Category "Personal Project"

The Art of the Personal Project: Callie Lipkin

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: Callie Lipkin

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How long have you been shooting?
20 years
 
Are you self-taught or photography school taught?
Both – I studied art at Northwestern University and then at the University of Minnesota, but my training really comes from my years as a full time photojournalist. I always loved the storytelling aspect of photography so I was shooting documentary work at ‘art school’ but it was not incredibly well received. I was shooting long term projects on things like people with Huntington’s Disease and children diagnosed with ADD and that was not seen as much as an art form back then. My work was more warmly welcomed in the photojournalism world.
 
With this particular project, what was your inspiration to shoot it? 
I was inspired completely by the environment. I had driven by the barbershop a couple of times and decided to ask about doing a shoot there. I was just coming off of some more heavily produced tests and wanted to go in a totally different direction with a more traditional documentary approach which is more like the work I did when I first started as a photographer.
 
How many years have you been shooting this project before you decided to present it?
Some projects I have worked on for years, or months. This one in particular I shot in a matter of hours. Every project is different that way. Sometimes it’s good for me to do something without thinking about it at all. It’s a good creative exercise, which I enjoy. I developed the concept for the magazine mailer after shooting this project in order to have a fitting format to showcase how the pictures all work together.
 
How long do you spend on a personal project before deciding if it is working? 
I usually know in an hour or two if something is not working. But I think the nature of my work is to keep pushing to solve a problem. I can’t remember shooting a project that went entirely into the scrap heap, at least not right away, but some might not be as developed as they need to be for a 12 or 16 page mailer. They all find their place somewhere – maybe on my website or blog, or in a treatment statement if it’s subject matter that applies to a particular proposal.
 
Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Most of my work originates from personal projects since they are the place to try something new without any fear of failure. They almost have to be different from my existing work in order to continue to grow my personal style. Client work usually references personal work and is a place to perfect and fine tune what I started on my own time. I feel lucky that many of my commercial jobs come from clients seeing my personal projects, getting inspired, and wanting to use that inspiration as a jumping off point for their brand imagery.
 
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes. Since we don’t get permission to post client work on social media all the time, personal projects are incredibly important to share in this way. It’s also a really great way to get instant feedback when I am working on or editing a project to gauge which images are connecting with people the way they are connecting with me.
 
If so, has the work ever gone viral and possibly with great press?
I have had some press for my series of burlesque projects that spanned several years. If my work reaches people in my network and they feel moved or inspired by it in some way I am satisfied. If it reaches beyond that, it’s gravy.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. I send out a publication titled Vault to current and prospective clients at least twice a year. I try to include some copy that gives the story or subject matter some context and it usually features a personal project. I got a great response to the printed piece for this collection from the Belmont Barbershop.
 
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Callie Lipkin is an authentic photographer. A look through her lens reveals a simple organic moment between photographer and subject. 20 years of shooting has given her a truthful eye, her images unfolding like the story of her subject revealing themselves a little more shot by shot. 

While an undergrad at Northwestern University, a fortuitous trip to China opened Callie’s eyes and her focus from a career in engineering to one in professional photography. Post graduation, Callie started her photography career in journalism, interning and working for several newspapers including the Beacon  News in Aurora and the prestigious Boston Globe where she worked side by side with POY and Pulitzer Prize winning photographers. In 2001, she found the newspaper business on shaky ground and decided to pursue a freelance career. Today, Callie has a long list of clients who benefit not only by the beautiful quality of her photos, but also from her passion and desire to get the best possible shot. Callie is known to set up a shot with a goal in mind then allow the process and interaction between the subjects to give it depth and character. 

“I like the problem solving aspect of photography, not knowing how we are going to execute something exactly, but giving it room to breathe and grow. The most interesting looking images I take are that way because they came about naturally, it’s a connection between who I’m shooting and their surroundings. I feel like there is the opportunity to learn something about the world, or about myself, almost every time I interact with someone new.” 

Callie’s been successful in her photographic style, winning several awards including 1st Place from AltPick in 2009 and having her 2014 Whirlpool campaign featured in Archive Magazine.  Callie lives in Chicago with her husband and their two sons, her greatest inspiration and favorite subjects. When Callie’s not shooting photographs she’s spending time with her family, playing piano (in which she is classically trained), running, and honing her cooking skills by creating healthy meals with her boys.  She is also available in her hometown of Minneapolis as a local and for travel worldwide.


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: Spencer Selvidge

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: Spencer Selvidge

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9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

9-Pin bowling in Blanco, Texas, at the Blanco Bowling Club and Cafe.

How long have you been shooting?
I started around the age of 4. My Mom got me a toy camera that took the most awful photos. What you saw was not what you got.

When I was 19, I started to approach photography from a professional perspective rather than something I did while camping in Boy Scouts. For more than 10 years now, I’ve been making my living as a visual storyteller.  

Are you self-taught or photography school taught?
It was a little bit of everything. I am self-taught on the technical side. Then some mentors in college guided me through basic photojournalism and I started to tell visual stories.

After college, I traveled to expand my portfolio and began probing with my photography to explore sense of place and controlling chaos with composition. Then a brief stint at a portrait studio proved not to be the path for me, so I went to graduate school for photojournalism to build a network and focus on how to approach my work.

The program was very much “build your own path.” I studied under three exceptional photo professors: Dennis Darling, Donna DeCesare, and Eli Reed. They couldn’t have been more different from one another: the lifetime artist, the consummate thinker, and the restless soul, respectively. But they are each passionately heartfelt and uncompromising documentarians. Without them, I wouldn’t have continually pushed further with this Texas 9-Pin project. They encouraged me to grasp the mental and personal aspects of photography in a deeper way, and it’s made all the difference in my success as a professional.

With this particular project, what was your inspiration to shoot it?
Texas 9-Pin began as an off-the-cuff mention from a professor in graduate school. I spent my first night at the Blanco Bowling Club and Café meeting a few of the regulars and making images for a class. I felt at home there immediately, and was encouraged by the warmth of a few bowlers. I love connecting with people while making images and this was the perfect situation for that. They reminded me of my grandparents: Americans of primarily German descent who were avid bowlers.

When this project came to me, I didn’t expect it to connect me with my family’s history. The sounds, smells, and family atmosphere pulled me in, reminding me of how present both bowling and photography were in my childhood. The inspiration to keep shooting grew with each visit.

Shooting “polaroids” is what elevated the whole project for me. It did two things: 1) The photos drew the subjects to come physically closer and open up to me. It allowed them to feel a part of the project because the photos existed in the analog world, not digitally. The nostalgia outweighed the fact that I was an outsider likely going to put them on the Internet. And 2) They brought the Texas 9-Pin project full circle from a class assignment initially to something deeply personal.

