The Daily Promo – Fredrik Clement

Fredrik Clement

Who printed it?
After moving to Klitmøller, a small village on the northwestern coast of Denmark, I wanted to try working with a local printer. He had to dust off his old machines to make me happy, because as so many other printers he persisted in trying to convince me to do it digitally. But nothing beats the smell of real ink on paper.

Who designed it?
I collaborated with graphic designer Troels Schwarz of Superschwarz (www.superschwarz.dk), who is also a friend. We came up with a simple, almost minimal design and used the same weight of paper for the cover and pages. Folding the cover makes it thicker which makes the design work well. The visible stitching and loose stitching thread completes it. It’s basically just one kind of paper, a thread, and ink. The paper is uncoated, warm toned which I think sits especially well with the black and white images.

Tell me about the images?
They’re a mix of old and new, commercial and personal work. Curating the images was important to me. Some of the images are from personal projects in Indiana more than ten years ago, some are from cycling event Paris-Roubaix 2013 and some from recent commercial work for Adidas. The promo also has images from European refugee camps; a pro bono project collaboration with UEFA Foundation for Children. My photographic approach is documentary and I wanted to make this evident in the promo by showing a wide selection of my work, in a narrow style.

How many did you make?
350 pieces.

How many times a year do you send out promos?
Not too often. To be honest, I do it when I feel like it. Less than yearly.

Do you think printed promos are effective for marketing your work?
Yes. This time around, my agent (www.unit.nl) sent out around 50 pieces and so far I’ve sent out around 150 pieces, half for existing clients with a personal, written note, and half to art buyers, direct clients and agencies I would like to work with in the future. This is ongoing, I send out the promos regularly when I’ve identified new potential clients or people that I would like to reach out to.

Visiting London, Part 1

 

Part 1: The Departure

 

Do you believe in omens?

I’m not sure if I do, but when I got in the car to drive to Denver last month, on the first leg of my journey to London, I was feeling good.

A big adventure just up ahead, I thought.

Maybe it will even be smooth?

Two miles later, though, the tire pressure light came on in Jessie’s car. (She insisted I take it, as it has some assisted driving features that can help on mountain roads.)

Shit, I thought.
Just what I need.

I hope it’s not an omen.

I called her up and asked about it, and she reminded me it happened 10 days ago, and she’d gotten it fixed, supposedly.

Must be a slow leak.

Sorry, she said, but maybe get a little air in it on the way up.

I’d already forgotten my Benadryl to sleep on the plane, so that would make two stops, on top of the 4.5 hour drive.

(It was beginning to feel like a smooth trip might be just outside my grasp.)

But I bopped my head to some great hip hop music, driving across the Rockies, and even made a video to show Hugo, of the car moving through the Great Wild West while some good music ran in the background.

(You knew it was gonna be Old Town Road, right?)

By the North side of Pueblo, (the end of New Mexico-infused Colorado,) I knew it was time to stop in the not-so-aptly-named town of Eden.

Dusty and dry, this version of Eden.

With 18 wheelers coming at you faster-than-they-should-be-going, from every direction.

There was a truck stop there, I remembered, maybe a Loves, and surely they’d have a place to get air. I went inside to use the restroom, and buy some caffeinated drink to get quarters to use in the air machine.

That done, I drove the car from one parking spot to another, right next to the pressurized air, and got myself organized.

I pulled off each tire cap, and put them in a really obvious place, one per tire.

I took a deep breath.

Then I popped the quarters, and began testing my tires, quickly and efficiently, because you know that Damn machine is only gonna give you one minute of air, if you’re lucky.

Now, did I still manage to knock over a tire cap and have to go searching, just barely avoiding hands and knees?

Yes. Yes I did.

But it was only when I got everything together, started up the car, and began to drive away that I noticed there were people living in the car parked next to me.

They’d been in there the whole time.

Watching me, all dressed up for my big European adventure, dancing around the Subaru, quick and business-like, trying to make my plane.

The whole time, I was secretly thinking of the infused edibles I was about to buy down the hill at Strawberry Fields. (I ended up with rice crispy treats. They were delicious.)

All that while, some nameless people were in their car, not four feet away, living in a completely different America.

Right there at Loves.
In the middle of Eden.

 

Part 2. The arrival

 

I lost my watch and sunglasses at the security check in Denver, or much more likely they were stolen.

Either way, that was the bad thing that ended up happening, omen-wise.

It sucked, but then I was over it.

And Hugo handed me a nicer pair of sunglasses as soon as I walked in his door, in North London. (Plus, the watch was too fancy for me anyway.)

Other than getting jacked at the airport, I don’t think one bad thing happened to me the entire time I was in England. (Unless you count one crucially missed train connection, and a middle-of-the-night-silent-vomit excursion. But we’ll get to that.)

From the moment I arrived in Heathrow, I had the opposite of an omen. As I stood there in the security line, I noticed a pair of adult, identical twins in matching outfits, a very skinny seven foot tall white guy, an orthodox Jewish family, a wealthy Indian woman with a large and exposed midriff, and a Slavic woman wearing a tacky princess T-shirt.

It was all absurd, in a good way, and I thought, this trip is going to turn out well.

I just know it.

After clearing security, and learning the officer was a Chelsea fan, I walked the long journey in endless tunnels to get to the London Underground, which comes directly into the terminals. (Though two separate trains service the airport, so make sure you get on the right one when you head back at the end of your visit.)

The Piccadilly Line runs right into the city, and it just so happened that’s the line I needed to get to Holloway, in North London. So there was one last hour-plus train ride up ahead, but at least it would be direct.

The London public transportation system is lauded, and even New York Magazine just did a piece ogling London and Paris for the breath and variety of efficient options in their overall metropolitan areas.

In this case, I spent 50 pounds on an Oyster card, which covered every local train, (overground and underground,) and bus I took for 6 days. (And I spanked that system.)

It is easily the best transportation money I’ve spent in my life.

There wasn’t even much of an overground when I was last in London in 2013, I was told, and now it’s a thriving thing. They build and build their public infrastructure, over in London, and as an American living in car culture, I was supremely jealous.

The cranes were everywhere, too.

I recently speculated that perhaps all cool cities are undergoing a boom these days?

London certainly did its part to confirm the theory.

The city is going off, so let’s get into it.

 

Part 3. Visiting Photo London

 

Like any decent traveler who just slept on a plane, I wanted a nice hot shower once I got to Hugo’s. (After he’d handed me a coffee made with some non-dairy chocolate milk.)

Once clean, I sat down, and we caught up, as I hadn’t seen him since we hit up the Morgan Library together, and walked around New York, back in 2017.

It was a nice morning, and I was ready to stretch my legs, so it was time to head back to the underground to find Somerset House, where Photo London was being held.

I jumped off the train at Covent Garden, and as Hugo said to just roll down to the river, and I’d find it, that’s exactly what I determined to do.

I remember visiting the area 6 years ago, and that there was lots of shopping about. Back then, Russian was everywhere, and not surprisingly, it was all about Chinese tourism in 2019, and I’m not sure I heard any Russian at all.

There’s a big outdoor/indoor market and restaurant area there, and I saw my first Shake Shack, though it wouldn’t be the last. There was an Apple Store there too.

But true to the directions, I headed “down,” which in this case was South, and soon I found the sprawling Somerset House complex, which I was told was the first public building in London.

Apparently, it was once the Hall of Records, and the home of the Navy as well.

Shit has a long history in England, and it gets me every time. Plus, people do seem fond of recounting that history, (when they know it,) so the conversation seems to come up a lot.

