I’m not particularly trying to make a living purely from photography but want to balance it with my existing (writing) work. I don’t think any of my classmates are naive enough to think it’s going to get them jobs – we all just wanted to grow as photographers and people, cheesy as that sounds.
Jonathan Blaustein: I thought you’d have an interesting take on the way photographers essentially have to have two careers: the getting it out there phase, and the making the work phase. In the last interview i did, Jesse Burke called it the “wheel of self-promotion.” He said “the wheel of self-promotion is always spinning.” I related to that. I know a lot of people relate to that. Right now, I feel like I’m trying as hard as I can to de-emphasize it and remind myself of why I do what I do. Of all the people I’ve talked to in the last few years, you seem to have your head on straight as to why you make work. So I thought maybe we could talk a bit about how you see your motivations as an artist.
Susan Worsham: Well, what you were saying about the “wheel of self-promotion?” I guess, I don’t even think about self-promotion. The contacts that I make are more based on me being me, and the people being them. It’s about natural connections, as opposed to trying to force a connection. My “By the Grace of God” series is about me going out into the world and making connections. Right now, the connections are not about making it, or getting ahead. It’s hard for me to explain.
JB: That’s OK. You said it right away. You don’t consider the “wheel of self-promotion.” You don’t care about it. I feel like of all my friends and colleagues, you’re the only one that when you say it, I believe it. That’s kind of why I wanted to talk about this. I feel like so many photographers, certainly fine art photographers, have gotten distracted by the 24/7, all encompassing noise of the Internet, and the blogosphere, and FB and Twitter. People put so much energy into the other that they lose track of the root causes of why we started making art to begin with. I thought that you might be able to share a little bit of your perspective on that.
SW: It all happened for me in a natural, one thing led to another way. At Review Santa Fe, the reason that I even went was that someone nominated me for the Santa Fe Prize, and I had to look up what that was. When someone nominates you for the Santa Fe Prize, you get to go to the portfolio review. And I’d never really heard of a portfolio review before. Someone that interviewed me recently asked me, “Are you really that naive?”
SW: Yeah, but I wasn’t upset by it. I answered, “Yeah, in this case, with this particular subject, I am naive.” I don’t come from a publishing background, and I didn’t go to school for photography, so I’m not going to know everything that everyone knows. Frankly, none of that really matters to me. It’s the art that matters to me. But the reason that she asked if I was really that naive, to prepare for my first portfolio review, I had to google portfolio reviews to see what people brought. I saw that people were bringing what’s called “clamshell boxes,” so that was the first thing I did. I ordered myself a clamshell box. So I kind of feel like I’m just being me. And my art work is how I connect with the world, and how I get my feelings out. And that’s really mine.
JB: That’s what I wanted to talk about. I gave a lecture yesterday at UNM, in Albuquerque. At the end of class, the professor, Jim Stone, asked what advice I would give the students. I said “Don’t do this because you want to make money or get famous. It’s too hard and too degrading.” The business aspects of what we do, even when things are going well, it always feels like a crapshoot. So if that’s why you want to be a photographer, my advice was clear. “Do something else. If you want to be famous, try to get on television. Make work because you have to, because it’s a part of who you are, and if these things don’t come out as art, they come out as insanity or kicking a dog.” That’s where it comes from for me. I wouldn’t have dealt with 15 years of rejection by choice.
SW: I recently had a younger photographer email me, and say she was in my city and could we meet. So I said sure. I always feel a connection to other photographers, because we share a passion. She said, “You’re all over the place right now. How did you get that?” I said, “Gosh, I’ve been taking photographs for at least 20 years.” It’s not something that just comes all of a sudden. You make work that’s important to you, and at some point, someone is going to see it. I just don’t think about money, when I’m thinking about photography. When I leave my house, and I’m in my car, and the lighting is just amazing, and it’s hitting someone’s back yard, I freak out. I just follow that beautiful light. That’s what inspires me. It’s really simple.
JB: I appreciate you sharing your thoughts on this, because I know it can be tough to talk about.. As photographers, we’re primarily visual communicators. But when you’re out there shooting, do you feel like you’re actively looking for something, or you’re waiting to find something?