The story was about the collision of tradition and modernity, growth and change, age, etc. It was everything I was looking for. It stirred me emotionally in ways I only began to understand a year into covering it, when I finally started shooting with my Grandpa’s Polaroid cameras, a Land Camera 250. I hadn’t fully appreciated how my grandparents’ decades bowling and my Grandpa Herb’s cameras related to my love for people and social issues. The people I was connecting most strongly with, the older generations, gave me great perspective on just how much history our elders take with them.  They became living symbols of my grandparent’s love for bowling, something I had never experienced with them as an adult. And there I was documenting it with my own brand of photojournalism-styled snapshots with the very camera Grandpa used to document his family. Though he passed several years ago, it felt like I was creating new memories with him. The last 6 months became a torrent of peel-apart film.

Now, two and a half years since I was last shooting there, I think the project worked so well because it connected those mental and personal aspects of photography. It was a slice of my family’s past mixed with the social issue of modernity conflicting with tradition.

And the cheap beer from a fantastic local brewer in Blanco didn’t hurt either.

How many years have you been shooting this project before you decided to present it?
I spent a little over a year and a half on it until I felt like the project was ready… and I worked on it so long that it supplanted my original thesis idea and became my final report for my graduate degree. I’d love to do more someday. I think there’s a bigger story here.

How long do you spend on a personal project before deciding if it is working?
I generally know within a few outings if a project is something I want to pursue. If it is working for me, a project will start to keep me awake at night. I am always competing with myself, thinking about how I will top the previous “best shot” or push myself further.

With Texas 9-Pin though, I knew it was special the first night but it took me nearly a year to start shooting with the Land Camera and the Fuji peel-apart film.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I actively try to make my personal work different and push my boundaries because being stagnant doesn’t lead to anything new or better. But, when it comes down to it, I feel like I am always just shooting to satisfy myself when I am working on a personal project.  It just so happens that I am rarely satisfied with individual outings or images so I push myself into new places. I think the work benefits from my internal competitive drive.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I have never made much effort to put my personal projects out on my social media pages. But, over the last few months I have become very aware that I can build audiences for my work and for the things I care about. Just last week I started organizing stories and images to start sharing regularly.

If so, has the work ever gone viral and possibly with great press? Have you printed your personal projects for your marketing to reach potential clients?
Never. I send the occasional email or update but I know I am too timid about self-promotion in general.

BIO
Spencer Selvidge is a freelance photojournalist based in Austin, Texas, who specializes in visual storytelling with sound, video and stills. A native of St. Louis, MO, he took his first photos at the age of 4 and spent many weekends throughout his childhood selling newspapers for the family business and taking pictures in Boy Scouts.

He is originally a self-taught photographer and first cultivated his skills while earning his degree in biology at Texas A&M University. A while later, Spencer returned to school and completed a masters degree in photojournalism at the University of Texas at Austin. He has traveled extensively with the aim to explore cultures and issues around the world as well as at home. Spencer is enthralled with and devoted to respectfully and ethically capturing the individual essence of his subjects and stories – especially when he can shed light on and help create awareness about important issues.

ARTIST STATEMENT
Texas 9-Pin Bowling — Like photography, bowling had been a regular family event when I was growing up, and the sounds of pins crashing, the smell of the diner food, the patina of years of Texas heat and cigarette smoke, as well as the family atmosphere, pulled me in to this project.

Documenting the survival of this cultural oddity known as bowling, was important to Texas and bowling history as well as my own personal connections to my family.

Ninepin bowling was originally an outdoor game brought by European settlers to the United States but largely outlawed by the 1930s. Today, a version of it survives as a cultural relic in the small German-heritage enclaves of Central Texas thanks to tradition and family values. In most of the country, bowling alleys were places filled with men drinking and gambling, so states and counties outlawed it wholesale. The crime term, “Kingpin,” is one of ninepin’s lasting legacies, and is derived from the special middle pin used in the ninepin game. This is why the ten-pinned game most Americans play today exists, to skirt laws that banned the previous version of the game–but not in small Central Texas towns.

Here, the game was never outlawed because it was a team sport, unlike its newer cousin, that was often a post-church or after-dinner family affair in small towns. Texas’ version of ninepin bowling, still played in similar forms in New England and internationally, has 17 or 18 alleys spread over four mostly rural counties in Texas’ Hill Country.

The Blanco Bowling Club has survived decades of declining membership and annual shoestring budgets, and faces real challenges to maintain relevance in an ever-evolving world of technology, activities, entertainment and, sometimes, economic uncertainty. The club, and to some extent the town itself, is and has been under a quiet assault from the modern world for decades while some residents do their best to hold on to what was and hope for a future that includes old traditions.

You can read my master’s report here, to see more and learn about how ninepin is different, the 2000+ year history of bowling and why ninepin has managed to survive in Central Texas.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Vincent Dixon

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

Today’s featured photographer is: Vincent Dixon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is what I said about The Pushkar portraits in Wanderings

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

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

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

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

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

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

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Slav Zatoka

- - 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: Slav Zatoka

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How long have you been shooting?
13 years professionally. I started shooting theater productions at the age 16, though.

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

With this particular project, what was your inspiration to shoot it?
In 2010 I had a big healthcare job. Together with my wife were shooting 24 health clinics in Los Angeles area. One day after we finished shooting at a health center in La Habra and we were taking our lunch break before the next location, we saw this old church with a sign that said “La Habra Boxing Club” above the main entrance. I walked in and saw a really old school gym with a mix of local Latino fighters, some young guys and a heavy weight scary looking boxer talking to an older gentleman with glasses and a baseball cap. That was David Martinez. We talked for 20 minutes. It turned out we shared some friends from the health clinic nearby. The place had character and it was free. Anybody who obeyed the rules and was determined to work hard could join the gym. Everyone was super friendly. Barry White music and boxing timer chimes set the pace. The place looked very interesting and it did look like a church, with boxing ring placed right where there might have been an altar. I must say here that my house happens to be in a very sterile and predictable environment of an LA suburb, the home of Mickey, Orange County, so I was drawn to this place immediately. LA Habra is a regular Latino neighborhood Orange County housewives and their Hollywood cut husbands like to avoid. That made it even more attractive. I asked David if I could come back to take some stills and he welcomed that idea with a broad smile. LA Habra Boxing Club is known to have been very welcoming to visual artists and it regularly hosts students from Sports Shooters Academy for workshops. I did not come back to the gym until 2 years later.