Somerset House is built around a central courtyard, and a large-scale tent structure was constructed in the middle, to house the Photo London pavilion.

There was a pop up Negroni bar in the courtyard as well, and a cafe just for the event, but part of what makes the entire complex interesting is that there are cafes and tea houses among offices and galleries.

It’s a very cool and beautiful spot to hold a photography fair.

Hard to top.

I was afforded the opportunity of press access, and might possibly have been tipped off to the wifi codes, (unless you buy a local SIM card, your American phone only works with wifi,) so in the end I visited Photo London on Thursday, Friday and Saturday.

Given that we’re already at the end of this piece, I’ll write a direct review of the art viewing experience another time, as I took a ton of photos of the exhibitions, and they sprawled over multiple floors of this ancient, overwhelmingly big space.

Instead, I’ll wrap up with some general impressions.

When I was at AIPAD in New York, and Photolucida in Portland, I seemed to know almost everyone. Really, I was amazed at the degree to which I’ve encountered so much of the American photo community, between art and journalism.

Here, though, I knew almost nobody. Everywhere I went, each face was new. And I was totally anonymous.

To be clear, I’m not complaining.

Rather, it’s obvious that once you get outside your own country, even if its one as big and important as America, you realize the world is much, much bigger than you really consider on a daily basis.

It is also an art fair, and those are not really made for artists and journalists. Dealers are trying to meet and sell to collectors, and tourists can pay 30 pounds for a proper day of art viewing, coffee drinking, and lecture-attending.

So I checked it out, made some mental notes to look further as the weekend evolved, and set off to find my buddy, who was showing his work with Euqinom Gallery from San Francisco.

I had made plans to meet my friend scott b davis, and we go back a long ways. He was featured here on that Marfa trip, I’ve written many an article about his Medium Festival of Photography, and he’s teaching at my retreat this summer as well.

It was a nice counterbalance to being in a foreign country among strangers, so we left Photo London to grab a pizza at Franco Manca, which I now know is one of the big Italian chain successes that crushed Jaime Oliver’s restaurant business.

(It went into foreclosure while I was in town, but apparently Jamie himself is still worth half a billion dollars, so no worries on his end.)

I had a solid, fresh pizza Margherita, and scott got a special, with local organic vegetables. I think my pizza was 6 pounds, which is a screaming deal, and we had plenty of space and time.

After that, we chose to stretch our legs, and walk off the pizza, and found ourselves in nearby Trafalgar Square. I walked him into my favorite church, St Martin-in-the-Fields, where I heard a concert rehearsal 6 years ago that made me cry.

 

The National Portrait Gallery and the National Gallery are there, next to each other, and both are free to enter. You know me by now, and great free art is one of my favorite things in the world, so off we went.

I was due at the NPG in the morning to hear Martin Parr speak about his show “Only Human,” and I’m going to review that one in a dedicated article later this summer.

Instead, we went into the National Gallery and wandered among some of the true masterpieces of Post-Renaissance painting.

Here an El Greco, there a Caravaggio.

Why, do you like this Rembrandt?
Yes, I do.

But this Velasquez is nice as well.

I can’t stress enough how wonderful it is to be able to do something like that. A casual visit to such a beautiful place, for free, chatting with a friend among the heights of human history.

There’s much more to the story, but I think we’re done for today.

I’ll share some highlights from the National Gallery with you here.

Last thought. If your museum still has a Sackler Room, it’s probably time to get on that. Those folks have caused too much misery. See you next week!

 

The Art of the Personal Project: Ryan Dearth

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 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:  Ryan Dearth

“Heartland is a project that actually started as a documentary news assignment for the Daily Telegraph UK. It was as an outside-in spotlight on Rural America shortly after the 2016 election and eventually turned into a personal project as I came back of my accord to build the project into a more in-depth piece. The photos take place primarily in and around Wallace County, Kansas, which has a population of fewer than 1,500 people and is consistently one of the most overwhelmingly Republican counties in the nation.

The project eventually took hold for me and became a personal exploration of external factors on internal notions. I wanted the images to consider the relationship between rural communities and their surroundings, as well as the juxtaposition of isolation vs. desolation. At times these areas feel nostalgic – like a world left behind. At other times, the community feels vibrant and completely relevant in today’s world.”

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 @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

 

The Daily Edit – Vogue India: Rohan Hande

- - The Daily Edit


Vogue India

Creative Director: Heidi Volpe
Assistant Photo Editor: Jay Modi
Photographer: Rohan Hande
Prop Stylist:  Aditi Dugar
Styled by Sage and Saffron
Cooked by: Aliakbar Baldiwala and Akshat Agarwal
Hand Model: Mythili Zatakia
Food Editor: Sonal Ved

Heidi: I know you did some research on old master paintings after we discussed the concept for our OTT food shoot.  What did you watch and what did you learn?
Rohan: I found this video lecture by John Walsh, the Director Emeritus of the J. Paul Getty Museum, L.A. and since these are historical artworks, understanding the narrative and motives by a specialist in Dutch paintings is better than a subjective approach. I learned a lot from Pieter Claesz’s composition and light.

How did that research translate into the final image?
The window light and textures, along with the opulence was replicated. Surrealist elements were also added to push the OTT narrative.

How difficult was the post as we had only one hand model?
It was quite straightforward to be honest. Much like a collage, it was cut and paste. The tricky bit was getting the correct hand gestures during the shoot.

Were you concerned the lights would start to deteriorate the food?
Since we were working with flash and not consistent lighting, I wasn’t worried. Some of the food had to be made “camera friendly” to draw attention and maybe a couple of them were taken back to the kitchen to “redecorate”. However, we weren’t working with any cold items, that could melt.

We knew you were the perfect person for this assignment bc of your expertise in collage/photo illustration, where did you first start experimenting with this technique and why?
Why, thank you! I started looking into this process when I was studying commercial photography. I wasn’t aware of this process until I met students from graphic design and illustration. It was a mix of that and happy accident where the model stood between 2 lights meant to light the background and ended up looking like this (tenacity_3).

Someone might have mentioned “collage” and that was it. This turned into mixed media very quickly. I found collages to be an exciting process to break out and translate my ideas and emotions in more than 1 way. And honestly, it was just a lot of fun trying out new and exciting process:


in bits

in static


into the jazz age 1 and 2

 You have great range in your work, how do you know when to execute straight forward photography vs the collage? and is all the collage done digitally?
I try not to separate the 2 processes. By nature the collages always come in later. So any photographs made can work with the narrative. Sometimes I have found photographs made 3-4 years ago, so give me a narrative element. However, that’s rare. Most collages are made with photographs I’ve made in the same time period, for example “Japan Waiting”. I do have a lot of digital collages, but not everything is digital. It comes down to which method would be most beneficial for the artwork, for example Drips. I cannot predict how the paint is going to drip and blot.

How has your personal travel influenced your work?
“Japan Waiting” and “Japan Cabs” are the best examples of explore this topic. I’ve been there twice and both times, I’ve come back with a new perspective. “Japan Cabs” happened because of the classic car models, they fully uniformed drivers and the automatic doors. The collages weren’t planned, but once reviewing all the images, it was the only way to tell a story about the taxis in the city. During this year’s visit I saw a lot of people waiting..patiently. Initially shot as a photographic series of I think around 40 images, where the Japanese who wouldn’t cross a red light even if the street was 6 feet wide, “Japan Waiting” in turn because a response to “Japan Cabs”. To me it became a series on patience.

