The Best Work I Saw at the LACP Portfolio Review, Part 2

 

I haven’t written a Trump column in months.

I was going on about him weekly, for quite some time, so I decided to take a break. It seemed healthy, as this is not, in fact, a politics blog.

Rather, aPE is about photography, so I decided that #247Trump was not appropriate.

But it’s been a while, and this being the dog days of August, when most of you are on vacation anyway, it seems like the right time to exercise my First Amendment rights. (While I still have them.)

Now that I’ve given myself permission, though, the words don’t flow as easily as I expected. I feel like the Monty Python guy, who couldn’t eat another bite, because it really has been absurdity-overload lately.

I was discussing it with my Dad the other day, and we agreed that while the national crisis may have been bigger during the Nixon 70’s, with crazy protests and riots, the Trump political scandal is far worse.

I’ve got a good memory, and even I can’t keep all these daily dramas straight.

But here are a few.

The President’s chosen communications director sought an on-the-record interview with The New Yorker, for crying out loud, and then said, of the President’s chief strategist, that he likes to fellate himself.

Oh, and he also threatened to kill the President’s Chief of Staff. (Who was subsequently fired post haste.)

Ironically, the Mooch was out before his paperwork was filed. (And before godsend Mario Cantone could franchise this impression.)

What else?

Oh, right, there was that Trump Jr/Jared Kushner meeting with Russian spies who offered dirt on Hillary Clinton, after their government had stolen a trove of her campaign’s emails.

And Donald Sr started Tweeting about her emails the same day.

This, and so much more, has unfolded in the press while a non-partisan former FBI director looks carefully into the President’s shady-Russian-Mafia connections.

At one point this winter, as my mother likes to remind me, I said it all resembles “House of Cards” + “The Americans,” and that seems to get truer each day.

The stuff Netflix and FOX made up as dramatic fantasy is actually no less salacious, at this point, than the Real.Fucking.Thing.

Welcome to August of 2017.

As I wrote here last year, I had my first premonition things might go awry when I was in Los Angeles in late October, and watched the 3rd Presidential debate at a theater in the Hammer Museum at UCLA.

“Not a puppet, not a puppet, you’re the puppet” drew laughter like we were watching “Chapelle’s Show.” Trump read as entertainment, to us, and he was damn entertaining.

But we were in literally the bluest bubble in America, and I felt uncomfortable with the elephant in the room: that millions of our fellow countrymen took him seriously, and agreed with many of the deranged things he said.

Now, just minutes ago, I read on CNN that Sarah Huckabee Sanders, the President’s own spokesperson, was forced to admit that Trump had told untruths about two things. (He said he’d received phone calls that he had not.)

But she shied away from the word “lied,” because she felt it was too harsh.

Yes, that trip to LA gave my spider sense the tingles, but when I returned a couple of weeks ago, 6 months into the shitshow that is Trump’s presidency, few people were talking about him.

It’s almost like he’s Voldemort for many of us. Keep your head down, and hope it ends before he kills us all. (North Korea can now reach LA with a nuke, they say.)

I didn’t talk much Trump in Los Angeles, but I did see a lot of photography. I don’t have the exact number, but I saw at least 25 projects at the LACP Exposure portfolio review, and am glad to show you the best work I saw.

I liked Lisa McCord immediately, as she seemed honest in a way I connect with. She showed me some work from the early 80’s, done on her family’s tenant farm in Arkansas.

Basically, Lisa said she’d felt more comfortable with the African-Americans who worked on the farm than she did with her people, who owned the place. So she hung out a lot, including with the Nanny who raised her, and people let her make pictures, because they knew and trusted her.

Images like this are seen as fraught these days, with so much tension around racism and white privilege. It’s hard not to see them as controversial, yet I sometimes think that says more about us than the pictures themselves.

Because if we take Lisa at her word, that these were her friends, more like family, than there’s nothing radical about the pictures save the color of everyone’s skin.

Dawn Watson had landscape photos in which she’d inverted the tonal curves in Photoshop, so the colors were reversed. I’ve seen similar projects, and told her about Adriene Hughes work we published here last year.

But I think showing digital’s unmistakeable hand can be a sound visual strategy, and I liked several of these pictures a lot. I told Dawn to be careful about whether she wanted to make pretty pictures, or edgy ones, as her aesthetic sensibility seemed to waver.

Douglas Stockdale, a fellow reviewer, has long run the excellent blog The PhotoBook Journal. He also makes his own books, and shared “Bluewater Shore” with me, his latest.

I’ve never seen a book that came in a plastic ziplock bag before, and that was a novelty. But I also like the re-purposed archival family images, which resonate with old school California beach culture.

I saw Eleonora Ronconi’s work at the portfolio walk, and it turned out she was engaged to my friend Paccarik, which I didn’t know. (He’s made a few appearances in the column over the years.)

She had pictures made in her native Argentina, and I thought they were lovely. Her color palette, in particular, with those rose-peach hues, grabbed my attention the most.

J. Matt is a surfer dude from Hawaii who recently moved to LA after many years in San Francisco. He’s an architect, by trade, but seems like a generally-creative-type person.

He showed me some pictures of LA that looked a bit like Dan Lopez’s from last week, and a little sample of work shot at the beach. As that’s a huge part of who he is, I checked it out on his website afterwards, and we’re sharing some of them here.

Linda Alterwitz, based in Las Vegas, had photographs made with a thermal imaging camera. I asked her if she knew of Richard Mosse’s work, the stuff with the expired pink film, and she said she did.

Little did I know, but he’s done work with thermal imaging cameras as well. So what, though, as I highly doubt Linda knew about it when she was lent a camera by a manufacturer.

The figurative images are wild, as are the horse pictures. And there’s a monkey in there too? WTF?

Finally, Mara Zaslove had photographs of an elderly friend, and they’ll include the only nudity we show today. (Hope that’s OK, as we’re normally SFW.)

Aging is a subject most people want to avoid. Hell, I was watching some old Westerns on TV the other day, and couldn’t believe how many old people there were.

Modern entertainment casts must be 25 years younger, on average. So I like that Mara’s work makes me think about that, while retaining some grace too.

Well, that’s it for the LA roundup. We’ll be back to book reviews next week, and I hope you’re enjoying the summer.

Personal Projects: Lise Metzger

- - Personal Project

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this new revised thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Lise Metzger

About six years ago, at a particularly isolated time in my life when I had less photo work and more domestic responsibilities as a single mother, I asked a farmer if I could photograph her. I’d been interested in all things food for many years, stemming from serious intestinal issues that started an exploration into how the food we eat and the way it’s raised and distributed impact our health. It’s not a new story that our industrialized food system is not serving us. The American system of mass production and the food policies that subsidize that system have created an unhealthy diet using unsustainable methods. Cheap, over-processed food poisons our bodies, exploits our animals and food workers, degrades our land, pollutes our water, and depletes our natural resources.

Such an inquiry into food, naturally, leads to the farmer.

So I started to visit Shannon’s farm to make pictures but also to hang out with her—to inhabit another woman’s life for a brief while and escape my own. The shooting I was doing was so unlike the work I was known for. It was just Shannon, me, and my camera. No styling, no lights. Just life as it was happening. I kept the work private for a very long time, because it was something I was doing just for myself.

I was curious about other women who took up the hard work of farming, and I wondered if there were many of them. Little did I know. One of the fastest growing demographics in the U.S. is women farmers, and they are more likely to pursue a kind of farming that really interests me: sustainable (organic, whether certified or not), small scale, independent.

I began to photograph more women. Each one has a rich story and a depth of knowledge about growing and raising food and is pursuing her vision of a life with meaning and purpose. The need to share each farmer’s story—in words as well as photos–was strong, and in 2016 I launched Grounded Women as a blog.

