself. Once I got to Cape Breton it was such an adventure to actually find the house, there was no address and no one had lived there for years. I had the painting, a picture, and a verbal description from my grandmother and her sister. We knew it was at Lake Ainsley but not much else. When we finally caught a glimpse of the house we drove as far as we could then hiked up the overgrown drive and there is was. Being inside was thrilling. It was a dream come true to finally be there.

How many years have you been shooting this project before you decided to present it?
The idea to photograph the house and the land that surrounds it was in my head for years. I was working as a photo assistant when I finally had the opportunity and the means to make the trip. I spent about a week there, visiting the house, exploring the beautiful island of Cape Breton and of course taking pictures. The house is no longer standing, but I would love to go back and see what has happened to the land.

How long do you spend on a personal project before deciding if it is working?
It really depends on the project and how excited I am about it. I really value the input of my peers and friends when I start a project. I’ve started many projects that don’t end up working but they hopefully lead to something else.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
For me shooting for the portfolio is a balancing act, I want it to feel like a personal project but also be marketable, fill a gap in the portfolio, strengthen my brand, etc. With personal work you are just working for yourself and it’s such a joy when it’s working and so discouraging when you can’t find inspiration or the images aren’t what you imagined they would be.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
No, I still can’t quite figure out the social media aspect. I’m working on it!

Have you printed your personal projects for your marketing to reach potential clients?
Not yet, but I’m working on a new promo piece and it’s possible some of these shots will make it on at lease one version.

Artist Statement
My great-grand mother, Ena was a wonderful storyteller. I loved to hear the stories of her life in Cape Breton, Nova Scotia. Her stories sparked a curiosity about family history and how it shaped my life and the lives of others. Discovering Ena’s childhood home was the beginning of a continued exploration of memory and family.

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Christina is an east coast native who calls California home.
She is fascinated by the fleeting, honest, and spontaneous moments of life. Her photography explores the themes of family, childhood, memory, and a sense of place and time. Christina spent her youth in New England and studied photography at the Savannah College and Design. After college she moved to NYC and finally to the bay area where she now lives with her husband and dogs. Christina loves exploring the wild and urban spaces that surround her. She often takes along one of her many film camera’s with the hope of finding magic in everyday life.
www.christinarichards.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 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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Peter Samuels

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Peter Samuels

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How long have you been shooting?
About 20 years.

Are you self-taught or photography school taught?
A bit of both, while I desperately wanted to attend Art Center in Pasadena, but couldn’t stomach the debt so after a bit of research, I discovered my local community college, Orange Coast College in Costa Mesa Ca offered a great commercial photography program with outstanding instructors. OCC provided the technical knowledge and assisting provided the real world street experience. After that, I found myself hungry for more conceptual art knowledge. For this I took extension classes at Cal State Fullerton and UCLA, whenever I heard about a teacher or topic that appealed to me, I went and took their class. I found this ‘piece meal’ approach to education to be fun and it taught me a lot about being resourceful.

With this particular project, what was your inspiration to shoot it?
I should preface the question by saying that I only began photographing animals about 5 years ago after I got a dog. Since then, animals have been evolving as the strongest body of my work with lots of press, accolades and a growing amount of fine art print sales. So finally at the start of this year, I called it and owned up to the animal genre. As someone whose prior focus was product, people and animals, deciding to specialize has been ironically liberating, allowing me to hone my skill set and continually strengthen my work. It’s interesting to note that featuring animals hasn’t deterred new and prior clients from sending me product and people work.

This personal project is a series of surreal animal portraits that I call fairy tale inspired that started with Stanley the donkey. I had just completed a dog and cat project and asked the animal trainer what other animals I could test with for a reasonable cost. I was wooed by the possibility of an orangutan, but, as the story goes, the donkey was what I could afford.. As it turned out, that budgetary concern was fortuitous as the image of Stanley resonated with me. I kept thinking to myself that he looked as if he just walked out of a fairy tale, and voila, the series was born!

The fairy tale narrative has been incredibly useful as a conceptual container, both when selecting an animal to photograph as well as during the post-production process. I’m enjoying the surreal and macabre look of the animals. The animals are real and live, but the studio environment and quintessential poses challenge the viewer to consider that.

Since photographing Stanley, I’ve been slowly building the series by sourcing animal owners, animal trainers and most recently a bird rescue center. An awesome little stop motion video of me photographing Stanley the donkey in my studio, including bringing him up the elevator, is on my site.

How many years have you been shooting this project before you decided to present it?
Once I had three animals complete; the donkey, an owl, and a hare, is when I felt is was time to present and share. That was within a few months after the first of the series.

How long do you spend on a personal project before deciding if it is working?
Ha! That’s difficult question, sometimes it takes me a year or more to throw in the towel on a project that’s not coming together.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I have a saying that goes ‘keep your creative lane as wide as possible without driving on the wrong side of the road’. That being I always take a step back and review of the work I’m doing. If it doesn’t feel cohesive within the rest of my images then it may not make the cut, which is fine, personal work is sort of a sanctuary that tends to perform better without expectations. Though still, it’s a fine line because you really do want new work to fit, you’ve just got to do it and see.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Sure, I love the look of tumblr and use it as my primary blog, but I still post to wordpress since it performs better SEO. I also like Instagram and FB a lot, they all have their place and like it or not, they need attention. For the most part, I enjoy social media, especially as an animal photographer, I find social media to be (sort of) fun and (mostly) easy.

If so, has the work ever gone viral and possibly with great press?
While I wouldn’t say viral, my animal posts tend to get shared quite a bit and picked up by various blogs. That builds my fan base, which is always good and I’m doing my best to take care of those fans with occasional updates.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, and this series will be a most certainly be printed and sent early next year.

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In 2009 a dog named Leica became my muse and a new photographic passion was realized. However, I soon learned she was a gateway dog as I began photographing more dogs, then cats, horses and before I knew it, even farm animals were becoming suspicious. While my time with Leica was sadly cut short, she lovingly inspired a new direction in my work and career – good dog. http://www.petersamuels.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 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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Scott Lowden

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is Scott Lowden

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How long have you been shooting?
Um….well….since 1991!

Are you self-taught or photography school taught?
I’m primarily self-taught, although I took a few intensive seminars at the Parsons/The New School early on.

With this particular project, what was your inspiration to shoot it?
I was first inspired by the location…this building. Holidays and random weekends, I would find myself driving on Rt. 309 in Hazleton, PA while visiting family. There’s this building that continually caught my eye, especially when the sun was low and bright. It’s an abandoned machine shop of some type, and I can only imagine the cool widgets they’d make inside. Once I decided I needed to shoot there I tapped a great local resource…my nieces and nephew. Imagining their differing personalities and being forced to spend a long afternoon shooting, Lord of the Flies, the novel by William Golding, immediately came to mind… of course only loosely. I wanted to focus on children exploring desolate space, but with a more lifestyle and upbeat lens. Further inspiration was borrowing wardrobe from my friend at LA’s Blu Pony Vintage and pulling a few key props from a nearby Salvation Army and Dollar Store. One of the challenges was the edit and keeping the story somewhat tight, as I ended up with some ‘happy’ images as well as some very moody ones.

How many years have you been shooting this project before you decided to present it?
While I do have a few personal projects that are many years long and still going strong, this was conceived, produced, shot, and presented in a few months.

How long do you spend on a personal project before deciding if it is working?
That’s a tough question, as I’m not one to shelve something even if it’s pushing back. I’ve moved a few things to the bottom of the list, but I don’t think I’ve ever completely removed a project. Because I’ve been working in photography for a very long time I’ve grown accustomed to having a very long time horizon.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I think it’s OK for the self-assigned personal work to be different than what I’d shoot for my commercial portfolio. It’s always an exercise in creating, stretching my brain, and sometimes doing things I’m not as comfortable with. Actually that’s probably one of the most important things. Anything that this type of shooting helps you work through or discover translates into your day job. For me personal shoots become an exercise in how little production value and crew I can put into a shoot while still realizing what I pictured in my head. This translates well into commercial shoots that sometimes don’t have the budgets they need.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
For sure. Most of my personal projects, and this one in particular, are well received on social media. I’m constantly adding to my list of internet based outlets that may be interested in my work.