The Daily Promo – Frances Tulk-Hart

Frances Tulk-Hart

Who printed it?
Mixam.com

Who designed it?
I did, it is half the fun of it. I really love the process of seeing how all the writing, drawings and photos can make a story.

Tell me about the images?
This project started in the New Year. I initially wanted to make a zine and then it turned into a journal of sorts. Every two months the plan is to bring a new one out. The images in each zine/journal, shall we call it a zournal, are relevant to those two month. So this one is January and February. Photos I got back from the developer, doodles I did, work that was published, thoughts, all things that happened in those two months. I can cheat a little too. Like for instance there are two images in there that are from years ago but because I was teaching a class at RISD in January and was doing research for it I was allowed to use the images I was going to show my class as examples!

How many did you make?
I made 100 for now but might do another run. I’m also thinking about selling them so might need to print up a lot more.

How many times a year do you send out promos?
The plan will be to send out a new promo 6 times this year, every couple of months.

Do you think printed promos are effective for marketing your work?
This is the first time I have done a printed promo but the feed back i’m getting is that people are amazed and thankful to be actually holding and feeling something in their hand as opposed to staring at work on a screen. I’ll let you know at the end of the year how effective it was in getting me work!! Effectivness aside though, just doing them is enjoyable, I have so much fun working on them. It’s like a puzzle trying to figure out how my work all fits together. I re designed my website and made a book last year that was about 150 pages which is where I first realized how much I loved designing the book as much as doing the art that went in it. Also what is nice is that unlike instagram, which I use as a promotional platform, once I send these babies out into the world I have no idea if they will be seen and or appreciated. I let go of them, not worrying about likes or dislikes.

The Art of the Personal Project: Aldo Chacon

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 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:  Aldo Chacon

SHOE WIZ

A shoemaker once told me we have to take care of our shoes, they protect our feet, our feet carries our body that carries our head….

There was nothing else about his story, but he taught me the value of craftsmanship and dedicating a lifetime to making sure people protect their heads…

 

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 @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

 

The Daily Edit – The Red Cat and Other Stories : Ritesh Uttamchandani

- - The Daily Edit

Warning signs of falling debris during repairs at the New India Assurance Building, an Insurance firm.

Mahim beach on a Sunday afternoon. A place where I spent many evenings of my childhood.

Flashes of light on a rain soaked street that reminiscent of walking hand in hand in the rain with my mother.

The Red Cat and Other Stories

Photographer: Ritesh Uttamchandani

Heidi: Your images were recently in Shifting City,  an exhibition that has been adapted in nine cities across the world that are considered ‘arrival cities’.  The Red Cat and Other Stories had some of the same images, tell us about the cross over.
Ritesh: Kaiwan Mehta, the curator, gave us a brief related to the Arrived In City.   In very simple words: A city where everything is kinda there, for whatever it is you wish to achieve or do; all you have to do is show up. I realized that my work on the city isn’t just looking at that aspect but I have also been chronicling the rapid expansion of the city, both in physical and mental terms. It evoked memories of the time I moved, and the mental jolt I got on seeing the socio-cultural differences. It made me think of all the conversations I have had with people I know that have shifted along with the city.

For curation I did a mammoth archive dive. I pulled out all my iphone images that went into the book, all the rejects that didn’t make it to the book and tossed them around. Over repeated edits and since I am one of those photographers who makes photos everyday, I added the new material made in the month and half leading up to the show. Final stage edit was done jointly with Kaiwan. One of my biggest takeaways, apart from many others, is his use of variants of a single image, akin to repetition. I always thought that repetition was simply a tool in writing, a figure of speech, but when done with images its quite fantastic!

What did you hope the viewer felt?
The ultimate goal of my work is empathy and introspection. And they both work in tandem. Of course, I can’t really control what people feel so some viewers found it largely entertaining, some found the pictures to be a celebration of the absolute banal and hence very relatable. Most importantly I wanted people to read the photos and enquire within instead of expecting simplified captions. The whole series also aspires to incite curiosity. Life in the city is so hard, we barely get time to reflect or be curious about anything besides the fulfillment of one’s basic needs.

Were all the images in the book and the show shot with your iphone? if so why?
in 2014 I began using the phone camera extensively, in the square format. In the process, I learnt that am a very different photographer on the phone and it began impacting the way I deal with the city and country. The phone camera is the camera of today, our generation, and what better way to chronicle and display a lived-in experience of my spaces. The phone allowed me to have a citizen like eye instead of being all professional about it.

It’s true the work is serious and heavy at times, but just like life, I am very drawn towards a certain irony in images. And India, gets a short stick on that end. People have for years photographed it in extreme ways, too much colour, too beautiful, or too poor, too tough a place. I am quite fatigued by the cliched images of lovers on Marine Drive, crowds at the Gateway, south Bombay charm etc. Landscapes so imposing that everything else in the photograph is elevated too. As a response to this tedium, I self-published a photo book last year called The Red Cat and Other Stories in which I linked a Sindhi fable my mother told me when I was younger and my way of seeing the city which I feel now, after all these years of carrying multiple and confusing burdens of influences, is inspired more by these little fables and folk stories. My goal was to create the most un-Bombay book on the island city as I can. Hence I focus largely on the suburbs, arriving at a balance of sorts in terms of representation of class and landscape.

How long did the book take to shoot?
The book took four years, from conception on a May afternoon in 2014, till going to press in May of 2018.

Tell us about the title 
The book was initially titled Ghar, meaning home, and as it developed I felt the title didn’t do justice. There are 16 stories of grit, of survival, of successes and failures that lead up to the Red Cat fable at the end of the book, where the protagonist is a young 17 year old, hence The Red Cat and Other Stories.

What font is in the title of the book?
The font is specially designed by Sabeena Karnik, who merged the handwriting styles of my 2 elder sisters Shirley and Sonia and for my name I used a font called Metropolis. If not for my sisters I would not be in a position to pursue my dreams. If not for my parents, and my father’s dogged fight to live in Bombay, we’d be in some small town and I’d probably have a corporate job. The book is an ode to that very fact that we are never self made. Everything is a collective effort and it is true for a city like ours. No one can fulfill their dreams on their own, everybody needs a Red Cat.

How did you decide on that binding?
The binding was a last minute decision fueled by an accident. The printer, sent me the final dummy and after one day the cover began to drift away from the book, exposing its spine. At first I got mad but then I was drawn to its bareness. I anyways wanted the book to have some elements that are like a lot of the city’s structures. How often do we come across a beautiful building or a home and when we go to its side we see a chaotic network of pipes and wires. I also wanted a sense of fragility, like some of our inter-personal relationships, one wrong word or action that is misinterpreted brings to collapse years of knowing someone. It happens with all of us.

No image on the book cover, why?
For the cover too, I kept it simple. I don’t want a reader to know this is a photobook. Its simply a book with photos and text! So, because of its whiteness, if you leave the book on a coffee table, there are bound to be stains, handle it roughly and it threatens to come apart. A day before printing, I reduced the paper weight from 130 gsm to 100 as well, for I wanted a certain see through to happen. Sacrilege, felt my photographer friends and the process co-ordinator at Pragati Offset. But if you hold up certain pages against a source of light, two images merge to make a third. Like life, many things happen at once, overlapping. The printer thought am being stupid or just cutting costs, but trust me, it only looks fragile, it is pretty sturdy.

Over the last year, I came across many readers who have done interesting things with it. One man wrapped it in a beautiful hand-spun cloth from his village and kept it in his safe as a gift for 4 year old son when he turns 18. Some others have refused to let go of the bubble wrap envelope that I had used to pack it. Some have simply kept it locked inside their cupboards instead of their bookshelves. Some books are beautifully personalized by food, pickle or tea stains.