Life makes sense to me when I am on a farm; I feel centered and healthy. But farming isn’t a choice many of us want or can make. I share these stories of real women growing real food to inspire us all to create our own authentic life, to have our own healthy relationship to the earth and food, and to do our part—as each of us can—to heal our planet and ourselves.

 

 

To see more of this project, click here.

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 decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSease.

 

Pricing & Negotiating: Stills and Video for a Pharmaceutical Company

Craig Oppenheimer, Wonderful Machine

Shoot Concept: Individual portraits of three women against a white background

Licensing: Unlimited use (excluding OOH) of up to three images for two years

Location: A studio in the Northeast

Shoot Days: One

Photographer: Portraiture specialist

Agency: Small, based in the Northeast

Client: Large pharmaceutical company

Here is the estimate:

Creative/Licensing: 

The concept was straightforward: the agency/client hoped to photograph three women of a specific demographic individually against a white background. The agency was redesigning a website for a new drug the pharmaceutical company was manufacturing, and while this would be the main use for the images, they also had plans to run a few consumer-facing print ads over the course of two years. Additionally, they were considering the possibility of creating cinemagraphs of each woman, however, the exact creative concept for this was still being developed.

While the simple concept put strong downward pressure on the fee, their requested usage drove it up. I decided to price the first image at $6,000 and the second and third images at $2,000 each as it was clear based on the creative brief that one of the women would be the “hero” talent and her portrait would be used much more heavily than the others. $10,000 felt a bit low at first, but considering the client’s intended use, the straightforward nature of the project, and the fact that there were a handful of other known local photographers in the mix for the project, I felt it was in the right spot.

As for the cinemagraphs, the agency asked to see ballpark costs to add them later if desired, so we noted an optional creative/licensing fee of $2,000 in the job description section of the estimate (we also noted the expenses, which I’ll detail later). I based this on $1,000 for the first, and $500 each for the second and third cinemagraphs, which would live on their website if they chose to move forward with this option.

Assistant and Digital Tech: The photographer was comfortable with just one assistant, and we included a digital tech for $500 while including another $500 for their workstation.

Producer and Production Assistant: This included two prep days, one shoot day, and one wrap day for a producer, and they’d bring along an assistant for the shoot day to be an extra set of hands throughout the production.

Hair/Makeup and Wardrobe Stylists: We just needed one hair/makeup stylist since there were only three women, and we’d have plenty of time to get each one ready on the shoot day. As for wardrobe, I included two prep days and one shoot day for the wardrobe stylist, and two prep days, one shoot day and one wrap/return day for their assistant. The agency anticipated that we’d shoot each of the three women in two different outfits, so I included $250 per outfit for six total non-returnable outfits.

Casting and Talent: This particular market had relatively affordable casting and talent rates, and we included one live casting day and a talent rate that would easily attract a wide pool of talent to choose from. The rate was a bit higher than I’d typically include for this market/usage, however, we wanted to provide the talent with an incentive for their likeness to be used to promote a drug while portraying them as a person who may be afflicted with a certain sensitive illness. Additionally, the client requested an optional rate if they were to acquire exclusivity on the talent for this within the pharmaceutical industry, and we noted the appropriate increase in the rate, which was based on a conversation I had with our casting director.

Studio Rental and Equipment: We included one day for a local studio, and added an equipment fee to either use the photographer’s personal equipment or cover rentals from the studio or local rental houses if needed. We also detailed that if they wanted to create cinemagraphs, that it would likely require an increase in the studio expense to afford a better-equipped space for capturing video (mainly appropriate power/electric access). Additionally, if video for the cinemagraphs were to be captured, we would need to light the entire set with continuous lights as opposed to strobes, so we detailed a price increase to include a grip, gaffer, grip truck and plenty of lighting in order to achieve this.

Catering: There would be 17 people on the set, and I included $65 per person for breakfast and lunch.

Parking, Production Supplies, Misc.: This just covered $100 in parking, $100 in supplies such as tables/chairs, and $100 for any unforeseeable expenses that might have presented themselves during the shoot.

Shoot Processing for Client Review and Retouching: We included $250 for the photographer to go through all of the shots and do a basic once-over in order to present a web gallery of options to the agency. Additionally, we included $375 per image to cover the time it would take a retoucher to process the images and swap background colors, which is something the agency mentioned would be a possibility as they developed new brand colors for the client.

Feedback: The estimate was well received, however, the agency had a few updates they wanted us to include. Primarily, they wanted to include four women, instead of three. Additionally, they wanted to include the fees/expenses for both still images and cinemagraphs within the estimate, and they asked for us to include the talent rates with exclusivity as well.

For the creative/licensing fee, we already quoted an optional rate of an additional $2,000 to include the cinemagraphs in the first estimate, so now we needed to figure out what one additional image and one additional cinemagraph was worth for the fourth talent. I determined the image was worth $2,000 (the same as images 2 and 3), the cinemagraph was worth about $500, so I rounded this up to an additional $3,000, totaling a $15,000 fee.

This of course also impacted our expenses. We added additional wardrobe along with the talent rates requested, adjusted for catering, misc. expenses, and retouching while adding a hair/makeup stylist assistant to help move the shoot along since we had one extra talent to prep. We increased the studio as well to accommodate the equipment, crew size, and electrical access needed for the video, and we incorporated the grip, gaffer, and additional lighting equipment into a single line item. We also noted a TBD overtime rate, as we were now proposing to shoot four talent, each in two different outfits, with stills and video for each. While that would take a while, I was still confident we could make that work in a 10-hour shoot day, but I wanted to note the rate ahead of time.

Here was the revised estimate:

Feedback: Again, the estimate was well received, however, they decided to revert back to three talent, instead of four. Also, at this point, the cinemagraphs became better defined as we started to inquire more about the creative concept. The success of a cinemagraph typically relies on some sort of environmental element moving or changing in some way, but since we were just capturing a few women in front of a white background, our options were pretty limited. After a creative call with the agency, it turned out that they just hoped to capture short videos of the women making subtle changes to their expression and slightly moving their bodies (often referred to as “video portraits”), and we were told that the agency would handle the video editing.

We made a few tweaks to our estimate, and submitted the following:

Results: The photographer was awarded the job, and we coordinated the production.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to large ad campaigns.

The Daily Edit – Jeremy M. Lange: Men’s Journal

- - The Daily Edit


Men’s Journal

Creative Director: David Schlow
Director of Photography:
 Jennifer Santana
Art Director: Justin Long
Associate Photo Editor: David Carr
Photographer: Jeremy Lange


Heidi: Was this your first assignment with Men’s Journal?
Jeremy: No, in late March of this year I did my first story for Men’s Journal about rock climber Kai Lightner. Just a few weeks later, I got an email from DOP Jennifer Santana saying basically this “…interested in shooting a feature profile this week? It would need to be in a studio. It is a sensitive issue as the subject is in witness protection.”

I was obviously intrigued and pretty open the week so I immediately said yes and set about getting a studio rented in the area we had discussed. Some friends of mine run Shadow Box Studios in Durham, NC and they had couple open spots that week so I sent Jennifer back the possible dates.

What type of direction and information did you get about the assignment considering it was a sensitive issue?
Once we had a shoot date confirmed she sent over some details of what the images would have to be like. Martin, not his real name obviously, must be pretty much unidentifiable in the photos, so shoot in silhouette, or with directional like that obscured most of his features. Jennifer also sent over some examples of what was permissible in this situation so I could get thinking about how to get it done.

Had you done any images like this before?
Yes, I had made some portraits years ago of sexual assault victims that could not be identified so I had a little bit of experience with the general parameters, but those were outside so this situation was a little more difficult.