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

How long do you spend on a personal project before deciding if it is working?
It’s really hard to say. With this particular one I had the comfort of having access to it locally so there was a big chance I could come back to it, and potentially develop it up to a point where I would honestly say it is unique enough and tells a compelling story. After initial bliss and numerous ideas of boxer portrait series I left it on the back burner for two years. Boxing gyms and boxers are one of the most “exploited” subjects in photography and filmmaking. Boxing has been photographed and filmed from all the possible angles: sport, drama, social aspect, form. Who wants to create cliché work and recreate things that have already been shown, photographed? I needed a situation. In the words of Billy Wilder: “An actor entering through the door, you’ve got nothing. But if he enters through the window, you’ve got a situation. I knew I had to at least make an effort to make it worthwhile. Personal projects should have deadlines and budgets just like commercial but I feel like the notions of time and patience are used and explored entirely different when you work on your own, individual project.

When an opportunity came to test Nikon’s new DSLR I signed up for NPS consignment to test it and possibly use it as an opportunity to create some attractive visuals that could at least get me some exposure by being published on blogs testing new gear. I also had a clear reason to come back to the gym. David recognized me right away and since I was looking for one boxer to follow for a week or so, he suggested someone who happened to be training for their first professional fight. This is how I met Nadja, the only girl in the gym. After one visit to the gym shooting stills with Nadja I started exploring the camera’s video features. I was not entirely new to video. I have done independent film projects before and explored DSLR video in theory at PDN’s workshops in NYC and in practice when I was in Japan in 2011 (Sunflowers in Fukushima) I watched Nadja practice for 2 days and we also talked about her career, work, and just chatted during her breaks. I came back again to record more video and a short interview. At that point I realized that I can potentially continue this project for a while and tell the story of the beginning of her professional career. Nadja was natural in front of the camera and the interviews went well, too. At that point I asked her if I can follow her for a little while and if it was OK for me to hang out at the gym and record her while she practices. I felt I needed to explain that in order for this to be something good she needs to trust me to let me be around her for a little longer than Sports Shooter Academy student on a workshop. Sooner then later you are going to have to face budget issues. It’s hard to justify the time spent on a personal project when you have ongoing commercial work and young family let alone the cost of a video production.

I rented 2 different cameras from lensrentals.com Sony NEX700 for its slow motion capability and Canon C100 for its portability and price. I knew that this was going to be a one-man orchestra show so I decided to shoot everything handheld. There was always only one camera. The sound was either reordered on camera-mounted shotgun or on separate sound recording days. The end of 2012 was a breakthrough for me because that was the year I closed my main street studio and decided to go mobile. Instead of paying rent and started paying off my Sprinter production vehicle. The van was well equipped to handle still photography from day one. I also had a set of Arri lights with from my portrait studio so this was a good opportunity to test in real life. Half way trough filming Fighter’s Room I got a commercial job that was going to pay for a video camera that was needed as part of the production. Renting Sony and Canon several times to shoot the documentary actually gave me a real life opportunity to make a sound decision on which camera to buy eventually for my commercial work. I was finishing Fighter’s Room on my own C100 after it was paid off by commercial healthcare projects. Still I was my own director, cinematographer, focus puller, sound recordist, grip, gaffer, colorist (Film Convert came handy) and then eventually the editor, the most important person in documentary filmmaking.

There were breakthrough moments in the project. Recording a lot of slow-motion really made the trainer happy I was around. He could use it to analyze Nadja’s technique. Nadja was very comfortable with me around and I think that is what made David “appoint” me the third person on the ring on the day of her debut. I also visited Nadja’s home. Met her family. Generally I felt like the whole process was getting a shape. The fact that Jack Reiss was the referee that night was a huge bonus. His name is recognized worldwide and his Brooklyn accent give an extra flavor to the documentary. I was getting a lot of good footage and started working on the editing. That was the biggest challenges of all. It is also where documentary film happens. In a documentary the editor is the director and this is where the story is told. I also did not know how important the sound is. My neighbor is NBC editor, award winning and with years of experience. He helped me with a project I did for Isaiah House in 2006. This time he told me to do it myself and I am thankful for that. I learned a lot in editing this short. He also told me at an early stage that my sound sucks. This made me rerecord some parts and remix as well as reedit the entire soundtrack. It took two weeks. Today I could do it in 2 days. The experience is priceless.

The initial cut was 30 min and had copyrighted music I had no license for. I recorded new music with a friend and a pianist from Phoenix. On the top of two main themes on piano we recorded Jack Reiss’s theme using Logic Pro. Recording that final theme changed the way I edited the scene with Jack Reiss briefing boxers before the fight. It’s not unusual I leaned later, for the editors to finally fly with the project when the score is added to the footage. I also learned that the first music that comes to your head and the music you have in mind when filming might not be the best choice. The whole project was self funded not to exceed $5000. I came below that and most of the cost was promotion and festival fees. I did not hire anyone for this film. We rented a sound recording studio with Jennifer Waleczek for a day at 1h cost thanks to a friend. I had to do the final sound mixing myself. The rest was camera rentals, a set of microphones. Additionally I paid to create CC and subtitles in Amara.org. Last week of December the movie went on Vimeo On Demand and is available for rent or download: https://vimeo.com/ondemand/fightersroom. For aPhotoEditor readers it’s available for rent for free for the next two weeks, CODE: aPhotoEditor. 100% of the proceeds from Vimeo on demand go to Jennifer Waleczek, the music composer who is fighting breast cancer.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
My portfolio consists mostly of carefully produced images of architecture, healthcare and lifestyle. By showing my personal work I am showing my clients my other side. It’s less commercial. It’s raw and more journalistic. I want to show my clients not only the images I make and also the images I take. All of my personal projects, except for Woodstock Poland were long time projects.
This was a huge step forward for me. From the initial temptation of creating just a Vimeo.com boxing slowmo to self producing a documentary short that made it to 5 different film festivals and received Best Documentary Short Award at Los Angeles Movie Awards it was a very different. Transitioning from still photographer to cinematographer was really a dream come true. So far it was the biggest personal undertaking and the one I most proud of.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, Fighters’ Room has its own tumblr and facebook pages. I also use Instagram.

If so, has the work ever gone viral and possibly with great press?
Definitely not viral but I found out that twitter is a really powerful tool to get a message across. I am connecting to someone new from the film industry every day. I feel like it is a social tool for filmmakers. I also have to say New Filmmakers LA is one of the best-organized film festivals as far as social media and press is concerned. Movie Maker Magazine pairs with them promoting new films.

Have you printed your personal projects for your marketing to reach potential clients?
No, not yet. At least not to my existing line of clients. Although, like I said, I spent most of my budget on promoting the short at film at festivals and the echoes of these screenings are already coming back to me. My existing clients can access the video directly from my site. Some of them attended my premiere at American Documentary Film Festival in Palm Springs and they loved it. I know they definitely like the fact I stay creative and constantly push myself outside of my comfort zone.