How did the book push you creatively? 
The book tested my patience at all levels. Whether it was design, production or tracking of couriers. At every stage, it demanded patience of ginormous amounts! I taught myself the basics of Indesign, binding, understanding page counts to minimize wastage etc etc. As a photographer I lead a pretty sheltered life. Chasing stories, getting published and drawing a salary. And when one is doing news pictures for a long time, a false sense of superiority or a strange unreasonable dismissal of anything but news pictures had set in. So, self publishing a book, in India, when one is freelance, is like harakiri for such thoughts as well! Every step is twice as tough without institutional backing.

With regards to narrative, I knew the things I wanted to avoid. So it simply became a process of exclusion. I revisited several places to better some of the photos, one place I visited seven different times spread across two years. I was no longer chasing the perfect light, or form or anything that makes a photograph come across more dramatic than it already is. I had about 98 versions of Ghar till I abandoned that narrative and changed its name followed by 40 odd versions of The Red Cat and Other Stories. I showed the book to some photographers but I found their feedback limiting

How did you decide about the text and was there a through line in all the interviews?
I was pretty sure about having text in the book; it simply shaped up as I went along. The layout for the spreads was also quite fun. If one sits and puts together all the text columns of the book on a single page, they resemble a city skyline. The gap between some words is more, some less, for a reason. Like houses in the city, some have a single room, some have 2 room houses and so on. To the uninitiated it might seem like one giant mistake.

Why are some words in red in the text?
In addition, There are some words in red ink though that one has to join up and construct a sentence which is the last line of the Red Cat fable. This allowed me two things, one that I can keep the story open ended if the viewer does not wish to join the words. Second, its a game of sorts and you can involve kids too. A lot of photobooks alienate kids and senior citizens. They don’t set out to, but the chunky design and/or choice of topic manages to. For the same reason, I junked the hardcover and made a semi soft cover which allowed me to make gatefolds that contain short, succinct and often suggestive captions for the images. This way, you don’t have to go all the way back to some Index page. Stay with the narration and simply open the gatefold to know more.

How has your perspective of the city changed?
Change is too severe a word. Its just transformed a bit for the better. Made me a whole lot more sensitive than I was towards it. I think, that is a really good thing for its very easy to fall prey to extreme emotions here.

The Daily Promo – Danielle Atkins

Danielle Atkins

Who printed it?
AMP in Nashville https://advocateprinting.net/

Who designed it?
HEW+Co. https://www.hewandco.com/

Tell me about the images?
The images I chose are from a whole range of my clients…editorial, cookbook & advertising.
I tried to pick images that could mix and match to give a sense of my overall style of work and be able to tailor to who I would be sending them too.

The Cocktail is from a bar in called Pearl Diver and was a part of a cover story for Nashville Lifestyles.
The slices of cake are from the cookbook Everyday Little Cakes.
The first portrait is of the sommelier & executive chef of Henrietta Red. I have been working with them since before the opened the restaurant and I really wanted to include women who are doing amazing in the restaurant industry.
The knife is from a cutlery company, Hammer Stahl, that is based out of Tennessee.
The next portrait is one of my absolute favorite images. It is from a shoot I did for The Local Palette on a group doing traditional Cajun boucherie. It was a great experience and seeing the entire animal being used was amazing.
The ribs were from a recipe shoot for Parade magazine.

How many did you make?
50 of each image and I send them out in sets of 3.

How many times a year do you send out promos?
This was the first time I have sent out promos in a while but I will do this twice a year.

Do you think printed promos are effective for marketing your work?
Yes! I think having something tangible can make all the difference in the world. I was able to get hired by a publication that was on the top of my wish list for new clients because of these promos. We are so used to looking at things on screens these days that being able to hold something physical is still special. I always notice when doing portfolio reviews or handing a promo to someone their reaction to it is much greater than just looking at the same image on a screen.

This Week in Photography Books: Peter Funch

 

Have you heard about the Uighurs?

In Xinjiang?

They’re people, of Muslim descent, who are getting royally screwed in China these days.

According to reports, as many as 1 million Uighurs are locked up in re-education camps, in Western China, where they’re forced to eat pork and renounce their God.

Happy times!

Seriously, as far as dark humor goes, when I was discussing the Uighur situation with friends in London, I joked that at least they weren’t getting discriminated against, really.

China will re-educate anybody!

(And of course I’m joking.)

The story got a bit of press last month, as I recall reading an editorial or two about the situation. In one article, (maybe in the Guardian?) it mentioned they were using surveillance tech, and digital tracking, to follow people by their routine.

Meaning, any deviation from your normal physical travel route, or usual digital activity, and they would have reason to be suspicious of you.

While Sartre suggested that Hell is other people, the Chinese are using tech to turn your regular routine into a form of prison, if not outright torture.

Welcome to 2019!

(Cue the creepy music. Maybe low-tone piano, with a lumbering pace?)

I’m thinking of this today, having just put down “42nd and Vanderbilt,” a superb book by Peter Funch, which came in last year from TBW Books. (But was published in 2017.)

I told you guys that in the midst of a crazy summer, filled with travel and adventure, there might come a time when I’d lean back on a book review, just to catch my breath.

To create an interval, of even a week, in which I can let my experiences settle into memories, and then decide which ones are worth sharing. (Because everything feels intense and fraught with meaning, when you’re on the road and in the moment.)

So a few minutes ago, I was on the floor stretching, when this book caught my eye on the shelf, still wrapped in plastic. Paul Schiek, a friend of the column, and publisher of TBW Books in Oakland, has been kind to send books over the years, and I haven’t had the chance to review them all.

This one, apparently, was shelved without being perused.
(My apologies.)

We’ll rectify the indignity today though, while also highlighting an amazing project that I’m glad to know about.

I mentioned previously that I’m coming out with my first book this year, and just wrote a statement about how I’m always going on about context, when I write for you.

What do you need to know to understand a book?

Well, this one cuts to the heart of it like the evil dude in Indiana Jones and the Temple of Doom. (Sorry for conjuring that visual.)

The book opens with a short statement: “Between 8:30 am and 9:30 am, from 2007 to 2016, at the southern corner of 42nd St and Vanderbilt Avenue in New York City.”

In other words, you don’t need to know anything more than that.

When I first hear 42nd St, I think Times Square.
Midtown.

All the tourist hustle.

But immediately, it becomes clear this is not a story about tourists. Given that I wrote last month about NYC becoming a global city for outsiders, this book presents a series of images that is as old school as it gets.

Shit, it makes me think of Old New York in the best possible way.

Because right away, you notice that people are repeating. With ever so slight differences.

Clothing choice.
Wind in the hair.

These people are on their morning commute!

Commuters!

I love it.

But where?

New York City is famous for a grid, and the Avenues along 42nd Street are numbered.

Where’s Vanderbilt?

I thought about it for a minute or two, and though it should have been obvious, it was not. So finally I opened up Apple Maps. (I’ve been breaking my no-research rule more often lately.)

Of course, Vanderbilt runs alongside Grand Central Station!

Not only are these people commuters, they might not even be New Yorkers. Because the photographer brilliantly stationed himself right next to the biggest transport hub in the city.

(I didn’t know Vanderbilt, because as a Jersey Boy, I’ve always used Penn Station. The trains from NJ don’t go to Grand Central.)

These pictures are so damn good.

The book is like Where’s Waldo mixed with William Christenberry, with a touch of Paul Graham thrown in for good measure.