From there I made a few sketches in my notebook of what I was thinking and tested one or two at my little home studio to be sure it would generally work.

How much time did you have for this portrait and did you practice your light set up to be efficient?
There was no specific time frame for the session, but I generally planned on an hour in the studio. Given the constraints we had on the job, I knew that we would not be able to try too many things and spend hours playing with lighting set ups. I also have found that many “normal” people, i.e. people that are not used to being photographed all the time, are pretty exhausted by the whole thing in an hour or so. That is obviously not a hard and fast rule, but it has been my experience several times, especially in studio situations. And if they want to go home after work.

We, my assistant Ethan and I, got to the studio a couple hours early to set things up and make sure we had at least two working lighting scenarios so when Martin arrived we were ready to go. I like to take my time so it is nice to be able to show up early and play for a bit before settling on a couple things. The extra time paid off here as I was able to add a lighting element I had not considered before after Ethan and I experimented for a little while with what I had planned.

Did the subject request to see the images?
He did ask to see what I was capturing at one point but it seems more out of curiosity than out of concern. Under the circumstances, he was incredibly trusting of us to do what we had agreed upon.  He seemed to like what he saw when I showed him and we kept on going after that for a while

Did you direct him?
He had a good natural presence, comfortable in his own skin but I did direct him a bit after a while. I typically do not direct much at the beginning so I can see the gestures and positions people give of themselves and then perhaps have them repeat those, or we refine them to suit a photograph. This feels more natural and seems to give the person being photographed a sense of collaboration that helps us make better photographs. With this somewhat restrictive lighting set up, I did have to make sure his head and body were positioned in certain ways to disguise his identity but still give us a dramatic and powerful portrait. The photograph the magazine chose was one of the last setups we did, with the lights off center and raking across his face from behind. A little less standard, I think Jennifer chose a strong one.

I had produced a project in Mexico with a local celebrity where we spent $25,000 on security (24-hour armed guard and an executive evasion driver). Did this project require special security?
That sounds crazy! Here, surprisingly, no. Martin showed up on time with just his girlfriend with him, who sat in the lobby of the studio as we photographed Martin. He was incredibly low key about the whole thing, sharing some stories and some small facts about himself. Given the circumstances under which we were photographing him, it was very normal, not much different from the usual small talk that occurs during a portrait session. Some personal stories, some basic back and forth between shots.

The Daily Promo – Mikkel Jul Hvilshøj

- - The Daily Promo

Mikkel Jul Hvilshøj

Who printed it?
The promo has been printed by Gelato Globe. It’s a Norwegian company that has printing facilities around the world, so wherever you are they choose the closest facility to save shipping costs, and effectively, the environment. And as they put it on their website: “We believe that “collaborative consumption” can be the positive consequence of a “sharing economy”. We believe in sharing fixed assets – in our case sharing of print machines. And in allowing excess capacity to be intelligently allocated.”

Who designed it?
I designed it myself. I find your instagram page very inspirational and I always look at how other photographers have designed their promos.

Who edited the images?
The product shots on black background I have edited myself, the other two are edited by Martin Bo Kristensen of TheImageFaculty.

How many did you make?
I printed 50 in Danish and 50 in English, and send them out to specifically chosen people.

How many times a year do you send out promos?

I try to send out twice a year. My first promo went out in November last year, and this one went out in May.

The Best Work I Saw at the LACP Portfolio Review Part 1

 

Hollywood is hip these days.

It’s always been popular as an idea, of course.
As “Hollywood.”

But I’m talking about the actual part of Los Angeles; one section of the many that stitch together the Megalopolis. In that respect, Hollywood is just the North-Central part of LA where Hollywood Boulevard sits just above Sunset as they intersect with Vine.

The place where the Hollywood Walk of Fame resides, and Grauman’s Chinese Theater.

It’s like Times Square in New York, or Fisherman’s Wharf in San Francisco, in that it’s clearly built for, and subsists off of tourists. There are trinket shops galore, hotels aplenty, and lots of bars next to drunk-food-restaurants.

No lie, on Selma, 1 block from my hotel, a high-end Tao sat across the street from Danny Trejo’s Mexican bar & taqueria, which was itself next to a Poutine joint. (Which I couldn’t resist.)

The guys working the counter, where they sling the cheese fries and gravy, were dressed like Canadians, in lumberjack patterning. They told me they only open up outlets next to bars or colleges. (Makes sense.)

I got accosted by some drunk guys, as I awaited my poutine, even though it was barely 8pm. They took me for Israeli, which never happens, and pretended to slap me in the face as I stood there, daydreaming.

Minding my own business.

Cursing myself for being gluttonous enough to order cheese fries and gravy for dinner.

They offered poutine topped with bacon, beef, chicken, or lots of other artery-clogging-to-the-point-they-should-have-a-cardiologist-office-next-door toppings, yet I stuck with the plain version.

And boy did it give me indigestion later that night. Big mistake, getting the cheese fries and gravy for dinner.

Wait.
Where was I?

Right.
Hollywood.

I was there to work, of course, so I didn’t sample the clubs or the bars. Instead, I limped my tired dad-bod around the neighborhood to grab food, (lacking a car, as I mentioned,) or I was next door reviewing portfolios at the LA Center of Photography.

The organization, which is now non-profit, was long known as the Julia Dean Workshops, so Julia Dean is now the Executive Director of the LACP. Apparently, they changed the structure and name about 4 years ago.

Their portfolio review, Exposure, is held in their school space there on Wilcox, and also at the DNJ Gallery at Bergamot Station in Santa Monica. (Hence the multiple Ubers.)

It was a well run event, and the people in charge are genuinely helpful and friendly. (Here’s your shout out, Brandon and Sarah.) The organization has been around for a while, but the review is relatively new, as it was the first time they were bringing in reviewers from the outside. (I was joined by Brian Clamp and Elizabeth Avedon, two New Yorkers.)

Most of the people at the reviews have taken classes there before, and many had studied with Aline Smithson, who teaches Fine Art Photography for the LACP, and has for years. We’ve shown many of her students’ work here before, and I’ve been consistently impressed.

But others were less trained, so as usual, I tried to be helpful, and point out to people where their strengths seemed to lie, and where they were weak.

Today and next week, we’re going to feature the best work I saw at the review. As usual, my criteria for what to show you are based on a few simple concepts.

1. Are there enough contiguous images to show you a proper sample of someone’s ideas? (Meaning 2 or 4 good pictures is never enough.)

2. Does the selection show a well-executed vision?

3. Are these pictures at least visually pleasing, if not genuinely brilliant?

If I see that range in someone’s portfolio, I’ll try to show it here.

As I’ll be doing 3 more portfolio reviews for you guys this year, (in Chicago, Santa Fe and New Orleans,) I thought it was worth the slight diversion to explain how I choose what’s worth publishing.

So let’s get started, and, as always, the artists are in no particular order.

Silvia Razgova recently moved to Los Angeles from Toronto, having spent the previous few years living in the United Arab Emirates. (I think I’ve got that right.) She showed me pictures from the UAE, that were cool, but I was far-more-seduced by these medium format gems from her hometown of Hradok, in Slovakia.

Her color palette is pretty dreamy, and I liked a few of these very much. But overall, they fit the conditions above, as they’re well made, consistent, and show us a slice of her world, which we’d otherwise never see.

Anto Tavitian was amazed when I guessed he was Armenian. (I felt confident I was right, but you never know.) Later, he realized my trick.

“Was it the ‘ian’ at the end of the name,” Anto wondered?

“Yes,” I said, “you got me.”

That said, Anto showed me the deconstructed book pages from his BFA project at Cal State Northridge. He’d made a photo narrative about his immigrant Armenian-Syrian parents, and included the repeating motif of the tight shot of a coffee cup.