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Born in Poland (1973), graduated with a degree in English. Began photographing at the age of 15, publishing first photos before he was 17. After moving to the US in 2002, among many other activities Slav continued to work as a photographer and began exploring documentary filmmaking completing a short about Isaiah House as a side project to portrait photography series of the homeless in Santa Ana. Later on Slav photographed and filmed post Katrina New Orleans and 2011 Tohuku disaster in Japan. Slav also served and worked at the Polish Center in Yorba Linda, where apart from his duties he started Movie Nights that ran continuously for 2 years. In 2006 he founded Slav Zatoka Images and began photographing architecture, healthcare and portraiture commercially while running a portrait studio in Orange with his wife, Today Slav continues to grow as a commercial photographer and also operates a small production company called Silverstudio.pro. Some of his awards include 2008 Hasselblad Portrait Award, 2012 PDN First Place in Music Moment of The Year, 2014 Best Documentary Short at LA Movie Awards. “Fighter’s Room” is his first independently produced documentary. He lives with his wife and two children in Orange County.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Michael Rubenstein

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

Today’s featured photographer is: Michael Rubenstein

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Carrie Ashley White 5/6/2011

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

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

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

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

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

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

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

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

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

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Agnes Lopez

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

Today’s featured photographer is: Agnes Lopez

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Full disclosure Agnes is a client of mine.

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

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

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

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

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

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

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

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

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

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

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

Artist’s Statement

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

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

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

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Dennis Stevens

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

Today’s featured photographer is: Dennis Stevens

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

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

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

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

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

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

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

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

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

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Matt Odom

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

Today’s featured photographer is: Matt Odom

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How long have you been shooting?

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

Are you self-taught or photography school taught?

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

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

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

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

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


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


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

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

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

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


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

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


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

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

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


Artist Statement:

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Jason Lindsey

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

Today’s featured photographer is: Jason Lindsey

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How long have you been shooting?
15 years Professionally

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

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

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

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

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

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

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

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

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

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

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


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Art of the Personal Project: Geoff Levy

- - 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:

Geoff Levy

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How long have you been shooting?
I’ve dabbled with a camera for six years, but seriously shooting with professional intention for three.

Are you self-taught or photography school taught?
Self-taught. I studied cinematography and a lot of the principles applied, though.

With this particular project, what was your inspiration to shoot it?
After assisting a friend on a shoot for a famous cake chef, I was asked to throw away about forty cakes. I was pretty ticked about all of the wasted food – even after giving away a dozen there was still so much going to waste. Since they were dumpster bound regardless, I figured I’d “recycle” them via preserving them in photographs. It has a subtext about New York city’s waste and inefficiency.

How many years have you been shooting this project before you decided to present it?
The entire project was shot over two months. These cakes had a shelf life.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Since I’m shooting for my own self, the only governing rules are my tastes. When shooting portfolio work, you have the intention of adding a brand to it. Those projects have commercial contexts – but it’s freeing to make something that makes you happy. And that joy comes through, somehow.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
This project was first released bit-by-bit on Instagram.

If so, has the work ever gone viral and possibly with great press?
The momentum of #CakeAngry hashtag got me featured on some great sites/accounts, i.e. Refinery29, NotCot, Phoblographer. Once it got featured on a couple of sites, a lot of photography, art and food blogs reposted.

Have you printed your personal projects for your marketing to reach potential clients?
I’m making prints of the work but for a gallery showing. I’m currently not making mailers, though that’d be a good idea.

———-

Geoff Levy is a photographer and filmmaker, transplanted from Ft. Lauderdale, FL to New York City. Driven by his love for cinematography, abstraction of narrative and a desire to bridge the gap between art and commerce, Geoff creates motion and still works that capture heightened fictional experiences that feel intimate and natural. He is currently working with advertising giant, Ogilvy & Mather, while producing personal projects.

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: Diana Zalucky

- - 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: Diana Zalucky

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How long have you been shooting?
More than half my life. I picked up a camera in high school and haven’t put it down since.

Are you self-taught or photography school taught?
I studied photography at the Art Institute of Fort Lauderdale and from ages 21 to 29, I was shooting everything from advertising campaigns to celebrities for Disney. My experience working there was the education of a lifetime. This summer will mark my 3 year anniversary of having my own business!

With this particular project, what was your inspiration to shoot it?
I grew up in the US Virgin Islands and have always had a fascination with extreme cold weather. I like to read all the books about people losing limbs in the mountains and all the great epic adventure stories that go along with that lifestyle. I also have a strong fascination with people and the art they create. And by “art,” I mean whatever it is a person does that they love. I may not understand what you are doing, but I do understand that unwavering passion and need to create as if it’s your only choice. To be able to find that connection with others is very special to me.

My inspiration for this shoot came after reading a magazine in my doctor’s office. It was a small feature in Oprah about this amazing woman, Zoya Denure, who left the modeling world to become a dog musher in Alaska. I decided to look her up online and we planned an initial visit for the Iditarod a few months later. In a bittersweet moment, I had to cancel my trip for a big ad job with a dream client, but we stayed in touch rest of the year and planned my visit for a different race almost a year later.

Initially, I was planning to photograph Zoya, but her baby became sick and numerous dogs needed to be cared for at their kennel. Instead, I documented her husband, John Schandelmeir for the race. I really believe that everything works out as it’s meant to when you keep an open mind and expect very little. During my time with Zoya’s family I realized there is a bigger story that I want to tell, and I want to tell it in a way that’s far beyond my comfort zone. I hope to begin what I call Part 2 later this year.

How many years have you been shooting this project before you decided to present it?
I shot this project last month and made my first selects just for you!

How long do you spend on a personal project before deciding if it is working?
If the subject matter or experience excites me and keeps me curious, then I know it’s working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I don’t feel a difference. I have to always be shooting or I’ll go crazy. Anytime I’m shooting and completely surrendering to the moment, I feel makes it personal and if the images make it into your portfolio, then even better!

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use Instagram all the time and then link it up with Facebook and Tumblr.

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?
Thus far, all my promos have included a mix of commercial and personal work. I would like to do a special piece focusing on the images from this project.

Artist Statement:
January 2015 I spent a week with Crazy Dog Kennel, a competitive racing kennel dedicated to the training and rehabilitation of unwanted sled dogs. These particular selects are from the 4 days I spent with legendary musher John Schandelmeir. I was both shooting and helping as a dog handler during the Copper Basin 300, the toughest 300 mile race in Alaska. The Copper Basin is known as a mini Iditarod because it’s a good way for mushers to test the dogs’ endurance. My goal was to document the devotion, hard work and connection this team has with one another and experience a slice of the dog mushing lifestyle.

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Diana Zalucky is a photographer/director hailing from St.Thomas, US Virgin Islands, who is happy to call Los Angeles home. Her passion and energy on set brings out the best in people, resulting in organic images that are filled with spirit.
An explorer at heart who has travelled on assignment to over 30 countries, her images inspire viewers to be adventurous and enjoy life to it’s fullest. She gets giddy over new passport stamps, beautiful light and good food. Diana loves narrating on set, playing in the mountains or ocean and finding the good life wherever she goes.