Just fantastic.

And perfect for an early summer’s day.

I wonder if the streets of New York smell like garbage yet?

Bottom Line: Amazing, conceptual NYC street portraits that play with time

To purchase “42nd and Vanderbilt” click here

 

 

The Art of the Personal Project: Kate Woodman

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 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:  Kate Woodman

Growing up as a kid in suburban New England, there was always something enchanting about the west. Stories of entrepreneurial pioneers leaving everything they knew and heading out into unchartered territory read like epic fairytales–the great American quest into the vast unknown, with trials and tests around every corner, and insurmountable obstacles overcome by singular resolve, spontaneous ingenuity and some good old fashioned luck.

I think like most Americans, I have a tendency to romanticize our history.  I am often confronted by a sense of nostalgia for times gone by—a compelling ache for experiences I did not experience and never will. This nostalgia has been an ever present theme in my life since childhood, and as an adult has manifested in my work—first as a historic preservationist and then as a photographer.  It inspires in me an insatiable need to preserve that which is lost, whether through the restoration of a house or the creation of a visual narrative—ensuring that its memory is honored and lives on.

But nostalgia is a funny thing. It is a non-experience, an artifice of memory, and like the great American fables of the west, and it glosses over the day-to-day minutia and trivializes the mundane.  But there is beauty in the quiet moments interspersed between the pivotal plot points. Beauty in the last rays of sun hitting your face as you pick fresh flowers for your table; in the dust filtering the light as you pull today’s laundry off the line; in the warped and weathered wood of the front porch railing; and in the cool night air settling in as you check your herd before turning in for the night.  This series seeks to marry the romantic idealism in my mind’s construct of the era with the mundane day-to-day life of the pioneer by creating a cinematic visual narrative.

The series in part is inspired by the location itself. The Dalles Mountain Ranch, located in the rolling hills of the Columbia River along the historic Oregon Trail, was settled in the 1860s. The land proved to be harsh and unsuitable for farming, forcing the settlers to ranch cattle rather than harvest crops.  It was eventually lost in the Great Depression and subsequently whittled away parcel by parcel until eventually purchased by the state and designated as a preserve.  The ranch is an archetype of the fate of American ranching and now stands as a melancholic relic of an irretrievable time long since past.

 

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 @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

 

Pricing and Negotiating: Multi-City Portraits for Tech Company

Craig Oppenheimer, Wonderful Machine

Concept: Environmental portraits of employees in six cities

Licensing: Unlimited regional use of up to nine images for one year from first use.

Photographer: Portraiture specialist

Agency: Medium in size, based in the South

Client: Technology company

Here is the estimate:

Creative/Licensing Fees: The goal was to capture environmental portraits of nine employees in front of various landmarks within six different cities. Three of the cities would focus on just one employee, and the photographer would capture two employees in each of the other three cities. All of the locations were within driving distance of one another. Upward pressure was placed on the fee due to the unlimited use requested; however, we were able to limit the licensing to regional placement for just one year. The geographic reach was even more limited, with each image being advertised only within the city where the photo shoot took place. Considering this, I priced the first six images at $2,000 each, and the three photos of employees in the same location at $1,000 each. I then added $1,250/day as a creative fee for each of the six shoot days, which brought me to $22,500. It conveniently broke down to $2,500/image. I often increase the creative fee closer to $2,500-$5,000/day, but the nature of the project and my inclination to a tight budget made me err on the side of caution.

Pre-Production: I included five pre-pro days for the photographer to line up the project or for a producer to help with pre-pro work. It included three days to work with scouts in each location and two additional days to line up crew and make travel arrangements.

Assistants: I anticipated that the photographer would bring a first assistant (who would double as a tech) and a second assistant for the entirety of the trip/shoot.

Hair/Makeup Stylist: While the talent would be asked to arrive camera ready, we included a stylist for each of the six shoot days to help with touchups and manage light wardrobe adjustments as well.

Equipment: I included $500/day for a basic grip/lighting package that the photographer would bring, rather than renting.

Mileage, Parking, Misc: I included $100/day in mileage and $50/day in miscellaneous expenses for each day, then rounded down a bit.

Meals for Crew, Per Diems: This included $50/day for the photographer, first assistant, and second assistant — covering each of their travel/shoot days. I added $30/day for lunch to cover the hair/makeup stylist. We anticipated half-day shoots at most, which is why we didn’t initially include catering.

Lodging: I anticipated $250/night for two rooms, for six nights.

Location Scouting, Location Expenses, Permits: I included two and a half days per city for each of six cities. It was a challenge to estimate, and I initially anticipated at least three different scouts would be involved — each of which could cover multiple locations, but we could have potentially needed a scout in each of the six cities depending on availabilities and the demands of the areas. They would have to make recommendations from their files, scout the location in person, pull permits, negotiate location fees if necessary, and potentially be on-set if needed. I felt 15 days total would cover the task collectively. I included $250 per city for miscellaneous expenses like mileage and meals that the scouts would likely incur. I included $500/city for permits and marked additional location fees as TBD because we wouldn’t know of any additional costs until specific locations were dialed in. Some public spaces might only require a permit, but other “recognizable” landmarks may need a location fee or a necessary payment to acquire a release. Other locations might not demand any permit depending on the local film office guidelines but could require a space for staging. I felt that the expenses we included were a good start based on the initial project description; however, we anticipated that we’d have to re-address this as the scope of the project solidified.

First Edit for Client Review: I included $1,000 to account for the photographers time to go through the assets each day and compile web galleries for the agency to review.

Color Correction, File Cleanup, and Delivery: I included $100/image for basic post-production.

Results: The photographer was awarded the project.

Hindsight: Initially, we discussed a relatively lean production level with the art buyer, assuming each day would likely be a half day and the client/agency contacts on site would be minimal. We ultimately received a lengthy list of attendees, and it became clear that they needed a higher level of production on-site. The photographer, therefore, brought on production assistants in each city to be dedicated to client services.

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

The Daily Edit – Suitcase: Catherine Hyland

- - The Daily Edit





SUITCASE

Creative Director: Sebastian Bland
Editor: Olivia Squire
Photographer: Catherine Hyland

Heidi: What were some of the challenges with the shoot?
Catherine: One of the challenges was aligning energy and the personality I wanted to capture, this becomes difficult with a communication barrier at play and a middle aged translator interpreting my direction. What they’re feeling becomes a mystery. You can’t communicate to say – I’m a nice person and I want to make you look good! So that whole thing is totally cut off. Who knows what we would have made if we were able to have a laugh together.

I know you had a turning point with this project. Tell us how that came about.
Getting out of Ulaanbaatar immediately opened up new possibilities. “Ideally, you don’t really want to be doing things impulsively,” Catherine says. “But at the same time I think that’s when some of the best work gets made. When we were trying to get the older sumos together in the gym, it was actually very stale compared to the rest of the work we made.”

Do you have a journal or a way of keeping track of your story ideas? Can you describe your process for crafting something that feels the creative pursuit?
Yes, I have a journal that I use to keep track of my ideas. I also do quite extensive research into projects before they are undertaken, sometimes I will have been researching projects for a few years before they come into fruition.

Did the images come before the film you did with We Transfer?
They were shot at exactly the same time, on the same trip. I went out there specifically to make this personal project on The Rise of the Mongolians which was funded by WePresent/WeTransfer.

How did you gain acceptance into the community in order to make the work?
On this particular trip we had fixers who helped translate and introduce me to a mixture of people in the Sumo community.