If so, has the work ever gone viral and possibly with great press?
I’ve gotten a good response from projects that I’ve posted, but I wouldn’t say that they’ve gone viral. I believe that marketing is cumulative, so any time your name is out there along side interesting images it’s a good thing. This definitely doesn’t happen on it’s own…you have to push the story out as many places as you can.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I’d say about 40% of the images I use for marketing are from strictly personal projects, and the majority of the rest are from self-assigned shoots geared more toward the type of work I want to shoot. I swear sometimes my goal is simply to catch someone’s eye on the journey from his or her mailbox to the trash can. Work that lives outside the advertising context can sometimes do a better job at that.

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Scott is a compulsive photographer who carries his camera everywhere. An avid team player, he consults both sides of his brain to bring concepts to life. An award winning photographer with over 20 years of experience, he’s been shooting for some of the biggest brands including Bose, Kodak, Coca-Cola, Delta, and AFLAC, just to name a few. He spent the first part of his career specializing in still life, a few years directing for TV and creating some festival worthy short films, and has been concentrating on lifestyle photography for the past 10 years or so. Shooting worldwide, he currently calls Atlanta home with his wife and Sophie the dog.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Scott Van Osdol

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Scott Van Osdol

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03 Erich DeLaTorre, Commando, Stoke-Lacey, Herefordshire

04 Leading Stoker Bill Bannister, Motor Launch 31, Portsmith UK

Documentary photos of WWII British Commandos returning to visit site of 1942 raid on St-Nazaire, Operation CHARIOT.

06 Sub-Lieutenant Richard Collinson, Motor Launch 192, Isle of Wight

07 Lt. Colonel Bob Montgomery MC, 2 Commando Sapper, Falmouth UK

08 Sub-Lieutenant Hugh Arnold DSC, Motor Launch 446, London

09 Micky Burn with his history, Beaudy Gwyn, Wales

10 Burn at Nazi Nuremberg Rally 1935

11 Burn at Munich cafe where he met Hitler, POW photo

12 Burn at Colditz Castle where he ran secret POW radio

13 Burn, Colditz Castle, met with former prison guard

14 Burn with some of the many books he wrote, Wales

15 Burn came ashore at Old Mole, St. Nazaire, France

How long have you been shooting?
I began shooting professional freelance in 1981. Before that I worked nine years as an institutional photographer while in college. That’s a scary long time, 43 years.

Are you self-taught or photography school taught?
Self-taught at the school of hard knocks.

With this particular project, what was your inspiration to shoot it?
“Last of Our Lads” portrays WWII British Commandos who survived a daring raid on the Nazi U-Boat base and battleship-capable dry dock at St. Nazaire, France. The documentary film “Turned Towards the Sun”, focused on one of those commandos, Micky Burn. As a Times of London reporter, Burn was the last person living to have met Roosevelt, Churchill, and Hitler. Burn was a prolific author, poet, socialist wag, and an openly gay man before that was an easy thing to do.

I’ve always been interested in WWII history. When offered the chance to travel through Great Britain and Europe to photograph these heroic figures, I jumped on it. The project was a labor of love—no shooting fee, but my travel costs were covered for multiple trips. I earned an Assistant Producer credit on the documentary film, and have “points on the back end” (Hollywood-speak for worth next to nothing).

How many years have you been shooting this project before you decided to present it?
We began shooting in 2008. The photos were put to immediate use for location and character documentation as we presented the story to producers, directors, and investors. After each trip I printed a few updated photo books. The photos became more dramatic and personal with each trip. The more I shot, the more clearly I defined my artistic intention.

The film “Turned Towards the Sun” premiered at the London Film Festival in 2012, where it was nominated for a BFI award. Our NYC director Greg Olliver recently struck a distribution deal with Matchbox Films. It is available on Amazon UK.

How long do you spend on a personal project before deciding if it is working?
Generally I know within a few days if a project is going to work. If it isn’t working, I move on. Fail fast.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I try to collapse the distinction between personal and commercial work. If I love a photo it gets used in promotions and the portfolio. There is an old axiom, ‘Show what you want to shoot’. I know it works because I’ve had to re-invent myself multiple times over my career. Each time I did so by showing the work I wanted to shoot. My intention is to get more work I’m going to love. That profits everyone—the agency, the client, the audience, and me.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
My Twitter handle is @ScottDon’tTweet. Life is short, and I’d rather be shooting. So it’s taken a while for this old Analogasauras to gear up for social media. That said, with each step into twitterverse I am astonished at the results—it’s a big crazy place, social media.

Last week ImageBrief’s social feeds named me one of ten lifestyle photographers to watch, in part because of these photos. The buzz I was able to see was relatively small, a few dozen responses, but surprisingly eclectic. It included multiple photographers, two Paris fashion designers, a San Francisco serial entrepreneur, and a wannabe big game hunter from somewhere in Africa. Go figure.

Many of the Last of Our Lads photos appeared on Facebook pages belonging to project producers (it’s about all there was in 2008), which saw plenty of Likes and drove viewers to our websites.

If so, has the work ever gone viral and possibly with great press?
The work largely pre-dated modern social media—so no, no buzz as we know it. We got a good deal of international press, however. That was mostly due to the amazing stories the commandos told. But I was there, ready with photos. We were offered a book deal with a UK publisher, but decided to wait and hitch our star to a leading UK film studio that assigned a screenwriter to the subject. I’ve learned “in development” actually means lost in limbo—we have no idea if and when the feature film will get made. If so, we’re ready with hours of Disc 2 interviews and B-roll.

Have you printed your personal projects for your marketing to reach potential clients?
Last of Our Lads photos were widely used in email promotions and in editions of portfolio books. The photos won several Austin and regional ADDY awards over the several years they were shot.

I show this kind of work to good effect. Some art directors want to see specific shots that match the stock-photo-generated comp the client approved. Others are more interested in ‘the vision thing’. Those are the creatives I want to work with, the ones driven by vision.

Showing this documentary-style photography means I don’t get hired to shoot traditional lifestyle and swimsuit-clad couples at resorts. But I do get hired to shoot for clients like Nocona Boots as they roll out their “Let’s Rodeo” campaign. That’s the stuff I love.

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Scott shoots what he loves: documentary style in a commercial context. He keeps it simple, clear, and compelling. 
 
His work has won more prizes than a case of Cracker Jacks: CA, PRINT, HOW, PR Week Campaign of the Year, dozens of ADDYs and other national awards. 
 
Scott specializes in industry, technology and energy, agriculture and ranching, education and healthcare. He shoots real people wherever possible. This storytelling impulse goes way back. His first solo exhibit, “Working”, opened at the AFL-CIO Union Hall in Austin. Scott comes by this authenticity thing honestly.
 
Scott works hard at playing. He donates creative services to projects like Art from the Streets and Con Mi Madre. He serves on the board of the Austin Advertising Federation: 16 years, twice as president, winning Club of the Year four years running from the American Ad Fed. For the last decade he led the Hill Country Ride for AIDS marketing team, working with Austin’s best creatives to raise more than $7 million with campaigns that appeared in CA, PRINT, and HOW. He rides his bike silly long distances in the Texas heat.
 
All this earnestness and collaboration in the service of brand development and good art means Scott is real easy to work with. He’s WYSIWYG with a big smile.

See more of Scott’s work:
http://www.vanosdol.com
scott@vanosdol.com
512.461.8990


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Trevor Reid

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Trevor Reid

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How long have you been shooting?
I have been shooting for 5 years.

Are you self-taught or photography school taught?
It depends on what skills we are talking about. I had a great photo teacher in high school and then attended RIT, both of which provided a solid conceptual and technical foundation. My assisting experience in New York City really taught me everything from large-scale production and lighting to talent management. I picked up business, marketing and personal skills on my own and of course learned a lot shooting for myself. I also had the opportunity to shoot side by side with one of my mentors for a few years, he taught me more than words can describe. You never stop learning, and there is so much to be learned from different people at different times.