Diana Zalucky is represented by Held & Associates http://www.cynthiaheld.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: Jeremiah Stanley

- - 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: Jeremiah Stanley

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Full disclosure, Jeremiah is a current client of mine.

How long have you been shooting?
I guess I’m kind of a late bloomer as they say. I didn’t buy my first digital camera until I was 28 (I’m 34 now) and recently accepted into the photojournalism program at the University of Florida.

It wasn’t until I got into Eddie Adams Workshop XXV in 2012 (team Lilac forever!) that I decided to give photography all I’ve got. There I had the opportunity to shake hands with and get portfolio reviews from amazing portrait photographers like Gregory Heisler (I think I actually ruined his breakfast) and Dan Winters. After meeting them and hearing them speak, I was changed forever as a person and photographer.

So, to answer your question, I’ve been shooting commercially for about 3 years.

Are you self-taught or photography school taught?
I graduated from the photojournalism program at the University of Florida and I absolutely loved my time there. It wasn’t so much the technical skills and training that I benefited from the most, but it was the people I had the chance to meet while in school.

For instance, Sports Illustrated photographer Bill Frakes was my Advanced-2 photography professor. I mean how crazy is that right?! Also, I met the great portrait photographer Andrew Hetherington while he was there on assignment for Fortune magazine, which was a major turning point for me. Both of these men continue to be great mentors to me to this day.

Having a photojournalism background has also been a huge advantage in my portrait work. Photojournalsim is all about catching that moment and telling a story and portraiture is a lot of the same. You’re looking for that special something, that one moment that will tell the story of that person or tell a story through that person. I think going through photojournalism school has been a huge advantage for what I do now, even though it wouldn’t be considered true photojournalism.

With this particular project, what was your inspiration to shoot it?
People. It’s always about people. I love people.

Everyone is so unique and everyone has a story to tell and most people, when given the chance, really want to tell their story. It’s something that just fascinates me. And as a portrait photographer, I get to explore different worlds and dive into people’s lives on a daily basis and I absolutely love that.

I’ve always had the ability to approach people from all different types of economic and social backgrounds and having that ability really helped out with this project. Being approachable and respectful really goes a long way. All of the bikers we photographed were very nice and courteous, but if you can’t relate, on some level at least, to the person you’re photographing, then your portraits will be nothing – they’ll be flat and lack substance.

How many years have you been shooting this project before you decided to present it?
I actually photographed this project in one day and I presented it on the web shortly after.

How long do you spend on a personal project before deciding if it is working?
Usually after the first few shoots and when I get them on a screen I can tell if there’s enough beef there to actually have something worth looking at. My wife, Meredith, is a really great editor and she provides me with a generous amount of honest insight into how the project is taking shape from an outside perspective. For this project, I knew after the first woman I photographed that this was going to be something good. I never know how good, but I had a feeling people would be interested in looking at these portraits.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
This one is always an interesting question to me or maybe it’s just because I’m still early in my career.

For me, it’s all personal and it may be cliche to say, but for me there’s literally no distinction from shooting for my portfolio and shooting personal work. My approach is one and the same. Every time I’m working toward making an image, whether in pre-production, while shooting, or post-production, I’m using all of myself, both physically and mentally. I’m using all my past experiences, good and bad, to interpret the world around me which will affect the images I make. And for me that’s the goal. I want my personal experiences to affect the images and when they do, that’s when I know what I’m making is real and honest and truthful.

It’s when photography turns into an outlet and an extension of myself that I begin making real images, and I think that’s why editors and directors hire me or at least that’s why I hope they do and hope they do in the future. It’s the photographer’s own, personal voice that speaks the loudest and when I’m allowed to explore the world from my vantage point, really great things can happen. The only difference here is that sometimes a company or firm fronts the bill and sometimes I do. But whenever I’m shooting or working toward a shoot, it’s all personal.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, certainly. Getting your work out there for people to see is half the battle.

Here’s my shameless plug:

www.Facebook.com/JeremiahStanleyPhoto
www.Twitter.com/JeremiahStanley
www.Instagram.com/miahstanphoto

If so, has the work ever gone viral and possibly with great press?
Not yet. Still waiting for my 15 minutes of fame.

Have you printed your personal projects for your marketing to reach potential clients?
I sure have and will be doing the same with this one. I actually love walking into meetings with this project in my book and I enjoy trying to guess before each meeting what type of reaction they’re going to have. Even if an editor or art director are quick flippers, they’ll almost always stop when they get to the ‘Bikers’ project.

Once I was in a meeting with about 8 creative directors and after a few minutes they were all huddled together, standing over the portfolio, pointing, laughing and asking questions. And that’s exactly what you want to happen during a meeting.

ARTIST STATEMENT ABOUT THE PROJECT:

This project was photographed at a biker event in a small Florida town called Leesburg. Every year, about 300,000 people come together here to talk about and look at bikes. I, of course, came to look at the people.

It’s always hard to guess what type of people will come to any particular event as often times the images in my head of the people I think will attend don’t always match the people that actually show up to that event. In this case though, they absolutely exceeded what I had hoped for.

I hired an assistant to hold one light near the rear on a monopod and I held another light off to the front side, also on a monopod, and shot with the other hand (you can actually see the exact set-up in some of the reflections in their sunglasses). We were basically a walking, mobile studio literally carrying all of the gear on our backs and shooting simultaneously on-the-fly.

I decided to leave the background messy, and not worry too much about composition, because I’ve seen tons of similar projects where the photographer pulls them onto some type of seamless backdrop and I wanted this one to be different. I really wanted to bring the viewer into the event, as if they were actually standing right there themselves looking at that particular person, using the environment of the event itself to help.

To make the portrait series have a cohesive look and feel, I used the same focal-length lens (with an ND filter to bring down the background exposure), lighting, and angle, while only changing the physical locations. We were there shooting for about 10 hours and met some incredible people.

—————

Jeremiah Stanley is a commercial and editorial portrait photographer based in Florida and Dallas (It’s currently 81 degrees outside). He enjoys hiking with his 9-year-old daughter and the Texas Two-Step. His portraiture recently won an American Photography 30 award and a PDN World in Focus award. He was also selected to be a part of Eddie Adams Workshop XXV. If he wasn’t a photographer, he would be a competitive barbeque smoker. Please contact him directly to see what his photography can do for you.

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: Tosca Radigonda

- - 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: Tosca Radigonda

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How long have you been shooting?
I took a photography class when I was 14 and never stopped. I started shooting editorial in Milan in the late 80’s and then commercially in The States in 1994.