How long were you there?
2 weeks

Was this the first time you were working with Suitcase?
No, they had previously published my project ‘Wait-And-See Pudding with Patience Sauce’, shot in on the island of Nevis in the Caribbean.

The Daily Promo – Gabriela Hasbun

Gabriela Hasbun

Who printed it?
White Wolf Web Printers. From day one George had the vision to print this series on newsprint and he was on point.

Who designed it?
George McCalman of https://www.mccalman.co/

Tell me about the images?
The images are from two rodeos in California that I’ve been documenting on and off for the past ten years. One is the Bill Pickett Rodeo (an all-black rodeo) in Oakland, CA and the other is the Silver Buckle Rodeo in Taylorsville, CA. I attended my first rodeo back in 2007 in Oakland and the following year I took my RZ and that was that. All of the series is shot on film. I fell in love with the people, the fashion, the horses, and the landscape.

I love learning about this part of American culture that is so foreign to me. I am a fly on the wall with my favorite camera and a couple of lenses and nothing else. It’s majestic. With this promo, I wanted to create something that editors would keep or pin to their walls. I knew it was time to share work I am deeply connected to, especially personal work of mine they might not see me share regularly.

How many did you make?
1000 printed copies

How many times a year do you send out promos?
Once a year

Do you think printed promos are effective for marketing your work?
I think art departments are quite overwhelmed with email outreach these days so I’m hoping it’s nice for them to receive a thoughtfully designed and edited zine.

The Best Work I Saw at Photolucida: Part 1

 

Part I

My father always said, American politics acts like a pendulum.

It swings to the left and right, at its edges, but seems to course correct before going too far in either direction.

In general, I agree with him.

But my Dad also said that Trump would be removed from office within his first year. (He was sure of it.) As did my brilliant, former graduate-school professor, and he has a PhD.

Each went so far as to pick out a 3 month window during which Trump would go down in 2017.

Honestly, though, I never believed it.

Not for a second.

I countered that no matter how guilty Trump was, no matter how obvious the crime, Republicans would always have to fold en masse for Trump to go down, and I didn’t see it happening.

No matter what.

“If the Republicans won’t turn on him, they can’t convict him in the Senate,” I said, “which means he can do whatever the fuck he pleases.”

And here we are, in 2019.

So it’s no surprise that Bob Mueller comes out and says that he didn’t charge the President because he didn’t have the constitutional authority. And then he drops, “When a subject of an investigation obstructs that investigation…”

It’s been noted that that Mueller said, “when,” not “if,” while beseeching everyone to take him at his literal word.

So we wonder how much further it can go, this erosion of our checks and balances?

Do the Republicans want to control everything forever?

One party rule?

Now Trump is again “joking” about serving 4 or 5 terms.

At what point do we take that seriously?

Countries that support one-party rule are not democracies, nor republics. They’re autocracies, or communist entities, or totalitarian states.

A healthy America needs two healthy political parties.

These days, it’s hard not to wonder if our system will withstand the Trump years?

 

Part II

I stayed with my buddy Hugo in London last week. (He made appearances in the column in 2012 and ’13.) Hugo will turn up in the London stories, for sure, though his black Porsche has been sold, I’m afraid.

“Hugo at the bus stop”

As soon as we got to discussing American politics, (Hugo grew up in NYC, but has lived in England since 2007,) he just kept talking about “Divide and Conquer,” shaking his head.

Like, could you Americans be so stupid as to fall for this shit again?

He and I commiserated, as when we were at Pratt, in the early aughts, Post-Modern theory was all the rage then as well. Identity politics were a part of it, but back then, it was more Derrida-heavy.

Like, “Nobody can say anything about anything, because all language is a loaded construct. Every single word can be deconstructed, so nothing means anything in the end.”

It depends upon your definition of the word “is.”
That sort of thing.

These days, it’s been taken a step further, to become: “Nobody can say anything about anything that is outside their personal construct of: gender, class, social status, sexual orientation, race, age, etc.”

Strategically, “Divide and Conquer” works, which is why some rich folks dispatched Steve Bannon over to Europe to organize the far right groups, and simultaneously attack European Unity.

(If you’ve been reading the news, it’s been working. Beyond Italy and Germany and France, even in England, Nigel Farage’s new Brexit Party is thriving.)

But in the American left, and especially in media and the arts, identity politics taken to this extreme is literally succumbing to a divide and conquer strategy.

I’ve written about this stay-in-your-lane-ism for several years, and was perhaps early in identifying it. So let me be the first to say, I think the wave may be cresting.

These ideas were so out there, so front-and-center at Photolucida last month, I expect that we might see a restoration of balance, with respect to any room for concepts of Universalism, or General Humanism, within the photo community.

(Has the shark been jumped?)

At the reviews, multiple photographers showed up at my table near tears, or having recently been in tears, as their work had been attacked for being improper, based upon who they were.

I really don’t know how many people I met who told me their photographs had been considered controversial because they weren’t of a certain ethnic or racial group, or class, so they should not be commenting outside their lane.

Lots of hurt feelings, that’s for sure.

 

Part III

Why ask these questions?
Why go here today?

Well, we’ve found ourselves in Part 1 of The Best Work I Saw at Photolucida, but we’ve done it in a round-about way.

Rather than do a book review, or show you jpegs of portfolios, we’re going to take a short look at three books that ended up in my bag during the week.

The first is “Across the Omo Valley: The Ethnic Groups of Southern Ethiopia,” which I was given during a review by Kelly Fogel.

Now, Kelly was obviously white, and seemed to be a young Jewish-American woman from LA. (She later added that she’s blonde.) Kelly sat down to show me photographs from Africa that seemed to hybridize fashion and art into hip, stylish documents.

I liked the photographs right away, on merit, but could see where the problem was.

Which Kelly quickly confirmed.

She said something along the lines of “What is a white, blonde female photographer from California allowed to shoot these days?”

It’s a paraphrase, yes, but I heard some version of that sentiment again and again. In each case, I assured the photographer that I was open-minded, and willing to consider their work in the context they presented to me.

(I got a lot of smiles of relief each time I said that.)

Ideas flow in cycles, just like politics, and life itself.

I agreed to show Kelly’s work here on APE immediately, but it wasn’t until this morning that I re-discovered she’d slipped me a slim book, and I’m happy to share it with you here. The text pages confirm that Kelly works with organizations, and teaches teens.

 

Now that I think about it, both of the other books I’ll show today were slipped to me by friends, one old and one new, and they both made it into the same little bag I raided this morning, looking for a story to write.

First off: “Days on the Mountain,” by Ken Rosenthal, published by Dark Spring Press in Tucson.

Ken, like Hugo, has made appearances in the column before, as he was with me on that legendary, (and scary as Hell) meth-town-pit-stop in Van Horn, Texas on the way to Marfa.

We’ve been doing these stories here for 9 years now, and I’m lucky to have had friends who pop up now and again over time.

With Ken, though, I haven’t seen much of him the last few years. You’ll have to trust me that he’s been dealing with some really difficult family issues. The kind of shit you wouldn’t wish on your worst enemy.

He’s also a guy I helped get out of a mugging in Tucson back in 2010, and he recently had his next-door-neighbor accidentally shoot a shotgun shell through his wall, right above where his young daughter sleeps.

In other words, luck is not always kind to Ken.

But he’s also a very successful artist with gallery representation, exhibitions, books, you name it.

All the trappings of success.

So when he gave this book to me, I teared up as I flipped through it.

The work was just so different from what I was used to seeing from him. It’s raw, and personal in a way that stripped back artifice.