With this particular project, what was your inspiration to shoot it?
This was the third time I went down to shoot spring training in Scottsdale, AZ and I had previously noticed that most players and clubs are very generous with their time and access. Along with the desire to shoot something unique, I wanted to give the players something tangible after they gave me their time or I stole a moment. Polaroid just popped into my head and I always wanted to shoot with an SX-70. Every time I photographed a player for this series, I would shoot two frames and give them one to keep.

How many years have you been shooting this project before you decided to present it?
Years?! Some things take time, others come together quickly. This one came together quickly. I was down in Scottsdale for three weeks and shot almost every day. By the end of the project I had around 350 Polaroids to myself for an edit. In today’s digital age, it seems like so few…but I think so much more when shooting film…and even more when shooting Polaroid. I have no doubt that I will continue to shoot Polaroid over the next several years and this project will continue to grow.

I have another personal project, USA Handmade that has been in the works for two and half years now. There’s a glimpse up online, and I’m excited for the project to continually evolve.

How long do you spend on a personal project before deciding if it is working?
Honestly, I don’t really think about if its working on not. It’s a personal project, ultimately it needs to resonate with the person who created it, if it does, then it’s working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
It feels great! When I do my personal work I’m not thinking about meeting my clients needs or looking to fill a gap in my book. I’m simply doing what I love to do in its purest form, taking pictures and trying to make beautiful images.

If so, has the work ever gone viral and possibly with great press?
Nope, I need to do a better job of getting it out there; it’s also impossible to know what will go viral when or where.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Frequently! It’s a great way to get unpublished work out there for the world to see.

Have you printed your personal projects for your marketing to reach potential clients?
I have some special plans for printing this project, and USA Handmade.

Bio:
Trevor received his Bachelor of Fine Arts from Rochester Institute of Technology (RIT) where he focused primarily on advertising photography and production. Trevor has been working in New York City and Boston for several years where he has established relationships with HBO, ESPN The Magazine, Titleist Golf, Men’s Health, and Boston Magazine, amongst other editorial and advertising clients. His work can be seen in several publications and advertisements nationwide.

Artist Statement:
The Polaroid project is an ongoing personal project by photographer Trevor Reid conceptualized to give back to the people who help create the moments Trevor captures. Each time Trevor photographs a person with his Polaroid SX-70 he shoots two Polaroids and gives one away to his subject. “In some ways, I feel guilty about capturing moments and feel the need to immediately give back. This project provides a way for me to do that.”


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

Art Producers Speak: Eli Meir Kaplan

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 Eli Meir Kaplan because we love his editorial style of shooting. And from a producers standpoint, he is so easy to work with, gets along great and totally connects with our art directors, clients love him, and he can make something out of nothing.

Curtis Pope, trumpeter for The Midnight Movers, photographed for my portrait series of DC soul musicians Soul51.

Curtis Pope, trumpeter for The Midnight Movers, photographed for my portrait series of DC soul musicians Soul51.

This was a composite I did inspired by a wooden sled I bought at an estate sale.

This was a composite I did inspired by a wooden sled I bought at an estate sale.

This was from a shoot from an internship for a small community newspaper several years ago. The local swim meets were pretty intense.

This was from a shoot from an internship for a small community newspaper several years ago. The local swim meets were pretty intense.

This was a nice, natural moment between mother and daughter I captured while on a shoot for Dwell.

This was a nice, natural moment between mother and daughter I captured while on a shoot for Dwell.

I built that airplane myself. It took me four days.

I built that airplane myself. It took me four days.

Miniature horses from a story about a miniature horse dentist for The Wall Street Journal.

Miniature horses from a story about a miniature horse dentist for The Wall Street Journal.

This high school football team went without a winning season for 10 years until their 9-2 season last year when I photographed this.

This high school football team went without a winning season for 10 years until their 9-2 season last year when I photographed this.

This ice cream shop didn't have a phone number so I just showed up and thankfully they let me photograph.

This ice cream shop didn’t have a phone number so I just showed up and thankfully they let me photograph.

I was in the Cub Scouts as a kid so it was fun to visit a Boy Scout camp to take some photos.

I was in the Cub Scouts as a kid so it was fun to visit a Boy Scout camp to take some photos.

Two great models to work with. One was in a Chapelle's Show sketch and the other was Tim McGraw's brother.

Two great models to work with. One was in a Chapelle’s Show sketch and the other was Tim McGraw’s brother.

How many years have you been in business?
I’ve been in business for six years.

Are you self-taught or photography school taught?
I studied photography at the International Center of Photography and the University of Texas at Austin. Of course I’ve grown a lot since then, but those courses and teachers like Donna DeCesare and Eli Reed helped me discover my vision and produce strong work.

Who was your greatest influence that inspired you to get into this business?
I started out as a documentary photographer. I was blown away when I saw Bruce Davidson’s East 100th Street. Through different experiences in life I had been really drawn to meeting people who came from different backgrounds than myself. I was already interested in photography. When I stumbled on East 100th Street at The Strand in NYC, I was like “Wow, this is what I want to do.”

Then I took a documentary course with Andre Lambertson at the International Center of Photography and he gave me the courage to pursue this field.

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 one of the best motivators for me has been going to portfolio reviews and getting feedback that helps me further refine the focus of my work. From those reviews I’ve seen what people respond to and what they don’t.

I talk to people, I read, I keep a long list of projects that I’d like to do, I look at a lot of photography, go to museums, and I shoot as much as I can.

I’ve also found that some of my best shoots have been situations that I was fairly uncomfortable in.

Do you find that some creatives love your work but the client holds you back?
If that happens, it’s extremely rare. I really love to collaborate and create images that are my interpretation of what an art director, creative director, or photo editor has described. That being said, not all work ends up going in my portfolio.

What are you doing to get your vision out to the buying audience?
I meet in person often, I send eblasts and printed mailers, enter contests, I’m on Behance, Instagram, Facebook, Twitter, portals, Wonderful Machine, and in Workbook. I also work on larger personal projects that I often try to circulate on blogs.

What is your advice for those who are showing what they think the buyers want to see?
It doesn’t work. I’ve certainly tried it and haven’t been successful. That being said, as a communicator, I’m making an attempt to create work that connects with my audience.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I do test shoots, photograph portraits and short projects, and I work on longer term projects. I’m currently photographing an ongoing portrait series of Washington, DC soul musicians, called Soul51.

How often are you shooting new work?
I shoot for myself as often as I can between client work. It usually ends up being a few times a month.

Eli Meir Kaplan is a commercial and editorial photographer in Washington, DC. He became interested in visual media when his parents brought home an early black and white video camera. Always passionate about storytelling and beautiful images, Eli found that his purpose as a photographer was to capture genuine and intimate moments from the human experience.

elimeirkaplan.com
(202) 600-9372
eli@elimeirkaplan.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 Art of the Personal Project: John Davis

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: John Davis

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How long have you been shooting?
About 15 years.

Are you self-taught or photography school taught?
I studied Photography at The Maryland Institute, College of Art (MICA).

With this particular project, what was your inspiration to shoot it?
The unique concentration of artists and creatives that call Baltimore home is the main inspiration. More specifically, the Treason Toting Company project, part of a larger project collaboration called SCOUT (see Artist Statement), was inspired by the guys at Treason and their commitment to quality, style and the creative class of Baltimore. Jason Bass and Aaron Jones truly embody the qualities of the bags they make.

How many years have you been shooting this project before you decided to present it?
This particular project was shot over the course of about one month. I didn’t have a plan for the work before it began so it’s been shown in a few different places: framed prints exhibited at local craft brewing space, a traditional portfolio book and as part of a brand video created by my friends and collaborators at ShineCreative.tv.