Are you self-taught or photography school taught?
I have a BFA from the Academy of Art in San Francisco. I feel like my style evolved directly from my experiences in Italy. When I started out testing in Milan I did not have a budget to purchase or rent equipment, so I learned how to shoot everything using natural light.

With this particular project, what was your inspiration to shoot it?
I went to Milan when I was 22 with dreams of becoming a fashion photographer. It was a time before cell phones, or sharing images on social media and the world was a lot bigger back then. My ideas of Italy were from traditional postcard images or from my own Italian American upbringing. Once I got to Milan it was an entire other world! After navigating my way through the culture shock, and finally surrendering to Italian lifestyle I fell deeply in love with Italy. I thought I would stay for 6 months but ended up staying for 6 years. During my time living in Milan, and after when I would go back I found myself completely submerged in the feeling and charm of Italian lifestyle.

How many years have you been shooting this project before you decided to present it?
Seven years ago a close friend from Milan asked me to shoot a very personal cookbook she wrote about her family and that’s when I started to put together this project. I always loved the images but was unsure about how they would be received since my work is children’s lifestyle. I started out by including a few Italy images in my portfolio, and that was followed by people asking to see more.

How long do you spend on a personal project before deciding if it is working?
Most of the time it is immediate, but I also love how shooting personal projects sometimes gives us the luxury we need to step back, revisit and really have a look.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
The subjects are different but the approach is the same. Either way, I like to be an engaged fly on the wall and photograph simple beauty. I started out shooting fashion the same way, which evolved into photographing babies and children, so I guess you never really know where a project might take you creatively.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I am a newcomer to social media, but I really enjoy Instagram and the loose feel of posting daily images.

If so, has the work ever gone viral and possibly with great press?
No my social media experience is still new but I can imagine that would be exciting.

Have you printed your personal projects for your marketing to reach potential clients?
I recently put together a handsewn book of the Italy images, and I love to share this book with art buyers and creatives after I show my portfolio. I usually ask if they have time and would like to see a personal project. I post the stories on my website, and send out emails when there is a new project.

Artist Statement-

The time I spent in Italy on my own as a young photographer, learning my way in challenging circumstances was the most valuable experience I ever could have had. I wanted the images in this project to convey the love, passion, and closeness I feel for this beautiful country.

Bio-

Tosca’s rewarding experience began as a young photographer in Milan shooting fashion. Yet in a beautiful swirl of fate, an art director, sensing her ability to capture the magic of children, gave her an assignment that marked a dramatic turn in her career. Tosca is based in Austin, Texas where she lives with her husband and son.

http://toscaradigonda.com
studio@toscaradigonda.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: Ted Catanzaro

- - 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: Ted Catanzaro

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How long have you been shooting?

I’ve been shooting photos since high school. My parents were very supportive about photography. One of the bedrooms of our house was converted into a darkroom and there were always cameras and photo magazines lying around the house. Our encyclopedias were the Time Life Library of Photography. My brother went to Ansel Adams’ workshop in Yosemite for a couple of summers when Ansel was still alive. I remember my dad talking to him on the phone a few times when we were building our darkroom. I had an incredible photo teacher at Palisades High – Rob Doucette. A bunch of kids in his classes went on to become professional photographers. I still keep in contact with him on Facebook and see him surfing a couple of times a year.

Are you self‐taught or photography school taught?
I learned the basics about photography developing, printing, and the history of the medium—in high school, and I did my undergraduate and graduate work in fine art at U.C.L.A . Again, I was lucky to have great instructors at UCLA like Mike Kelley, Chris Burden, Roger Herman, and John Divola. Robert Heinecken was the head of the photo dept. We rented a loft from him in Culver City. During my years at UCLA we had visiting lecturers like John Baldassari, Lewis Baltz, and Gary Winogrand.

With this particular project, what was your inspiration to shoot it?
Originally, the blog was a way of posting images for friends and families, just to share what we’ve been up to, what it’s like to have five boys, and it sort of became a creative vehicle for me. The writing along with images sort of developed into the life of the blog. We put a link for it in our website just because it was the easiest way to navigate to it.

The blog is the first category I go to on anyone’s website. I’ve had my blog for about seven years now and there are certain themes and stories that are recurrent. They usually involve being a dad/husband, coffee, music, surfing , gardening, cooking, camping, or going to Kauai.

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

I’ve had the blog since 2008. I try to update every week or so. I try to stay away from direct work postings or behind the scene stuff. If I do post about an assignment I try to keep it more personal.

How long do you spend on a personal project before deciding if it is working?
That’s hard to say, The most popular project on our website is our Holiday Card section. It features our holiday cards from the mid-1980’s to the present.

I’ve got a couple of other projects I’m working on right now, like my surfer tailgate portrait project, a Homeboy/Homegirl story, my Punk rock project, and my Dead Rat project. All of these get some airplay to some extent on the website, Insta, Tumblr. Etc… and I’ll see where they go.

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

It’s different, and I’d be kidding myself if I thought we actually got booked for shoots based on the blog, but every client we work for tells me how much they love reading the blog and looking at the photos. Ever since then I’ve geared the portfolio/ website to my personal work. Our new website design makes it really easy to create a new project or story.

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

I use Instagram, Facebook, and Tumblr and spend way too much time on all of them. There’s something weirdly satisfying (and perverse) having my images being stored on a phone in someone’s pocket halfway around the world.

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

No, I wish, but it’s really rewarding when someone says I love your blog, I spent an hour on it, or, that last blog posting made me cry.

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

Yes, most of our promos/marketing uses our personal images from our blog.

————–

Ted Catanzaro is the Ted of Ted & Debbie, a photography production team based in Los Angeles. They have 5 boys and 2 guinea pigs.

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: Cameron Davidson

- - 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: Cameron Davidson

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How long have you been shooting?
Professionally since 1980 – 34 years.  I started shooting as a 10th grader with an Agfa Isolete I found in a closet.

Are you self-taught or photography school taught?
Mixture of both.  I studied on my own through high school by constantly going through Modern and Popular Photography annuals and by studying the work of the photo gods of that era – Arnold Newman, Jay Maisel, Ernst Haas and Pete Turner.  I also did the indentured servant route by working with several DC based photographers – the most notable being Ross Chapple, an exceptional architectural shooter who taught me how to light. 

With this particular project, what was your inspiration to shoot it?
I have worked and shot in Haiti since 1999.  I was on the board of the NGO Community Coalition for Haiti and shot many of their projects.  The work I shot for CCH between 1999 and 2012 documentary in approach.  This project was shot for a new NGO, Goals Beyond the Net and I wanted to slow my approach down.  The goal was to stay in one place – the soccer field in Jacmel and shoot portraits of the players over four days.  My goal was to take one lens, one strobe and one camera and keep it simple.