It’s as close as a diary-for-sanity as I’ve seen, (given that I know him,) and the beauty of the book felt sweeter to me, knowing it was well-earned.

Bugs and bats and bees and trees.
Nature and forest and summer in Washington as salvation.

Not a bad way to kick off the post-Memorial Day weekend summer season.

 

But I like to keep it real, so rather than end typically happy, like Hollywood would, I’m going to finish up with a Hollywood story, but not the one you’re expecting.

On the first morning of the festival, at the first reviewer breakfast, I had a date to meet and chat with Alison Nordstrom, and she kept a seat open for me as a result.

Next to my reserved seat was a young guy I hadn’t met yet: Gregory Eddi Jones, an artist, writer, educator and publisher based in Philly.

He got his MFA at the Visual Studies Workshop, and was a part of a Rochester-NY-educated crew that I’m just learning exists in the wide Photo Land.

Greg and I hung out a few times, and I got to see some of his new work, which is currently being exhibited at the Foam Talent exhibition in London.

In Portland, on the last morning of the event, just as people were departing, Greg gave me a copy of his 2014 book “Another Twenty-Six Gas Stations.”

(Pause.)

OK. Did you have your judgmental thoughts yet?

About how nobody can possibly bring anything new to Ed Ruscha’s classic-LA concept?

Are you done?

Because I had the thought, and I saw it flash before a few peoples’ eyes when I described the book to them too.

But…these are screenshots from gas station surveillance video feeds broadcast online.

The mayhem and horror predate the Trump era, obviously, because the project is 5 years old. Yet it feels so NOW, so of the moment, so “Cops” on Molly laced with fentanyl.

I love it, and I bet you will too.

See you next week.

The Art of the Personal Project: Agnes Lopez

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 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.

This past Monday we celebrated Memorial Day and it is such a honor to feature these Fallen Heroes.  #neverforget

 

Today’s featured artist:  Agnes Lopez 

A recap from when this project was first posted. Let’s honor these men who recently passed.

From the artist:

“Creating portraits for this ongoing project has been an incredible experience, though days like Memorial Day make me sad when I find out that more of the people I have photographed are no longer with us.

Emilio Teodoro passed away on Saturday, May 25th. It was an honor to meet and photograph him. I will always remember the smile on his face when he received the Congressional Gold Medal. Mr. Teodoro was a 99-year-old Filipino-American WWII veteran who finally received his award after more than 70 years of waiting for his service to be recognized.

His story, like many of the FilVets I met, is one of perseverance, sacrifice, and dedication to family and country.

 

Mariano Aquisap was a veteran of three wars who received his Congressional Gold Medal in March, 2018. I shared his portrait on Veterans Day last year because the ceremony where he was honored was so emotional and cathartic. Mr. Aquisap passed away in April.

 

Flaviano Diala, was a Bataan Death March Survivor and Filipino World War II veteran who passed away in January.

Unfortunately, the brave veterans who are still here are not likely to be with us much longer. My hope is that their fight won’t be forgotten and that more people will learn about the sacrifices made by the Filipino-American people during the war and afterwards.

The Faces to Remember Project was recently on display at the Florida School of the Arts in Palatka, Florida and at the Riverside Fine Arts Series in Jacksonville, Florida. Additional shows in the Northeast Florida region will be announced soon.

To see more of this project, click here.

 

Agnes Lopez is an editorial and food photographer with a home base in Jacksonville, Florida’s historic Riverside-Avondale neighborhood.

Agnes traverses the Southeastern US and beyond with her camera in search of inspiration in the form of exceptional meals, her subjects ranging from the fine cuisine of award-winning restaurants to food trucks and their street fare.

Her work appears regularly in the pages of food and lifestyle publications across the US.

She is available for assignments worldwide.

 

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she 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 @SuzanneSeaseInstagram

Success is more than a matter of your talent. It’s also a matter of doing a better job presenting it.  And that is what I do with decades of agency and in-house experience.

 

Art Producers Tell All

- - Working

AP 1: I never look at mailers.
AP 2: I look at every single mailer.
AP 3: I got a bottle of tequila!

All joking aside, Heather Elder has an awesome podcast you should be checking out called “Dear Art Producer” where she’s asking the questions all professional photographers and reps want to hear the answer to. If you’ve been in this business long enough most of it is pretty reassuring stuff that we already know: some read every email, some look at every promo, some don’t. There is no magic bullet and you keep all channels open and active to reach them. There are a few surprises too like a mixed bag on use of instagram and that motion is not coming out of the broadcast department as much as in the past and they are looking for photographers who can do it all fast and loose (cheap).

Give it a listen and drop a comment if you find anything surprising. Looking forward to more of these.

The Daily Edit – The Atlantic: Hashim Badani

- - The Daily Edit

The Atlantic

 Art Director: Arsh Raziuddin
Photographer: Hashim Badani
Writer: Ross Anderson

Heidi: The Atlantic discovered your work via instagram rather than a site. Tell us how you use the app and how it’s moved your work forward?
Hashim: As we have witnessed, Instagram and Twitter have been powerful tools in letting one take control of their narrative. I use my feed to post a blend of my work which alters between documentary and fashion. It lets me blur lines. I use Instagram stories to document or voice my opinion on the everyday while I curate my post to lend itself to a larger cumulative narrative on how I perceive and experience the world.

How do you curate your feed?
It doesn’t follow a pattern. It might vary between something as whimsical as a play of colour to something more relevant as participating in a larger discourse we might be collectively encountering. I also use it to create short fiction stories on Bombay.

How did this project push you creatively? 
It was a unique editorial project to be a part of. Mainly because the narrative moved so fluidly between places, science, faith and Ross’s (the author) own experiences. That was the challenge and joy of it. Arsh had a certain vision that should brought to the table too. All in all It pushed me to look at the space we inhabit beyond our everyday perspective.

Why do you use long form captions on some of your images?
An image can be read in a number of ways. I completely enjoy the process of creating make-believe scenarios around them. The text is a way of doing so.  A series I really enjoy working on is called #makingupmanto. Manto was a prolific author who lived briefly in pre-partitioned Bombay. I wander the same streets of Bombay that he might have and imagine different scenarios he might have found himself in. Sometimes I add contemporary references. In a way, the captions to these images are a projection of my concerns on the current political landscape.


Things had to change. And still, nothing changed. It seemed like the saffron skies were here to stay. Manto packed the last of his bags, said his goodbyes. Kadar, the watchman at Mohmadi Mansion was his last farewell .Teary eyed, he told Kadar of his predicament-this was never home. Kadar didn’t care. He had dozed off. Manto disappeared into the crowd.

Lost in the music, Manto made his way to Madanpura. It was one of the few areas in Bombay where life started early. The morning azaan wend its way around streets tread by children headed to the madrasa, before heading to Christ Church or St Agnes school. Mill workers heaved in clusters toward New Great Eastern Spinning & Weaving Mills. In the early hours, the sky had turned a pale pink, the kind before a storm. Safiya would be awake any minute. He picked up the pace (continued as instagram highlight).

How does each genre of photography point back to one another ( portrait to street photography, fashion to photojournalism?)
I have never thought about photography in genres. It has always been more a byproduct of my curiosity and my need to tell a story. For now, I lean on photography to do so but I am open to exploring other mediums as well.

What was it about Hashim’s work that awarded him the project? 
Arsh: We thought Hashim was the perfect person for this piece. I wanted someone familiar with Delhi who has a versatile background. Hashim seems to have experience with portraiture, fashion, street photography, and photojournalism. He has a great way of using textures and colors and I knew it would play into the animals and birds well.