How long do you spend on a personal project before deciding if it is working?
It depends on the subject, but I usually know pretty quickly if it’s working. I like to give it some time to breathe, so I’m usually not too concerned with how long I spend on something. Sometimes I’ll lose interest in a project and move on but I might also come back to it later… possibly years later. A personal project that doesn’t work out can still be a success if I’ve learned something from it.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
By design, shooting for my portfolio is almost always different from my personal work. The goal of my personal work is to explore new directions for my commercial work. In the case of Treason Toting Company, the personal work was where I saw my commercial work moving so I knew I wanted it to be different and that was really the point of project.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use a combination of Facebook, Twitter, Instagram and Tumblr. Social media is the perfect place to test and get feedback on new work, Personal and Commercial.

If so, has the work ever gone viral and possibly with great press?
I wouldn’t say anything has gone viral but it has definitely helped drive more people to my website. It’s also a great way to keep my name out there. Even though we’re all striving for it, I think “going viral” and “great press” can be overrated. It’s hard to argue with going viral but it’s really difficult to gauge great press. I’ve had great press and lots of attention from the right people but still not seen an uptick in jobs. It’s also possible that the rewards aren’t felt for a long time, or spread over years, and by then it’s really hard to say where it all started. I believe consistency in social media is most important for it to succeed. Unless you have a dedicated social media person, it’s really hard to keep on top of all of it.

Have you printed your personal projects for your marketing to reach potential clients?
I’d say about 50% of my marketing draws from personal projects. Combining personal and commercial images in marketing can create just the right amount of tension to give things a fresh look. My clients really enjoy seeing my personal vision, especially when juxtaposed with commissioned work. It has also helped some of my clients find new ways of using me.

Just recently, The Treason Toting Co. project caught the attention of a long time Higher Education client of mine and led to them hiring me to shoot a project for Stanford University in Palo Alto, Ca.

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John is a photographer based in the Baltimore, Maryland. 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 here:
http://www.jdph.com

Contact: john@jdph.com

The Treason Toting Company project is the first project in a series collaboration with my friends and colleagues at ShineCreative.tv. The project is called SCOUT and is an exploration of the creative path and those driven to pursue it. Treason was an opportunity for me to experiment with a style of shooting that I had previously only applied to my Education Lifestyle work. By expanding my vision and being free to tell the story as it unfolded, I could take a more intimate perspective, observing in a way that allowed the essence of Treason to come to the surface and tell a true story with images.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Brinson+Banks

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Brinson+Banks (Kendrick Brinson and David Walter Banks)

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How long have you been shooting?
We both started working at newspapers 10 years ago before moving to freelance photography, and then we teamed up to create Brinson+Banks a little over two years ago.

Are you self-taught or photography school taught?
A little both–we were both inspired by the same passionate photojournalism professor at The University of Georgia (Jim Virga, who is now in Miami) but we took only three classes each, which covered the basics of photojournalism ethics and how to manually use a camera and tell a story with photography.

With this particular project, what was your inspiration to shoot it?
With Chameleons, we were incredibly inspired by the landscape in Southern California. We both grew up and spent the majority of our lives in Georgia and South Carolina and when we moved to Los Angeles a year and half ago, we were just visually awestruck by the diversity of the environment and it sparked something in both of us. Right away, we wanted to explore it all–we went to beaches and the desert and the mountains between and shot landscape photos in preparation for this project (and also because it was, and continues to be, a great adventure).

How many years have you been shooting this project before you decided to present it?
Just one year.

How long do you spend on a personal project before deciding if it is working?
I think that really depends on the project. Both of us have personal projects of our own (something we do as individuals, rather than a team) that we’ve worked on for years, and one that Kendrick is convinced will never be done because she enjoys working on it so much. Personal projects should be foremost about documenting/capturing something you’re really interested in–you’re doing it for the joy of doing it, not for business, but for sheer pleasure–so it could be one shoot or 10, one month or 15 years. It’s working if you feel your work, your eye, your creativity is growing. If you’re not excited about it anymore, that will show in the work, so give it a break and a rest or call it finished. Don’t force it.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
We both feel so damn lucky that we’ve found a job that we are so passionate about. We’ve talked to photography students at almost a dozen photography schools at this point and something we always drill to the students is personal work. It’s how you grow and evolve and keep from stagnating. It’s where we stumble upon happy accidents that then we’ll repeat on a shoot for a client. If you’re not getting paid to shoot the photos you want to shoot, build a portfolio on your own of personal work and maybe it will translate to future work.. Recently, a client hired us to duplicate a photo we shot while we were shooting just for fun. That’s the best marriage of the personal side of photography and the business side of photography when they blend like that, though it doesn’t happen every time. I would think that if your personal work is extremely different than the work you do for clients, then maybe you should share that work and see if you can expand your client-base to include that type of work, too, so you can create more of what you love to create and have it funded, as well. But some projects we do just for the sheer joy of doing them and wanting to branch out of our comfort zone and that’s good, too, to show off a different aesthetic.

Personal work is really important because it’s a place to mess up and have fun and experiment without any outside influences saying “no, do it this way” or asking for it to be tamed down. You get to have fun for the sake of having fun, and with all the meetings and emails and shooting we do for “work,” it’s a really important refresher and can really revitalize us.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yep! We love using social media to share our personalities–that’s how a lot of our clients keep in touch with us. We don’t see a huge line between the personal and the business because it’s all making photos and it’s all doing what we love. The jobs we do are personal, too, because we put so much of ourselves into them.

If so, has the work ever gone viral and possibly with great press?
We’re a married couple and do this pose with the camera on self-timer and last year that series of photos, that was hilariously dubbed “#BrinsonBanksing” went viral–it was published everywhere from CNN to the Weather Channel to Cosmo to Buzzfeed. It’s a funny thing how you can work your butt off putting your work-work out there and then something we do for fun, that is a truly personal family album type thing, goes all over the world.

Have you printed your personal projects for your marketing to reach potential clients?
Yep! Almost half of our portfolio book is personal work. A lot of our emailers and postcards we send out to clients are our personal work. We get hired to do jobs because of the work we do for fun. How great is that?

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Artist Statement:

Chameleons was born from a fascination of the new landscape we’d landed in. We are two photographers who spent the majority of our lives in the green of the Deep South. We relocated to Southern California and discovered foreign flora where green was replaced by pink and tan, and dogwood trees were replaced by succulents and Joshua trees. We’ve always been inspired by the landscape, and a lot of our lifestyle and portraiture work is environmentally based, so when we first moved to LA we knew we wanted to explore the region more with our cameras. We concocted a plan to go to the ocean, the cliffs of Malibu, the desert, the mountains and to then project those images on models in a studio–it was the perfect excuse for an adventure in our new home and to experiment more with our portraiture as a team. We had fun collaborating with our models and creating something a little out of context for the viewer. And, as a bonus, it was a way for us to announce our new home in a visual way.

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We are Kendrick Brinson and David Walter Banks, a commercial photography team based in Los Angeles. We collaborate with each other, our team, and our clients to create portraiture and lifestyle imagery that tells a story or creates a mood.
We met in a photojournalism class in college and fell in love with photography and storytelling at the same time in the same place. But we didn’t fall in love with each other until two years later. Before we joined forces to create something more colorful and surreal as a team, we worked individually for the likes of TIME Magazine, The New York Times Magazine, Sports Illustrated and FADER for several years.

We love to be involved in every part of the creative process from the conceptual, storyboarding and planning stage to the execution on the day of the shoot and everything in between.

We have been interviewed by PDN, American Photography, TIME’s Lightbox, The New York Times Lens Blog, CNN Photos and PhotoShelter about our unique vision. Our images have appeared in exhibitions in Houston, New York, Atlanta, Groningen, The Netherlands, and are in the permanent collection of the Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection at the New York Public Library, and the Museum of Contemporary Art of Georgia.

