This Week In Photography Books: Rinko Kawauchi

by Jonathan Blaustein

I’m glad they call it Climate Change these days. (Instead of Global Warming.) Makes more sense that way.

At first, I thought it was a euphemism, meant to seem less-threatening. But then I realized that despite the fact that something like thirteen of the fourteen hottest years on record have come in the 21st Century, it’s really the preponderance of extreme weather that will get people’s attention.

Nothing shakes things up like death statistics.

When the Climate Changes, we get things like what’s going in Boston. Where the snow is higher than Bob Marley at 4:20am, the night after a Reggae Festival in Kingston. (And have you heard the Marley family is getting into the legal weed business? Genius!)

As for Taos, we spent most of the winter enjoying unseasonable 55 degree days. Two weeks ago, I took my students shooting around campus, and they were all wearing T-shirts. Again, this is the Rocky Mountains, for goodness sake.

But last Friday, OMG. Winter came roaring back like a kiln-fire surrounded by hippie potters. It was raging. We had a four-day blizzard for the first time in I can’t remember. It was so beautiful. Outside my door, everything looked like a Japanese Landscape Painting.

So. Very. Quiet.

What do you do during a four-day-snowstorm? Right. Watch movies.

We caught “Chef,” a really poor Indie film from Jon Favreau, of “Swingers” and “Iron Man” fame. I’ll spare you my treatise on why it was both implausible and hollow. What really got my attention was the manner in which Favreau, as the titular Chef, was driven to temporary insanity by a particularly difficult online critic.

All I could think was: been there. It’s hard for me to believe how personally I used to take the comment section criticism here. It was always so cruel and personal. Still, I cringe thinking about how angry I used to get at those anonymous trolls.

Now, we moderate. Keeps the discourse civil, though there’s rarely any discourse at all. The past two weeks, though, I noticed that someone questioned my choice of book, as I’ve been trying to vary my selections a bit. Both comments were civil, open-hearted, and thoughtful. So I replied.

You don’t have to agree with me. But if you have an intelligent thought, and take the time to share it with me, I’m willing to write back. Frankly, it was all I ever wanted. Conversation is interesting. Hate? Bo-ring.

But what did I promise you last week? That this week’s book would be right in the eye of the storm. The average, normal, medium-type of book that I often review.

What would that look like? Talented artist. With other books to his/her name. Respected career. Political and/or relevant subject matter. Handsomely produced. Most likely not from the United States.

Right?

Right. Here we go.

“Light and Shadow” is a new book by Rinko Kawauchi, recently published by Super Labo in Japan. I’m always asking for books that tell us what we need to know. Preferably though the pictures, but that type of communication can be difficult.

This book does just that. It’s clean, spare, and white, with a picture of a bird on the front. (Put a bird on it.) As befit’s Ms. Kawauchi’s style, the first few pictures are in color, and well-composed. The second photo has sun flares that look like emoji. (Is emoji a Japanese word? Must be, right?)

If you look carefully, the next two pictures reference rubble, seen from afar. Then, we get two inserted pictures of birds, the first of which clearly shows them soaring over a garbage heap. Broken down wooden things.

First thought, I love that the inserts look like 4×6 pictures from Walgreens. (Or its Japanese equivalent.) Second thought, earthquake damage?

The book continues in this manner. A broken street, rendered in twilight blue. A bright yellow dandelion spouting up out of a patch of green grass. The next time we see the bird inserts, there are three photos instead of two.

Growth. Change.

There is more rubble. More flowers. More light flares. More twilight blue. A pink balloon. And a dog roaming the streets to boot.

Even with our short-news-cycle-attention span, it’s not hard to connect this to the Earthquake/Tsunami/Nuclear Disaster phase that hit Japan a few years ago. Almost any viewer would connect the dots.

There is a short statement that confirms what is by then obvious. And the back page states that a portion of the proceeds will be donated to disaster relief. Which is a good thing. Because while I never look at prices, I happened to notice this one sells for $80. You can feel good about spending that, if you want one.

Bottom Line: Beautiful, haunting photos of Japan, after the quake

To Purchase “Light and Shadow” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

The Art of the Personal Project: Jason Lindsey

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

Today’s featured photographer is: Jason Lindsey

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How long have you been shooting?
15 years Professionally

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

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

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

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

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

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

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

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

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

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

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


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

Josef Koudelka on Motivation, Humanity and What Makes a Good Photograph

- - Working

LH: How important is composition in your photographs?

JK: It’s not a good photograph without good composition. Originally I’m an aeronautical engineer. Why do airplanes fly? Because there is balance.

A good photograph speaks to many different people for different reasons. It depends on what people have been through and how they react.

The other sign of good photography for me is to ask, “What am I going to remember?” It happens very, very rarely that you see something that you can’t forget, and this is the good photograph.

via PDN Online.