As coffee was so important to the story, he also stained the book pages with it, creating a dappled-brown effect. And the few text pieces, and one drawing, that were interspersed are cool too.

Jamie Siragusa is currently enrolled in a one year program at LACP, and was working on street photography. She’s interested in photographing children, but didn’t want to do it in a conventional way. So she’s focusing on kids at political protests.

We all talk abstractly about what our actions will mean for our children, or grandchildren, so she wanted to make pictures about those descendants now. In particular, kids who are being vocal with their disapproval by protesting in public. (Mostly with their parents, of course.)

Dan Lopez showed me a book, “Constellation Road,” which featured these LA cultural landscape photographs. I thought his sense of color and composition was really strong, and he definitely captured some of the bright harshness of the California sun as well.

(Sidebar: part of why I didn’t go on huge walks through Hollywood, rather than snobbery, was that the sun is so damn strong in July. Be forewarned.)

I told Dan I thought it was hard to separate his work from the photographers who’d come before in this tradition, as he admitted being influenced by the usual suspects. (Shore, Eggleston.) It’s tough to find an original voice, I admit, but the more we try to push away from the things we’ve seen a million times before, the more likely we’ll get there.

Last, but not least, we have Brian McCarty, whose work is the edgiest of the bunch today. Brian makes a living photographing toys, as it’s his commercial specialty. (So he’s really good at it.)

As such, he ended up doing a project in which he tries to use toys to help children in war zones, particularly in the Middle East, to process their trauma. He’d just gotten back from Mosul, in Iraq, which is an extremely active fighting spot, and admitted that he’d been shot at twice, and had been lucky to survive.

He and his organizational partners, (he mentioned the UN,) ask children to make drawings of their horror stories. Then, they re-create the situation, sometimes quite literally, with toys, and Brian makes the resulting photos.

They are strange and cool, and some of them are very sad. He often exhibits them side-by-side with the drawings, so people can see the source material. Not surprisingly, the drawings are quite tragic.

That’s enough for today, so we’ll be back next week with part 2.

Personal Projects: Kent Miller

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this new revised thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Kent Miller

It’s the lost processes of photography – old film, large format view cameras – that enticed Photographer Kent Miller to start this current and ongoing project. He returned to his roots and found new inspiration in the old ways of working. His commercial work began over 25 years ago before the digital rage, so shooting film again feels like returning to an old friend. Using black and white film, some dating to the early 1900’s, has caused him to adjust how he shoots, to slow down the way he makes images. This project involves finding old film, then producing images of friends, artists, creators, and everyday people who move in and out of his life. After exposing the film, he develops and scans it. When the series is completed, his plan is to print each image by hand, the old school way, in a darkroom.

Jamie McCarthy photographed in Westchester, NY for creators project. Photograph was made using a Linhof 5×7 large format camera with Ilford FP4. Developed in D76 for 8.5 min. ISO-3, F6.8 @ 1 second

To see more of this project, click here.

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 decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSease.

The Daily Edit – Spencer Lowell: The New York Times Magazine

- - The Daily Edit

The New York Times Magazine

Design Director: Gail Bichler
Art Director: Michael Willey
Deputy Art Director: Ben Grandgenett
Photographer Director: Kathy Ryan
Associate Photo Editors: Amy Kellner, Christine Walsh, Stacey Baker
Photographer: Spencer Lowell

Heidi: How difficult was it to get to the location considering how remote the seed vault was?
Spencer: The seed vault actually isn’t that remote once you get to the town of Longyearbyen, which is only a couple of connecting flights from LA. You can actually see the vault from the airport up in the mountainside. It has to be accessible because it’s opened up a few times a year for deposits to be made. The biggest difficulty was dealing with the -20 degree temperatures once I was actually at the vault.

What was your security clearance process for the vault?
After some googling, I emailed the press department at the Norwegian Ministry of Agriculture and Food and told them I was working on a project for the New York Times and wanted to photograph the vault. They wrote me back saying the vault was actually going to be open the following week for a deposit and let me know I was more than welcome to come. I booked my travel and was there the next week. I assume they looked at my website but besides that, there was no security clearance.

Did you have to wear protective gear considering how precious the subject matter was?
For the shoot at the seed bank, I was wearing an obscene amount of layers because of how cold it was so no additional protection was needed. I could bare my hands being out of my gloves for a few seconds if I needed to change my camera and light settings but all the actual shooting was with gloves on.

Regarding the frogs, the staff who handled them were wearing gloves but my assistant and I didn’t touch them ourselves so we didn’t need to wear anything protective. However, we did have to clean the bottoms of our shoes before entering the facility to make sure we didn’t drag in any contaminates.

The biggest safety concern on this project was the shoot with the orangutan, Batang and her baby, Redd. Because their DNA is so similar to ours, they’re actually susceptible to our diseases. So I had to get tested for Tuberculosis the week before the shoot, which luckily I didn’t have and the shoot would’ve been called off if I’d had even a slight cold. Ultimately I had to keep my distance and wear scrubs, a mask and gloves.    

How long were you allowed in the seed bank?
I was allowed inside the vault for a total of about an hour between two visits. I also went back for another 3 visits to shoot the exterior.

How if at all do you think differently about food security, the fragility of life and our handprint on nature after this project; how did you try to convey that in your work?
We’re in the midst of the sixth mass extinction this planet has experienced. Four out of the other five extinctions were caused by climate change. The difference with what we’re seeing now is that human impact is changing the climate and it’s happening over decades rather than over thousands of years.

We know this because the ancient atmosphere is trapped in ice, which we’re able to extract from cores and study. I’ve seen a lot of images of ice melting but I felt like images of ice being artificially frozen would carry a powerful message. So, when Amy Kellner at NYT Mag asked me if I had any ideas for climate change stories, I pitched shooting the National Ice Core Lab. She was into the idea and asked if I could find any other facilities storing other natural assets. From there we collaborated on the story along with the writer, Malia Wollan until it became what it is.

It’s easy to forget that we’re a part of nature. We may live in cities and use tools but the fact is, we’re part of the natural world and are capable of causing natural disasters. With that said, we’re also capable of preventing them. That’s the main thing I learned from doing this project- that the hard work and dedication of a few can begin to counteract the mistakes our species is making as a whole.

How much underwater photography had you done prior to the reef shots?
I actually got certified to scuba dive for this job. Once I knew the coral nursery was going to be a component of the essay, I wanted to be the one to shoot it. I’ve always had a crippling fear of the ocean but I figured there wouldn’t be a better excuse to move through it. By the time I finished the scuba classes, the fear was gone.

Because I’d never shot underwater, I asked a photographer friend who has done some work underwater if he knew a good underwater assistant and he recommended a guy by the name of Mark Nakagawa. Mark is a seasoned diver and has worked in photo and video underwater so he helped me prep for the shoot and flew with me to the Keys to assist. We did four dives in the two days we were there and I couldn’t have done it without him.

Where there any technical obstacles for this project?
This was the most technically challenging project I’ve ever worked on because of the extreme shooting conditions. Between the below freezing temperatures, working underwater out in the ocean and being in the presence of living things that are either rare or no longer exist in the natural world, there was no margin for error. I like working with limitations because I’m forced to make decisions but this shoot left absolutely no room for second guessing.

What did you learn about your self creatively on this assignment?
I believe the creative process is in a constant state of refinement. I graduated from college almost a decade ago and I still strive for the same things that I did when I first started my career, I just have more clarity in vision and execution now. Creatively, my goal is to always keep things simple which I feel I was really able to achieve on this project because I didn’t have a choice. Passion for the subject matter plays a major role in my process and I find nothing to be more important than the future habitability of our planet.