Clients
R/GA, Target, Airbnb, Tiffany & Co., Audi, Garnier, Deutsch, ADIDAS, L’Oreal, Publicis Kaplan Thaler, Seventh Generation, Leisure Society, Bombay Sapphire, Vitamin Water, Hennessy, Google, Panera, Enterprise, SBE, Sanofi, PhotoShelter, Billboard, Huck, Wonderland, Rolling Stone, NME, Panda Express, The New Yorker, TIME Magazine, New York Times Magazine, Sports Illustrated, Shape, NPR, Complex, Fortune Magazine, New York Magazine, XXL, GQ, ESPN The Magazine, The FADER, Stern, Smithsonian, Inked Magazine, Mother Jones, Newsweek, Le Monde, Juice, AARP, US News & World Report, Bloomberg Businessweek, Wired, Forbes Magazine and Golf Digest, among others.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Brian Kuhlmann

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Brian Kuhlmann

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How long have you been shooting?
I started this business while still in high school, so 31 years.

Are you self-taught or photography school taught?
Self taught.

With this particular project, what was your inspiration to shoot it?
My inspiration was the oil spill disaster in the Gulf of Mexico. The seen and unseen effects on the wildlife were horrendous. I chose to shoot dancers with fabrics and petroleum products to recreate visuals of the spill.

How many years have you been shooting this project before you decided to present it?
This is still a rough draft .

How long do you spend on a personal project before deciding if it is working?
Not sure how to answer this. I work on the project until I feel it is complete. Every test works in one way or another.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I don’t draw lines between the two. I love to shoot, and all of my images are my portfolio; the only difference is where I decide they end up in my presentation.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Not really. With the current terms and conditions of social media sites, I am careful what goes into those venues.

If so, has the work ever gone viral and possibly with great press?
I had a couple of these images picked up by magazines and books. Rangefinder did a short piece, and Weldon Owen also ran a page dedicated to one of the images, in the book “How to Photograph Anything”.

Have you printed your personal projects for your marketing to reach potential clients?
My personal projects usually end up in gallery shows. I have used some of the images as special gifts for important people in my life.

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Brian Kuhlmann’s favorite part of being a photographer is… photographing. He’s been a working photographer for the better part of 30 years. While now based in Los Angeles, he started out in St. Louis and lived more than a decade in Chicago. His commercial work is based in creating energetic lifestyle for some of the largest brands in the world.
Into The Fray – Brian Kuhlmann

Capturing the controlled movement of dancers has long been a passion of mine; this particular body of work was a direct response to the Deepwater Horizon oil spill in the Gulf of Mexico and its effect on wildlife.

Working with professional modern dancers, I shot this sketch of what is to be a larger project. We explored different textures and materials, from the watery texture of silk to more literal petroleum-based products, letting the dancers bring their own personal interpretation to the subject matter.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Jazzmine Beaulieu

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Jazzmine Beaulieu

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How long have you been shooting?
5 years professionally

Are you self-taught or photography school taught?
After graduating High School, I attended the Hallmark Institute of photography where I was enrolled in a 10-month program focusing on the technical, business and artistic sides of photography. Upon graduation, I moved to NYC, where I immersed myself in the world of photography, galleries, Fine Art and Street Art, developing close relationships with a wide range of talented artists in these and other fields. My experiences both professionally and socially since moving to NY, have taught me many things applicable to my field, that I could never have learned in the classroom, so in a very real sense, I was formally educated and self-taught.

With this particular project, what was your inspiration to shoot it?
I had seen some images from India’s Holi Festival and was incredibly inspired by the otherworldly effect that the application of this substance had on those who used it and immediately decided that I wanted to use it as an element in my work. A Colourful Life was born by my desire to use the powder as an incongruously playful environment for 65yr plus women. The inevitability of aging is mostly discussed or illustrated with a sense of dread. I conceived this project as an opportunity to instead, celebrate it. To communicate the idea, that spirit, beauty and joy do not have to diminish with age and in fact it’s life’s experiences that make us all that much more vital. The images I captured wouldn’t be nearly as interesting without the brass of the women in them.

How many years have you been shooting this project before you decided to present it?
This came together fairly quickly. From concept to capture it was about 6 months.

How long do you spend on a personal project before deciding if it is working?
The answer to this question is always going to be specific to the project itself. In this instance, I somehow always believed that it would work right from the start but my confidence in it grew enormously as soon as I met with my team. Their shared enthusiasm helped reinforce my feeling that this was going to be something very special.

By the time we walked into the studio, the only production left to do was to set our stage and capture the narrative that played out on it. As soon as we captured the first image that was a direct manifestation of our collaborative efforts it was clear the shoot would be a success. As a photographer that moment is the drug. It’s a high that keeps you moving through the entire project. At that point, no matter what, it’s a winner.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Human connection is the most important element in my work. I love interacting with people, hearing their stories, telling them mine. Whether the project is for portfolio or an assigned production, my relationship to the people in my images is what drives me. My hope is, no matter the content, that my audience sees and more importantly feels that when viewing my work.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Absolutely. All the time. But mostly selective edits and behind the scene images to my shoots that are meant to be teasers to the galleries I post to my own website. I also love to post images from my social outings primarily because I love my life and enjoy sharing, but also because my social adventures are direct influences on my work.

If so, has the work ever gone viral and possibly with great press?
Facebook licensed a selfie I had taken of my best friend and I last year and that image did go viral. It received 328,000+ Likes and 6,000 shares.

Have you printed your personal projects for your marketing to reach potential clients?
I think nowadays, printed promotions need to be really special to get the desired attention of it’s audience and justify the cost for the photographer. I have sent very limited, personalized cards out, but this project will more then likely be the one that gets designed into a stunning package and mailed as an edition to a wider audience.

Project Team:
Photographer: Jazzmine Beaulieu
Creative Director: Megan Yanchitis
Powder Design: Lee Milby
Hair and Makeup: Stacy Skinner
Wardrobe Styling: Jess Mederos

Jazzmine Beaulieu (1984) was born in Lewiston, Maine to an artist mother and a musician father. After graduating high school, she attended Hallmark Institute of Photography, completing a ten-month curriculum focusing on the technical, business and artistic sides of photography. She graduated at the top of her class, receiving an award for “Best Overall Portfolio” and “Most Promising New Artist”.

After graduating, she moved to Brooklyn NY, where she currently resides. Since her graduation, she’s done many successful campaigns for a wide variety of clients, including: Virgin Atlantic, Easy Jet, Azo, Taleo, Culturelle, Estoven, Mega Bus and Facebook.

(She also does non-profit work with the Make-A-Wish Foundation and Cre8tive Youth*ink/ Art Without Walls).

Her latest project entitled, “A Colourful Life” was just premiered by Vanderbilt Republic at (Un)Scene an exhibition in NYC that was part of the Armory Arts Week.

Follow her on instragram @jazzminephoto


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Mark Scott

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Mark Scott

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How long have you been shooting?
We moved to Germany in the middle of my freshman year of high school – my Dad was in the Army. It could have been awful, but it wasn’t – the experience helped me become a photographer. I was fascinated with how different everything was and started taking pictures non-stop. I had a camera for several years before, but it was shooting around Europe that really got me started “seeing” the world in pictures. I’ve shot commercially now for about 25 years.
 
Are you self taught or photography school taught?
Originally self taught. In high school I packed a 35mm camera around everywhere. Shot tons of b&w, spent hours and hours in the darkroom on base, processing and printing pictures. My chemistry teacher, who was a photo geek, introduced me to the work of photographers like Cartier-Bresson and Andre Kertész. He liked to critique my pictures, always encouraging me to shoot more.

I took a community college photography program in Washington state learning basic technic, and then moved to L.A. to go to Art Center. But I never made it there. I was lucky to get a full-time assistant job with a successful lifestyle photographer who also had just come to L.A. Most of the work was ad campaigns for agencies in NY and Chicago. It was intense, but I was learning so much I decided postpone Art Center. Assisting is a job every young photographer should have for a while. We did everything in house from estimating to image delivery. Besides working as camera assistant on shoots, I was involved in production, casting, scouting, even sourcing props at the studios and prop houses. After that, I freelanced with a variety of out of town photographers shooting ad campaigns on the West Coast. I never went back to school.

