Posts by: Suzanne Sease

The Art of the Personal Project: Billy Delfs

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: Billy Delfs

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How long have you been shooting?
I started photographing in high school when I took a class in high school and was hooked. It was something I could then use to document the people in my life. I’d go out and photograph everyday. I began with a pinhole camera and that turned into something I still have the same excitement for today. The process has endless possibilities and there was a lot to learn.

Are you self-taught or photography school taught?
I started experimenting and learning the basics on my own. I then took a few classes at the local community college. After a couple of years assisting, I applied to ICP and was accepted so went. ICP was a great school in that they taught us to find our own voice. During my time there, I worked for a couple photographers, most notably John Dolan, where I assisted in the office scanning, filing, and helped his printer.

With this particular project, what was your inspiration to shoot it?
I wanted to tell a story of those who surf Lake Erie and saw the potential of fulfilling multiple aspects of photography that I am drawn to. They inspired me and it wasn’t as much about surfing as it was about their commitment to do what they do and loved despite the adverse conditions. I focused on the tight-knit community that no one really knew about at the time. I wanted to get a few great surfing images but also focus on a story about them and portraits. I wanted to show how the weather didn’t matter (no matter how cold it was) and how committed they were.

How many years have you been shooting this project before you decided to present it?
At least a year or two, the surf season is only a few months (late fall and winter) so I wanted to build up the story before sharing. I wanted to wait until I had a good variety of surf, portraits, and landscapes. Over time I met more people, so kept adding to the story learning more about them, and adding people who I had met but not photographed or tried to get better images than I already had.

How long do you spend on a personal project before deciding if it is working?
The ones I work on the longest I don’t know until after returning a couple times. There are personal projects that could happen within a weekend, but for the ones like this I kept returning when I wanted to gather more, learn more, or when I wasn’t able to tell the story enough with a couple tries. I like to return at a few times in order to see if it is working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
My goal is to have personal work transition into portfolio and assigned work or at least get work based on personal work. When it comes to a commercial look that I know works for most clients, I definitely see how my personal work might not fit some clients’ needs all of the time. However, I work on personal work all the time to broaden myself and work on what inspires me. Usually, when that works clients are inspired too.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use social media and post a couple images referring back to the rest of a series but I haven’t necessarily posted a whole series on social media.

If so, has the work ever gone viral and possibly with great press?
I have never really had anything go viral

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I believe personal work is the best work to promote.

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Billy Delfs is ever evolving. Delfs started his career at community college and then moved to NYC to be classically trained at International Center of Photography. He is drawn to the magic of the outdoors, notably credited with capturing a series of prints documenting Cleveland’s honorable and inspiring surf community and is a advertising and editorial photographer based in Cleveland working throughout the Midwest and east coast. More at www.billydelfs.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: Mike Tittel

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: Mike Tittel

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How long have you been shooting?
17 years.

Are you self-taught or photography school taught?
Both—I attended the Rocky Mountain School of Photography in Missoula, Montana way back in 1999 but have learned a ton over the years as the industry and my career has evolved.

With this particular project, what was your inspiration to shoot it?
I’ve always been a huge proponent of living an active lifestyle, and the National Veterans Wheelchair Games is a program designed to help Veterans with various injuries do just that. Although my experience with adaptive sports was limited prior to this experience I was inspired by the vets I met on commissioned portrait shoot for USAA at the start of this year’s event in Salt Lake City. The portrait project only allowed me a few minutes with each veteran, but in that time it became clear to me the games and these men and women were special. Knowing each person had sacrificed so much and they all had such spirits of generosity that I couldn’t help walking away from the portrait day inspired. Although I had considered a personal project in the weeks leading up to the commissioned shoot, it was meeting these outstanding individuals that solidified my vision. At the first event I quickly realized this program was less about competition and more about supporting one another in achieving personal goals. Of course, that only inspired me more.

How many years have you been shooting this project before you decided to present it?
I’ve only photographed this event once and decided to share it immediately after.

How long do you spend on a personal project before deciding if it is working?
For this project I gave myself the week to shoot since I was limited to the timeframe of the Games. I really had no expectations going into it other than I wanted it to feel different the rest of my work—less polished and more photojournalistic. Each evening as I downloaded the photos from that day, I was able to get a better and better sense of what I wanted to convey and the look I was after. The project unfolded very organically, and I let myself photograph the moments and people that I was most drawn to.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
For me one of the best things about shooting personal projects is that they can be different from your main body of work. They don’t necessarily have to fit into your overall brand and there is more freedom to create and shoot subjects/projects that interest you. I also feel with personal work doesn’t have to be this huge production with massive crew and big expectations. This was different from my normal style in that I shot everything with available light only focusing on the players and moments that made the event so special.

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

If so, has the work ever gone viral and possibly with great press?
Not yet.

Have you printed your personal projects for your marketing to reach potential clients?
I have in the past but have not with this project since the work is so fresh.

Artist Statement
National Veterans Wheelchair Games is a program designed to help Veterans with various injuries to live more active and healthy lives through wheelchair sports and recreation. Each summer Veterans from all over the country gather in a new host city to compete, while also providing encouragement and mentoring for newly disabled Veterans.

Inspired by the vets I met on commissioned portrait shoot for USAA at the start of the week, I knew I had to capture these amazing men and women in action. Although this was shot in a more editorial style than my typical work it was an amazing experience watching these Vets conquer personal goals and inspire each other. The spirit of camaraderie, support and determination was so powerful, I couldn’t help but leave each event with a smile across my face. These outstanding individuals are proof that any limitation can be conquered with the right frame of mind.

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Mike Tittel is an advertising and commercial photographer based out of Salt Lake City, Utah. He specializes in sports, fitness and active lifestyle images shot on location worldwide. Follow along on Instagram @miketittel or behind-the-scenes on snapchat @miketittelphoto.
If you want to contact his agent kim@kimknightrepresents.com
http://www.kimknightrepresents.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:

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: Nadia Pandolfo

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How long have you been shooting?
I have been shooting for twenty years

Are you self-taught or photography school taught?
A mixture of self-taught and photography classes at USC.

With this particular project, what was your inspiration to shoot it?
I love to travel and document what I see. I try to remain open to dialogue with the place I am experiencing. I have been fascinated with the Galapagos Islands for as long as I can remember because it’s where Charles Darwin became inspired to write his evolutionary theory. So in 2015 I traveled to Ecuador. I became a certified PADI diver in preparation so I could also experience the underwater life there.

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

How long do you spend on a personal project before deciding if it is working?
It varies. Some personal projects are quickly completed and are more spontaneous and more experimental, while others involve a slow meticulous process of planning that may involve several years. But in this case, it was a matter of months.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Usually with personal work, I can be more creative and more experimental, since I am shooting for myself, not for a specific client, or audience. If the project works, and it finds an audience, great, but even if it doesn’t, I am still satisfied because it was something I needed to articulate, which emanated from a very deep place within me. Sometimes it takes time for certain projects to be appreciated by an audience. Sometimes certain projects just never come off the ground. But no matter what, it is never wasted time, because it is always a learning lesson. Personal projects often begin with a question, and the project is an attempt to find an answer to that question. So it is always a means to finding a deeper understanding. Usually my personal projects are precursors to more polished or orchestrated projects, which I might do at a later date. So they become part of a repertoire of subject matter to be further source of inquiry.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use Facebook quite a lot. But I have recently begun posting on Instagram and Twitter as more regularly.

If so, has the work ever gone viral and possibly with great press?
I don’t know if I can say that any of the work has gone viral. But I know I have cultivated fans who appreciate my personal photography. Many people write and comment how much they enjoy the work. I have also had some of these projects published in journals and magazines and have been approached to donate some of these images to auction for charity.