What was the direction from the Times photo staff?
The whole project was a collaboration with Amy Kellner directly and Kathy Ryan and the rest of the photo department via Amy. With the exception of the Frozen Zoo in San Diego, I had multiple days at each location. So I would send Amy images with my notes from the first day’s shoot at each location and see if there was anything specific she wanted me to focus on the following day(s). If she asked for anything specific, I would do my best to deliver and regardless I would just shoot as much as possible. The clear stream of communication back and forth from the very beginning was the biggest contributing factor to the success of this project.

This Week in Photography Books: Henry Wessel

 

 

I’ve been to Southern California at least twenty times in my life, and I’ve always had a car.

Every. Single. Time.

You’ve got to have a car in Southern California.
(Or so I thought.)

Back in May, a friend told me she’d just gotten around LA using ride-sharing services, which for some reason are insanely cheap at the moment. (Much less expensive than taxis.)

She made me half-swear that I wouldn’t rent a car the next time I went to LA. So when I visited the city last week, I subsisted on cabs and Ubers alone, even though I wasn’t able to download Lyft or Uber on my phone the day before I left. (Long and boring story. I’ll spare you.)

I must say, not having immediate access to go where I wanted, when I wanted, was a seriously uncomfortable feeling.

It’s no surprise that cars are symbolically associated with freedom. I guess if I had a new Iphone, and my own ride-sharing app, that feeling might have abated, but I’m not so sure.

As one who’s lived in the American West for a chunk of my life, I know that things only work at car distances. Otherwise, the cities and towns dotted from the Rockies to the Coast would never truly be connected.

Cars are almost like water out here, in how necessary they are for survival.

We all crave the revelatory feeling of being on the open road somewhere, with your favorite music blasting. The yearning for discovery and adventure is hardwired into the human experience.

It’s the opposite feeling, in every way, to being stuck in traffic, staring at the same cars for an hour, while you inch along a concrete ribbon, and you could probably walk faster if you really tried.

Everyone hates that feeling.

Everyone.

The traffic-anger, which I felt getting in and out of LAX, reminded me of a photobook I’d looked at just before I left New Mexico, and which sits before me this very moment: “Traffic/Sunset Park/Continental Divide,” by Henry Wessel, recently published by Steidl.

It’s one of the best books I’ve seen in a long time, (no doubt,) and features three of his seminal projects from the past. Mr. Wessel, if you’re not familiar, was a part of the famed “New Topographics” movement, documenting the California cultural landscape with a dry eye over many decades.

The thing that makes the “Traffic” pictures so immediate for me is the way he boxes in the compositions. We never see the front or back of the cars he’s showing us. You never get the compositional freedom, the fresh air, of open space.

Frankly, these pictures are great. They’re just so damn Californian. And all the period cars and outfits? What more do I have to say?

(Well, I guess I now see Lee Friedlander’s Post-Millennial series “America by Car” as being in dialogue with this project.)

But the “Sunset Park” images were my favorites, for sure.

Like many of you, I read the recent New Yorker profile of Gerhard Steidl, which presented him as a cross between Steve Jobs and Jesus. I won’t say it seems excessive, because I believe all these people, but I wasn’t a Steidl cultist before looking at this book.

And now I am.

The separations are mind-boggling. I’ve never seen shadow detail like this, in conjunction with three dimensional reproductions that pop off the page.

The luminosity of a few of these pictures compares to looking at a retina display, and I don’t understand how that’s possible.

Apart from the technical virtuosity, though, I love this group of images, and it reminds me that we understand so much of art by what has come before.

I lived in San Francisco back in the day, and saw Todd Hido’s “House Hunting” show at the Stephen Wirtz Gallery around 2000. It’s the exhibition, and project, that shot Mr. Hido to stardom, as the creeper-stalking-outside-people’s-houses-at-night vibe, along with the sharpness and color, was super-memorable for me.

Now that I’ve seen this book, though, I know that Todd Hido was heavily influenced by “Sunset Park,” as Mr. Wessel is a Bay Area legend, and longtime professor at the San Francisco Art Institute.

Last week, when I saw this book, I had that thought. And then this Saturday, at the Rose Gallery in Santa Monica, right there in their Summer group show, they had one of those Hido pictures hung just below one of Wessel’s.

No lie.

The “Continental Divide” series, the last of the bunch, is my least favorite. If I’m being honest, it seems to wrap up our little summer conversation about books by locals vs. travelers.

For me, the California pictures are more original, as they spring from deep knowledge. In the Western pictures, on road trips around dusty towns, Mr. Wessel was exploring, rather than reporting from his own little spot in the world.

The images look far less distinctive to me than the Colorado pictures by Robert Adams, Mr. Wessel’s contemporary, and I don’t think that should surprise any of us, at this point.

We ought to know more about our own world than the places we just visited for the first time.

Right?

Bottom Line: Masterpiece book, featuring work by a San Francisco legend

To purchase “Traffic/Sunset Park/Continental Divide” click here

If you’d like to submit a book for review, please email me at jonathanblaustein@gmail.com

Personal Projects: Kris Connor

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this new revised thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Kris Connor

As I move throughout this world of ours, I wonder at times..how would I have seen and lived in this world if I hadn’t gone through limb lengthening as a child?.  Where “Dawson,” gave the viewer a glimpse into what it’s like to go through limb lengthening for Dawson. ”What Difference a Foot Makes,” answers that question for myself and to give a viewer two different perceptions of the same world. One through my eyes at being a 5’2 person and how I would have seen the same world at 4”3.

I was born with achondroplasia, which is the most common of the 200 plus types of dwarfisms. Most people who have the condition average around an adult height of four feet, my predicted height was going to be 4”3 without any additional operations.

At ten years old, I made the decision to go through my first limb lengthening operation. Over the next five years I would go through a total of three operations on my upper and lower legs to gain 12 inches and one operation to gain four inches on my arms.

The operation started in Russia in the 1950s by Doctor Vetlana Ilizarov.

It’s an operation where pins are inserted into the leg or arm and a fixture is placed around the extremity and the bone is broken. Over the next three to four mouths months screws are turned to spread the bone apart and the patient gains an average of four to six inches. Many patients have multiple operations to gain addition height.

”What Difference a Foot Makes,” is a story told with 21st century technology and through social media. All the images are shot using an iPhone, as many of the scenes are part of everyday life and situations that I come across. I will take a photo of a scene at my current eye level and then one at where my eyes would had been without limb lengthening. The images are then layered in an app called “Collage King,” creating a diptych with my current height photo on top and the 4’3 eye level photo on the bottom. Video diptychs have been created as well to show the view what it’s like to navigate through places such as Time Square. The diptych is then uploaded to the “@whatdiffernceafootmakes” instagram account and shared with the world.

To see more of this project, click here.

On Instagram, click here

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 decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSease.

 

Pricing & Negotiating: Stock Licensing

Jess Dudley, Wonderful Machine

Licensing: Web Collateral use of up to three images for two years

Photographer: Southeast-based portrait specialist

Agency: N/A – Client Direct

Client: The philanthropic arm of a recognizable consumer brand

Here is the estimate:

A seasoned portrait photographer came to us looking for assistance pricing a stock licensing agreement for a large corporation interested in using three existing images on the “.org” website of their philanthropic division. The shoot had originally been commissioned by an editorial client for a piece about the subject’s philanthropic endeavors and organizations, so before determining the value, we first had to review the original commissioning agreement to ensure the photographer had the ability/permission to license the images to a third party. Even the most favorable editorial agreements typically include an embargo period which may prevent one from licensing content for a reasonable period of time after publishing and some of the least favorable editorial agreements restrict licensing in more substantial ways. As it happened, these images were available to license, so on we went.