SW: One of the things that’s funny is that when I go up to people, and I ask if I can take their photograph, sometimes I explain that I’m doing this series called “By the Grace of God,” and it’s kind of just like this. I’m meeting you right here, this light is beautiful. It’s not like it’s a religious thing. I find myself often having to explain that I’m not a crazy nutbag religious person.
JB: (laughing) Did you say nutbag? Because I want to keep that. You better not make me cut nutbag, because that’s too good.
SW: No, no, no. Nutbag is fine.
SW: Sometimes the title of the series helps. I actually walked into what I thought was an abandoned dilapidated church, right into a small service. I ended up standing up and talking about my project, and even got a few hallelujahs. I’m definitely a talker, but when you put me in front of a group of people I tend to freeze. And it’s funny that the first time I stood up and talked about the work was to a non photography crowd in a church service. I believe in a higher power. I am not someone who goes to church all of the time, or even reads the bible all the time. It’s more of just this feeling inside, when I’m taking photographs. It’s following what’s in my heart. Now that I’m older…… Let me give you an example. I used to be in my car, or even out walking, and see something and say, “ Wow. That’s awesome. I’d love to take a photograph of that.” And I wouldn’t stop. Now it seems like I’m listening to myself more, and I’m stopping and taking the time to follow what just made me really excited. Why extinguish that and keep on driving? Why not go ahead and turn down that road, and then usually when I do, and I take out my camera, and I meet someone, it seems like I was supposed to turn down that road and look at this beautiful thing that happened.
JB: When you say, “Why not stop?” I think it’s a great way to cycle back. I think a lot of people don’t stop because they don’t have the time to stop, or because they’re staring at their Iphone, and they don’t see it to begin with. I’m the last guy to be critical of anyone who tries to navigate the system, because certainly I have. But at the same time, within the last few months, I’ve just been pushing myself again and again to be more patient and to take more time. Through our past conversations, I feel like you’ve inspired me to reconnect to that. So…
SW: I’m going to interrupt and talk about patience for a minute. Gosh, patience? I have a lot of patience.
JB: I know. I feel like most people have a problem with it. I don’t think I’ve gotten my mind around how to be patient until very recently. I’m still learning.
SW: I’m actually still learning too. Sometimes, I have to wait a year. I often photograph one of my oldest neighbors, Margaret Daniel. All my family’s gone, and she’s my oldest neighbor from my childhood street, Bostwick Lane. She still lives at the top of it. I photograph her a lot. I’ll give you a bit of background story on her. I was in her basement, and there were all these boxes. They were labeled by the years. So I went upstairs and said, “Margaret, what are all the boxes in the basement?” And she said, “Well, honey, those are my walnuts.” It turns out that she collects walnuts as they fall from her tree, and labels them by the year they fell. It’s since been a very big part of my work with her. One day she was eating walnuts from her parents’ tree that she had brought with her. I call it a dowry of sorts. One fell, and made a tree. Now, it’s 50 or so years later, and that tree is just huge, taller than any house on Bostwick Lane. But the interesting thing about Margaret, and the funny thing is now I forget what the question was… but patience. That’s what we were getting to.
So I really wanted to photograph Margaret. I call her my Black Walnut Bride. I wanted to get photographs of her walnuts, and I had to wait, I would say two years. I said, “Margaret, tell me when the walnuts are going to come. Tell me when the walnuts are going to come.” And she was like, “Honey, the tree was barren this year. That happens every so often.” And so I didn’t get to photograph them, and I was quite upset about it. Now this year, they are plentiful, and I have had to go and help her collect them every day to where my back hurts after picking them up for hours. And we’ve made a walnut bed in her garden. Another metaphor. The woman is rich with metaphors. And she told me, “Honey, we’re going to make a walnut bed. Collect them and put them over there in the garden.” And so that’s the patience that I’ve had to learn, to wait two years for the walnuts to come. But they’re such a big part of her, and now of me.
You know, waiting is fine. You can go off and take other photographs. I don’t consider a series quite finished yet. A lot of people probably think that my “Some Fox Trail in Virginia” project is finished, but I’m going to go on and photograph Margaret, probably, until she is gone. That would be when that series would end.