Have you printed your personal projects for your marketing to reach potential clients?
So far, I have not printed my personal projects for marketing to potential clients. But it is something I would plan to do in the future.

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Nadia Pandolfo began shooting professionally in 2001. Her work has been featured in several magazines both in the United States and abroad, and prints of her work have been auctioned for various art benefits supporting charity. She has shot ad campaigns for Hale Bob, Elvis Shoes/ Ed Hardy, Kain Label, Voda Swim, Urban Behavior, Costa Blanca, Macy’s among others. She was featured as a photographer and judge on America’s Top Model. She is best known for her cinematic style, using combinations of sculpted and natural/ ambient light. Her photos always tell stories whether it is a documentary project or an orchestrated shoot. She has also has completed several photo essays based on Hollywood classic recreations including: Rear Window, North by Northwest, The Birds, Breakfast at Tiffany’s, and The Getaway. She studied at University of Southern California. Some of her other personal projects have included: Guatemala, Iceland and Cuba.


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: Charles Schiller

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: Charles Schiller

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How long have you been shooting?
30 years

Are you self-taught or photography school taught?
Pratt graduate with degree in photography.

With this particular project, what was your inspiration to shoot it?
The challenge was to make food look good out of the bag as purchased.

How many years have you been shooting this project before you decided to present it?
This project was originally shot over 4 months and then presented 2014. A second installment was added approximately 6 months later.

How long do you spend on a personal project before deciding if it is working?
That greatly depends on the project. Generally 2 or 3 days of test shooting.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, my work is posted on Facebook, instagram and tumbler.

If so, has the work ever gone viral and possibly with great press?
I did get some internet response from out of the bag but nothing viral.

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

Yes

Statement:
Out of the bag was a self-assigned personal project. The goal was to produce beautiful appetizing images of purchased prepared food with no food stylist or props, just what came out of the bag. All the food in the original series was from the old Chelsea studio neighborhood. The plan is to continue the series with food purchased in downtown JC. It should be out sometime this fall.

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Charles Schiller has been a new york based photographer for 30 years. Specializing in food and beverages but also with extensive experience shooting still life and products. The studio recently moved from NYC to the powerhouse arts district in downtown Jersey City. The new studio is located at 150 bay street just 2 blocks from the Grove street path station.


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: Gabriela Hasbun

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: Gabriela Hasbun

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How long have you been shooting?
11 years

Are you self-taught or photography school taught?
Although I went to photo school, some of the most valuable lessons I’ve learned were from assisting other photographers.

With this particular project, what was your inspiration to shoot it?
A friend approached me about collaborating with her on a project. After a while, she lost interest, but I’ve been pursuing it ever since! The Mission neighborhood was, and is, my hang out. It’s a project I continually revisit over time.

How many years have you been shooting this project before you decided to present it?
Not long— maybe a year after I started shooting my Mission series, I got asked to be part of a group show at a gallery in San Francisco. Soon after that, I started sharing the collection with photo editors as part of my portfolio. In fact, it was the primary body of work that got me my first assignment work.

How long do you spend on a personal project before deciding if it is working?
If I don’t feel passionate about it or if it isn’t working out in my head, a personal project never gets shot.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
For me. there is no difference between portfolio work and personal work. They are one and the same. I choose subject matters that I’m interested in learning more about or have a true connection to.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
My strength isn’t self-promotion online and I don’t usually put much energy into posting these projects there. However, three years ago, Feature Shoot picked up my Fat Series and it went viral.

http://www.featureshoot.com/2013/07/fat-happy-and-healthy-women-photographed-by-gabriela-hasbun/

If so, has the work ever gone viral and possibly with great press?
When my Fat Series went viral, a lot of media outlets picked it up. I am definitely protective of that particular series because people on the internet love to body shame and I have a lot of affection for those subjects— I consider many of them my friends. Each time the work was published, the online comments started to spiral out of control. It was an odd balance between feeling excited to see the series published in so many media outlets but I also wanted to shield my subjects from negativity.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, in the past, I’ve sent some personal work as marketing promos and I also try to show personal work to clients every time I see them in person. Those photographs always seems to be what interests them most and what we end up connecting over more deeply.

Artist Statement:
In 2002, I decided to document some of the Mission’s most colorful patrons. San Francisco’s Mission District has long been the home of the working-class retailer. Between the 1906 earthquake and World War II, Mission Street was proudly known as the “Mission Miracle Mile.” Second only to San Francisco’s Union Square shopping district, Mission Street provided a shopping haven for goods and services of high quality. As a symbol and testament to its name, there were two decorative bridges on each end of Mission Street, beginning on 16th street and ending on Cesar Chavez.

The Mission has historically been a neighborhood for the immigrant. Jewish, Irish, Italian and Hispanic families have all resided and worked in this area for decades. Currently, the neighborhood is in the midst of dramatic changes. Since the early 2000’s the area has seen an explosion in popularity with the Bay Area’s young tech entrepreneurs, resulting in an influx of upscale retail outlets and trendy eateries, often pricing out the residents and small businesses who’ve made the area so special.

This series of images hopes to capture the essence of the small businesses and the owners who have been in the neighborhood for over 30 years before the neighborhood is completely gentrified. JJ O’Connor Florists, an establishment that came to Mission street over a hundred years ago, was among the oldest in this tradition and one of the many I’ve been lucky to photograph. Sadly, it shut down, as have many of the others that are documented in this series.

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Gabriela Hasbun lives in San Francisco with her husband, Nick, and their little boy, Matteo. Gabriela comes from a large and vibrant family in El Salvador. Even though she hails from warm and humid lands, she’s adapted well to the air conditioned climate of the Bay Area.
 
Gabriela loves shooting for editorial and commercial clients, specializing in environmental portraits. ‘Bold’, ‘colorful’, and ‘quirky’ are common descriptions of the work she produces. Her portraits have been featured in numerous magazines including Fortune, Sunset, WIRED and The Wall Street Journal. She has several portrait series based on cultural issues that document change and gentrification in the Mission and Polk street districts of San Francisco which have also been exhibited at San Francisco galleries including Southern Exposure and San Francisco Arts Commission.


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: Zave Smith

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: Zave Smith

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How long have you been shooting?
I have been a professional photographer all my adult life.

Are you self-taught or photography school taught?
I went to a very unique school that unfortunately did not survive very long, The Milwaukee Center for Photography. It was a very hard, very in-depth program. I was there two years and then did two years and graduated from The Milwaukee Institute of Art and Design with a degree in Photography and Print Making.

With this particular project, what was your inspiration to shoot it?
The Philly Music Makers has two strong roots. I have photographed a couple of events where I set up a white seamless studio and shot a 30-75 B&W portraits of the attendees over a couple of hours. I then took those portraits and did a video mash-up.

I have also had been thinking of shooting musicians portraits in backstage in the ready or green rooms.

About two months ago, I was talking with a friend of mine, Ron Bauman. Ron has deep ties with the Philly music scene. We somehow combined the dressing room portrait idea with the shooting speed and style of the white seamless event work and decided that it would be cool create a video mash-up of Philly area musicians. That is how that project started.

How many years have you been shooting this project before you decided to present it?
I have been sharing the work as I go. Each time we do a shoot, we add these new portraits to our gallery. We are presently doing one to two shoots each month where we shoot 10-20 portraits.