The difficulty with determining the value of any licensing, as it is all so subjective and project specific, is figuring out an anchor price from which to adjust, based on the various contributing factors. At Wonderful Machine, we use a tried-and-true benchmark that sets the baseline cost for collateral use (“Collateral” use is when the work appears in or on a platform that the client wholly controls and produces, such as a company website, annual report, brochure, or social media profile, and is intended to promote a commercial product, service, personality or brand) of one image, for one year, at around $1000, and additional images licensed for concurrent use should be worth about 50% as much as the first image. We also use a pricing model that assumes a doubling of the duration of use should increase the worth by about 50% more than the initial duration value. These “rules” can break down really quickly, as general rules tend to do when you move too far from the baseline. In this case, however, we were still very much within the tolerances.

Pricing this project out based on these guidelines would set the value of the first image at $1500, and each additional image at $750, for a total licensing fee of $3000. With this anchor in mind, I began factoring in all of the variables that apply upward or downward pressure on the value. Much like estimating licensing fees for a commissioned shoot, valuing stock requires you to consider the prominence of the client, scope & duration of the requested use, and the importance of the content to a given “campaign.” But you also have to consider the uniqueness of the subject matter, availability of similar images in the marketplace and the prospects & costs of recreating the content (or very similar content).

These images didn’t depict the client’s products or services in any way and the subject matter wasn’t terribly unique – the images were lovely, straightforward, environmental portraits of the subject in her workspace. Although the content didn’t make these images unique, the availability of similar images, or lack thereof, did. There were very few stock images available in the marketplace. This applied upward pressure on the value of the images. Also, reshooting was pretty much off the table because of the subject’s scheduling constraints and general aversion to being photographed. This, combined with the general inconvenience and uncertainty of commissioning a new shoot, meant that we could push past any reshoot “price ceiling” that may typically apply. So not only are existing images rare, but creating new photos would be a tall order. Again, this pushed the value up. The license was limited to web collateral use which tugged the baseline number down (our guideline is based on both print and web). But since the client is an arm of a name-brand multinational mega-company, the value jumped, even though the particular arm of the organization is 100% philanthropic in nature.

The intended use of the pictures was informational, almost editorial. The client was interested in the images because the subject ran an organization that relied on the client’s products and services to further the organization’s core mission of doing some form of good in the world. The client was basically writing a case study about how they’d partnered with the subject to help her to do good. Additionally, this was one of many such case studies on the client’s website, meaning it was valuable to the client, but not mission critical, exerting downward pressure on the value. Finally, the case study could be effective with one image, but three would be slightly more impactful by offering a touch of variety. If the client had been requesting images that each featured a different founder, we’d be less likely to drop the additional image rate quite so much, if at all. All this to say that our usual price breaks for additional images would be appropriate.

Taken together, I felt the upward pressures were more significant than the downward pressures. Accordingly, I added 50% premium to the baseline rate ($3000) to account for the additional value, setting the quote at $4500.

RESULTS/HINDSIGHT:

There’s an opportunity to push the envelope a bit when pricing stock because, in most instances, the photographer has more leverage and is dealing with a captive audience. In this case, I may not have pushed the envelope enough, as the client quickly accepted and returned the signed quote. Even though the photographer was happy with the fee, I still wondered if perhaps there was a little dough left on the table.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to large ad campaigns.

The Daily Edit – Maggie B. Kennedy: Garden&Gun

- - The Daily Edit


 Garden&Gun


Design Director: Marshall McKinney
Photography Director: Maggie B. Kennedy
Associate Photo Editor: Margaret Houston

Heidi: You came from the commercial side of photography as a creative director at Williams-Sonoma, Inc. in San Francisco. What surprised you about editorial photography now that your 11 years in the game?
Maggie: I think working on both the commercial and editorial sides of the photo industry has proved beneficial. I had the opportunity to work with so many talented photographers, stylists, art directors, creatives, etc. during my decade with Williams-Sonoma years as well as be exposed to the various company departments and business overall. How a photograph of a beautiful table setting or friends cooking together sets the tone of a brand. So much is thought about before the actual photograph is taken. Many of the photographers I was fortunate enough to work with at Williams-Sonoma shot both commercial and editorial projects. I think that time marked the beginning of the advertising/commercial world starting to explore a more editorial/lifestyle approach you see in campaigns today. I think the two worlds continue to weave together to keep up with new business models, whether for a retail company, a magazine, any business now. It’s all about creating a larger brand, a lifestyle.

When you left San Francisco, what did most of your peers say about your moving to a start-up?
I continued to work with Williams-Sonoma for a few years after relocating to Charleston, SC (Garden & Gun magazine’s hometown). A lot of the photographers and creatives I worked with for so many years in San Francisco, New York, Los Angeles, etc. thought I had lost my mind moving back to the South!! (I’m originally from North Carolina.) I, too, questioned my decision those first months after landing in Charleston but was ready to be back on the East Coast. But the start-up didn’t enter the picture until a year or so later. I decided to take a leap of faith when I met Rebecca Darwin, Garden & Gun’s president and CEO and one of the founders. She’s an incredible businesswoman and inspiring both professionally and personally. I instantly had a gut feeling and wanted to jump on board! That was September 2006. The first issue of Garden & Gun hit the newsstands April 2007.

Garden & Gun has a dedicated audience. Tell us the story behind the name and how this lifestyle stole everyone’s heart.
The name “Garden & Gun” comes from an old Charleston nightclub, popular in the late ‘70s. The Garden & Gun Club. Rebecca thought the name really captured the personality of this new magazine. The “garden” is a metaphor for the land that is the South, the “gun” for the sporting life. Both are key components of our content as well as food and drink, culture, literature, music and art. Nothing like it existed on the newsstand when the magazine was born a decade ago. And the response and dedication from our readers from the beginning has been like nothing anyone has ever seen. Passionate is putting it lightly! We received a letter from an avid reader in the first few years – “If you ever close down Garden & Gun, we will hunt you down and shoot you.” Jokingly of course but this letter is framed in our office and speaks to the heart of the brand.

The brand has exploded in its first decade and now has a store, hosts events, has a podcast, etc. Tell us about the first few issues and the genesis of the brand.
It really has been an honour and a privilege to have played a role in getting G&G off the ground since the first issue. It’s come a long way and definitely been a wild ride! That first year it was all hands on deck, only a few people doing a little bit of everything to make G&G a reality. From the beginning, photography has played a large part in the brand visually and it’s exciting to see that continue.

How did the magazine benefit from the recession in the mid-2000s  ?
The magazine was launched in Spring 2007, right before the great recession. Not the best timing but in the end proved G&G really was a unique brand. We did everything we could to keep the doors open and our readers were so supportive. The recession made G&G stronger than ever and showed us just what this brand could become. It was a time when so many magazines were closing in New York. Even though it was a struggle, I think we benefitted from being independent and not based in NYC. Everyone involved with G&G at that point was fully vested with their heart and soul. It wasn’t just a job, we really believed in what we were creating and so did our readers.

The magazine covers lively people and places off the grid, have you had any production challenges or difficulty explaining to subjects what the shoot entails?
Absolutely! But that’s what makes the best stories after ten years. I think that is one of the reasons photographers like shooting for us. Usually, for me, it’s “how are we going to pull this off with barely any budget and within only a week!” The name of our magazine turned heads in the first few years but I’ve always loved sending a copy of the magazine to a photographer, stylist, etc. so they can experience the content. Then they get it and are intrigued to learn more. It’s definitely helped to have a few years under our belt now to secure more high-profile subjects – actors, musicians, etc.

