If you’ve followed Richard Prince and the lawsuits over the years this interview adds another piece to the puzzle.
Source: Time 100 Photos
If you’ve followed Richard Prince and the lawsuits over the years this interview adds another piece to the puzzle.
Source: Time 100 Photos
For the first 15 years we were like tittering schoolboys, viewing every offer, no matter how paltry, as an opportunity for naughtiness and adventure. We unashamedly piggied life on the back of work, and in the process both flourished. Photography’s like a panda; it only eats one thing. Curiosity. Without a constant diet of curiosity, it’s dead. So when you’ve reached the point where venturing away from your living room without a business class ticket seems like a hassle, or extending an assignment in Ulan Bator when nobody’s paying for the hotel doesn’t make sense; you’ve ceased to be a photographer. You might be a high-level technician, but your photographs – no matter how much money tech companies will pay for them – are shit. Because the only thing you are curious about is the day rate.
— Julian Richards
Mass tragedies, as photojournalist James Nachtwey says, happen to individuals. His focus on the individual victims of Somalia’s famine led to the saving of 1.5 million lives.
See more of Time’s 100 Most Influential Images of All Time http://100photos.time.com
Who printed it?
Who designed it?
Who edited the images?
How many did you make?
How many times a year do you send out promos?
Emails: once every 6-8 weeks. Mail promos: about 2-3 times a year.
Is there a backstory to this image?
This image recently placed first in this year’s APA awards in the Emerging category, so I saw to it that it got distributed as widely as possible online (with a blog post, social media announcements and an email promo), and a mail promo to a selected list of editors and art buyers that I would like to work with.
The image is part of an ongoing series, ‘Edible Beauty’, featuring DIY beauty products made with edible ingredients and was developed in collaboration with food stylist Zoe Armbruster. Having created food images for the past six years, I was looking for new, unique ways to visually present food and produce. Changing my frame of reference – food as beauty product vs food to eat – inspired a new perspective on the subject. Where I’ve often opted for shooting in natural light, I created all the images in this series with the ProFoto B2. Instead of a prop-filled set, we kept accessories to a minimum, allowing us to experiment with different formats of presenting the finished product. In retrospect, this series represents an intentional departure from my previous approaches to food photography, and it has invigorated my creative vision.
Looking at his photos reminds me that photography cannot be too controlled. It cannot be predictable. It should have life and energy and risk. Sometimes that gets messy.
Tim Tadder is an internationally acclaimed photographic artist. Most recognized for his highly inventive conceptual advertising photography Tadder has been ranked in the top 200 photographers worldwide by the prestigious Luezer Archive Magazine 8 years running. In 2015 Epson, the world leader in photographic printing technology recognized Tadder as one of the top influential photographers, producing a TV commercial and worldwide ad campaign featuring Tadder and his work.
When did you first know that you wanted to be a photographer? I grew up on the set of a commercial photographer in Baltimore, Maryland. I knew that I was fascinated with photography from an early age when I saw my father developing images for the first time in the darkroom. He had a black-and-white and a color darkroom in a small studio in Baltimore, and I used to watch him print pictures using an enlarger and chemicals. That was magical to me. I always thought it was amazing that you could re-create life from a camera and paper.