How long do you spend on a personal project before deciding if it is working?
For the last decade, all my personal projects have been of the one or two shoot variety. The Philly Music Makers is the first project that is going to go on for a while. I am just having a lot of fun with it and finding it fascinating from a sociological and aesthetic perspective. Two currents have got me jazzed. One, how do you create 10-20 interesting portraits in one green room the size of a small child’s bedroom in the space of a couple of hours and two, why do people do what they do? Why is music so important to us as a species?

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
In my mind, commercial art is all about the answers, “ our butt cream will make your life better.” Whereas fine art, and I think that personal work has the same motivated as fine art, is all about questions. I find that questions are a lot more interesting than answers.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
For me, personal work is all about communicating. Today that means Facebook, Instagram, and LinkedIn.

If so, has the work ever gone viral and possibly with great press?
Not yet but this project is starting to get buzz.

Have you printed your personal projects for your marketing to reach potential clients?
I just used one of the photos from the Music Makers on a postcard promotion.

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Exuberant and poignant, philosophical and passionate, Zave Smith’s photographs capture the tangible pleasures and tactile experiences of life. Zave has a special feeling for personality that suffuses his work.

Clients include:
Bristol Meyer Squibb
Capital One
Campbell Mithun
Comcast
Digitas
GMc Advertising
J.P. Morgan
Shire
Vanguard

Represented by,
W.S.W Creative


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: Amanda Hibbert

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: Amanda Hibbert

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How long have you been shooting?
I’ve been pursing a career in photography for 5 years, however I received my first camera my senior year of high school and started shooting then.

Are you self-taught or photography school taught?
A little bit of both. Photography is my second career so when I made the change in 2011 from Aerospace Engineering I really examined going back to school full time. I had already completed a certificate program from the Washington School of Photography while working as an engineer, but I felt like I needed a more in-depth focus on lighting.

On my first assisting job I was the second assistant. The first assistant had graduated a few years earlier from photography school. She told me she had learned more on the job than from school, so I decided not to go into debt and learn what I didn’t know while assisting and digital teching.

With this particular project, what was your inspiration to shoot it?
I played rugby in college and it was one of the best decisions I’ve ever made. It was an experience that shaped who I am today, my values, work ethic and confidence.

I wanted to share a rather unknown sport with people. The photos are the tip of the iceberg for this project, this series is part of a larger documentary film project I am working on about women’s rugby in the United States.

How many years have you been shooting this project before you decided to present it?
These particular images are from the 2011 spring season in the Washington DC area, however I am still working on the overall documentary project. Initially this was going to be a photo essay, then I wanted it to be a multi-media project to include players talking about their experiences. In 2012 I decided it was a documentary film and started filming for that purpose in 2013.

I will be adding portraits of the players and I would like to eventually get the entire collection into a gallery show as part of promotion for the film.

But the short answer is, I’m still working on it.

How long do you spend on a personal project before deciding if it is working?
I am a very detailed planner and I do a lot of pre-visualization prior to a project. If the concept is not coming together in the planning stages I’ll table it and work on another. For me it’s not the time or effort already put in but more of a creative fulfillment quota that needs to be met. I have a book full of ideas that I want to work on so I’ll move onto the next idea if it’s not working for me.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Currently I find that a lot of what ends up in my portfolio is my personal work, so I wold not say it’s different for me. Since majority of my images are my ideas and personal shoots when I shoot personal work, I’m shooting for my portfolio.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Always! My current social media marketing plan starts with my Instagram account @amandahibbert. I use that as the starting point, and then it pushes out to all other outlets (Facebook, Twitter, Tumblr, etc.). My Instagram account is treated as an extension of my brand so when I post to Instagram it’s like being on my website, but more immediate like a blog. I’m currently curating my feed now to more closely align with my brand.

If so, has the work ever gone viral and possibly with great press?
Not viral yet, but hopefully with this wonderful interview. There has been interest in the women’s rugby project and film but nothing so extensive as to make it “viral”.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. My leave behind when showing my portfolio includes several images. The rugby photos are actual some of my images that get the most responses when showing my book, it’s a great conversation starter.

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Amanda Hibbert is a San Francisco based photographer and director who believes in the power of story telling.

Her unique combination of technical expertise and creative vision provide an exceptional experience. A true collaborator, Amanda creates a successful partnership with her clients to express their visual aesthetic through photography and video.

She has been selected and exhibited in three APA group shows, the 2013 & 2014 “Off The Clock” Exhibition and in the 2014 “Something Personal Show”.

Visit www.amandahibbert.com or follow in Instagram @amandahibbert


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: Sandra Salvas

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: Sandra Salvas

Sunrise in Mae Ann over Love Animal House

Sunrise in Mae Ann over Love Animal House

Hero taking it all in. Marianne found Hero just after he was hit with a machette in his face. While he lost sight in his one eye, he still has a loving spirit and now a forever home where he is safe.

Hero taking it all in. Marianne found Hero just after he was hit with a machette in his face. While he lost sight in his one eye, he still has a loving spirit and now a forever home where he is safe.

Yod and Lung (pronounced Loon) unloading  the daily cut grass for the cows at Holy Cow Farm, the cow extension of Love Animal House.

Yod and Lung (pronounced Loon) unloading the daily cut grass for the cows at Holy Cow Farm, the cow extension of Love Animal House.

Zoe getting her lunch at Holy Cow Farm.

Zoe getting her lunch at Holy Cow Farm.

Tain (Tahn) and Miso. Tain lives at and takes care of the animals at Holy Cow Farm.

Tain (Tahn) and Miso. Tain lives at and takes care of the animals at Holy Cow Farm.

Nin is the last surviving dog at the Wat Ban Oi temple. Recently there was a mass poisoning of 20 dogs here, but Nin was spared. She's been at this Temple for 10 years. She is 12 years old. Pictured with Luang Poh

Nin is the last surviving dog at the Wat Ban Oi temple. Recently there was a mass poisoning of 20 dogs here, but Nin was spared. She’s been at this Temple for 10 years. She is 12 years old. Pictured with Luang Poh

Caramel, not so sure about the giant lens in front of him.

Caramel, not so sure about the giant lens in front of him.

Monty,  watching the sunrise from the top of Love Animal House. Monty is the newest dog here. He kept finding trouble in the villages with chickens running loose. Marianne feared he would be poisoned, so she brought him home.

Monty, watching the sunrise from the top of Love Animal House. Monty is the newest dog here. He kept finding trouble in the villages with chickens running loose. Marianne feared he would be poisoned, so she brought him home.

Mali and her brother Mumbo (not pictured) are defintitely the most wild, most skeptical of the dogs here. They were the only pups that were completely uninterested in getting attention from people.

Mali and her brother Mumbo (not pictured) are defintitely the most wild, most skeptical of the dogs here. They were the only pups that were completely uninterested in getting attention from people.

Ping prepares dinner for the dogs. Ping prepares meals for the dogs 5 days a week using fresh ingredients from the local markets.

Ping prepares dinner for the dogs. Ping prepares meals for the dogs 5 days a week using fresh ingredients from the local markets.

Marianne gives Wolfie a bath. Wolfie was hit by a car and paralyzed in one leg so he now drags it behind him. this leads to scrapes and cuts, so he gets baths to keep the potential for infection down.

Marianne gives Wolfie a bath. Wolfie was hit by a car and paralyzed in one leg so he now drags it behind him. this leads to scrapes and cuts, so he gets baths to keep the potential for infection down.

Charlie is at Wat Pa Tiew. This Temple is off the main highway in Mae Rim. He was hit by a car and had to have surgery on his hips and leg. Marianne is hoping to place him in a home environment sooner than later.

Charlie is at Wat Pa Tiew. This Temple is off the main highway in Mae Rim. He was hit by a car and had to have surgery on his hips and leg. Marianne is hoping to place him in a home environment sooner than later.