Your magazine celebrates emerging talent, how do you find your photographers?
One of my favorite parts of the job is finding up-and-coming photographers and working with them on a first project. Since we’re a general interest title, I get the opportunity to work with all types of shooters – food, still life, portrait, travel, etc. I enjoy discovering emerging talent through a variety of sources – emails, portfolio reviews, social media, blogs, word of mouth. I’ve been lucky to see some of our younger photographers develop professionally through this first decade of G&G. (And sometimes I can still get them on a project if I’m lucky!!) The biggest compliment is to see a G&G shoot on a photographer’s website and know they were inspired by the assignment.

Every title has some obstacles to overcome, such as remote locations and weather what else are you confronted with and what are your solutions?
G&G covers very specific subjects in unique locations. Probably 95% of each issue is original photography. That definitely keeps a two person photo department on our toes! One of my favorite “in the field” stories was many years ago. Photographer Jim Herrington shot Morgan Freeman at home in Mississippi. It was a project we’d tried to make happen for a long time and once we got the green light, everything had to come together in a matter of days. I checked in with Jim to see how the shoot was going and received this photo. No words, just photo. That’s the sign of an epic shoot!

Photographer Jim Herrington on assignment at Morgan Freeman’s farm in Mississippi. I emailed Jim to check in and see how the day went and this was the reply.

We always want to think about pairing personalities together (photographer and subject) that will make the best mix. A little matchmaking I guess! Earlier this year photographer Bill Phelps travelled to Gatlinburg, TN for us. The assignment was to take portraits of survivors of the horrible fire that happened last November. A few of the subjects were, of course, apprehensive about having their portrait taken and reliving that awful night. I wasn’t sure if it was going to happen and wanted to ensure they were comfortable and earn their trust. Even the day Bill arrived in Gatlinburg we still weren’t sure if one or two of the subjects would go through with it. Visually, these portraits needed to be artful and stoic rather than documentary in nature to make it feel right for G&G. Bill’s portraits speak for themselves and he and I were both so moved by the project and getting to know these individuals.

Despite being based in Charleston, you’ve been invited to be an SPD judge and involved in the NYC industry scene. What are the benefits of being a bit further from your industry peers?  
We all feel lucky to be able to do what we do in Charleston. Anytime a photographer is in town and stops by our office, they want to figure out a way to move here! Rather than an obstacle, our location away from NYC and independence has allowed us to follow our own creative path which is part of the brand loyalty and success. We’ve a national magazine that’s won two ASME General Excellence awards and received other industry recognition in our first decade. We just happen to have a different zip code. I’ve loved being an SPD judge as well as involvement with other creative organizations based in NYC or other cities. I do wish I had opportunities for more regular interaction with industry peers. It’s always an honor to have G&G recognized.

What were some of your favorite images?
I love all the work we do, if I had to choose a cover, I’d say the Oct/Nov 2012 cover – biscuits. One of my all-time favorite covers, we were thrilled to win ASME’s Most Delicious. Photographer Johnny Autry.

 

Chef Ashley Christensen photographed by Peter Yang. Peter was trying to think of what to do with this portrait when he looked out the window of Ashley’s restaurant in Raleigh, NC and saw a man walking his pig down the street. Barbeque is very fitting for this chef but we didn’t tell the pig owner that. Only happens in the South!

 

Photographer Rush Jagoe and the 610 Stompers in New Orleans, LA. A photo shoot that was inspiring and fun enough to deliver a little video as well.

 

Photographer Erika Larsen’s portrait of author Barry Hannah. One of the last photos taken before the legendary Southern writer passed away.

 

The photo of Morgan Freeman looking in the mirror. Jim Herrington took that in Morgan’s mother’s former home on his farm in Mississippi

 

Photographer Peter Frank Edwards on assignment in rural Virginia. He has photographed for G&G since the very first issue and is such a big part of the brand visually. Hard to choose just one of his assignments through the years but this falconry project was one of the more challenging and “open to interpretation.” We ended up turning in into a photo essay.

The Daily Promo – Embry Rucker

- - The Daily Promo

Embry Rucker

Who printed it?
These were printed & mailed by Modern Postcard – They are great. I printed my very first postcard with them in 1997 ish. It was a sunset silhouette of Stonehenge, wish I knew where that slide was.

Who designed it? 
Designed & laid out by my good friend & talented artist Dustin Ortiz dustinortiz.com We have worked together on a few projects now & he always has a great new eye on things.

Who edited the images?
Dustin & I worked on that together. I usually have a batch that I think ‘work together’ & he helps establish a priority or hierarchy. For example, having Tony’s face so big on the promo was his call, I would have been maybe a little leery of that because its… so big. But, fuck it, its a great shot of a cool looking dude – sometimes you just need someone to tell you that ‘yeah, that’s rad, run it big’.

How many did you make?
Around 2000, Mailed 1500 ish & picked the remainder up locally at Modern Postcard for hand written notes, leave behinds & a bunch for my reps.

How many times a year do you send out promos?
2-3 times a year ideally, but, I always have ambitions of doing more than I actually send out.

The Daily Promo – Ryan Anderson

- - The Daily Promo

Eric Ryan Anderson


Who printed it?
We worked with Chris Young at Prolific Group, wonderful experience.

Who designed it?
My friend Kayla Kern who does all kinds of amazing things.

Who edited the images? This promo all started with the harness racer image. I knew I wanted to print it large, and once we decided on a poster, Kayla helped me choose from a few options that made sense on the back. We chose the Tracksmith (shirt over head) image to lie under the mailing label since it was a bit more intriguing.

How many did you make? We printed 1000 of these and sent them out to a list of creatives and agencies who have a hand in the activewear/sports markets. I’ll usually hold on to 50-100 to use as leave-behinds for meetings and such.

How many times a year do you send out promos? Usually only think about it once we have a slow week or two and start questioning our existence : ) Jokes aside, I’ll send a print piece usually once or twice a year. I generally like doing things that have a design element and that I’d enjoy receiving in the mail (zines, newsprint, posters) and hope that there are others who enjoy the same thing out there!

This Week in Photography Books: Raphael Shammaa

 

It’s the middle of July, which means many of you are on vacation.

Yes, it’s holiday time again. No doubt about it.

I’m not getting to beach myself, this summer, so if you’re reading this on your Iphone, in between dips in the blue water somewhere… I hate you.

(Just kidding.)

I don’t hate you. What kind of writer would hate his audience? That’s insane.

Rather, I’m going to do you a solid. I won’t make you read 700 words today before I get to the book review.

Not today.

I’ll keep it short, and show more pictures at the end to make up for it. Think of it as my way of saving you a few extra brain cells, while you recharge your batteries.

You’ll need the help, as I’m off to Los Angeles tomorrow for portfolio reviews put on by the LA Center of Photography. I’ll have lots of fresh work to show you in the coming weeks, so today you get a reprieve.

Surprisingly, this week’s book comes right out of yesterday’s mail. It never even made it into the pile.

It’s a slim volume from Raphael Shammaa called “The Simplicity of the Moment.” (I believe it’s self-published.)

I don’t know anything about the artist, (beyond the fact that he has a great name,) and the book doesn’t have much to say either. There’s a short statement indicating the pictures were taken in various locations, and that he’s going for simplicity and truth.

Mostly, the words were vague because these are very visual pictures. They’ve got structure and sharpness, which are characteristics that will often get you reviewed in this space. And the printing quality is very high.

Frankly, I just like this little book.

Though I’m as happy to dig deep as the next guy, what I most enjoy about this one is that it suggests, gently, that you don’t need to bother. The beauty is of a Zen kind, but also of the synchronous temporal variety that photography does so well.

Like I said, today, we’ll keep it brief. In the PR letter that he sent out with the package, Raphael wrote, “There are so many ways we can work together.”

Well, Raphael, I just reviewed your book, so that’s about as much as I have to offer.

Enjoy summer, everyone, and I’ll be back next week.