The Daily Edit: Michael Friberg: GQ / By the Olive Trees

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GQ

Design Director: Fred Woodward
Director of Photography: Krista Prestek
Photographer:
Michael Friberg 

 

I’d imagine shooting highly produced live performance of a legendary rock band could be anyone’s dream assignment; it’s about the access, up close and personal. What type of obstacles did you run into on this assignment?
I’m too young to really have any real knowledge of Motley Crue other than what I’ve seen on VH1 specials about their legendary debauchery. In highschool I grew up going to punk and hardcore shows in abandoned warehouses and rented storage spaces. Super DIY so this type of thing was totally foreign to me and I was excited for the visual excess that awaited me. I had delusions of grandeur thinking I’m gonna be like Annie Leibovitz with the Rolling Stones or something. Unfortunately the reality was much much worse. Their time and access was over promised and I had to fight tooth and nail to even get the band together for a quick portrait. It was a pretty acrimonious setting, I felt like I was in a real life version of Spinal Tap.

How did you deal with things dissolving around you? 
I was definitely stressed out but I try to keep a sense of humor about things. It was my first time working for GQ so I wanted to do a good job. Luckily Krista had been dealing with their people for a while before I had and she was really understanding about how challenging it was. You never want to be the photographer making excuses for why something didn’t work out. The whole situation was so restricted it was comical. On the first night they let me shoot the first song from about 200 feet back from the stage by the sound board and then escorted me backstage. I was sitting side stage watching this insane spectacle of a show. Explosions and dancers and a crazy light show and I didn’t have my cameras. It was killing me. I was kind of panicking because I didn’t have anything so I snuck out and shot some more photos. That didn’t turn out too well but I got some more photos that I needed. I really don’t like being in a position where I’m having to sneak around. I’m a pretty easy going guy and I get along with most people but the assignment was definitely in jeopardy so I felt like I needed to take some drastic measures or else I wasn’t going to have anything. I got busted and the whole thing sort of exploded in my face but it lead to the magazine negotiating better access for the live show the next night so I guess things worked out. I was heavily babysat from there on out though.

Was this your first assignment for GQ and what about your work/situation awarded you the job?
This was my first assignment for GQ. I was pretty surprised to get a call from them because I had always had a really hard time even getting a meeting there. The assignment came from Krista Prestek the director of photography there who I had never had any interaction with. It turns out that in a meeting the photo editor Katy Dunn who was freelancing there had apparently mentioned my name. She actually gave me my first magazine assignment ever when she was freelancing at Businessweek in 2011. You never know where people will end up in this industry.

What drove you to be relentless about getting the shot and what did you learn from this assignment?
I never want to be the photographer that is making excuses for why something didn’t work out. Even if its true, it doesn’t bode well for you. The editor hired you to get the job done and that includes adverse circumstances more often then not. Sometimes you just cant do it but i’m going to bend over backwards to try and figure something out in the mean time. When the photo director at a magazine hires you out of the blue for an assignment that most people would kill for you need to make sure you do a good job one way or another.

How much time did you actually get with the band?
I thought I might have been exaggerating when I was telling people I got 30 seconds with the band but I just look at the time stamp on the first photo of the band and the last photo of the band. 21 seconds. I didn’t have a choice where I shot it. They told me I could shoot the band backstage on the ramp right before they went onstage. I shot two or three frames front lit and then had my assistant Cole run around behind them and backlit a couple frames and we were done.

I know there is interpersonal band tension which makes it hard to shoot them as a group, how did you resolve that?
I didn’t even really interact with the band. We had negotiated them all being in this place before they went on stage. I don’t even think I introduced myself. When I finished,Nickki sixx said “Fuck yeah! that was quick!” and gave me a fist bump. That is the totality of my interaction with the band on the two day assignment.

What surprised you the most about this assignment?
The flame thrower/bass that Nikki Sixx plays. Its a functioning instrument but it also shoots fire 25 feet in the air. Despite how tough the assignment was logistically, it was pretty awesome to be witness to such a crazy spectacle. Having the opportunity to shoot a bunch of stuff explode while some aging rockstars play “girls girls girls” is a pretty sweet gig no matter what happens.

How has living in Salt Lake City shaped you as a photographer?
I’m originally from West Texas but after high school and one semester of college back home, I decided I needed to get the hell out and get to the Mountains. I didn’t know anything about Salt Lake City, other than that it was the headquarters of the Mormon Church and that its name kept appearing in snowboarding magazines. I went to a small liberal arts college here and snowboarded 4 days a week and occasionally went to class. It was great. Once I got into photography, I thought I needed to get out and get some experience in a big city so I moved to NYC for a year and assisted and starved.I learned a ton but I was running out of money and I wasn’t really shooting any personal work and my girlfriend (now wife) was in graduate school in Salt Lake City so I moved back and licked my wounds. The plan was to move to a big city when she finished school and I would try to freelance but life had different plans. I got a couple random jobs and worked part time, lived with a handful of gross dudes to keep rent cheap and spent all my money on shooting personal work. I always feel like I end up being defensive about living in Salt Lake but I really love it here. Its pretty cheap considering the incredible location. The airport is awesome. Its not really that hard to get a beer despite the rumors. I have the best community and group of friends i’ve ever had here. I slowly started getting regional work and I would go back to NYC and do meetings once or twice a year. I got married in the summer of 2011 and I was still working at a pub part time, shooting part time. I was really lucky that my super gracious wife had a “real” job and it afforded me the space to save up some money and quit the day job and make a run at the freelance thing. A lot of the first assignments I was getting were pretty routine. I was only getting hired because I was a guy with a camera who was capable. The first people who really hired me and encouraged me to do my thing were Businessweek. Specifically David Carthas when he was still there as the director of photography. Early on before anybody else was giving me cool assignments, they were. I am really thankful for that because it helped get the ball rolling and helped me get out of the “regional photographer” rut.