Tun feeding the cows at Holy Cow Farm.

Tun feeding the cows at Holy Cow Farm.

The water buffalos enjoying the water on a 90 degree day in Mae Rim.

The water buffalos enjoying the water on a 90 degree day in Mae Rim.

The dogs of Wat Hua Fai. These dogs have it pretty good. The monk here cooks for them daily. Originally there were only 3 dogs here, but the monk allowed other dogs to come in because they were not safe. Now there are 14 here. The Temple sits up high on a hill and against the forest.

The dogs of Wat Hua Fai. These dogs have it pretty good. The monk here cooks for them daily. Originally there were only 3 dogs here, but the monk allowed other dogs to come in because they were not safe. Now there are 14 here. The Temple sits up high on a hill and against the forest.

The dogs of Wat Nah Hoerk. This is one of the safesty temples I've seen. The monk has built the dogs an enclosure for when he is not around to keep them safe. Otherwise they all follow him around and do not wander too far. There are lots of dogs here and it's amazing they all seem to get along in this enclosure.

The dogs of Wat Nah Hoerk. This is one of the safesty temples I’ve seen. The monk has built the dogs an enclosure for when he is not around to keep them safe. Otherwise they all follow him around and do not wander too far. There are lots of dogs here and it’s amazing they all seem to get along in this enclosure.

Bobo the cow at Holy Cow Farm.

Bobo the cow at Holy Cow Farm.

The dogs of Wat Nong Pla Mann happily greet a young monk.

The dogs of Wat Nong Pla Mann happily greet a young monk.

How long have you been shooting?
Technically, since high school…which is about 18 years ago now…yikes.

Are you self-taught or photography school taught?
I went to the School of Visual Arts in NYC. I wanted to learn not just how to take photos, but how to market myself and sell my work commercially.

With this particular project, what was your inspiration to shoot it?
I am an animal lover and have worked with several local dog rescues in Utah over the past 5 years. Yes, I’m a crazy dog lady.

I had just been laid off from a full time job as a photo editor, and was completely burnt out. I wanted to work on something bigger than marketing objectives, and for someone who was actually making a difference. I perused the interwebs for volunteer photography projects and found the site Photographers Without Borders. They are a non-profit organization who work with NGOs in developing countries. They partner photographers with causes in order to raise awareness through visual story telling. I read their Mission & Vision statement and immediately applied for an opportunity to work with an animal rescue. After an interview and a couple months, they asked if I’d like to partner with Love Animal House in Chiang Mai, Thailand. I raised money for my airfare and stay, as well as some additional money I was able to donate to Love Animal House.

I wanted this to be pure journalism. I followed Maryanne, her dogs, her cows, cats, and her employees around for 2 weeks just watching, observing, and learning.

Animal welfare is low on the totem pole for most people in Thailand. They don’t understand spaying and neutering pets is the way to control an overpopulation of cats and dogs. Sadly, they result in poisoning their pets to “get a hold of the situation.” Slaughter houses are violent and inhumane, and farm animals are often left suffering and unattended to. The sanctuary was founded over 21 years ago to change this; to offer a place of equality for all living animals, and to educate the community in animal welfare. The organization is currently developing their bovine shelter for rescued cows and water buffalo to be developed into a free energy plant by turning their waste into gas to run generators and provide electricity to their project site and neighborhood. 

I wanted the opportunity to tell this story. The project focuses on the animals she’s rescued, as well as the monks who protect the animals in the local temples of Mae Rim. It really goes beyond Chiang Mai, so I feel like this is just one door that has opened to a much bigger project.

How many years have you been shooting this project before you decided to present it?
This was a 2 week project, but I want to go back. There’s so much more to tell.

How long do you spend on a personal project before deciding if it is working?
It depends on the depth of the project. Some projects only last 1 day, some I spend years on. If it’s a real story, with progression and substance, it usually only takes a day to realize that and then I try to go back within a reasonable time and continue it over a year. Sometimes I just have random ideas that are more conceptual and it’s just a one day shoot and done.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I actually consider all of it portfolio work. Part of being a photographer is being personally creative but also having the ability to adapt your style for a clients needs. I like the challenge of making it all cohesive. My personal work comes from what I am most passionate about, and I like to think that clients consider those things before they hire me for an assignment. “Oh, she loves dogs. She must be patient and understanding.” Haha!

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I only post personal work on Instagram. I have rules for this platform,

Rule 1 is iphone only. What’s more challenging than taking a great photo? Taking a great photo with your optically challenged iphone. Funnily enough, I broke this rule twice during promotion of this trip to Thailand, but that was it. I’ve stayed true before and since.

Rule 2 is only 1 post a day. No one wants to see the progression of me “getting the shot” Just post the best one.

As for Tumblr and Facebook, anything goes. I use Tumblr to promote photos before I add them to my website galleries, or will throw up an image with Facebook. Honestly I’m not the best social media promoter.

If so, has the work ever gone viral and possibly with great press?
Not yet, but maybe one of these days. I’m optimistic.

Have you printed your personal projects for your marketing to reach potential clients?
I do it all the time. It’s not like a lot of people are going to have the opportunity to see my personal work unless I’m on their radar. By printing and mailing pieces out, I only hope it doesn’t just go from the mail box to the recycling bin. I don’t over print or over send. I really try to target the audience of the mailer so I’m not wasting paper or anyone’s time.

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I grew up in rural Pennsylvania, moved to NYC for college, and after graduating quickly traded in the concrete jungle for the mountains. After a 5 year stint in Boulder, CO, I moved to Park City, UT where I currently reside with my husband and 2 fur kids.

I am inspired by real moments, real people, bad dogs, being outside, and all kinds of adventure. I love projects with depth and process that keep you wanting to go back for more: to learn, see, and experience it all as much as you can.

I love…
documenting activities
unexpected moments
the outdoors
dogs
my family
nature
mountains
snow
sun
water
whiskey
a cold beer
skiing
running
cartwheels
great friends
dancing


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: Lou Mora

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 Lou Mora. He is one of our most trusted and creative photographers. He brought a beautiful light and style to all of work he did for us even when some of the subjects and places were bland. He goes beyond the call to get to get the perfect shot even scaling telephone poles, rooftops and crawling under things. His work has evolved beautifully.

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How many years have you been in business?
I assisted for 4.5 years and launched my company around 7 years ago.

Are you self-taught or photography school taught?
I went to photography school, but I’d say at this point I’m just as much self-taught.  I’ve learned so much since I graduated that it feels like my formal education covered the basics but that I had so much more to learn.

Who was your greatest influence that inspired you to get into this business?
I fell in love with photography before I fully understood that it could be a livelihood, so I’d have to say it was the many photographers I assisted who showed me the ropes and exactly how I could turn what I loved into a business (you know who you are, thank you!) 

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 find inspiration in all the usual places- but I’m most inspired by people; mannerisms, style, idiosyncrasies, where they live, how they live- it all fascinates me.  As far as pushing myself and staying true to myself, that comes from a determination to keep growing, bettering my work and refining my vision.  I trust that if I’m doing that work, the rest will fall into place.

Do you find that some creatives love your work but the client holds you back?
My number one goal on set is to give the client more than what they are asking for. That can mean different things at different times but it’s all a collaboration. If the client has a comp and they know that that’s what they want, I’ll shoot it but time permitting I’ll also give them different variations. I’ve found that most if not all clients are open to seeing what’s possible when the approach is right! 