Bottom Line: Beautiful, slim Zen book of travel photos

To purchase “The Simplicity of the Moment,” click here

If you’d like to submit a book for review, please email me at jonathanblaustein@gmail.com

Personal Projects: Eric Meola

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this new revised thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

Today’s featured artist: Eric Meola

Storm Chaser

 I began photographing tornadoes and storms out in the heartland of America several years ago. As springtime approaches, I become restless with the need to get out into the prairie, the flat grasslands and the empty, eerie landscapes of the states that form tornado alley: Oklahoma, Kansas, Nebraska, the Dakotas, Wyoming, Montana, Texas and Colorado and New Mexico. I like to look at clouds, I love to photograph them—this is where I can be a kid forever. I’m reminded of the Minor White quote, “A photographer is someone who has his head in the clouds and his feet on the ground.”

 The photography of storms and weather phenomena is, for me, an exploration of the ephemeral, the constantly changing shapes and movement of the atmosphere. My photographs are meant to capture the dichotomy between the fury of skies torn apart and the tranquil, lonely solitude of the Great Plains.

My notebooks from chasing storms reflect the Buddhist-like state of meditation and peace I get from being out on the open prairie, simply looking at the sky:

The sky unfolds in sheets of light, shedding its skin, changing texture like a torn sheet folding in upon itself. Undulating in luminous bands, the ghosts of the wind fade into each other, their shapes changing again and again into other forms. A thin line runs along the prairie’s edge, defining the space between the sky above the land below—a boundary without a boundary, a place called infinity.

I go out to the Great Plains for the contrast and contradiction between the quiet, peaceful loneliness and that ominous foretelling of Armageddon when the sky turns dark and a howling wind erupts in blinding clouds of dust.Darkness comes, and with it the eerie green light of hail. The sky goes black, pulsing with flashes of turquoise, crimson and amber. You hear hail cutting through the trees, and watch it rushing towards you on the dashboard radar. Perhaps a twister will drop its thin spindle from the clouds tonight and race across the prairie’s ruler edge. In slow motion a supercell forms, pulling hundreds of acres of red clay topsoil more than ten miles up into a roiling sky. In the fading light, I photograph clouds lit by the glow of lightning, and then the night sky filled with stars. Scenes from a wild prairie night burn into my mind forever as the darkness is punctuated by staccato blasts of lightning.

I am working on a book of my photographs with the tentative tittle Fierce Beauty: Storms on the Great Plains, and publishing it in 2020.

Photographs © Eric Meola 2017

To see more of this project, click here.

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 decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSease.

 

The Daily Edit – Jolie Wernette-Horn

- - The Daily Edit

Shahrukh Khan is Bollywood royalty and also on of the top paid actors in the world. Vogue India Celebrated his 50th birthday, photographed by Mazen Abusrour.

Mumbai native and International star, Freida Pinto sat for Bharat Sikka for Vogue India’s 6th anniversary.

The chemistry onset was undeniable with Bollywood it-couple, Deepika Padrone and boyfriend Ranveer Singh, shot by Tarun Vishwa.

Deepika Padukone is one of the reigning queens of Bollywood, shot by photographer Prasad Naik.

The Ambassador car is a classic Indian design. Shot on film by Vikram Kushwah.

This gallery of Indian designers and their black pieces was shot on film by Vikram Kushwah for Vogue India’s 6th anniversary issue.

 

Supermodel Pooja Mor sat for photographer Bharat Sikka in this stunning editorial paying sartorial homage to fashion of the Indian subcontinent, styled by fashion director Anaita Shroff Adajania.

Irani cafes in Mumbai are a dying breed. Travel photographer Hashim Badani teamed up with Vogue India stylist (and fiancee) Priyanka Kapadia for one of my favorite shoots of 2016.

Manish Malhotra is one of India’s top designers, here photographed with Bollywood ingenue Alia Bhatt photographed by Vikram Kushwah

Vogue India

Editor in Chief: Priya Tanna
Fashion Director: Anaita Shroff Adajania
Creative Director: Jolie Wernette-Horn
Senior Fashion Editor: Priyanka Kapadia
Fashion Bookings Editor: Divya Jagwani

Heidi: Prior to Vogue India, you had a strong background in fashion publications here in the US, how did your role as Creative Director different if at all in India?
Jolie: I find the position of art director or creative director is basically the same. While responsibilities will, of course, change from magazine to magazine, even in New York, the main idea is to create and maintain a visual voice for the magazine.

Does Vogue India produce all original content?
We produce about 85-90 percent of our own content. The other 15 percent comes for any of the other Vogues, W, Glamour, and Allures. But, as an Indian magazine, we do aim to showcase women from the subcontinent. For example, we don’t often use blond models as it really doesn’t pertain to our audience.

I had done a redesign for Claudia, a Brazilian magazine set in Portuguese where the words are very long, this posed a design challenge for the cover and the typography selection. What cultural surprises did you have at Vogue India?
Luckily for me, Vogue India is produced entirely in English. The biggest challenge for me, and a constant learning curve, is finding out what will actually resonate with an Indian audience. For example, when I arrived in India I knew almost nothing of Bollywood, either of its current stars or its colorful history. Its hard to contribute to photo concept discussions for an upcoming celebrity shoot when you have no idea who that celebrity is or what has been done in the past! Six years laters, I can finally tell the difference between Kareena and Katrina.

What were the obstacles you had and how did you overcome them?
Compared to New York, the pool of talent is much smaller in India, as is the magazine industry itself. Because of this, unlike our American counterparts, it is very rare that we can claim exclusivity of a photographer or model. There have been months where one photographer shot covers for 5 difference magazines!

But there is new talent, and it is maturing and growing at an exponential rate, even in just the 6 years that I have been here. As a creative director, your job is always to decide what you think are the bet traits to focus on in bigger, existing talent and also to find and foster new talent. There is even more pressure to do this in India with fewer resources. We also have a lot of international talent floating around. Especially after Vogue Greece folded, there was a strange, yet fabulous, influx of Greek talent!

How has working internationally shaped you as a creative?
As an American and living in New York, it is easy to become very insular. People say that New York is the center of the world and I think I started to believe that. In moving to India, everything I thought was put into question. India has a completely autonomous fashion industry, with designers that hold the same stature here that, say, an Oscar de la Renta or Michael Kors would have in New York. Bollywood has its own superstars and a-listers that rival Hollywood for fans and influence. Personally, I  think the idea that America and New York are not the end-all-be-all of the universe has matured me. Professionally, I find this concept freeing. I think it allows me to look at design and conception challenges with new eyes.

How did your redesign/the magazine evolve over the 6 years that you were the Creative Director?
Diana Vreeland famously said, “Pink is the navy blue of India.” When I first arrived in Bombay from New York, I felt bombarded with color. Its vibrancy radiates from everything from the saris worn on the street to the billboards of Bollywood. So, in my first round of redesign for the magazine in 2011, I incorporated orange, yellow and pink into the type and graphic elements. But now, six years later, it is a decision I cringe at the thought of, in the same way one looks back at high school fashion. What was I thinking?! I think the main reason for that change of heart is my own transformation from tourist to local. Which isn’t to say that color doesn’t belong in design (Indian or otherwise). Quite the contrary. But I think after allowing myself to be saturated with the culture’s obsession with color, I’ve been able to look past the surface “exotic” and see the serious craft. In this sense, I feel the design of the magazine has matured with me. In its current incarnation, Vogue India’s design is more monochrome and simple, mainly to let the images and content speak for itself.

Are you using social media as a tool to find talent?
I am an Instagram addict and have found several photographers and illustrators using the app. I often find people keep their Instagram accounts more up to date than their own online portfolios. Its a great tool.