JB: I didn’t realize the project was still in progress, but when I went to your website, I saw images from “Some Fox Trails” that I hadn’t seen before. When we talk about patience, I feel like everyone else is going in the other direction. There’s this pressure from the outside world that people feel to come out with the next project. To tie a bow around something. To have the book done. I feel like when we get caught up in that, it takes us away from the things that motivate us to make our best work: the quest for knowledge and the desire to improve. We need to kind move around and sit down into something, and I find that of all the people I know, you seem to understand that on an intuitive level. You’re patient with people. You listen. Certainly, I could be accused of loving to talk. But often I try to remind myself that we learn more, and we find the good stuff when we listen.
SW: Exactly. Getting back to Margaret’s walnut bed, to me, the metaphors that come every time I photograph her, the work is getting stronger, and I’m getting stronger as an artist. Just spending time with her. She’s very old, and I know she’s going to pass. I don’t know how long I have with her. The walnut bed, when I look at it, enables me to deal with death. I use a lot of metaphor in my work, and I’ve begun to see the world in metaphors. So when I go to her yard, and see that mound of earth covered in walnuts, she’s not only my Walnut Bride, but that becomes her Walnut Deathbed. In photographing her, she’s helping me come to terms with death, or deal with death, in kind of a poetic way.
My brother was paralyzed in a motorcycle accident. On his first visit home, he took his life. He just wasn’t a person who could live without the use of his legs. Margaret Daniel was the last person to see him alive. She had made him his favorite, which was her homemade bread. When I was photographing her for the very first time, she told me the story of his last day. She brought him his favorite bread, and she took it up the stairs, and she buttered it for him. He kept on saying, “Margaret, can you bring me some more bread?” She said, “Susan, he finished the whole loaf.” Then my mom and Margaret went for a walk. When they came back, he had shot himself, and then died shortly thereafter. So the metaphor of that being his last supper. I don’t know if a lot of people know that’s one of the reasons why I concentrate on Margaret, because she’s the last person to see my brother alive, she’s the last of my family, since my family’s passed. It’s all getting connected for me now.
JB: I know this might sound crazy, but I went through your whole website, and the one photograph that I kept up on my screen to talk about, that I’m looking at right now, is the photograph called “Risen,” the freshly baked loaves of bread on the countertop. Of the 150 pictures on your site, that’s the picture that stuck with me. I had no idea of the backstory, and I had no idea that it was your brother’s last meal.
SW: I’m a little shocked. Not knowing the story behind it. Sometimes I think someone might think that was a boring photograph. But for me it has so much meaning.
JB: But the title…let’s sit here one more second. The title: Risen. We see the loaves of bread. And there’s this glowing light. The title has all those spiritual connotations. So between all that, it felt to me like there was really a lot more there. You have a very sharp lens on your 4×5, but there’s always a sense to me that you have a very insightful eye. To me, there was a story here, and I didn’t know what it was. I’m looking at the photograph right now.
SW: There’s always a lot more there. I’m finding out a lot about myself, through the series, and in turn, when I work on “By the Grace of God,” it allows me to get that close with other people.
JB: Whether you’re shooting in Syracuse, New York, or at home in the South, your stomping grounds, whether people are white or they’re black, time and again, no matter what class people come from, or their background, you manage to find a grace and a dignity and a respect. When I see that, that you’re depicting people with respect, then I make this mental assumption that’s how it works on the street. That you meet people, young or old, and they sense that respect, and it creates a rapport. It’s not like, “Hey, there’s a freak, let’s take their picture, and it will be freaky, and then we’ll sell that picture for $10,000.”
SW: I have a little story. I used to go play pool a lot. I met this older black gentleman. His name was Larry, and he was kind of a pool hustler. Larry would put a quarter down on the side of the table while I was playing, and tell me to aim for the coin. I would get four balls in with one shot. He was a very interesting character, and one day Parliament was playing on the jukebox.
JB: P-Funk? George Clinton?