What are you doing to get your vision out to the buying audience?
HUSTLING! I’m always working on personal projects, marketing is a constant (mailers, social media, emails, etc.).  Building relationships is critical, so I try to stay in touch in a genuine way and I’m always trying to book meetings- not only do I think it’s incredibly helpful for buyers to be able to get a feel for my personality but I’ve gotten to a point where I think they’re fun!  It’s great meeting people who love the same things I do and it’s fun to meet people whose careers I’ve followed in the ad world.

What is your advice for those who are showing what they think the buyers want to see?
I say, no one sees the world quite the same way you do, so take advantage of that and figure out how to make your unique perspective the strongest it can be.  All other work will fall just short, and ultimately won’t be as satisfying.  

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always!  At the end of the day I’m a photographer because I’m happiest when I’m shooting.  I love being on set, but in the time I’m not, I keep myself going by tackling the personal projects that bring me so much inspiration.  Right now I’m working on several: Portraits of Artists, Small Businesses, and Car People. 

How often are you shooting new work?
If I’m not shooting for clients I’m trying to shoot something for myself once a week- even if it means just heading out with my camera and driving around looking for ANYTHING that strikes a chord.  I’ve found that with two of my great loves- surfing and photography, I am happiest when they’re a part of my weekly life, but it’s easy to get busy and neglect them.  This year I’ve committed to scheduling shoots at least once a week when I’m not on set and on the occasion when they fall through I’m out the door with my camera looking for an opportunity. 

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Lou Mora is a surfer, husband, traveler, and chocolate chip cookie connoisseur. Professionally he’s a lifestyle and portrait photographer who’s favorite place to be is on set surrounded by the talented and spirited crew he’s been working with for years.
Lou works on both large and small-scale projects, tackling both with the same objective: to produce relatable images that tell stories, that are approachable, intimate and unaffected. His secondary objective is simple, have a great time with like-minded creatives doing what they love to do.

Contact:
Lou Mora
310.721.1979
lou@loumora.com
http://www.loumora.com/
Instagram: @loumora

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: Bob O’Connor

- - 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: Bob O’Connor

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How long have you been shooting?
15 years

Are you self-taught or photography school taught?
I went to school for architecture, but took a lot of photo classes while I was there. That said, I learned more from assisting photographers in the real world than I ever did in school.

With this particular project, what was your inspiration to shoot it?
I was interested in the sparse landscapes and ever changing weather that exists in Iceland.

How many years have you been shooting this project before you decided to present it?
This project is from a single, two week, trip to Iceland. It was presented as soon as I got the film scanned and retouched.

How long do you spend on a personal project before deciding if it is working?
I tend to think about and plan things for so long that by the time I get around to photographing them I’m pretty confident they’re going to work. If it’s gotten to the point that I’m getting on a plane and going somewhere, I know I have a project that’ll work.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I don’t think they’re that different. I make a conscious effort to keep all the work I show in my portfolio/website, whether from personal or commercial projects, feeling that same. The goal is to get hired for projects that I would’ve done for myself even if someone wasn’t paying me. I try not to dilute my aesthetic with images that are overly commercial looking, solely there to attract a client.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I’m a regular Instagram user @oconbo I’d say I post the early stages of projects and/or process images there and save the final images for my website.

If so, has the work ever gone viral and possibly with great press?
This project slowly made its way around to a lot of design and photo blogs. It wasn’t a single day viral hit. I did a limited edition print of the horse image with Jen Bekman’s 20×200 project that did sell out in less than a day.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. A postcard with an image from this project that was sent to an art buyer resulted directly in me getting an advertising job to take a similar style image for their project.

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Bob O’Connor is a Boston based photographer interested in the places that people live and work. His work has appeared in a variety of publications including, The New York Times Magazine, Fast Company, Technology Review, Dwell, and Fortune magazines. O’Connor’s work has also been shown at The Photographic Resource Center, The Griffin Museum of Photography, and Jen Bekman Gallery. He was named one of “30 Emerging Photographers to Watch” by PDN in 2006 and one of Resource Magazine’s “10 Best 10” in 2009.


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: Amanda Jasnowski

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 Amanda Jasnowski. I have ben following her for a while and have really enjoyed watching her career take off this year. I really admire her use natural light to capture her subjects and her ability to capture real and honest images

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How many years have you been in business?
More or less four years.

Are you self-taught or photography school taught?
Mostly self-taught. The last two years of high school I attended a vocational school where I studied photography in-depth, that was my introduction. Thanks to Troy Baker and Jay Vada for showing me the way.

Who was your greatest influence that inspired you to get into this business?
I think more than one person it was a community of folks. The internet helped show me in some type of honest way that there were young creatives out here making a living. It was possible! Everyone doing their own hustle individually but also together.
Living in a rural town was its own bubble so it was easy for things to feel far-fetched, but, through the internet this bubble expanded and the idea of moving here and taking photos for a living seemed a lot less crazy. The response I got from people online was so positive. In a time where I didn’t really have my own physical community that support I found online really helped in a big way.

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 this is a matter of being self-motivated. Motivating yourself to be active, to not get lazy, to stay curious. Feed yourself (whether it’s from books, magazines, museums, on the streets, films, your peers), look in places you haven’t looked before.

In my experience staying true to ones self requires a level of frequent self-evaluation (which also maybe requires a level of constant dissatisfaction? Some type of hunger that fills you with the desire to keep moving in any direction) and honing your aesthetic (practice makes perfect?). I feel strongly about that when you’re working hard and making work you really want to make you radiate a specific kind of energy and people pick up on that.

Do you find that some creatives love your work but the client holds you back?
There is almost always some sort of balancing act, moreso in larger jobs.

What are you doing to get your vision out to the buying audience?
Keeping in touch (whether it’s through email or mailing physical objects), having some type of internet presence, going to meetings with and without my agent. I’m very fortunate to have teamed up with an agent who understands my practice and personal goals, it’s a relief knowing that she is also out there hustling on my behalf.

What is your advice for those who are showing what they think the buyers want to see?
I promise this will lead nowhere good. For you or for buyers.
People will hire you based on the work you put out there into the world, so it’s very important to put out work that you are proud of and eager to do more of.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Trying my best.

How often are you shooting new work?
This fluctuates, lately I’ve been so consumed by work and taking care of other aspects of this job (taxes!). I definitely haven’t been creating as much new work as I’d like but for me it’s very important to cultivate some movement, whether it’s through making things or thinking about making things.

I try to listen to the ebb and flow of a freelance lifestyle and understand that I’m not a machine. Someone awesome once said “If you’re feeling bad in your heart, you’ll look bad in your art” (that awesome person is Adi Goodrich).

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Spanish-born, Ohio-raised, Amanda Jasnowski is a photographer based in Brooklyn, NY.

She has served as a guest editor for the Saachi Gallery Magazine Art & Music and has exhibited work in New York, Los Angeles, and London. Firm believer of fun, the therapeutic power of art and never taking yourself too seriously. She is represented by Assignment Agency Theresa@assignmentagency.com assignmentagency.com in the US but in Europe by O lita@olovesyou.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: Tyler Stableford

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: Tyler Stableford

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How long have you been shooting?
I’ve been shooting for 22 years.

Are you self-taught or photography school taught?
I’m self-taught, yet I have learned from and been inspired by many workshops and mentors over the years.

With this particular project, what was your inspiration to shoot it?
For The Farmers project, my main inspiration was to capture working farmers and ranchers here in my hometown of Carbondale, Colorado — and the project grew to become national in scope.