With this particular project what was your inspiration to shoot it?
My first studio was on Melrose, right in the heart of the Melrose District. Melrose, which isn’t far from my home, is a magnet for creative people from all over the world. I’m pretty low key, and not much of a fashionista, but what I’ve always loved about Melrose are those people who do make bold personal statements with the way they look and dress. And combined with the creative street artists there’s always opportunity for pictures. That’s a good match for a social media project. There’s a great energy from street shooting, and I wanted to revisit Melrose as a project to share on social media.

How long have you been shooting this project before you decided to present it?
From day one I started putting this work out on Instagram. But when I started, there was really no project yet. I just shot and posted pictures. A few months later I started dopemelrose.com, an image blog using WordPress. I got great response, so I included DopeMelrose pictures in my printed portfolio, on my website and in the work I promote on Workbook. That section of the portfolio always sparks conversation.
 
Since shooting work for your portfolio is different from personal work how do you feel when the work is different?
That’s an interesting question, because the difference is a little blurry sometimes. Some of my personal work is shot for my portfolio. It’s the motivation and the approach that changes.
 
Exploring the world through the lens of a camera is such a great feeling of discovery. It’s what I fell in love with when I first started taking pictures and what motivates my personal work.  I like to explore subjects that interest me – then observe, experiment and let the imagery evolve organically.  I approach some projects like visual brainstorming … looking to find or create moments that are authentic, moments that tell a story or that have amazing light and composition. Personal work helps to hone my craft and is a great source of inspiration for my commercial work.
 
But of course the approach is different when I’m shooting portfolio pictures that are relevant to clients and brands I want to work with. DopeMelrose is much more serendipitous. Portfolio shoots are storyboarded with clear image goals in mind and production values more like assignments. I shoot lifestyle, so crew, talent, scouting, locations, permits, permissions, props and wardrobe are necessary when producing portfolio shoots. 
 
How long do you spend on a personal project before deciding if it’s working?
How do you define “working?” Personal projects always work. Not because they always create awesome images but because the experience is fun, interesting and the process exercises creativity. 
 
Have you ever posted your personal work on social media venues like Reddit, Tumblr, Instagram, or Facebook?
I started DopeMelrose to be an ongoing social media project using Instagram. Instagram has been key to this project because when I ask someone to participate, within a few seconds they have my Instagram up on their phone and they’re totally cool to shoot a quick portrait. I’m experimenting with shooting on an iPad, selecting the picture with the people and posting immediately. People love being part of the entire process. I just started posting to tumblr.
 
If so has the work every gone viral and possibly with great press?
Nothing like @thedress or “Charlie bit my finger”.
 
Have you ever printed your personal projects for marketing to potential clients? 
Early in my career I marketed a personal project I shot on the American West to a handful of Western brands. That quickly led to years of work with the Martin Agency for Wrangler.
 
Pictures from that project – cowboy portraits, authentic relationship moments and the printing technic have also inspired other ads. It’s exciting to get layouts referencing personal work. Imagery from that project has also been licensed for a variety of companies, including a major U.S. liquor company promoting its brand in Eastern Europe.
 
One really exciting result of the American West project was that I was asked by an art buyer I had been working with to hang a show of my photographs in the halls of Ogilvy NY.  
 
I shot and marketed that project for several years. It’s really amazing not only how much commercial work was the direct result of that one project but also how many amazing creatives I’ve gotten to know and collaborate with along the way.
 
Artist Statement
I wanted to connect with the creative spirit and personal stories of the people who make Melrose what it is.  Past generations have influenced this street with Punk, New Age, Goth. It will be fun to look back and see the social and creative influences of today’s generation.
 
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Mark Scott is a lifestyle photographer based in Los Angeles.  He specializes lifestyle, portraiture, sports and reportage. You can see his work at http://www.markscottphoto.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 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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Vincent Dixon

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As a former Art Producer, I have always been drawn to personal projects. A personal project is the sole vision of the photographer and not an extension of an art director/photo editor or graphic designer. This blog thread is to feature the personal projects of photographers who advertise in LeBook. You can find him here: http://www.lebook.com/vincentdixon Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Vincent Dixon

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How long have you been shooting?
Professionally, about 20 years. I was seldom without a camera for about eight years before that so twenty-eight in total.

Are you self-taught or photography school taught?
Self-taught.

In my early twenties, I moved from Ireland, to France. I was a post-grad science student in Paris and discovered the street photography of Cartier-Bresson, Eugene Smith and Andre Kertész. I became friends with Justin Creedy Smith, Peter Lindbergh’s assistant at the time, and that fueled my interest in photography. As soon as I finished my Ph.D., I did an internship at a photo studio for about two months, and then over a two-year period, I assisted the fashion photographer, Steve Anderson.  That’s where I learned the basics, like how to expose film. Then I worked as a producer for a couple years. So most of my training has been on-the-job training in terms of photography.

For example, before I shot my first major advertising assignment, the Absolut Vodka “Cities of Europe” campaign, I really had never used a 4×5 camera. I took a photo assistant for the first photo. After that I shot the rest of the campaign with just the Art Director, Pascale Gayraud. No producer, no assistant, just the two of us. It was quite an adventure. I spent about a week looking at locations and then about three or four days shooting on each photo.  That was my school.

With this particular project, what was your inspiration to shoot it?
In 2011, I took a sabbatical from commercial photography and went on a yearlong journey around the world with my wife and four children. It was priceless share many new experiences with my family, as well as a time to submerge myself in creating photo-essays of our travels away from the confines of a working schedule.

How many years have you been shooting this project before you decided to present it?
I started showing it pretty much immediately. From the road, I regularly sent friends a “Picture of the Day”.  And then a selection debuted as part of a self-published magazine called “Wanderings” which had several stories from the year traveling and the Pushkar Portraits.  Also from that magazine, Lisa Matthews, Managing Art Producer at Team One, curated her favorite images for a showing at their agency in Los Angeles.

Wanderings on-line: http://vincentdixon.com/wanderings/

And a little clip on the making-of: http://vincentdixon.tumblr.com/post/73353102298/a-behind-the-scenes-look-of-the-printing-to

It was a great to see the prints framed and hanging at Team One: http://vincentdixon.tumblr.com/post/73361107847/gallery-show-at-team-one

How long do you spend on a personal project before deciding if it is working?
I am shooting pretty much continually and thinking about projects most of the time. I’m also looking back at work I did, some of it over twenty years ago. I think what changes is our definition of “Is it working”?

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Lucky for me, most of my commercial work is informed by my attraction to street photography — meaning I always try to make photos that have the spontaneity of reportage despite their construction.  So when I’m shooting for myself, I really just go for projects that interest me and hope that maybe they will resonate with a wider audience. If they do, great, and if they don’t, well, I was just shooting for myself and that is an end in itself. You never know, maybe they will have an audience later or maybe they don’t deserve one.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I’m not as good at this as I should be, one of my intentions for 2015 is to do more social media, it is a wonderful way to share your work.

If so, has the work ever gone viral and possibly with great press?
I worked on a portrait project for The Mimi Foundation in Belgium last year https://www.youtube.com/watch?v=pMWU8dEKwXw and the video of the project got 15 million hits on Youtube in two weeks that really changed my way of looking at media and the way we present projects.

Here is a promo we’ve recently completed where we used a video instead of a printed piece. https://vimeo.com/117510349. I really enjoyed making this with my friend and editor Stuart Radford.

Have you printed your personal projects for your marketing to reach potential clients?
Yes Wanderings Vol. 1 that I spoke about above was such an effort. https://vimeo.com/84136488

We are also honored to have it featured by Danielle Currier over on her “No Plastic Sleeves” blog:  http://blog.noplasticsleeves.com/sharing-personal-work-vincent-dixon/

This is what I said about The Pushkar portraits in Wanderings

Pushkar Camel Festival 2012:
A year ago I came to Pushkar with my family during the annual Camel festival that is held every November at the time of the Kartic Purnima full moon. Villagers, traders and famers come from all over Rajasthan to trade up to 20 000 camels and horses. It is also one of the five Dhrams or pilgrimages that is held in high esteem by Hindus and holds the only temple to Brahma in India. This was one of our first stops in India and I was completely blown away by the exoticism of it all. It is a photographer’s dream. That in itself can become a problem. You are quickly exhausted by the intensity of the colors, the crowds, the endless possibilities, strange as it might seem because there is so much to do your brain can lock down. I think that it took me a year to absorb all I had seen.