SW: Yeah, P-Funk. So he asked if I liked that, and I said “Yeah.” He told me that he used to dance for Parliament, and they called him the Rubber Band Man. I believe there is a song about him by another band. Now I always believed Larry. He was someone that actually taught me a lot about patience, and reading people. He worked at Tysons Chicken Farm and everyday after work he would ride his bike up to play pool. And I hung out with him quite a lot. So here is this guy, working at a chicken farm in Virginia who travelled the world with George Clinton. I don’t think he even had a phone, but he told me he still had a closet full of fancy costumes. That’s life. That’s how it works. But none of my friends believed he was the Rubber Band Man. I remember once I was outside, and I was talking to Larry. A drunk guy stumbled up with a bottle in a paper bag. He was like “That’s the Rubber Band Man. Do you know who that is? That’s the Rubber Band Man. How do you get to be talking to the Rubber Band Man?”
And that’s kind of how my life works. I wasn’t taking photos at the time. There are just so many stories, and so many special people out there. Everyone has a story. What I’m coming to terms with now is the patience that you talk about. I can’t take all the pictures that I want to take.
JB: There are a million different people out there making pictures a million different ways, but we can only talk about what we know. Irrespective of the fact that you place all the value on the process and not the business aspect, fortunately the world has come to respect your work. You’ve wona book award from Blurb, you’ve had a slew of exhibitions, including the recent Lishui Photo Festival, you had an artist residency at Light Work in Syracuse, and in 2011 you were chosen as a member of the PDN 30. There seems to be a lot of mystique around that list. I was wondering if you might be able to talk about what impact, if any, it’s had on your career?
SW: I remember me and another person that got the PDN this year talked on the phone, and talked about how we weren’t sure if we were doing everything that we should be doing with that award. I think the year that you’re PDN 30 is the year that you’re supposed to use that. That’s your chance to get appointments with galleries, and do that sort of thing. You know, network more because you have that behind you. We didn’t know if we were actually doing that. Because… I don’t know…I use natural light and an old view camera. So it’s hard for me to start doing commercial work. I guess we were both feeling bad, like, “I haven’t done anything with it, what about you?” This is the time we should be doing it. For a commercial photographer, the Photo District News award is amazing, because you immediately are going to have so many people looking at your work, and maybe giving you jobs because of that. Which is wonderful. I wasn’t at the point to take any of those jobs, because again, I use a view camera and natural light. So it would take quite a while for me to develop and then scan, and give a photo shoot back to someone. I think I got Fraction Magazine because of PDN 30, though I don’t know if that came before.
JB: I wanted to talk a little bit about the South. Out of high school, I went to college at Duke in North Carolina. Looking back, it’s hard for me to imagine how I could have spent three and a half years in Durham, North Carolina and learned, essentially, nothing about the South. I probably didn’t leave campus very often. I had hush puppies at least ten times. The sweet tea was good. But I can’t believe I squandered the opportunity. You were just included in an exhibition at the Danville Museum in Virginia as a Southern Photographer. People tend to relate to a lyricism and romanticism and sense of visual literature, when it comes to the South.There is a sense of place that is so deeply rooted in your work. It’s a place that I think a lot of people are fascinated by. Certainly since the Civil War. You probably just see yourself as Susan, but what’s your take on that?
SW: That’s the weird thing. Now, I’m beginning to see it a little. Really, when you say sense of place, a sense of home. Everything I’m doing in my work lends itself for people to say, “Oh, it’s very Southern.” But really it’s just me. Often, when I photograph a backyard that’s dripping with overgrown weeds, with an old rusted swing set, to me I immediately see that and I see it as a graveyard of my childhood. A family that lived in that house and is now gone, the children have all gone off to school. I just recently went to my childhood home, last week in fact, and noticed that the kudzu was completely overgrown. Every time I go back it was just growing more and more because the house is deserted right now. So all of the things that I am using to represent life and death and memory and past. It all happens to just lend itself. I don’t think too much about being a Southern photographer. When I do went to my artist-in-residence at Light Work, I had a few days to take my camera out where I wasn’t working on my computer. Maybe four. And the photographs that I did get, people told me, “Wow. Somehow you made Syracuse look like the South.” To me, it just means that going around with my camera to places that I wanted to photograph are the places that reminded me of home. You know?