How many years have you been shooting this project before you decided to present it? 
I shot the project in the summer of 2013.  I started showing it that winter and was fortunate to place second in the portraiture contest for the National APA contest.

How long do you spend on a personal project before deciding if it is working? 
I pre-planned what and how I was going to shoot.  I was committed to the project before I flew to Haiti and knew that it had to work.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I like it  – it shows a different side of me.  Many people think of me as an aerial photographer and I have always been more than that.  I love shooting portraits and showing a personal project that shows a different approach to me is always a positive.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I do use Instagram and Twitter.  Tumblr is the blog right now but that is getting ready to change when I launch my new web site this winter. 

Instagram is only black and white images shot on the road or on assignments.  Usually, behind the scenes pictures, found objects or views from helicopters.  Twitter is a mix.  Articles I found, links to stories about photography or web sites.

instagram.com/camdavidsonphoto

twitter.com/aerial_photog

If so, has the work ever gone viral and possibly with great press?
Nothing has ever gone viral.  I’ve seen quite a bit of my aerial work posted to the click-bait sites – you know they type – 25 most interesting aerials views of the world or 10 sites to see from the air.  That type of site.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I have.  I printed with MagCloud, a retrospective of sorts.  It was called 13 years, and it is available light portraits shot in Haiti for CCH. 

STATEMENT:
The portraits in the Goals Beyond the Net project were shot over one week in Jacmel, Haiti in support of the NGO.  The goal was to shoot portraits of young soccer players who are enrolled in the GBN program.  I wanted clean and simple images without posturing that reflected the honesty and drive of these young players. 

The images have been used to increase donations, as gifts to donors and for promotion for the NGO.  I made prints of each person I photographed and send them to Jacmel.  Two months later, I was given a box of handwritten letters – in French, Creole and English thanking me for the photographs.

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Cameron Davidson’s passion for photography took root in his teens when he found an old Agfa Isolette camera at the bottom of his closet and began looking at life through a lens. It blossomed further, when he discovered the contours and contrasts of a world measured by altitude and sheer natural beauty from the rear cabin of a turbine helicopter.

For more than thirty years, Cameron developed the artistic skills that have helped him to become an acclaimed aerial, environmental, editorial, corporate, and fine art photographer. Simplicity and elegance make his work transcendent. He has photographed locations and people in 49 states, 6 Canadian provinces, and 29 countries. His compelling aerial images of North American landscapes and cities have graced the pages of publications ranging from National Geographic to The Washington Post. His six books – Chesapeake; Washington DC from Above; Chicago from Above; A Moment of Silence: Arlington National Cemetery; Over Florida; and Our Nation’s Capital: An Aerial Portrait – embed character and personality into the grandest and simplest photos. His eye for the visual has opened boardroom doors to many premier corporate assignments, including annual reports, as well as high-profile editorial venues. A partial list of his clients include ESPN, Money, Audubon, Smithsonian, National Geographic, Wired, Vanity Fair, AARP, Dominion Resources, General Dynamics, M&T Bank, Virginia Tourism, SEIU, Standard Life, and some of the top advertising agencies in the world.

Cameron has lived in Virginia, Texas, and Michigan. He now resides in the community of Alexandria in northern Virginia. Reach him at 703-845-0547 or via email.

Goals Beyond the Net: http://goalsbeyondthenet.org

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: Ryan Heffernan

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As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers advertise in LeBook. Check out his link at http://www.lebook.com/ryanheffernan. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Ryan Heffernan

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How long have you been shooting?
9 years

Are you self-taught or photography school taught?
Mix of both. I went the liberal arts route for undergrad but spent two seasons after working at the Santa Fe Photography Workshops. I consider that time to be photography school. Growing up with a photographer father immersed me in that world from an early age as well.

With this particular project, what was your inspiration to shoot it?
Growing up in St. Helena, CA it was amazing to watch the valley transform into a massive production every harvest. I wanted to explore the contrast between wine as a luxury good and the hard labor that went on behind the scenes.

The project took me to Mendoza, Argentina and Tarija, Bolivia in addition to the Napa Valley.

How many years have you been shooting this project before you decided to present it?
3

How long do you spend on a personal project before deciding if it is working?
Tough to say. I plan to continue shooting this project for many years to come, so it’s hard to define where they begin and end.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
It feels pretty similar in the end. I’m always trying to make the most interesting images possible.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, mostly Instagram although I’m not prolific.

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 haven’t promoted them in print.

Born and raised in Northern California as the son of accomplished still-life photographer, Ryan was immersed in the world of photography and design from an early age. Today Heffernan is an advertising photographer and commercial director, based out of Santa Fe, New Mexico and San Francisco, California. He specializes in photographing people in their landscapes, aiming to tell unique stories and works for diverse clients ranging from Adobe Systems, UBS, Leo Burnett, The Martin Agency, and New Mexico Tourism to Outside Magazine, GQ, McGarrah Jessee and a host of others.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after 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: Neil DaCosta

- - 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: Neil DaCosta

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How long have you been shooting?
12 Years, the first half was strictly snowboard images.

Are you self-taught or photography school taught?
I have a degree from RIT, but that only teaches you the basics. I learned the most from self-teaching after entering “the real world”.

With this particular project, what was your inspiration to shoot it?
The other collaborators and I had talked for a while about doing a Mormon project. We were not happy with their meddling in California’s Proposition 8 and their views/actions on homosexuality in general.

How many years have you been shooting this project before you decided to present it?
The shoot only took one day. We released it the next week, I think. We wanted it to be released while Romney was still running for President.

How long do you spend on a personal project before deciding if it is working?
Not long. If I am not feeling it, I scrap it and move on to the next one. That doesn’t mean I don’t get a few images out of it that I might be happy with, but I know whether it is worth pursuing longer-term or not.

The toughest part for me is not sharing a project prematurely. I am working on one now focused on guns. I really want to start showing of the photos I have, but know it will be better if I wait until I feel like it is a complete body of work.

As for the Mormon project, by the first frame, we knew we had something good.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
To keep my sanity intact, I combine the two. I see my portfolio as an extension of my character, but I also understand that it has to be geared towards getting work. When I see a hole in the portfolio, I then come up with a personal project to fill it. As an example, talking over my portfolio with my rep, it was decided that I needed some images that had younger faces, multiple people, a motion piece, and production value. I then started to brainstorm on how I could have fun within those parameters. My series Teenage Angst was the result. Although I will never enjoy dry walling, every other aspect of that project was a blast and I am proud of showing those photos/video in my portfolio.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Constantly. It is a free way to get your work out there. I haven’t personally dabbled in Reddit too much, but other people have posted my work on there and it gets a lot of hits. Mormon Missionary Positions got as big as it did because of Reddit.