What were the draw backs if any for living in SLC and a smaller market?
I definitely don’t work as much as my peers in big markets. I think everybody assumes everybody is doing better than them but I probably only have 4 or 5 assignments a month. That is totally fine with me because my cost of living is low and I really like to focus on making personal work and having a good quality of life. One drawback of being in a small market where not a ton of stuff is happening is that I end up on the road a lot. It usually goes in spurts. I’ll be home for three weeks and then spend a month bouncing around. There definitely isn’t as big of a creative community as there is in larger cities. Not all of my photo friends live elsewhere but most of them do. I have had a much harder time breaking into the commercial market being here. I think it is a bit harder to be taken seriously when you live in a smaller market. I used to resent that sort of “NY or nowhere” attitude that existed in the editorial world but I definitely think that is changing.

Aside from snowboarding, what brought you to SLC? Were you aiming to start a photography career?
Like I said, I grew up in West Texas where creativity wasn’t exactly flourishing so I had no idea you could even make a living doing something like that. I didn’t discover photography until my sophomore year of college.  I wasn’t at a super art heavy school but I pieced together an education between class and the internet and photo books.

How did the lower cost of living, smaller market help you develop your photographic voice?
I think I sort of answered this earlier but I really can’t stress enough how important it is to spend money on your photo projects. Photo projects are expensive. Film, traveling etc etc it all adds up. For a while I would spend money on gear expecting that to solve my problems but my problems weren’t technical. My problem was that I had no vision or voice or experience. Being a snow bum translated well to becoming a photo bum. When I was in college, I would share houses with tons of my friends to keep our rent as cheap as possible to be able to snowboard as much as possible and work as little as possible. When I started trying to make it photographically it was an easy transition. I still had tons of room mates and my rent was around 200 bucks a month. I would shoot personal projects and travel and spend all of my money on film.

You have quite the client list for shooting full time for just short 4 years, how did you get started?
Like everybody else, I would go to NYC a couple times a year, meager portfolio in hand, and do meetings with photo editors. Even when these meetings weren’t getting me much work, It was hugely educational because you see your portfolio a whole different way when somebody else is looking at it on a table. You can also see what people are and aren’t responding to and learn from that. I slowly started getting work and then I got a couple cool assignments that helped me really show my style and voice and that helps immensely when you can show commissioned work to editors rather than just personal work. The gap between shooting editorial and shooting personal projects is huge. Some of the photos might look similar but the process of shooting them is so different its crazy. On a personal project, if the weather or light sucks you just come backtomorrow but on an editorial shoot you can’t come back tomorrow you just have to make something work. I feel incredibly blessed to have been entrusted with the assignments I have been given. I think a lot of photographers feel entitled to cool work but its important to remember that when some editor is hiring you and you are young and untested, that that person is putting their ass on the line for you. I have no idea why some people gave me some of the assignments I have been given. I didn’t have a single celebrity portrait in my portfolio before Sundance last year when Bailey Franklin from Variety called me. How did he know I wouldn’t melt down and blow it in all of the chaos of photographing over 100 people in four days in a tiny improvised studio?

What’s the best advice you have for any photographer starting out?
Spend all your money on personal projects. Have a low standard of living when you are starting out, that way you can work on projects you care about rather than just doing everything for money to survive. When people can really see you in your projects you will get hired to do the same type work. The hardest thing about photography isn’t taking pictures, it’s figuring out how to communicate what you want about a particular subject and executing that. Getting access, planning, logistics, executing ideas, these things are all the things that you learn by trial and error when you are shooting personal work.

What can you say about your generation of photographers, how is it different from the previous generation?
The internet, for all its faults and insanity, has been instrumental in building a creative community for me. People I met through online channels have become mentors, real life friends and collaborators. I can only speak to my personal experience but in my particular peer group in the photo world, it feels much less competitive and cut throat. When I was first trying to get meetings, my friends were not only giving me people’s email addresses but also doing email introductions on my behalf. Some of these people are technically my direct “competition” but I feel like my friends are operating out of an economy of abundance rather than scarcity. Being a freelancer can be terrifying and screw with your head and you can think every job is your last or freak out when the phone doesn’t ring for two weeks but I think being around people like this has helped me have a much healthier attitude about all of it.

Your work has a vast range of reportage, portraits, details, long narrative arcs. How has that range become an asset to your career?
I personally really like shooting a huge range of things. I think sometimes it makes my work seem a bit schizophrenic and all over the place but it keeps things interesting. The trick is being versatile while still finding a way to put your own personal stamp on it. Thing can easily get generic if you don’t find a way to do that. I definitely think I get hired more often to shoot feature essay type stories that need a few different things photographically to illustrate a story. A lot of the time I end up doing a seamless portrait and then also doing reportage in the same day. Ultimately that is my favorite type of photography. Its cliche but telling stories and interacting with people is really why I got into it and figuring out creative ways to do that is always really fun.