What was your path to becoming a professional photographer? I have a unique path to becoming a professional photographer. I was a high school teacher for five years, and during the summers I did mountaineering adventures. During those climbs, I would make images and host slideshows. People were really interested, and through the slideshows, I found that people liked the images that I created. I found I wasn’t a great teacher but that I really loved photography and so I decided to give it a try. I moved from South America where I was teaching and climbing to Baltimore where I grew up and had connections in the photography world. I decided I would see if I could make it for a year, mostly because that’s all the money I had saved. I worked out of my father’s studio in Baltimore but mostly for the local newspaper doing journalism while I was trying to learn the craft
What formal schooling or training did you have in photography? After two years in Baltimore, I was really in love with photojournalism, so I decided to pursue a Masters Degree in photojournalism from the Ohio University School of Visual Communication. That program is amazing, and I highly recommend it. I learned so much in the short time that I was there not only about photojournalism but also about creating images that were capable of telling stories. I learned so much about visual communications while there. Truly so much of what we do in photography is at its very essence visual communication. Before I was aware of that, I was just making images that I thought looked interesting, but after the program, I started to make images that spoke and told stories. The resulting images were much more intelligent images, so to speak, and that process really helped me become a better photographer in a short period
Were your parents supportive of your desire to be an artist? Ironically my parents were not very supportive me at all. I think that my father was concerned I did not have the talent to make it as a photographer. I also think that he never really made a lot of money and I think he felt that money equated to success, and in some ways, he felt that I did not have tremendous talent, and thus would not “be successful”. There was a lot of clashing as to what I felt was a good photographer and what he saw as good or great. I can remember my mother delivering me the Help Wanted section with jobs that she thought I would like even though I was making great strides in photography. She continued to show me job openings that she thought would be great careers. I can remember her distinctly telling me that that there wasn’t any money in photography and that you couldn’t make a living as a photographer anymore but I didn’t care. I just wanted to make images, and I wasn’t concerned about money. I was working for peanuts as a photojournalist, and I was really in love with photography. I will say, though, that my father is super proud of me at this point and I think that he honestly just wanted the best for me and realized how competitive and how difficult it is to succeed in this industry. The reality is, that if you love something and that you are passionate about it I think in America you can succeed
Do you remember your first published image and how it felt when it first appeared? Not really, I don’t think that I was all that enamored with having a published image define me as a photographer. Ink on paper does not a photographer make. But rather the communicative value of the image. I can remember the first image I made that truly moved people and how that made me feel. I think that was always more important to me, making an image that people reacted to. I can remember getting many emails from viewers responding to how much the image moved them. From all over the world it was a powerful image, and I knew at that point in time I had important skills.
You shoot both stills and video. Are you more passionate about one medium over the other? I prefer stills for sure. I like the less is more approach, and with motion, it just takes more people more equipment more blah blah blah…I hate the fat in motion productions. Give me a camera and a lens, and I’ll make it happen, motion you need all kinds of stuff to do commercial work.
After all this time, what still makes you passionate about the visual arts?I think how freaking hard it is to make images that move people. Truly to make a great image, it’s very hard and takes a lot of things to go right. Sure if you are a photojournalist you can get lucky, but normally it takes a huge investment of time, energy, people, etc. Greatness comes from the communicative collaboration of energy revealing itself in the well-crafted moment. That elusive search for perfection makes me passionate. If it was easy, I think I would be over it by now. Knowing that I have not done my bet work yet keeps me grinding. I will not stop until my impact is undeniable and that’s the passion.
You seem to have so much creative energy in all your work. How do come up with the concepts for your projects? I consume imagery, from TV to movies to art and Instagram, I consume and consume, and I get inspired by what I see but more importantly what I do not see. I try to find voids. I try to find things that have not been visualized. Bringing new visuals to life no matter how absurd or different is a great challenge in our world today. It’s hard to have a visual impact with so much noise. So I try to fill the empty spots with something new.
When you go into a shoot do you have a detailed vision for the finished project or does it tend to be a collaboration with the subject to determine the result? Always. I am a great pre-visualizer. I know exactly what I want when I go into every shoot, but often I fall short. It’s one thing to see it in your mind’s eye, but it’s quite another to capture it. That’s the illusive search for perfection. We know what we want, but it is sure hard to get it. That’s search is what keeps me passionate. I can feel though that the more I do this, the more my mind and my visions are aligning…so maybe I am getting closer. I do feel I am much much better than I’ve ever been.
Many photographers take full credit for the finished product from a shoot, but you are quick to point out that without your “team” your success wouldn’t be possible. How large is your team, how did you build the team and how much collaboration is done with this group? I think when you start it’s a very big ego thing. However, as you gain knowledge and wisdom you begin to look around and realize that individually you can only accomplish small things, but collectively you can accomplish great things. True impact comes from people that can harness the collective spirit of passionate individuals and align that energy towards a defined goal. I saw this in the people around me and when I grew up and left my ego behind, I realized that I was only as good as the weakest link on my team. I realized that the people around me love what they were doing and that I needed to embrace not only their passions but honor their contributions. That’s when it all clicked. I can’t do what I do without the support of others. No way. I love them, and I hope they love me because they make everything possible. My core crew is excellent. They are the best, and I will put them up against anyone. My normal team is made up of a first assistant that has been with me for ten years, my producer, our production coordinator, stylist, hair and makeup (sometimes two people) and a gaggle of other freelancers that contribute. The productions swell when needed, by my core is four.
On average, how much of the finished product that we see in images on your website is done in camera versus in CGI or post production? That goes from zero to a lot. There is much of my work that is captured in camera and sometimes quite a lot of post. I would say what you see is 75 percent in camera, truly only what you see in the CGI section of my website is CGI. Yes there are composites here and there, but I find the less time in the post the better the image. Less is more.