Coming back I needed to try something different. Last year I travelled light with just small cameras. This time I brought bigger cameras and lights. There were a number of reasons I wanted to do this. First I am fascinated by how the camera itself affects the photo we take, how for example bigger cameras can slow us down and perhaps force us to take a more studied photo. The Rajasthani are incredibly handsome, the detail of their clothes and jewelry are remarkable, they have an eye for color and form that few possess. I wanted my portraits to reflect this. On a photographic level I needed the precision and care that these tools bring to try capture the subject.

Inspired by Irving Penn’s “World In A Small Room” I set up a small studio at the camel fair. On Monday when I got to Pushkar I found a large tent and rented it for a few days. It wasn’t ideal, it had green netting on the sides and the roof was full of holes that created green shadows and these hot spots. I had some cotton cloth died black that night. It took most of Tuesday morning to get things set up. Here are some of the photos that I took Tuesday afternoon and Wednesday.

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Born and raised in Kilkenny, Ireland, Vincent relocated to France in his early twenties.  Shortly after earning his PhD in Molecular Biology from the Institut Jacques Monod, Paris, he embarked on his photographic career.  As a result of his ability to make images that merged photorealism with surrealism, he was quickly awarded top advertising campaigns including Absolut and Perrier.  Those highly visible assignments helped cement his photographic reputation throughout Europe and later in North America; making him the go-to for many agencies and their ideas.

Along the way, Dixon’s work has won many advertising awards from organizations such as:  The Art Director’s Club; Gold, Silver & Bronze Cannes Lions, Gold, Silver and Bronze Clio’s, New York Festivals International’s Advertising Awards for Design, International ANDY Awards, One Show, D&AD Silver Pencil, International Advertising Festival, The Epical Awards, the French Art Director’s Club, Grand Prix Strategies, Grand Prix de L’Affichage and the London International Awards.

Photo awards have come from Communication Arts, PDN, Lucie Awards Advertising Photography of the Year, American Photo Contest Advertising Image of the Year, PDN Pix Digital Imaging Annual and featured in Luerzer’s 200 Best Advertising Photographers Worldwide.

Dixon’s clients include Absolut, Adidas, Axe, Dow, Coca Cola, General Electric, Jameson, Mercedes, Nissan, Playstation, Pepsi, Schick, Sony, Toyota, Visa and Virgin Media.

Vincent currently resides in Philadelphia with his wife and four children.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Michael Rubenstein

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Michael Rubenstein

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How long have you been shooting?
Ten years give or take.

Are you self-taught or photography school taught?
Photography is a second career for me. My undergraduate degree is in Environmental Policy from Prescott College in Arizona. When I first started learning photography I was self taught with a lot of help from other photographers and hours pouring over photo books at Powells in Portland, Oregon. 

At some point I decided that I wanted some formal training and I attended the graduate program of the School of Visual Communication at Ohio University. It is a two year program. I completed one year and then took a contract position at the Oregonian in Portland, Oregon. I learned an immense  amount at the Oregonian from the many incredible photographers and from Mike Davis and Patty Reksten, my editors. I wouldn’t be able to see things the way I do if it wasn’t for them.  I stayed there for about 8 months and then freelanced in Portland. Until I moved to Mumbai in 2007.

With this particular project, what was your inspiration to shoot it?
I’ve always been interested in craftspeople. People who make very high end goods by hand in small workshops.  Its always been amazing to me that one person an make something that most often is produced by robots in a giant mass production facility, and make it better.

How many years have you been shooting this project before you decided to present it?
I shot the project for a few months before I started to show it, but its ongoing. I think I’ll always be shooting this project.

How long do you spend on a personal project before deciding if it is working?
I’ll give it a few days of shooting before I look at it and say, “Do I continue to dedicate time and resources to you, or is this it?”

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Variety is the spice of life right? To me, the challenge is making something that speaks to me. Whether its on assignment or personal really doesn’t factor into it. Once I have the project, self assigned or not, I need to make the best of it.
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, everywhere but Reddit.

If so, has the work ever gone viral and possibly with great press?
No not really.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. I definitely have and they have responded very well to it. This project has helped me to get at least 2 or 3 commercial jobs and more than a handful of meetings.

Artist Statement:
While manufacturing continues its march towards automation the art of hand making beautiful and useful products is making a comeback. These people are at the pinnacle of design and craft. They produce the best of what they make in small workshops, the way things have been made for hundreds of years. As a documentarian it was my honor to photograph these men and women as they worked. 

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Michael Rubenstein is an editorial and commercial photographer and director based in New York City. He enjoys documenting interesting people and situations the world over. Before moving to New York he covered South Asia from his home in Mumai, India. His clients have included Merge Records, MasterCard, Budweiser, Saatchi and Saatchi, Nike, Yahoo!, The University of Massachusetts, Fordham University, AARP, NPR, The WSJ, The NYT, Mother Jones, Monocle and NBC News. 


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Agnes Lopez

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Agnes Lopez

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Full disclosure Agnes is a client of mine.

How long have you been shooting?
Professionally since 2003. Many years before that, my brother-in-law bought a Minolta Maxxum 9000 for me from a pawn shop as a gift because he knew I was interested in photography.

Are you self-taught or photography school taught?
Self-taught. I got my start as a stylist for commercial photographers, so I picked up a lot on set. I would watch the photographers closely to see how they worked and then go off and practice on my own with local models, taking my film to Walgreens to get developed and scanned. I also took some classes at the local community college, where I learned how to use a darkroom and print my work. Cutting my teeth shooting film still influences the way I shoot today. I tend to be very calculating and specific when I finally hit the shutter.

With this particular project, what was your inspiration to shoot it?
In the past three years I’ve made a move into photographing food and food lifestyle images, though mostly for editorial, so I wanted to prove to myself that I could produce a full concept from start to finish.

How many years have you been shooting this project before you decided to present it?
I shot the project early last year and presented it about a month after the last day of shooting.

How long do you spend on a personal project before deciding if it is working?
When I plan a project, I spend a day or two scouting and a few days laying out my vision. I’ll break down the day into a detailed schedule so I can get the absolute most out of my time.

On the day of, I just try to feel it out. I shoot a few frames and don’t try to force it. Since it’s personal work, I give myself the freedom to move onto the next shot if a particular setup isn’t working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Shooting personal work is more about the process for me. What I ultimately get from the shoot doesn’t have to be a set of portfolio images; I want to learn and grow from something outside of what I do every day.

In my day job shooting for a monthly magazine, I’m usually given a short amount of time and specific parameters for the images I’m producing. With personal work, I’m able to take as long as I need and can experiment with different lighting setups and compositions. The hope is always to bring what I do with my personal projects into the other work I do.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Occasionally. I will be posting more of it this year after I finish the project I’m working on now.

If so, has the work ever gone viral and possibly with great press?
Not yet, but I plan to do more of it and keep putting it out there for people to see.

Have you printed your personal projects for your marketing to reach potential clients?
Some of the images from this shoot are in my current portfolio, which is primarily my food work.

Artist’s Statement

I had this idea to focus on cocktails and how bartenders make them. I pitched my idea to a package store in my area, the Grape and Grain Exchange, which sells small batch liquors and has a bar up front where they offer really unique drinks.

The bartenders are serious about what they do but they’re also funny guys. My goal was to show the bartenders in their element and how their personalities go into the drinks they make.

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Agnes is an editorial and food lifestyle photographer with a home base in the historic Riverside-Avondale neighborhood of Jacksonville, Florida and is available for assignments worldwide.

From documenting the effort that goes into preparing a pop-up dining event or photographing the fine cuisine of a AAA Five Diamond Award-winning restaurant, Agnes traverses the Southeastern US and beyond with her camera in search of inspiration and exceptional meals.