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By the Olive Trees

Design Director: Fred Woodward
Director of Photography: Krista Prestek
Photographer:
Michael Friberg  and Ben Rasmussen

Tell me how By the Olive Trees developed and why this was important to you?
I originally got into photography because I thought I wanted to become a photo journalist. After realizing that that particular style of working wasn’t for me, I started doing a sort of documentary/art/editorial hybrid that really seemed to suite my way of seeing well. I had photographed in Africa a couple times and really wasn’t happy with how things had come out. After doing a couple years of editorial work bouncing around and not really working on anything serious, I was reading an article somewhere about Syrian refugees in Jordan. I felt like the photography for these stories didn’t really match what I was reading. For instance: 2/3s of the refugees in Jordan were living in urban settings, not living in a refugee camp but all of the photos I had seen were from the really sensationalistic, highly visual Zaatari refugee camp. I felt like the refugees were sort of being used as props to illustrate a point. Ben Rasmussen and I had been talking about collaborating on something for a long time and we both were interested in working on something more serious than just photographing wacky stories for magazines. I’ve always been interested in social justice issues and this seemed like a way to participate in the conversation. We had no experience at all in this area but we bought two plane tickets to Jordan, found a fixer and headed over. The experience was definitely life changing and really helped solidify the type of work I want to be making. Ben and I really tried to slow down and photograph these refugees like we would shoot a magazine assignment in the US. Ben was shooting 4×5 and I was shooting medium format, lighting some portraits and reportage. We also did long form interviews with the refugees and got them transcribed.

When we got back, we put together the work for a multimedia piece commissioned by Dirk Barnett the creative director of The New Republic at the time. After making that, Dirk offered to design a book for us. Ben and I had been talking about this but we felt like an expensive photo book might not be the best outlet for this type of thing. At best, we could probably afford to make 500 copies and the people who would buy them would be the people who were probably already familiar with the conflict. I had a couple friends who had made newsprint zines and publications and it seemed like a really great way to use the newspaper medium to communicate information cheaply in a different way. the newsprint allowed us to run large chunks of text straight from the refugees mouths. We had self funded the shooting portion of the project and had managed to come close to breaking even after a couple outlets ran the work but we definitely didn’t have the money to do a large print run of the newspapers. The kickstarter was pretty cool to see because people really got behind the idea. We printed 4000 copies of the newspaper and the cost of each one was a little under 3 dollars for an 80 page full color publication. The low cost meant that we could ship three copies to each supporter and they could become distributors for us. People were leaving them in doctors offices, coffee shops and giving them away. It was cool to see where they ended up. We were definitely surprised at how much support we got. We exceeded our original goal which helped us to print more copies. The goal for the newspaper was that they would always be distributed for free. Now you can order copies on BytheOliveTrees.com for just the cost of shipping.

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How did you meet Benjamin Rasmussen?
I met Benjamin Rasmussen when I saw his work on tumblr, read his bio on his website and thought we had a lot in common. I emailed him to say hi and we struck up a friendship that has been hugely important for me photographically and personally.


What’s next for this project?

I just returned from Jordan about a month ago where I was working on a project about Iraqi Christian refugees who fled Mosul when ISIS took over. I’m going to be working on a long term project about the country of Jordan and how the influx of refugees is affecting the country. Currently nearly 1/5 of their population is made up of refugees which is a really staggering statistic. If that happened in America people would not be that hospitable. There are refugees from Central America coming even as we speak and people are picketing the buses that are transporting them to detention centers. I’d like to go back to Jordan in May to keep working on this project but I just had a grant proposal rejected so if anybody wants to send me back I’d be grateful…

The Daily Promo – Arkan Zakharov

- - Promos

Arkan Zakharov

Who Printed it?
This was printed on a sheet-fed press in Toronto.

Who Designed and edited the images?
I designed and did all press prep on this book, all editing done by me as well.

How Many did you make?
I did a run of 170 copies. 150 were quarter folded for easier shipping in envelopes. The remaining 20 were folded into a book which was sent in a tube to few select locations.

How Many Times a year do you send out promos?
This was the first time I have done a promo. I am planning on sending one out annually.

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@heidivolpe is reaching out to photographers from the Insta-Promo feed @aphotoeditor to learn more about how the promo was made. If you’d like to know more about a specific promo leave a comment on instagram.

This Week In Photography Books: Andrew Macpherson

by Jonathan Blaustein

I watched “Breaking Bad” for a little while, but then had to I quit. Cold Turkey. No more Heisenberg blue meth for me.

No sir.

I was doing a Netflix-binge-watch-thing, and made it into the beginning of Season 3. Darker and darker went the ride. Darker and darker still.

All of a sudden, after one more adrenaline dump, it became clear to me. There is no happy ending here, only a vortex of misery. Redemption is not interesting to Vince Gilligan. He’s just hooking people, deeper and deeper, so that the whole show
becomes a metaphor for addiction.

This train only runs in one direction, I thought, and it’s time to get off. Now. Before this shit gets any darker. Darker and darker, like the moonless night sky. That’s what’s ahead.

I don’t regret my decision, despite the near-universal-plaudits of the later era, and the mass-American-hysteria that accompanied the final season. It seemed like everyone but me was emotionally invested in the outcome, and that was just what I had planned.

That said, I’m completely in love with “Better Call Saul,” the newly introduced spin-off. First of all, Big Shout Out to Bob Odenkirk, who is brilliant. I know he gets plenty of props, but add mine to the list.