How many years have you been shooting this project before you decided to present it?
I shot the project for a few months before showing the work to Canon’s ad agency Dentsu America – I was hoping that this body of work could convince them to have me shoot a campaign for one of their new cameras. What they proposed instead, which was even more fortuitous, was a campaign for Canon’s ImagePROGRAF large-format printers. In many ways, this was the perfect match for the project, as I had always envisioned this series as a fine-art project. I never wanted the images to look or feel “commercial” — and with the printer campaign, the fine-art style was a perfect fit.

How long do you spend on a personal project before deciding if it is working?
Ha! It depends — some I have dropped after a single shoot. With The Farmers series, I knew after shooting just a few ranchers here that it had promise. In part this was because I’ve lived here for 19 years and gotten to know many of the ranchers and have shot commercial projects on some of their properties, so I already knew a lot about these men and women, and their families. I knew this project could really come to life in print.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
That’s a good question, yet I think that often personal work is exactly what creative directors and art producers want to see these days. Yes, they need to see commercial work that shows that a photographer can execute a large-production campaign when needed; yet more important is personal spark and an artistic eye. I think that’s what really grabs a viewer’s attention and what may win a commercial project.

Also, I am always excited if my personal images have a different look than my existing portfolio. At this point in my career, I’m not looking to add more depth to, say, my skiing or climbing or workwear images (sure, I can always improve upon what I have, but you get the idea); I’m looking A) to be inspired by capturing unique imagery of larger world and B) to show more diversity on my portfolio.

As a director/photographer living in western Colorado, three hours’ drive from the nearest ad agency, I’m not one who specializes in just one narrow niche, as perhaps a more urban photographer might; I enjoy shooting a wide range of projects!

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

If so, has the work ever gone viral and possibly with great press?
I haven’t seen personal work go viral; I have seen commercial projects and short films gain great interest online That said, until recently I have not invested a lot of time in posting to social media, and that is changing — I just hired a social media and marketing director to help with this!

Have you printed your personal projects for your marketing to reach potential clients?
Yes, absolutely; I have printed my personal projects. I have used Canon’s HD Album books which have beautiful paper and layouts; they go alongside my main portfolio book and it’s nice to have an additional book of work when meeting with agencies.

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Photographer and director Tyler Stableford has earned a worldwide clientele for his print and motion imagery. He is one of Canon’s prestigious Explorers of Light, and Men’s Journal named him “One of the Seven World’s Greatest Adventure Photographers.”

Tyler’s work has won numerous awards from the Art Directors’ Club, Communication Arts, Graphis, AdWeek, the AME awards and many others. His award-winning short films have screened at film festivals around the globe.

Tyler’s passion for storytelling extends beyond commercial work—he volunteers to shoot at least one week per year for nonprofits. Visit www.tylerstableford.com for more.


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: Danielle Tsi

- - 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: Danielle Tsi

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How long have you been shooting?
I have been actively photographing for the past 15 years. Professionally, for the past 6.

Are you self-taught or photography school taught?
Self-taught mostly, apart from the occasional photography workshop and assisting other photographers.

With this particular project, what was your inspiration to shoot it?
A friend and I were invited last summer to attend the inaugural Women’s Meat Camp organized by the Belcampo Meat Company, in exchange for coverage on blogs and social media.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Each time I create work I seek to make it portfolio-worthy, whether for a client or for myself, so there’s no distinction in that regard. I’m a firm believer that there are a multitude of stories out there waiting to be told, I just have to be in the right space (physically and mentally) to capture it and this is how I approach any assignment. In this case, my goal was to tell the story of the first Women’s Meat Camp by conveying the camaraderie and friendships that were forged among 12 women over a weekend of cocktails, butchery and open-fire cooking.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, all the time. Instagram is my preferred medium and I really like that it automatically cross-posts to Facebook and Twitter.

If so, has the work ever gone viral and possibly with great press?
I wouldn’t say my work has gone viral but my blog has had its successes, most notably when it was nominated for Best Food Photography in Saveur Magazine’s Blog Awards a few years ago. That generated a lot of publicity and some fruitful work opportunities.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, mostly postcards, though I’d love to put together a mini-zine sometime. Perhaps this is the year to do it!

Statement
The Belcampo Women’s Meat Camp was a four-day all-girls’ extravaganza featuring butchery and open-fire cooking of some fine cuts of meat, accompanied by: copious amounts of rosé, cocktails, yoga on the lawn, hands-on sausage-making, farm walks, hair-braiding, story-telling, grilled peaches and hand-churned ice-cream. Founded in 2012, the Belcampo Meat Company oversees the entire process of raising, butchering, processing and selling sustainable and humanely-raised meat on their farmlands at the foot of Mount Shasta, California.

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Born and raised in Singapore, Danielle Tsi uses photography as a means to understand and experience other ways of looking at the world. With food as her muse, she stumbled into the magic that comes with uncovering the stories that lie beyond the delights of the plate. Translating that fascination into her award-winning blog earned her a nomination for Best Food Photography in Saveur Magazine’s Best Food Blog Awards. Her work has appeared in various media outlets including, The Kitchn, Design*Sponge, and Saveur. Danielle loves Ashtanga yoga, red wine, cooking for friends, espresso and winter’s soft light. She lives in Silicon Valley with her husband, cat and their vegetable garden.


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: Hollis Bennett

- - 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: Hollis Bennett

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How long have you been shooting?
For myself, about 5 years.

Are you self-taught or photography school taught?
I went to photo school but the only thing it taught me was that school can’t teach you real world experience.

With this particular project, what was your inspiration to shoot it?
I’ve always been a fisherman and love all aspects of it and I have been working on building a body of work around Fly Fishing around the world because honestly, it’s one hell of a way to get outside, travel the world and have a damn blast while making solid images.

How many years have you been shooting this project before you decided to present it?
Well, this specific body of work that you see here was just completed in the last month as I was in New Zealand working on these images. Overall, I have been shooting fly fishing for about 3 years now.

How long do you spend on a personal project before deciding if it is working?
That’s a tough one – some projects are much more self-evident and reveal their failures (or success) quite quickly, and others take a bit more digging to find out. I give all my projects at least 2 or 3 attempts, but if it’s not working past that, I move on. It can be tough to stay focused at times too – I’m like a cat chasing a laser pointer at times…

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Is it different? I don’t think it should be. Sure, you might be able to take liberties with your ‘personal work’ but in the end, it should all matter and fit in your portfolio somewhere.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I am a huge Instagram whore. I love the immediacy of it and I (try) to treat it as a rolling, evolving portfolio. I think that it’s great to be able to post something to the masses and add a bit of humor/insight/intrigue to the images via the captions.

If so, has the work ever gone viral and possibly with great press?
I’ve had images picked up by brands interested in what I’m doing and it has led to some success for sure.

Have you printed your personal projects for your marketing to reach potential clients?
Of course. I can’t think of a time when I haven’t used at least one image from a personal shoot on a promo. I don’t always call it out as such, but again, this goes to ‘brand’ consistency with my work. I want to show people that you are hiring me for a certain look, and a certain aesthetic and that will come across no matter the image or project.

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Hollis Bennett is an award winning photographer based in Nashville Tennessee. Originally from Tennessee, he has lived on 3 coasts (E, W, and Alaska) in the largest cities to the smallest remote communities.

He specializes in real people doing real things. His style carries over from editorial to advertising and back again, and he loves to tell stories, in any manner possible.

A life lived out of doors fishing, hunting, traveling and exploring allows him to relate to these situations and see them from the perspective of someone who has been there and experienced it first hand.


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: Sasha Nialla

- - 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: Sasha Nialla

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How long have you been shooting?
I have been shooting for 13 years. I’ve been working solely as a photographer for 10 years.