How many man hours went into your Tecate Calendar project including the building of props, the shoot, and CGI/post? Now that project was very very CGI and post heavy. But my favorite image in that collection was all captured on camera (The Gemini Twins shot below), so the key is to mix everything so the audience can’t quite put their finger on it..there is a great Behind the Scenes video (www.timtadder.com) on my site that really shows how this was done. That shoot was huge, and I spent weeks in Pre-production on it. The wardrobe was custom stitched, the CGI sets crafted before the shoot, the animals cast, and the cast was pulled from all over the globe. That shoot was a mission…I would say three weeks solid of pre-production and four weeks in post…but it’s unique and quite amazing. Of course, you only see what was selected by the client and how hey wanted it to sell beer, but the images I love are far more subtle, but that does not sell beer.
Of all the athletes you have shot over the years, which one(s) would you say brought the most personality to the shoot? That’s too difficult to answer. There are so many levels of shoot energy, and sometimes the creative requires more personality than others. I will tell you Cam Newton was spectacular as a comedian and told the most jokes. Simone Biles was spectacular and amazing. But there have been so many. I love when I shoot athletes year after year sometimes for the same client sometimes for other clients, but they remember me. Sometimes they greet me with big hugs, and I feel like an old friend. That’s always surprising. I guess they liked the images.
Your personal projects are amazing. What inspired your Bella Umbrella project? Was that project as messy to shoot as it looks? This project was inspired by things I saw on Instagram. I had been following this LA street artist, and he did all this rad stuff with military smoke bombs. I wanted to do something with him, but he is really dark and quite theatrical. Then I saw this image with smoke and a vintage umbrella in a forest and thought that if I could simplify and elevate the elegance that I would have a beautiful collection of images. The project was a mess and destroyed some expensive vintage clothing. I think it looks easier than it actually was. We took the smoke bombs and taped them to the umbrellas, but when the umbrellas caught fire and the clothes burned, I had to take another approach. So some of these were in camera, and some were composites of smoke plates and the talent. The stylist freaked out and I freaked because I did not want to hurt anyone but we decided we could make happen without any risk.
What piece of camera equipment can you not live without? Hmmm, I don’t really have a piece of camera equipment I can’t live without. I don’t believe the tools make the image I believe that the concept, thought, idea the passion make the image. The camera and lens are no more part of the process than a burner on a stove is to a chef. A chef can make a meal with any type of stove, just as a photographer make can make an image with any type of camera.
From the behind the scenes video’s on your website, it looks like you have fun on the set when shooting. Do you find that keeping things fun puts people at ease and allows them to open up? Always. It’s a blessing and an honor to do what we do. It’s fun, but it’s really important to do a good job because people’s careers are at stake. We really must remember that we are doing something that is amazing, creative and fun. back in the day I used to get all worked up, but that never helped. It never makes a better image, so let’s make it easy and let’s make it fun so that people leave with a good taste in their mouth.
What does the perfect Tim Tadder day look like? Making pancakes for my kids, creating some amazing images that make people go “holy shit”, having dinner with my family and watching the Ravens beat the crap out of the Steelers on Monday Night Football.
What advice do you have for aspiring photographers looking to enter this ultra-competitive industry? You better absolutely love, love, love creating images. You must be willing to work 20 hours a day for years and years. You must be willing to lay it all on the line and never give up. You must have to have a thick skin, a really thick skin, and not be deterred by failure. You have to be willing to make thousands of mistakes and keep making them until you get it right. You have to be willing to produce new work always and you need to be planning your personal work all the time. It’s never ending even for me. You can never take the foot off the gas. If your not willing to do that, then it might not be for you.
If you weren’t a professional photographer what would you be doing? I’d run for President, seems like not a lot of people want that job these days.
Why did you choose Photo Folio for your website? I think the system is simple and presents my work in a clean and clear way. Clients can get right to the point. All I want is for my images to speak to the audience with nothing else getting in the way. The content management system is great and makes creating edits super easy.
Many of the world’s top photographers, like TimTadder, showcase their work with a website from PHOTO FOLIO . Isn’t it time you put the power of PHOTO FOLIO to work for you?
For those that worry that the iPhone-toting hordes will soon overrun photography, Webb’s pictures offer a soothing antidote of high quality craftsmanship. As I passed from image to image, my head was continually nodding, acknowledging the real pleasure that is derived from smartly built photographs.