And having just been in Albuquerque the other day, it is oddly satisfying, as a New Mexican, to see scruffy Burque bathed in the glow of good camerawork. It might not be as warm and fuzzy as a breakfast burrito from the Frontier, smothered in scathingly spicy chile broth, but it comes close.

The story, if you’re not familiar, covers the backstory of Saul Goodman, Mr. Odenkirk’s character from “Breaking Bad.” Turns out he used to be a small-time hustler named Jimmy McGill. At what point does he adopt his new persona? His alter ego?

I don’t know.

They’ve just finished Episode 4, and most series like this take years to unfurl, like the American flag once had 13 stars, and then more, and more still. Hell, New Mexico didn’t even become a state until 1912, so they were adding stars for more than a century. Each time, making the previous flag irrelevant. Or, more likely, a very expensive collectible.

Even when you adopt a new identity, you’re mostly altering your name, at first. Authenticity takes time to develop, like a good green chile stew. We cook ourselves to condense the flavor, and build up complexity. Bit by bit.

Why am I waxing philosophical about such things today? (As always, good question.) It’s because I’ve just finished looking at “Pink: 10 Years,” a new book by Andrew Macpherson, published by Bravado. As I said last week, readers are sending me things these days, and this one popped up in my PO Box a little while ago.

It’s about as different from what I normally review as you can get, but I think that’s a good thing. As far as I know, Pink started out as a girl named Alicia, who could sing really well. I think maybe she’s from Pennsylvania, but you know how much I hate Googling things to be sure.

Truthfully, I’ve never been a fan of her work, nor have I gone out of my way to dislike it. She’s a massive Pop Star, so her music isn’t meant for the likes of me. She has a great voice, I know, and a rocking body too.

What else can I tell you?

Well, no one knows this, but before my wife and I moved to Brooklyn, in 2002, we spent 6 weeks criss-crossing Mexico by bus.
We ended up in Playa del Carmen, in Quintana Roo, in the middle of summer. It was hot as a bowl of habañero salsa. Your eyelids wanted to melt into your eyeballs, each time you walked down the Quinta.

When we weren’t in the ocean, we stayed in our hotel room, air condition cranking, watching TV and reading books. My wife would certainly be shocked to know I’m sharing this seemingly random detail, stolen from the bowels of my memory, but she spent hours at a time watching music videos, mostly in Spanish, which she doesn’t speak, to catch a Pink song, each time they brought it back around.

She might not remember that at all. And it would probably take me a fair bit of time on YouTube, which didn’t exist back then, to figure out which link to post here. So I won’t. (Update: Jessie confirms the story, and claims she was interested in “Get the Party Started” because it had a killer dance number.)

As for the book, it’s vibrant, and snappy, filled with well-made publicity stills, album covers, and behind the scenes concert shots. There is a running commentary, by Mr. Macpherson and Pink, which gives their current take on things that happened years ago.

Inspirational statements are graphically imposed, from time to time, and they all reflect a vision of positivity and hard work.

As for the pictures? I was mostly taken by how clearly Pink was “faking it until you make it,” in the beginning. The tongue came out, and the hair was bleached. True. But there was no gravitas in her expression, early on. No piercing intelligence behind the eyes.

More than once, contemporary Pink refers to her former self as a “baby,” and you can see why. She may have been captivating America’s teen-aged girls, and building a brand, but she was still figuring herself out.

As the book goes on, you think it’s going to be gradual, but really, it’s not. You reach a certain page, and there it is. Strength and confidence appear, like a black-hatted bad guy on the horizon. Soon after, we see her daughter. The baby has become a mother, and any and every parent can relate that feeling.

(“If I don’t grow up now, on the double, I’m going to ruin this little human, and that is one mistake I can’t allow myself to make.”)

There was one detail that really stuck out, like the shocking neon pink of the page edges. Pink shares that when she first wanted to sing and do acrobatics at the same time, her trainer was dubious. So Pink instructed her to punch her in the stomach, repeatedly, while she sang.

Can you imagine thinking of that, much less asking someone to do it to you? Totally. Fucking. Insane.

But I suppose that’s what it takes, if you want to become a Global Icon. A One-Named Brand. A color: personified. (My young daughter’s favorite color, incidentally. Like every other two-year-old girl on the planet…)

OK. We’re done here. This book is not like everything else I review. And last week’s book was about as typical of what I normally cover as you can get. So I guess that means next week, we’ll end up somewhere smack in the middle.

Bottom Line: Glossy look inside the evolution of a Pop Star, and, a human being too.

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The Art of the Personal Project: Geoff Levy

- - Personal Project

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

Today’s featured photographer is:

Geoff Levy

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

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

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

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

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

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

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

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

———-

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

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

The Daily Edit – People Magazine Oscar Portfolio: Brenna Britton

- - The Daily Edit

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People Magazine

Creative Director: Andrea Dunham
Director of Photography: Catriona Ni Aolain
Deputy Photography Director & Multimedia: Christine Ramage
Deputy Photo Editor-Entertainment: Brenna Britton
Deputy Design Director: Dean Markadakis- Designed this layout
Photographer+Director: Peggy Sirota

Heidi: We all know Peggy is a star, what was it specifically that made you choose her?
Brenna: Creative Director, Andrea Dunham, Director of Photography Catriona Ni Aolain, Deputy Director Christine Ramage, and myself wanted Peggy for her signature style, which means you’ll get the most stunning light, effortless moments of cool, and everyone looking beautiful. And for all those reasons, celebrities love to shoot with her. Working with Director of Visual Projects, Blaine Zuckerman, we also wanted a video series in Peggy’s style, to differentiate from the typical photo shoot interview, and have continuity from the still image portfolio through the video series.