 

What type of direction did you give him?
I gave Hashim a list of shots that I would like and updated him on lines of the piece that were the most important. It was hard to capture everything, especially because much of the piece was not focused on Jain’s themselves but on the animal mind and treatment of animals.

Did the writer travel with him?
No, the writer was based in Washington DC. He did help with the shot list, though. He visited earlier that year.

Impressions from Portlandia

 

It took me 23 hours to get home from London yesterday.

No lie.

It was a walk to a train to a walk to a plane to a walk to a plane to a walk to a train to a walk to a 4.5 hour car ride.

And it was so, so, worth it.

So very, very worth it. (Trust me, the stories will be crazy!)

But London will have to wait for a bit, as I’ll likely intersperse some of those articles with the pieces we’ll be doing soon about the Best Work I Saw at the Photolucida Festival in Portland.

Not today, though.

Today, rather than drop you into London, May 2019, where about 30% of my brain still seems to reside, I want to think back, just a few weeks, to my odyssey of a trip in Portland.

Seeing the East Coast, West Coast, and then Europe in 6 six weeks is not really something I could have planned.

It just happened.

Each city has its own particular flavor, its special brand of cool, and while London may be my favorite global megapolis at the moment, Portland is a proper little, boutique city in comparison.

I flew in to Portland from Albuquerque, (via Phoenix,) and almost immediately I knew I was “there.”

Walk out the offramp, there was a Columbia outerwear store, a Pendleton blanket stand, an “Only in Oregon” wine shop, and so many cute locally owned restaurants you could blind-fold yourself, spin around, point at any of them, and it would likely be good.

(Vietnamese? Thai? Pizza? Deli? And so on.)

Returning home, I noticed a sign that said that the law required all stores to charge the same prices in the airport as they do in-town. So my amazing Pad See Yew noodles were only 8 bucks, and I saw bottles of water for sale for $1.25.

It’s the kind of thing they might mock on “Portlandia,” but really, what’s not to like?

Mostly, I think that’s my take away from Portland.

What’s not to like?

Separate your preconceived notions about twee, or meet-cutes, or whatever Carrie and Fred might have mocked, and I thought Portland was rad in just about every way.

I admit, though, I was a bit disoriented at first. Coming into the city from the airport.

Like any good city should, you can grab a train right there, (light rail in this case,) that will bring you right into the heart of town for something like $2.50, in 45 or 50 minutes.

All the way along, through, we were in tight corridors. And everything was green and lush!

Tree canopy

Train tracks cut into ravines. Or buildings pressed in on either side.

Always pressing.

I couldn’t get a sense of where I was?

It felt like the route was pinched in.
Claustrophobic.

It was weird, which was a word I heard like 573 times during the week I was in Portland.

Weird, weird, weird. (Fedora stores and steam-punk style and Satan bars.)

By the time the train found the city proper, the buildings had crept even closer, and the entire train corridor and street were seemingly 40 feet wide.

I could barely breathe.

If I were Rodney Dangerfield, and had a collar to loosen, I would have done so in just that moment.

Gulp.

But then, and only then, did the train pass the basketball arena, make a sharp bank to the Southwest, and cross the Willamette River on a multi-purpose bridge.

Steel Bridge

Whoosh!

All of a sudden, your eye is torn in two directions at once.

The cute, shiny downtown in the glowy-evening-light, set against some green hills to the Southwest, and then, off to the North, on the East bank of the river, a huge working tanker ship at an old industrial shipping dock, right there in the heart of the city.

They literally sit opposite each other.

The working, worn, and maybe-less-than-shabby-chic part of Portland, the timber town that still has logs floating in the river, to the trendy, foodie, hipster, cultured, amazing, progressive city it’s become.

But as soon as that big open view was there, it was gone.

Poof.

And we were back in the congested feeling again, on the other side of the river.

I’m not sure this is correct from above, but I felt like downtown Portland was a blanket you’ve thrown on the ground, and it folds in weird ways.

When you’re in the folds, you can’t see the blanket. (If you’re a small spider, for example.)

But my first full day, after my first session reviewing at the festival, I went on a long walk with my good friend Heather, heading back to the river to cross at the Steel Bridge, before making it back on one of the more southern bridges, which was high enough for the first big view.

Mt. Hood.
Covered in snow, conical and majestic, looming to the East.

That helped a little.

It wasn’t until the next day, though, when I climbed the biggest hill I could find to Washington Park, and then jumped on a statue pedestal to get higher, that I felt like I could breathe.

I caught a big vantage, oriented myself in space in a new town, and then things settled in nicely, vibe-wise.

Truth be told, Mary Jane is legal in Portland, as it is in Colorado, and I went to a cool dispensary called Serra, with a buddy, and picked up a little something for the off hours. (The place was both stylish and reasonably priced, and the staff was nice. Thumbs up for sure.)

Walking to Washington Park

As my Park Walk was free time, after I did my Lewis-and-clark-like survey from a peak, I dropped a bit deeper into the park, and was immediately surrounded by 100+ft tall trees.

Entrance to Washington Park

Doing my Lewis and Clark impression, I bump into a statue in their honor

View from the Pedestal

So beautiful.

But once I turned another corner, I saw a swing set, up the way.

Nobody was there, nor was anyone even around.

Noticing swing sets was more a parent-move than stoner-sensation, but soon I was there, partaking in public, (maybe a no-no, but again, no one was even around,) and then I set my stuff down.

And started swinging.

Above me, the sky was purple-blue, and the trees were touching its belly like they were tickling a new dog.

Up, I pumped the legs.

UP.

Soon, I was as high as I could go, and then I leaned back and stared up at those trees as the motion made my belly feel like Free Fall at Great Adventure in Jersey circa 1996.

For a moment, I wasn’t a Dad.
Or a portfolio reviewer.

I wasn’t a writer.
Or an artist.

I wasn’t a Democrat.
Or a martial artist.

I was a kid on a swing set, truly, humbly amazed at the beauty of the sky, and the trees, and the flowers around me.

All the while, hoping that I wouldn’t let go, or lose my grip, or vomit all over myself.

(No vomits in Portland, but I did have a proper incident in London. We’ll get to that another time.)

After playing, I headed back down the hill into downtown, and everywhere, there are clusters of street food stalls.

One after the other. With infrastructure and everything.

I’m not sure I’ve seen a street food culture like that anywhere in the US, and again: what’s not to like?

There is much more to tell, including clueing you guys in on some of the places I ate and drank, (including one bar you will NOT believe I went to,) but those will come in future articles.

I promise.

Rather, as I’ve been all praise so far, I want to keep it real and point out that Portland, too-nice or not, is far from perfect.

No place is.

Public green on the Willamette River

The stereotype of the “Portland Street Dude” that you have in your head is very real, as is the “Portland Street Dude with Pitbull,” a difficult subset of the culture.

So many gaunt, sad-looking white guys with obvious drug problems, and no proper home.

The homelessness crisis is not quite as dramatic as it is in California, but it is pretty damn obvious in Portland too.

Really, it made me think, as I’ve pieced my West Coast travel together in the past few years, that there is a permanent street class now that rivals what we saw in all those photographs of the Great Depression.

It’s a hard fact, and one that California, Oregon, and (probably) Washington will have to grapple with heavily in the coming decade.

Not to leave you on a downer, but I’m pretty jet lagged at the moment, and just dropped 1500 words on you, so I think we’ll call it a day.

PS: I got a shiny new iPhone in Portland, so as of my London trip, we’ll have 4k video and much improved photographic technology on these articles going forward.