Creative calls are a crucial part of the process and can shape opinions along the way. I go into each bidding process knowing that we could end up with any of the three shooters. Work alone probably won’t get the award; it’s very much about what you bring to the table on the creative calls & development, and of course how the numbers fall. I don’t think it would be doing anyone any favors to say they’re recommended shooter only to have a job potentially award to one of the other photographers also being considered.
Because photographers are visual, they usually assume two things: that they can design and that they can edit. But they benefit by letting someone else in. It doesn’t matter how well-known a photographer is, the fact is all photographers need a good editor, someone who they can trust checking or proposing picture and sequence decisions. It’s probably the most important part of putting a book together. Often the photographer is too close to the work, or to certain images, and they have a tendency to want to use more images, when they should let some of them go. The reverse can also be true. A photographer can become fixed on particular pictures. I usually want to see a wider edit than the photographer initially has in mind, and quite often between ten and twenty percent of the final picture selection will come in from this broader selection. This doesn’t seem like much, but it can make the difference between the mediocre and the sublime.
Read More: http://aperture.org/blog/design-photobook/
Photography has never been about how many professionals there are, and how or what they charge, where they went to school, how they learned, how hard or easy it is, how smart or stupid the successful ones are, what camera you use, or how many amateurs can look like or claim to be professionals. In every field of art, the people who put difficulty, practice, problem solving, commitment, learning, opportunity and service as the core to making a meaningful life will always find the answer. Looking into the masses of lawyers, accountants, guitarists, painters, plumbers, salespeople, teachers, drummers and photographers, and thinking that there are too many of this or that, or that it is easier to be one thing or another is just plain hysterical reaction to life. It isn’t easy to be alive in this world… it never has been… get over it.
Read more from Dennis Keeley on his Facebook page:
…not marketing has devastating effects on business. There are way too many talented photographers in the marketplace for a photographer not to market. Think about it. If a photographer chooses not to market, that means their imagery and their name is not as top of mind as the next person’s. That means, when a project comes up, most likely, the person who IS top of mind will rise to the top of the consideration list. That also means that the other photographer will get the opportunity to engage with the agency and client, they will get the opportunity to estimate and ultimately they will get the opportunity to bid on the job and develop the relationship.
The case alleges as many “bad acts” as we would typically see “spread out” among three or more unrelated lawsuits.
[…] The filing of this complaint is likely just the beginning of this saga. We will stay on it for you.
Regardless of how this case turns out, and we believe this will be news for a long time to come, for the love of your family and all you hold dear, register your images and protect yourself. Register even if you’re not licensing your images for fees or at all. We’ll keep saying this until we’re blue in the face.
In the McCurry case, fortunately, there was a very different take. A.D. Coleman published a letter written by Robert Dannin, who worked at Magnum and with McCurry in the late 1980s. Dannin squarely puts the onus on the publishing industry in general, and on National Geographic in particular. These are the kinds of discussions we — as the general public — are rarely exposed to. But to me, it seems completely obvious that we have to talk about this aspect of photojournalism, which is immensely important: the role of the publishers (who might or might not also still commission work). Given McCurry’s photographs are such kitsch, why are they so widely coveted by the likes of National Geographic? What does that tell us about the publishing industry?
What are some photographs that you believe everybody should see?
There are so many photographs and digital images in the world today that instead of adding to the lists of things that everybody should see, I’d suggest a different exercise. I believe that most people would see more clearly if they took the time to look more closely… ideally at an old photograph that many people have held over many decades. In the digital era it strikes me as critically important to recognize the difference between a photograph (a physical object) and a photographic image (one that can assume new characteristics specific to the device on which it is seen, but which has no material presence), and that once you’ve really looked at a photograph you’ll have new tools to approach both photographic objects and images.
What are some of the most interesting things about the history of photography?
For a variety of reasons (cultural, economic, social, technical), throughout the history of the medium a significant percentage of the greatest photographers have been women. In fact, it is possible to tell a coherent history of photography featuring only women artists…
Read More Here: Sarah Meister – Quora Session on Jun 27, 2016
Heidi: What type of direction did you get from the magazine?
Jonathan: O, The Oprah magazine approached prop stylist Marissa Gimeno and myself to photograph Mac’s new line of cosmetics for the O, Beautiful! page in the June 2016 issue. The client wanted to emulate the Navajo print of the packaging and create the pattern with the actual cosmetics. I love a good graphic pattern and I was completely on board with this concept!