With the Oscar’s coming up, how did you hope to set your portfolio apart from the media frenzy around these subjects
The original concept was to do a day in the life of Oscar, with a photojournalistic approach. Inspired by Paolo Pellegrin’s 2008 portfolio for the New York Times, we wanted each nominee to represent a slice of the day. Obsessed with Pellegrin’s image of Sean Penn making a sandwich in his kitchen, most photo editors and photographers dream of that kind of access, with that caliber of talent. That image gave you a private moment with an actor at the least private of times, awards season. To be able to photograph any of these nominees outside of the Beverly Hilton, or any other Hotel on the awards show conveyer belt is a miracle.

Unlike other publications that produce award season portfolios prior to the nominations, we actually wait till the nominations are out and then have about 2 weeks to produce a concept portfolio during the most hectic time for the talent. I’ll call the PR rep to ask to photograph the talent in a really soulful way that represents who they are as human beings at their home, waking up, brushing their kid’s teeth, hiking, driving, something reminiscent of the old LIFE magazine iconic images. I’ll ask for 5 hours for a photo shoot, video shoot, and interview.

The talent and PR reps are spread so thin during awards season, a possible offer of time would sound something like this:  “We have 10 mins in a corner of a hallway, after The “enter any awards event name here”, after 80 other photographers have photographed them in the same outfit, on the way out the door. You may be able to get them to actually stop for you, but I’m not sure, they have to be at Kimmel by 4:00pm, does that work? ” Not really the part of their soul I was going for, but let me see what we can do.

In all seriousness, the talent’s team is face with a mountain of asks, events and interviews, it’s a tremendous amount to juggle a successful campaign. Then I come along and ask for the most amount of time, and their soul on top of it, I’m the last person they want to hear from.  But in the end, each Talent’s teamwork to make the images happen, you have to respect what they are going through and still try to get close to your ideas.

Was this a multi day shoot?
Two weeks in Los Angeles producing what ended up being a 5 day shoot, with 2 shoots cancelled on top of that. Final outcome–5 image portfolio, 6 videos— 1 baby grand piano, 3 horses, 1 shoot cancelled the morning of, and numerous heart attacks. The only way to get through these types of numbers is with an outstanding team from Peggy, to producers Steve Bauerfeind, Cathy Mele, and numerous PEOPLE editors all-pushing to make this portfolio happen.

What type of direction did give the subjects? Were they characters in the films or themselves? 
I know it sounds cliché, but we really did want the talent to be themselves. It was incredibly important to Peggy to speak with each nominee directly, and ask what he or she really wanted to be doing during the shoot. Peggy is always looking to create an authentic environment that puts talent at ease the moment they arrive on set. Eddie is a great example. While we tried to get him on the phone with Peggy, I had done some research, and read interviews that he had a collection of guitars. We hired prop stylist Phillip Williams to get guitars, and worked on art directing the photo shoot around this premise. We had a tough time getting Eddie on the phone with Peggy, because he was filming in Germany, but they got on the phone the day before the shoot.

By the time I landed in LA, guitars had been nixed, and Eddie had told Peggy how he loved to play the piano. The hunt was on for a piano store, or a piano to be brought to set. The guitars were dropped, a vintage car was cancelled, and baby grand Piano was brought to set. I had a panic attack watching 6 guys carry the baby grand up wood steps to our Mid -Century location house and have it placed on a balcony that, to this day, I have no idea how it supported the piano, the crew, and Eddie. End result, a beautiful moment with Eddie doing something he loved.

What was the creative/video direction for this shoot? Did it all come from the photographer? 
Dunham, Ni Aolin, Ramage and myself really wanted a day in the life of a nominee, with each talent representing a different time of the day. Peggy was adamant that the talent be involved in deciding what those acts were so the image was authentic, and not just coming up with another roll for them to play. To make things a bit more complicated we had a video component that would be a trailer for the portfolio. The trailer would carry a narrative taking the viewer/reader through a full day in LA with each nominee photographed for a different portion of the day.  For example, Morning: Laura Dern with coffee, Afternoon: Keaton, riding his horses, Late Afternoon: Felicity Jones at High Tea, Evening: Eddie playing piano, and then came Late Evening: Hawke and Arquette, who where to be having dinner.

This shoot was a great lesson and a game changer to the portfolio narrative. There are the ideas you come up with in an office in New York and then there is the magic you can never predict that happens on set. It’s because of these rare moments I love my job. Everything with talent at this level is controlled and to get a true moment that’s not contrived is a gift. Both Ethan and Patricia couldn’t get on the phone with Peggy due to their schedules, but in the end, all you really needed was for them to show up. Sometimes you can get so attached to an idea that you miss the magic. On-set, you’re constantly ask yourself—“How will this fit into the narrative, the portfolio, the original concept?” You’ve got Ethan and Patricia, two people that have true chemistry, on location at Santa Barbara’s San Ysidro Ranch, at magic hour, with a master of capturing golden light – Peggy Sirota. When you’ve got all those elements together, your job is done, it’s gorgeous, and you didn’t have to do the photo shoot in a bland hotel hallway. The only problem, only one image can run in the portfolio, great problems to have! Then again, Online, Instagram, and the tablet, have solved that too.