JB: And what was it like to be included in your first major museum exhibition at home in Virginia?
SW: I’m having a very Cinderella moment. Earlier, when you talked about the Danville Museum show, when I was at Light Work, Elijah Gowin happened to be coming through just for like two hours. I had told someone that I wanted to get a wedding ring portrait of some of the first Virginia photographers whose work that I saw, and maybe Elijah Gowin also. It was a big coincidence, but I got to know him a bit.
Not too long after, I got an email from a curator at the Danville Museum in Virginia. He said “Elijah came home at Christmas time, and showed me your work.” Apparently, he really liked it. He asked me if I wanted to be in a show with Emmet Gowin and Elijah, and Jeff Whetstone, all of these photographers whose work that I knew. And it was funny because they were all academics. They all taught at Universities. So when I went to the opening, I was the waitress. So that’s the stuff that is neat in my life. I can be hanging in a museum show, with all of these important photographers, and I’m a waitress.
Susan Worsham is a Richmond, Virginia based artist. She recently exhibited her photographs in the Lishui Photo Festival in China. To see more of her work, visit www.susanworshamphotography.com.
“Copyright Industries in the U.S. Economy: The 2011 Report”, underlines the size and significance of the US copyright industry. The report found that it added over $930 billion in value to the U.S. economy, represented almost 6.4% of the total GDP, employed nearly 5.1 million U.S. workers (nearly 5% of the total private employment sector), with jobs paying an average of 27% more than the rest of the workforce; and accounts for $134 billion in foreign sales and exports, significantly more than sectors such as aircraft, autos, and agriculture.
Erik Kessels (KesselsKramer, Amsterdam) | Photography in abundance
Through the digitalisation of photography and the rise of sites such as Flickr and Facebook, everyone now takes photos, and distributes and shares them with the world – the result is countless photos at our disposal. Kessels visualises ‘drowning in pictures of the experiences of others’, by printing all the images that were posted on Flickr during a 24-hour period and dumping them in the exhibition space. The end result is an overwhelming presentation of 350,000 prints.
What a fantastic idea and an important reminder of the era we’re living in.
Then, I saw this press release yesterday :
Aurora Photos is excited to announce the launch of the myPhone Collection of stock photography, a collection of images taken with iPhones and other mobile devices by some of the world’s top photographers and iPhoneographers, and now made available to pictures buyers for both editorial and commercial licensing.
What struck me was how worthless I think iPhone images are and how I can’t imagine anyone licensing them. Obviously, this blanket statement cannot be true since it’s never mattered what photographers used to take their pictures with but I can’t get over the feeling that pictures taken with a camera in a phone that everyone owns have no value. I think iPhone images only have value when they depict breaking news or when they are curated by someone to understand a bigger picture.
Creating value beyond how a picture was created and what the picture depicts is the most important challenge facing photography professionals today.
…seeing Rhein II being sold for more then $4m most certainly gave me a funny feeling. The photograph is unremarkably mediocre…
Donald Weber, Canadian documentary photographer, VII Photo
PhotoQ interviewed nine photographers on how they respond to the tension between lowering income in the profession, and exploding interest in photography (more museums, galleries, magazines, web, phones, tablets). They were participating in the Day of Photography (in Dutch: Dag van de Fotografie) at the Amsterdam venue of Pakhuis De Zwijger on October 21st, 2011, as organised by the agency Hollandse Hoogte. More than 600 people visited interviews, presentations, discussions and other events.
Instagram founder Kevin Systrom’s was in the photography club at school when:
my teacher handed me this plastic Holga camera and said, “You’re going to use this and learn to deal with imperfection.” I remember developing the first roll and the feeling I got from the vignetting and the light leaks that came from the blurry plastic lens. That transformed the way I looked at photography—from trying to replicate reality into taking a scene and creating some kind of interpretation of its mood.
Read more at The Fader.