How did this mosaic pattern idea develop?
We were inspired by the print on the actual packaging so we narrowed down which print worked the best. I did a few sketches with the idea that one of the actual products would be photographed on top of the pattern we were creating, possibly a lipstick or eyeshadow. In the end we decided the strongest composition would be to create the pattern out of the eyeshadow, blush and powder textures with no product on top.
Tell us about the actual build and was the crumble a happy accident?
The magazine supplied us with the product from Mac. However, there was not quite enough to complete the entire pattern. Marissa and I discussed the best way to tackle this challenge. In the end, I decided it would be best to create at least half of the pattern(specifically the top half). Once I got the light tweaked I had to shoot this in a few different stages. There was a good amount of planning on set to ensure that this image was successful. I wanted to capture everything in camera rather than flipping it in post so the lighting felt consistent and natural with the way it falls off on the bottom. So I photographed each half and then flipped it on set and recaptured again. Once I captured the entire background we played around with different options for the top element. My digital tech quickly composited the several captures so we could see it as one image and decide what we needed to capture more of. In the end the top crumbled piece was a unanimous favorite. We did several variations and really perfected this crumble to make sure it felt natural and perfect. It was not necessarily pre-planned, however, it evolved very intuitively on set and the end result captured exactly what I wanted the image to look like.
How long did it take to build?
Marissa Gimeno: It took me half a day to measure and cut the risers for the composition prior to the shoot. On set, it took approximately 3 hours to apply the makeup to the risers and finesse the final layout.
Did you need to have special tools to handle the makeup?
Marissa Gimeno: Nothing too unusual that couldn’t be found in a still-life stylist’s kit such as palette knives, makeup brushes and a little ingenuity.
The short film “Joe” highlights Riis’s work in the Yellowstone ecosystem, but it also exposes a much more relatable side of him—the struggle to find balance between life and a job that has basically become his life. “Is my work worth spending more time on my work than my girlfriend?” he asks in the film. “Is my work worth essentially dedicating my life to it? And that changes from time to time. Sometimes I think that, and other times I think: You know, I should just pack it in. I should just go into town and get a job, and actually have a real relationship.”
Who printed it?
This piece was printed by the incredible team at Blanchette Press in Vancouver B.C. This promo is the second piece I have printed with them, going with well respected offset printers sets a high bar for quality. I had the pleasure of going up to B.C and directly working with owner Kim Blanchette on our press day. It was interesting to see exactly how the analog process works and the subtle changes Kim would make to get the best images possible. He told us “Our goal is to create 3 dimensions existing within 2d space”. I truly think the difference in offset vs digital quality is worth the extra cost and most professionals in the industry appreciate the print quality when looking at the piece.
Who designed it?
I teamed up with the designers at Shore (www.madebyshore.com) for this promo. We had worked on a similar print promo last year together and decided to keep the design similar referencing last years piece yet changing some things on size, color, etc.. Joe & Julian have become close friends over the years and they have a good feel for my aesthetic as a photographer. I like how they use design elements that feel consistent with my style. It’s not “over designed” and allows the photography to be the focus.
Their passion for design and creating a quality print piece is another reason our collaborations have been successful. They know that although I might not be their biggest client, I share a love for quality and the final piece will be one we are both proud of and that I am willing to invest in. I have to thank them for also finding the interesting paper stock we used on the “faux cover” as well as the addition of white foil lettering for such a clean finish.
Who edited the images?
The initial edit was done myself. I had some favorite images that I knew I wanted in there. I did however work with my agent Maria Bianco before finalizing the piece. I really enjoy the editing process with her. I think personal promotion is a great chance to re-visit shoots from the past year and find some hidden outtakes that may of not made the final story. Pairing unrelated things you wouldn’t expect can make a great overall piece. Maria has a real talent for editing and helped me pair of some of my favorite spreads. I also think its important to mix some personal work with things from jobs. It shows photo editors and art buyers the images you truly love to make.
How many did you make?
I decided on making 500 for this piece. The price for offset printing isn’t cheap and you often do save money if you get a lot made, however for a special piece like this, I wanted it to be limited and directed at specific clients. I didn’t need to spend too much money sending it to tons of people who don’t make sense for my work.
How many times a year do you send out promos?
I try to do one special high quality promo book piece like this one, as well as a few smaller postcard type mailers throughout one year.