This Week In Photography Books: Dafy Hagai

by Jonathan Blaustein

I got a fat stack of books in Santa Fe the other day. Fresh meat. Yum yum.

I never know what I’m going to get, when I re-up at photo-eye. If it’s new, I’m willing to look at it. And these days, people also send me things, so that opens up new worlds of possibility.

As such, I’m wondering if it’s time to be a shade more discriminating in what I review, like a coin collector who won’t spring for just any old piece of silver. (“Excuse me, Bertram, but if you think I’m going to pay $2 million for an 1875 Buffalo nickel, you must be smoking the super-skunk.”)

The first book I reached for today was a Thomas Struth number made in Israel; part of the “This Place” project that I’ve mined for content on many an occasion. Struth? A German in Israel? It’s got to be good, right?

Well. I guess. If you’re into boring pictures.

I hate to throw another photo legend under the bus, but there you go. I’m sure he’s going to read this and have a good cry, but I’m no hater. When the man was good, he was genius, so we’ll always have the old days.

Co-incidentally, the very next book I grabbed, seduced by its snappy blue-on-white color palette, was also made in Israel. Now, I’m sure some of you will think that I have a predilection for such things, as I’m known to be Jewish. But I assure you, I’m as keen to see what’s going on in Kyrgyzstan, Kathmandu, and Kuala Lumpur.

As it happens, this book, the second one I grabbed with grubby hands, like a drunk frat boy reaching for one more In’n’out burger…it’s a doozy. And not necessarily in a good way.

Some weeks, I write about shit you’ve never seen before. Other weeks, like last Friday, I try to highlight really smart and innovative offerings that you might actually want to buy. And then there are the columns, like this one, where you might get agitated.

Consider yourself warned.

“Israeli Girls” is a new book by Dafy Hagai, recently published by Art Paper Editions, in Ghent. I’m writing about it now, because I’m so darn confused. Sometimes, seeing the words pop up on screen helps me suss out my thoughts. (That so many people are reading the results is almost ancillary.)

What’s my favorite catch phrase, beyond “The 21st Century Hustle?” That’s right: Boobs Sell Books℠. They must, or photographers wouldn’t insist on jamming them into their narratives like a Tokyo salaryman wedging onto the subway at rush-hour.

This book is one where, after the very first picture, of a young woman flashing her tennis-skirt-covered tush like a baboon in heat, I knew the boobs were coming.

Sure, the title, “Israeli Girls” hints at the subject: Israeli Girls. But, I thought, there has to be more to it than that? Not long ago, I wrote about Christopher Everard’s meticulously researched investigation of the pornography industry. Billions of dollars are spent helping people get their rocks off.

Does anyone really buy a photobook for that, when they can get it for free on the Internet, minus the classy production values? Or for $39.99 from Vivid Video, with more bells and whistles? Does it matter that these girls are Israeli? As opposed to Dutch? Or Californian?

The book features kind-of-edgy pictures, and we could whip out the Balthus reference, though these young women seem to be of proper age. But I don’t know anything about them, because the book lacks any supporting text at all.

It’s just a bunch of pictures of pretty girls, made in an arty style. Yes, there’s a pink tennis visor on a children’s slide. And when the boobs come, they’re accompanied by under-arm hair, which I’m sure is meant to counter-balance the traditional notions of beauty.

But I’m just not sure what to think. Is this book the equivalent of an ironic mustache, one of my all-time pet peeves? If you want to grow a mustache, grow a f-cking mustache, OK? Don’t pretend that you’re better than your mustache, and you’re only wearing it to make fun of every other tool who wants to look like a 19th Century barkeep. (“May I offer you gents a libation this fine afternoon?”)

If you like pictures of pretty girls, fine. Go for it. Get a job at Playboy, and shoot boobs to your heart’s content. More power to you.

But this book wants to have it both ways. So why am I writing about it? Because I’m annoyed that it’s crawling around inside my head. I don’t know much about VICE, though I’m aware it’s become a Billion Dollar Brand. Is this book made for VICE guys? Or has VICE become respectable these days?

Again, I don’t know, because there is no essay, no titles, no rambling narrative meant to give me so much as a clue. Just some pretty Jewish girls, seducing the camera with their pouty lips and firm flesh. (On general principle, I won’t show you the boob shots, as a faux-protest, but I’m just too wound up not to write about this one.)

OK?

OK. I’m done here. You might hate me for taking up your time to discuss a book I only like “ironically,” or you might thank me for giving you a properly pretty diversion on what’s likely to be a frigid Friday.

Either way, see you next week. (Same Bat time. Same Bat channel.)

Bottom Line: Odd, mysterious, and probably vapid book about pretty Israeli girls

To Purchase “Israeli Girls” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

The Art of the Personal Project: Diana Zalucky

- - Personal Project

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

Today’s featured photographer is: Diana Zalucky

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

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

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

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

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

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

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

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

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

If so, has the work ever gone viral and possibly with great press?
Not yet!