Are you self-taught or photography school taught?
I’m self-taught. I took one photography class at The New School to learn how to use the camera and one black and white printing class to learn about lighting, shading, how to look at a negative, that the film is just a blueprint…I also read lots of books. And of course, the never-ending class of ‘trial and error.’

With this particular project, what was your inspiration to shoot it?
I am constantly getting involved in projects that bring awareness to different causes and life experiences. With immigration being one of the top issues on people’s minds today, I wanted to create a project that shows immigrants and refugees as people and not as social-political data.

How many years have you been shooting this project before you decided to present it?
I contacted New Women New Yorkers with a photo concept. We decided to make it into a photo exhibition to raise awareness about women immigrants in New York City. I photographed this series over 20 days. The exhibition is on Thursday, March 24 from 6-9pm at Centre for Social Innovation, 601 West 26th Street, Fl. 3.

How long do you spend on a personal project before deciding if it is working?
I jump into projects with both feet. I make all the commitments and agreements before I have even picked up the camera. So I shoot the whole project, usually over the course of a few days, and then walk away from it for a few days. With a clear head I start viewing the images and seeing how it affects me. Sometimes it works and sometimes it’s just great for the people involved but not for my portfolio. That is ok, because a huge part of why I shoot personal projects is the experience with my subjects. I love learning about other people, what makes them tick. To me, if that experience went well, I believe the work went well.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I view them as the same. I shoot personal projects with the intention of it going in my portfolio. I try to present work that I would like to get hired doing. Since I produce, art direct, photograph, and retouch all my personal projects I feel it is a good representation of my style.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, I do post on Facebook and Instagram (@snialla). I’ve gotten assignments and kept contacts this way. I feel it’s a good way to stay in front of people without being annoying. If they want to look at my page, great.

If so, has the work ever gone viral and possibly with great press?
I’ve yet to have a piece go viral…

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I almost always print my personal projects for marketing. I made a black and white magazine of portraits I took for Dance Theatre of Harlem. I mailed some out and kept some to leave behind at meetings. It was mentioned on PDN’s Promos We Kept and the series placed in the self-promotion category of the PDN Photo Annual 2015.

Artist Statement
Now more than ever, immigration is one of the top issue’s on people’s minds. Women immigrants and refugees constantly face sacrifices and challenges that deserve attention and recognition. Learning unknown customs, speaking a new language and adapting to different cultural norms is extremely hard. Establishing a career in the US workforce as a foreigner is even harder.

Through my photographic series entitled Real People. Real Lives. Women Immigrants of New York, I want to bring awareness to the fears and strength immigrant women carry each day. The cities they first called home are a huge part of who they are. For this reason, I chose to integrate their hometowns into their portraits. Landscape images of their birthplaces were projected onto their faces, bodies, and background to create highlights and shadows. These projections blended onto the sitter’s features, emphasizing their beauty, their emotion and the marks of their struggles, which are visible in their eyes and expression.

I approach all subjects in the same manner. I spend time getting to know the sitters, I ask them questions and connect with them. Only with their trust, I am able to show their vulnerabilities.

I think that it is important to underscore that although much is being said about immigration, immigrants and refugees are being treated as numbers. These portraits show immigrants and refugees as people and not as social-political data.

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Sasha Nialla was raised in California and spent the last 16 years in New York City. As a photographer for 10 years, she is constantly getting involved in photography projects that bring awareness to different causes and life experiences, including; children with HIV/AIDS, diabetes, Iraq war survivors and many more. All these projects have resulted in supporting vulnerable groups and people, and those not exposed to these situations in their everyday lives. Highlights include multiple billboards in Times Square for Bideawee, standees of breast cancer survivors with NFL players in Kroger supermarkets and on PepsiCo and Gatorade packaging and an exhibition of cancer survivors in the NYU Medical Center art gallery.


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: Judd Lamphere

- - 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: Judd Lamphere

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Old dogs photographed at Reciprocity Studio in Burlington by Vermont photographer Judd Lamphere

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How long have you been shooting?
I’ve been shooting professionally for about 12 years now, but my love for photography began in my high school darkroom. I was fortunate enough to have access to a great art program back then. In fact, my high school arts program put many students on the path to professional careers in the arts.

Are you self-taught or photography school taught?
I received a BS in Biomedical Photography from the Rochester Institute of Technology in 2006.

With this particular project, what was your inspiration to shoot it?
It was my best friend’s dog Roxanne. I had known Roxy since, well, since we were all puppies, really. I saw her carry him through some of the hardest times in his life. The relationship was beautiful, and for a time, it felt like it would stay that way forever. As Roxanne got older, her black coat became lined with silver accents, and she mellowed out a lot from the rebellious teenager she used to be. Yet, she retained this kind of pride in herself. She carried herself with a sense of stateliness. But even more than that, was this bond between the two of them, this unconditional love for one another. My friend had to slowly start saying goodbye to his best friend one day at a time. I wanted to help him through this really difficult time, and the only thing I could think to do was take a picture.

How many years have you been shooting this project before you decided to present it?
I started showing pictures on my blog almost immediately. Friends started sharing links to my work on social media, and soon I had people lining up to have portraits made of their best friends too.

How long do you spend on a personal project before deciding if it is working?
That’s a tricky question for me. I find my personal work comes in waves, with moments of cresting productivity followed by troughs. As such, it can take me awhile, maybe even two years, before I’ve explored a body of work to the point where I can tell myself if it’s succeeding or not.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I love when the work is different. Variety is the spice of life, and it keeps me growing professionally and personally. The great thing about personal work is that it’s ok to fail. Real growth emerges from failure.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Typically I will only share a link to my blog on social media, out of various copyright concerns. This is for my professional and personal projects that I’ve edited closely. I’ll use Instagram or Facebook for fun “behind-the-scenes” type shots that I’m not concerned about. I did share a body of work through Reddit/Imgur, but this was a series of vertical landscape panoramas I did, and was just for fun.

If so, has the work ever gone viral and possibly with great press?
My old dogs project picked up a lot of interest locally and was featured in 7days (Burlington’s go-to free alternative weekly), and a local news story.

Have you printed your personal projects for your marketing to reach potential clients?
I have actually! I print and mail postcards to small, targeted groups of clients I really want to work with.

What do you want to do with this personal project?
My long-term goal for this project is to assemble a photo book, perhaps through some form of crowdfunding or self-publication. The idea is to have proceeds from the book go into a fund to help support the adoption of senior dogs.

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Judd Lamphere received a BS in Biomedical Photography with concentrations in Photojournalism and Creative Writing from the Rochester Institute of Technology in 2006. He has since worked as a photo editor, production manager, landscape and editorial photographer in a number of areas including advertising, editorial, travel, nonprofit, government organizations and outdoor adventure.

Judd has worked with a number of periodicals and organizations including The Wall Street Journal, Triathlete Magazine, Boston Globe Magazine and Greenpeace, though his true passion for photography lies in his personal work, ranging from portraits of Old Dogs for charity to his exploratory landscape series Architecture of Energy.

Judd is also a co-founder of Reciprocity Studio, a commercial studio in Burlington, Vermont whose clients include Seventh Generation, Tata Harper Skin Care, Caledonia Spirits and more.


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: P2 Photography

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: P2 Photography (Jon Held & Jenna Close)

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How long have you been shooting?
Jenna: We are in our 9th year of business.
Jon: The 9th? Already?

Are you self-taught or photography school taught?
Jenna: I went to the Art Institute of Seattle.
Jon: I am self-taught.