If so, has the work ever gone viral and possibly with great press?
As prefaced above, the first day the Mormon project got released, a well known Redditor (is that even a word?) posted it on there and it went crazy. It crashed our server and we had to upgrade it in the middle of the night. The first day it had over a quarter million views. And in the past two years it has entered the ebb and flow of the Internet. A blogger in Turkey will post it and all of a sudden there are 3,000 hits in a day from there.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. With this project I made a promo piece that I sent to a few targeted people that I have worked with previously or really want to work with. With inspiration from the cut out bibles that you can hide a flask/gun/contraband in, I bought about 50 Books Of Mormon from the local Mormon bookstore. I then cut holes in them and glued the pages together. In the holes, I dropped a stack of photos from the project. Attached the project’s artist statement and sent them out.

It is weird though, I still haven’t been hired to shoot any paying Mormon jobs!

Artist Statement:

Sexual relations are proper only between a man and a woman who are legally and lawfully wedded as husband and wife. Any other sexual relations, including those between persons of the same gender, are sinful and undermine the divinely created institution of the family. The Church accordingly affirms defining marriage as the legal and lawful union between a man and a woman.

LDS Handbook 2
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A visual discourse into the relationship of state and church.

Neil DaCosta is represented by Held & Associates http://www.cynthiaheld.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: Mike Marques

- - 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: Mike Marques

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How long have you been shooting?
12 years professionally

Are you self-taught or photography school taught?
I am a graduate of The New England School of Photography in Boston.

With this particular project, what was your inspiration to shoot it?
Personal work is what keeps me going so I am constantly thinking about topics and concepts. At that time, I wanted to have a Connecticut focused topic that needed more attention than it was getting. The National Multiple Sclerosis Society, CT Chapter had been a client of mine for a couple years and I attended one of their fundraising events. I came across a book, published by the national chapter, that had portraits of people across the country diagnosed with MS. Not one person was from Connecticut. The number of diagnosed CT residents was about 6500 then.

I contacted the chapter about creating a book on a local level. At first, there was push back because publishing a book costs money and they weren’t interested. I had to change my approach. All I asked was for them to let me photograph some residents to show them where I was coming from. They started to understand my view of wanting the local community to see that MS is close to home. After meeting with the communications director a few times she agreed to reach out to some residents.

I personally did not have any connection to the disease and was not too familiar with it. There is no cure and it affects everyone very differently. I knew this would present its challenges and force me to think outside of my wheelhouse.

How long do you spend on a personal project before deciding if it is working?
At the beginning it was just about creating a few portraits. We put the idea of a book aside and just focused on one resident at a time. The MS chapter came up with lists of names of who could be photographed and we discussed which stories which raise the most awareness. I spoke directly with my subjects before photographing them and talked about how MS has affected them and what they have done to still live the life they want to live. MS affects people differently both physically and mentally so the approach to each portrait was new every time. One of the earlier portraits was of Karen Guarnaccia (in wheel chair, sitting in front of sliding glass door). MS has had a large affect on her physically – some days getting out of bed was not an option. The final image was Karen on a good day. I arrived at the MS office a few days after the shoot with a 16×20 print of Karen. The director finally realized the type of images I wanted to create and the impact they could have in our community. We started meeting on a regular basis to discuss possible subjects. We reached out to well over 100 people, many of which did not want to take part for various reasons. At first we set the number at 25 portraits. When we hit 25, there were some things the images had not addressed so we kept moving forward.

How many years have you been shooting this project before you decided to present it?
We started shooting in September of 2010 and the last portrait was taken in December of 2013. We sometimes went a month without photographing anyone. Between me traveling for assignments and the chapter having busier times throughout the year, scheduling was often difficult. Also, we did not shoot much in the summer months due to the most common symptom of MS being heat sensitivity.

Something I decided from the very beginning was that whatever was to become of this project, the final images needed to be shown together as a whole. There are so many stages and severities of the disease that one image alone could not tell the whole story. This idea led us to word “mosaic” – each portrait is strong on its own though everything together reveals an even bigger picture. Word started to get out about the project so we did release a few images that could be used for press and social media.

In February 2014, we had a gallery opening to reveal i am a MoSaic and to show gratitude to those who took part. Many had not seen their portrait until the day of the gallery opening. Some people’s MS had progressed since their portrait was taken. There were many tears, some of sadness and some of joy. It was a wonderful day and a truly humbling experience.

Since the original show, the images have been on display at the Connecticut State Capital in Hartford, The Grove – a co working space in New Haven, CT, and the Aetna world headquarters. I am currently working on putting together a fundraising event in Stamford, CT (just outside NYC) for March 2015. The images would be on display a few weeks before and after the event.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Portfolio shooting has more of an initial direction and focus you are going for. I was ok letting this project take shape on its own without thinking too much about it. I wasn’t concerned as much about the photography but more about the communication and understanding going into a shoot. I do not work with models often, I photograph real people. With any portrait, there needs to be a level of trust between myself and my subjects. Putting something like MS in the middle of all of that presents a whole other element I don’t deal with often. Working this way changed the way I shoot – for the better – and helped me grow as a photographer.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I usually post to my blog and that feeds into my Facebook and Twitter. There were numerous production and behind the scenes images throughout the years as the work was being created. Once the project was complete, I had a routine to post a few of the final images per week for a little over three months.

If so, has the work ever gone viral and possibly with great press?
We did get a good amount of traction from our initial social media outreach. Through that, I was able organized an NPR panel with three of the subjects and myself. I did a couple morning TV shows as well as numerous print media around the state. The MS Chapter continues to use these images for marketing and raising awareness in all media.

Have you printed your personal projects for your marketing to reach potential clients?
I have created a promo piece specifically focused on i am a MoSaic. It is a 8.5” x 5.5” handmade book with images from the project and the story behind it. I also built a website dedicated to the project: www.iamamosaic.com

Project Statement:

i am a MoSaic is a collection of images portraying Connecticut’s many faces of multiple sclerosis. It is collaboration between photographer Mike Marques and the National Multiple Sclerosis Society, Connecticut Chapter. As a dedicated volunteer and supporter of the National MS Society, Mike has traveled around the state for nearly three years capturing residents living life as fully as possible in the face of MS. More than 40 residents of all ages, races, genders, and abilities were photographed. This is a unique and moving portrait of the many ways in which people live with this potentially debilitating disease. Together, the images become a composite picture of hope and resilience.

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Mike Marques is a portrait and lifestyle photographer based in West Hartford, CT. The images he creates are the result of the trusting relationships he builds with his subjects. When he’s not traveling on assignment, he can be found cycling the backroads of Connecticut or on a hike with his cattle dog. His clients include Connecticut Magazine, General Electric, Health Dialog, United Bank, World Wrestling Entertainment.

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.