Her work can be seen regularly in the pages of Jacksonville Magazine and its other publications, Taste, Home, and 904 Magazine.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Dennis Stevens

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Dennis Stevens

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How long have you been shooting?
I have been shooting for close to eight years now with three of those being professional.

Are you self-taught or photography school taught?
I am completely self taught through experimentation.

With this particular project, what was your inspiration to shoot it?
Growing up, I always had a strong fascination with firefighters. Last summer I took the initiative to speak with the local fire chief about my photography and he granted me the privilege of working alongside his firefighters. I spent nearly a week trying to get a sense of how I was going to capture such a powerful subject, but in the end it turned out fantastic.

How many years have you been shooting this project before you decided to present it?
This project began last July, and I released the first set of images in mid-august.

How long do you spend on a personal project before deciding if it is working?
It truly depends on the subject that I am capturing. Traditionally, I will spend around three days to determine if I connect with the subject, if not I normally abandon the idea until a later date.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I am very selective in the work I choose to publish in my portfolio. Portfolio work for me has to be perfect in quality, while my personal projects don’t have too high of standard since I am just expressing myself.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I present my work on different venues depending on the subject matter. For example, I posted this project nearly everywhere I could including the firefighting sub-reddit.

If so, has the work ever gone viral and possibly with great press?
My work with first responders has gone viral within the firefighting community. As of January 2015, my series had received over half a million views as a result of social media sharing. Although with a lot of viral images out there, only a couple thousand of viewers knew that I was the photographer.

Have you printed your personal projects for your marketing to reach potential clients?
At this point, I have not. Although, I plan to create multiple promotional pieces that I will distribute to agencies this summer to introduce my brand.

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Dennis Stevens is an eighteen year old photographer based in Orlando, FL. He specializes in lifestyle, advertising, and performance photography with a hard focus on first responders. He is network driven and loves to create work with new clients. He has been shooting commercial photography freelance for the past three years while attending high school. He has been regarded by the greats of his industry as ambitious and someone who will make his mark.

His work with first responders has been widely recognized in the first responder industry. His continuous series highlighting the Winter Park Fire Department has been viewed by nearly half-a-million people worldwide as a consequence of social media sharing. His most recent campaign with Honeywell International received the attention of nearly twenty-thousand viewers within the period of a work week.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Matt Odom

- - Personal Project

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Matt Odom

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How long have you been shooting?

I’ve been shooting for eight years. I started shooting after being laid off of my old job in television and experienced a close family member’s death. I used photography as a way to alleviate the pain. I had always wanted to shoot but I didn’t have resources to get a camera when I was younger because I just couldn’t afford one.

Are you self-taught or photography school taught?

I’m completely self- taught. I come from the school of YouTube and Books. I read, read, and read some more to get the technical aspects down. I used to gobble up every YouTube video I could find on lighting. For business I searched for podcasts and listened to anything that had to do with the business and marketing for photographers. As I grew in photography I began to follow photographers like Miller Mobley, Jeremy Cowart, Tim Tadder, Tom Hussey, Joe McNally, Seth Hancock (who I owe a lot of this to), Jeffery Salters, and Derek Blanks. I just studied their work and deconstructed their lighting and went from there. I almost did art school at UGA but having already graduated from a private university I didn’t want to incur any more debt. To me this is a constant learning process and I strive to improve all the time. You are only as good as that last photo!

With this particular project, what was your inspiration to shoot it?

As a child I used to be mystified by huge exotic animals and I drive by a local taxidermy almost every other day. I decided that I wanted to spend half a day with a taxidermist and photograph the way the work. I felt that it presented such a weird art form they we aren’t used to seeing on an everyday basis.

How many years have you been shooting this project before you decided to present it?

This was one of my shortest projects it took about two months to get everything narrowed down. I’m in progress of doing a BBQ Project and that is more than likely going to be a year and a half in the making. 


How long do you spend on a personal project before deciding if it is working?


I’m pretty nitpicky, so it varies on if I feel the project is something unique and provides the viewer with a perspective that they have not taken when looking at the subject matter.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?

Personal work allows for full creativity and the opportunity to put your touch on something that you just can’t get on some commissioned jobs.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?


I have just become a huge blogger and I am always posting personal work to Tumblr. A lot of my photographer friends talked me into instagram and I’ll admit it’s pretty addictive normally I post a lot of behind the scenes stuff on there. I love the exposure that comes with social media!

If so, has the work ever gone viral and possibly with great press?


Haven’t had that experience just yet! I will say that my Taxidermist project has began to pick up steam. The Kings of the Rings project is another one that has become pretty popular too.

Have you printed your personal projects for your marketing to reach potential clients?

I actually just printed a small booklet of my Taxidermist project to go out in a few weeks to art directors, editors, and potential clients.
I received my copy and absolutely love it. Nothing beats seeing your work in print.


Artist Statement:

The Taxidermist project was done to provide people with an inside view of the hard work and art that goes into creating these larger than life replicas of nature’s most graceful and sometimes dangerous creatures.

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Matt is an award-winning editorial portrait, commercial, sports photographer out of a town just a few minutes south of Atlanta called: Macon, Georgia. He holds a Bachelors Degree from Mercer University. Back in the day, he tried his hand in television as a commercial TV producer and sports TV reporter. During that time there he shot local news and a little photography (he stuck with the later). When he’s not on assignment, he’s more than likely watching his favorite soccer team Arsenal Football Club, coaching soccer or listening to jazz.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Jason Lindsey

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Jason Lindsey

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How long have you been shooting?
15 years Professionally

Are you self-taught or photography school taught?
Self Taught. I have a BS in Graphic Design and worked as an Art Director for 5 years but no formal training in photography.

With this particular project, what was your inspiration to shoot it?
I grew up in a farming community and my parents both worked in factories. I wanted to shoot this project on Montana Life to explore people that live and work close to the land.

How many years have you been shooting this project before you decided to present it?
This project was shot over a week in Montana. I have some ongoing projects I have been shooting for over 5 years but this one was short and sweet.

How long do you spend on a personal project before deciding if it is working?
I usually spend at least a few days shooting before I decide to continue. I would say only about 1/2 of my personal projects get shown broadly.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I love it. Part of the reason I shoot personal projects is to explore, play and try new things. If I am not seeing something different than portfolio work then I need to push harder and explore more.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes almost all my personal projects get posted to social media. I use Tumblr, instagram, and facebook primarily. I also submit them to appropriate blogs.

If so, has the work ever gone viral and possibly with great press?
Yes our Montana Life project was very successful in Social Media. It ended up being shared, posted and commented on around the world. It lead to other blog posts, newspaper articles, online magazine articles, and a magazine article. The project has also lead to several assignments and another personal project. One of the assignments was for a client I have dreamed of shooting with for 15 years. We are planning our second shoot for that client now.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, we print some of our personal projects as mailers. The Montana Life project is being sent out as we speak. It was printed as a small book with a cool cloth stitching.

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BIO
I grew up in a small farm town as a child of factory workers, surrounded by “Salt of the Earth” people. I am still grounded in that upbringing and love being surrounded by the realness in the world. When I started in photography I knew I wanted to bring more authenticity to advertising. I later realized authenticity is part of who I am at the core.

I love shooting in water up to my neck, swimming with sharks, laying in the mud and doing whatever it takes to get the shot. Mostly because that’s often what it takes to make a great shot but it is also a great way to live life and have fun shoots. As my crew knows, I likely have not found the shot yet if I am not in the waterfall or the mud hole.

ARTIST STATEMENT
I wanted to document life in Montana while exploring my personal vision. I shot in a documentary style with very little equipment and no crew. I wanted to keep my presence personal and really get the chance to meet people and talk about their life and not have a bunch of gear come between us. It was a wonderful experience getting to know the ranchers and people of the Paradise Valley in Montana. They welcomed me into their lives and I was able to capture personal moments that arouse during their work and our conversations.


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 has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

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