I love this week’s challenge. Each artist is asked to respond to a work of art made by a child (on hand in the studio) with one of his or her own. This simple challenge works wonders, lifting all the contestants out of their comfort zones. Iffy artists step up; good ones get better; bad ones bottom out.
via NY Mag.
Sometimes, art can change our lives, or at least how we relate to the world around us. Writing in The New Yorker last week, Peter Schjeldahl mentioned that when he emerged from a recent visit to the new Islamic galleries at the Metropolitan Museum of Art, he felt like a slightly different person. Other times, though, it’s just nice to look at photographs that depict a different way of life in a foreign culture, far far away. It’s simple human curiosity, really: travel, for the recession age. So this week’s books are unlikely to give you an Earth-shaking epiphany that makes you to quit your job, or give up your life to Jesus. But they ought to satisfy an inherent desire to look outward towards chaos of humanity, and come back with a shade more context about your own little world.
“Zapallal/Yurinaki” is a new hardcover monograph by Andrés Marroquín Winkelmann, published by MA+GO Concept, and distributed by Misha de Kominek Gallery in Berlin. It’s kind of a funky production, as the blue, cloth-bound spine melds into a cardboard cover with a photograph glued to the top. It has the feel of a high-end arts and crafts project, but not in a bad way. (The text is presented in English, Spanish and German, so we know the audience is meant to be Global.) Inside, the first few pages are cut to different sizes, so it opens up bit by bit, You can see right away that the book depicts village life in Peru, with it’s attendant ducks, chickens, pigs, sheep and cats. Mr. Winkelmann apparently photographed in two different communities in Peru, but it’s not particularly evident in the images. Instead, you get a spate of well-seen, flash-driven contemporary documentary photographs of a place that doesn’t look like where you live. Dirty walls, dirt roads, junk in the backyard, meditative still lives of produce, that sort of thing. A particular favorite was a photograph of a young girl, the pink scrunchy on top of her head just peeking out above a kitchen table, while a generic, framed photo of a Caucasian grandfather kissing his grandson haunts the upper left hand corner of the composition. (It’s got to be the picture that came with the frame, right?)
Bottom Line: Peru
To purchase Zapallal/Yurinaki visit Photo-Eye
“The Brothers,” recently released by Dewi Lewis Publishing, is a black, hardcover book by photographer Elin Hølyand. Two, shirtless, bug-eyed old dudes stare out from the cover, one with a rifle slung over his shoulder. The brothers, I presume. Harald and Mathais, both now deceased, lived together as bachelors on the family farm in rural Norway for their entire lives. It was an old-school, hardscrabble existence, by all appearances. The project was shot in grainy black and white, yet never feels like it was done a long time ago. The photos read modern, for some reason, which could just be that there are enough temporal signifiers to get the point across. There are several double paged spreads where we see both gentlemen, ever so slightly different, like multiple versions of the same guy residing in parallel universes. All bushy eyebrows and plaintive stares…it’s almost enough to make me sad these men are gone, despite the obvious fact that I never met them. Ms. Høyland’s sensibility is odd and strange, but never veers towards creepy or cliché. It’s a terrific collection of photographs, and well printed too.
Bottom Line: Norway
To purchase The Brothers visit Photo-Eye
Finally, we come to “The Submerged,” by Michelle Sank. It’s a smooth, hard cover book recently offered by Schilt Publishing in Amsterdam. (Insert random stoner reference here…) Ms. Sank, peripatetic through a slew of artist residencies, apparently spent a few months in Wales, and this book is the result. Wales? It reminds me of that Wayne’s World joke where they mocked Delaware. Wales is not the first place I would salivate to go, but that’s part of the fun of looking at these books. What does it look like? What kind of people actually live there? I could tell you, but then you’d have no reason to browse the photos below. The whole selection of images is just the slightest bit weird, but in a subtle way. Like the Beauty Queen in mud covered boots, the Hasidic Jews frolicking on the beach, or the pudgy, dough-faced metalhead in the Ozzy Osborne T-shirt. Not to give away the best part, like a Hollywood preview, but the image of a forlorn, abandoned hilltop barn with “Twat” spray-painted on the side is a keeper. The more I look at it, the more I see a funnier, less genius, contemporary take on August Sander.