With this particular project, what was your inspiration to shoot it?
Jenna: We had been having a period of creative block and were struggling to come up with an idea we could both really get behind. We sat down and made a list of things we were curious about. The common theme was people who were living their lives on their own terms and doing what they loved. We decided to pair that with our interest in hands-on, physical work and feature people who were pursuing offbeat jobs or hobbies. We found our first subject, a recycled-metal sculptor, through a friend, and our next subject, a practitioner of Hikaru Dorodango (shiny dumplings), through the internet.

Jon: For me, the inspiration was purely a marketing decision, a way to showcase our work during a dry spell. And it seemed like it would be a heck of a lot of fun to meet these people.

How many years have you been shooting this project before you decided to present it?
Jon: I recall it was about 4 days. But I might be wrong. 2 weeks?

Jenna: We waited until we had one subject completed and another confirmed before the initial release. Now, we present subjects as we complete them. This project is intended to be episodic, so we want to build a following that comes along for the ride as it unfolds.

How long do you spend on a personal project before deciding if it is working?
Jenna: It depends, but typically I’ll give it a generous amount of time before giving up. I’ve found that often when something isn’t right, struggling with it for a while can lead to a breakthrough.

Jon: With Buck the Cubicle we hit the nail on the head. It was one of those projects that was exactly as I’d imagined from the beginning. Our first subject gave us momentum to plow right ahead without any changes to the overall scope. It just felt right.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Jon: Those are both expressions of the photographer as artist. So to me there ought to be no difference. I want to be known and hired for doing exactly what I want to do, and the only hope for that is for people to see that particular work. However, when a client gets involved it often becomes collaborative…..

Jenna: Yeah. What Jon said.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Jenna: We regularly use Instagram (p2photography). We also link to blog updates on Facebook and post our videos to Vimeo. And we occasionally use Twitter (@p2photography).

Jon: Tweeting is a skill. I have much to learn.

If so, has the work ever gone viral and possibly with great press?
Jon: Aaahhhhhhhh…….mmmmmmmmmm……
Jenna: Not yet…

Have you printed your personal projects for your marketing to reach potential clients?
Jenna: This year we’re releasing 4 printed promos, each featuring a Buck the Cubicle subject. So this project, in printed form, is the primary vehicle for our marketing in 2016 and maybe beyond.

Jon: The first round of booklets went out this month. To stuff, seal and stamp 500 envelopes it takes exactly three and a half episodes of Mad Men.

Buck the Cubicle is an ongoing series featuring people who get out, get dirty and find inspiration in all manner of offbeat occupations.

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Jon and Jenna (P2) are commercial photographers based in Southern California. They work for a variety of clients but have a particular interest in businesses and people who build things. Jon is also a flight instructor and Jenna is Chair of the National Board of ASMP. They can be found at p2photography.net.

Clients include: The Cincinnati Zoo | Curves | Elevator | Embry-Riddle Aeronautical University | NBC | Perspective | Primus Power | Red Tettemer O’Connell + Partners | Rotary International | Sierra Magazine | SolarWorld | Swarovski | T. Rowe Price

P2 is represented by Meredith Bless at Taiga Creative.


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: Ethan Pines

- - 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: Ethan Pines

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How long have you been shooting?
About 16 years, if you count the initial three years of classes, which I do.

Are you self-taught or photography-school taught?
Both. In 1999 I took a basic photography class at Santa Monica College out of random interest. I knew nothing about photography, had never set my camera to Manual. But I’d been wanting a change (I went to graduate school for journalism and was working as a writer), and this class and the ensuing ones completely opened my eyes. That sounds cheesy, but I was looking for something that used both the creative and technical sides of the brain, that got you away from the computer and out into the world, and this was it. (Of course now it’s the age of digital photography, and we’re all back on our computers.)

I spent three years in classes at SMC, a great program. But I also consider myself self-taught, because photography is a craft and an industry that wants constant evolution. I’m always working on lighting, composition, concepts, substance, process, technique. I test and experiment and learn. It’s an ongoing process.

With this particular project, what was your inspiration to shoot it?
I occasionally take photographic road trips around the Southwest; there’s a simplicity and spontaneity in shooting whatever you find, whatever inspires you, wherever you happen to be. Shooting this kind of non-commercially driven project helps me recharge and reconnect with that first magic of shooting. I didn’t set out to shoot a Tourist America project. This series arose gradually after several road trips. I had a number of images that I felt were strong, and I started wondering if a series was forming, if there was a common thread. I seemed to be drawn to tourist sites, both popular and obscure, beautiful and kitschy. Rather than continuing to shoot randomly, I decided to make it a project. And I booked flights to other areas of the country to deepen the project.

How many years have you been shooting this project before you decided to present it?
The first shots, taken before it was officially a project, were done about four years prior to posting it on the website.

How long do you spend on a personal project before deciding if it is working?
Honestly, there are so many projects I want to shoot, I consider each one carefully before even starting it. Once I do, I approach it like a job: I’m going to make it work. If something’s not working, you figure out why and adjust your approach.

Since shooting for portfolio is different from personal work, how do you feel when the work is different?
For me, both portfolio and personal shoots come from who I am. But personal projects like this one entail less production and are less commercial. Whether they are fine art, I leave to the viewer. In my case they tend to be straight photography: no compositing or manipulation, very little done in post. (Tourist America is shot entirely on medium-format film.) They might share a sensibility with my commercial work, since it’s virtually impossible to remove the photographer from the images. But they allow me a return to the pure photographic process which drew me to the field in the first place. They also free me from the constraints that can come with jobs — images can be with or without people, shot wherever I like, infused with mood, created with whatever offbeat/awkward elements, etc.

How do I feel about them? They are my babies. Whether or not anyone else cares, I know the nurturing that went into them, and I am proud of them. I feel they’re as worthwhile as projects with more production value. And I believe they help show art directors and potential clients another side of oneself.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, but not nearly as much as commercial work. I have several series that I’d like to get out there more. Commercial work always seems to demand more prompt posting, while it’s fresh. I post to Instagram and Facebook simultaneously.

If so, has the work ever gone viral and possibly with great press?
I wouldn’t say viral, but the “Lost Boat” shoot I did a couple of years ago got a lot of attention and helped lead to a nice profile in Digital Photo Pro magazine.

Earlier this year I shot a portrait series of finalists at the massive California State Science Fair in downtown Los Angeles, currently on my site as “Dwarf Stars.” Once Wired online picked it up, it spread around. Again, not viral, but, say, slightly contagious.

Have you printed your personal projects for your marketing to reach potential clients?
“Lost Boat” went out as a direct-mail booklet. “Welcome Aliens” went out as a postcard. I also have two major projects — documentary work shot in Guatemala and Vietnam, still in proofsheet form — that will eventually be part of a printed mini-portfolio to accompany my main book.

Artist statement about the project:
There’s something special about American tourist sites, something unique I’ve found nowhere else. It’s the vintage fonts and infrastructure, the kitsch hand in hand with sincerity, the consumerism hand in hand with earnestness, the excited tourists in sometimes mundane experiences. The sites intend for you to feel a certain way. Once you look behind the scenes and see that the experience is packaged, it actually becomes more earnest and heartfelt, only in a different way than perhaps originally imagined. All these sites are created, maintained and visited by people who care deeply. Based on authentic foundations, they are canned experiences that ultimately become newly authentic experiences in their own right and carry forward a deep national history.

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Ethan Pines is a Los Angeles-based photographer shooting conceptual, humanistic, irreverent images for commercial and editorial clients such as Dolby, Solarcity, Universal Studios, Simply Asia Foods, Forbes and Wired. He grew up on a small ranch at the edge of Los Angeles and now lives in Topanga Canyon with his wife, cat and a host of seasonally changing wildlife.


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.