Bottom Line: Wales
To purchase The Submerged visit Photo-Eye
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OTMFC is a collective of great photographers and assistants that come to your job with a truck load of experience and equipment to get it done right. I caught up with David Hudgins, one of the founders, to see what this is all about.
Heidi: Have to ask, how did you come up with the logo?
David: The logo was drawn up on a bar napkin.
When you don’t want to drop the f bomb, what’s the replacement?
Over The Moon For Christ is one of our favorites, but we always prefer to drop the F Bomb!
How did this business idea come about?
We got tired of showing up to a shoot and realizing that we forgot to order that one little piece of equipment that we could not do without. We decided to build a truck and have it come standard with all of those little pieces. All you had to do was book the truck and you would have everything you needed to do a photo shoot. It made our life and everyone else’s life easier. When you focus on creating a product that works great for your client, the successful business follows.
You have 3 kitted out trucks right now, do you have plans to expand your fleet?
We are always looking at ways to improve what we are doing. When we decide to take action will depend on the needs of our clients.
How did you decide what each of the 3 trucks would be kitted with?
Through years of experience working on set and placing orders, we knew what equipment we would need for different size shoots and budgets. We tailored equipment packages around these parameters.
Can you do a la carte and or is it a flat fee?
We provide both! We have trucks that come as a package at a set price. We also have trucks and cargo vans that are a la carte and can be built out to accommodate any size shoot. You can also have equipment delivered and picked up from your set.
Have you ever been on a job where the photographer has SO MUCH to choose from they go into option paralysis or they keep changing their set up?
Once we had a whole truck load of equipment, 50,000 watts of light, motion picture lights, etc. The assistants spent hours lighting the set to perfection then the photographer turned in the opposite direction and shot talent with an on camera flash. They never even used the set! That has happened to us so many times we have lost count.
One of the biggest problems photographers seem to have is editing. Whether it is narrowing down the images from your shoot, deciding what couture gown talent will wear, or deciding which lighting setup you will use, a photographer always likes to have options so they can pick the best solution.
Does it ever happen where someone orders the biggest set up you have and then shoots available light? Would you call that your dream client?
Again, that happens all the time. We had a shoot last week where we hauled the contents of a whole truck, including generators onto the roof of a building. The assistants setup all of the lights, and the photographer used a flex fill for the first 2 shots and a flashlight for the last 2. They are not necessarily dream clients, because you still have to setup and breakdown the equipment. The dream client would be the one that gets a truck of gear then tells you to leave it all IN THE TRUCK and then lights available light.
We have a joke about “available light,” because when a photographer says they are going to shoot available light, you think it will be an easy day…then they end up setting up every light you have available and it becomes a long brutal day.
What’s the advantage of hiring you over let’s say renting individual items, cost I assume and variety? Why else?
Passion and experience.
How much new equipment do you invest in on a yearly basis?
This depends on what equipment comes out. Some years have more new toys that others.
How do handle the lighting demands of a still and video shoot on a job where they require both and need to be shot at the same time? Are you noticing a trend towards continuous lighting?
There is a lot of convergence between continuous and strobe lighting. The challenge is finding, understanding, and providing the tools to give the photographer their look with both options.
Your site has an extensive roster of available crew, how do you get on the list? Who vets them?
The people that are on our list, are people we have known and worked with. There are a lot of great assistants in LA that we have not had the pleasure of working with. We try to add people after they have worked with several other assistants on our list and have been recommended by them and our clients.
Are any of your guys aspiring photographers or are you all committed to running this business?
There are a handful of us that are dedicated to running the company. The rest are great assistants and great photographers.
“I’m a child and photographer of the digital generation. My work usually doesn’t exist outside of ones and zeros on a computer, and to have it physically now gives it life. It’s been reborn in a very different way, and it gives it an existence in the real world that will live on whether or not there’s electricity. It took years for me to get a book from Iraq published. I had to win an award to do it because no one wanted to publish an Iraq book. Photo books take a loss financially, and then for it to be about Iraq, a subject that most Americans and Westerners want to forget…”