Have you printed your personal projects for your marketing to reach potential clients?
Thus far, all my promos have included a mix of commercial and personal work. I would like to do a special piece focusing on the images from this project.

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

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

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

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

World Press Photo Sets The Bar For Allowed Image Adjustments

- - Working

Bravo to World Press Photo for taking a leadership role in the debate of what levels of image enhancements, adjustments and manipulation are acceptable for photojournalism. As the winners of this years contest were announced the news that 20% of images that made the final round were rejected for “manipulation or careless post-processing” left many people with jaws agape.

You can engage in the debate with the links below (if you haven’t already), but I wanted to highlight what I think are very important changes in how image adjustments are viewed.

David Campbell, Secretary of the 2015 Photo Contest jury, tweeted out the following:

This is a major departure from the old standard of “digital darkroom” which tried to allow old darkroom techniques used by many of the great photojournalists.

This departure is highlighted by Jury chairwoman, Michele McNally in a story on the lens blog titled “Debating the Rules and Ethics of Digital Photojournalism” where she states:

“digital is not film, it is data — and it requires a new and clear set of rules”

It’s also worth noting that World Press Photo called in all the RAW files for images in the penultimate round and then had independent experts perform forensics on the images and present their findings to the jury.

I think World Press Photo has taken some important steps this year in leading by example. The old darkroom technique of burning and dodging things out of your images are OUT but processes that adjust the aesthetics are IN.

http://lens.blogs.nytimes.com/2015/02/17/world-press-photo-manipulation-ethics-of-digital-photojournalism

https://storify.com/davidc7/what-are-world-press-photos-rules-and-standards-on

http://blog.photoshelter.com/2015/02/world-press-photo-eliminates-20-percent-of-images-for-manipulation/

http://www.bjp-online.com/2015/02/image-manipulation-hits-world-press-photo/

http://time.com/3706626/world-press-photo-processing-manipulation-disqualified/

https://www.david-campbell.org/photography/manipulation-examples/

https://bitly.com/bundles/martijnkleppe/m

The Daily Edit – Bicycling Magazine: Jesse Southerland

- - The Daily Edit
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Bicycling

Design and Photo Director: Jesse Southerland
Art Director: Colin McSherry
Designer: Jimmy Cavalieri

Heidi: I understand you do both the photo direction and the design direction which is becoming more often the norm. What are the benefits and the drawbacks in your eyes?

Jesse: Tighter photo budgets each year are no surprise for editorial photographers, but hopefully they can take some comfort in knowing that their clients are legitimately feeling that pinch as well. Yes, in my case I have absorbed the photo director responsibilities in addition to the design direction.
The benefits have been pretty rewarding actually. Being involved from start to finish allows for better communication without as much getting in lost in translation. There aren’t as many surprises (for the most part) when the edits come in. Overall there are less kill fees which unfortunately don’t even have their own budget lines anymore. We absorb that cost out of the real budget, so it’s crucial things go right the first time. In addition to better communication, I think the process is expedited with fewer people involved. I can get back to a photographer who is on set with direct, immediate feedback. They aren’t stuck waiting as long as they would with the workflow of a traditional art department. Also, when pre shoot problems pop up I can generally get back to them within a few hours as opposed to the next day which was often the case before.
It obviously isn’t all roses. Make no mistake, there wouldn’t be a blog of this name if photo editors’ weren’t crucial to most magazines. I’m stretched extremely thin. I’m used to working ahead, but now it isn’t uncommon to be working on 4-5 issues at once every day. The time needed for photo research is greatly reduced. I love having tried and true photographers, but I miss having the time to dig deeper and find younger photographers with a completely fresh and inspiring outlook on the assignments. I feed off of their excitement and hunger. The time spent designing is the time most sacrificed. I can always pull an all nighter to lay out a feature, but I can’t stay up all night and magically produce all of the photos. So the time spent photo directing is more important for me to focus on in most cases.
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I see you have some international coverage, how are you sourcing those photographers in such remote places?
For Dario Pegoretti story, we needed him shot in his small studio in the middle of nowhere in Italy for that issue. This stuff is probably another day in the life of a regular photo editor, but it obviously takes more research and logistical communication than the average shoot. I basically scoured through Wired Italia for the coolest portraits and found Max&Douglas who lived somewhat close. They absolutely fell in love with Dario and produced some great photographs. Again, nothing crazy for a photo editor, but a huge victory in my position with such limited resources.
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What’s your approach to the overall photo direction of the magazine?
The photo direction is identical to the design direction which is identical to the editorial direction. Everything at BICYCLING is about being exciting, fun, fit, authentic and real. Ideally the photography will contain most of those attributes, but as long as the photo nails at least one of those descriptions we are good, but it has to really nail it. I am most intrigued by authentic and real. Bicycling photography can go really wrong really quick. You may have a really authentic looking person to shoot, but then they put on their outfit, then a helmet, then sunglasses and suddenly that person is reduced to a storm trooper…zero individuality. We have found tattoos and beards go a long way, thank you hipsters! The lighting and processing plays a huge role in the overall direction. When I first started I really did a 180 and completely got away from the high key, edge lit, over sharpened look and went really low fi in an attempt to feel more real. I think the result was a little underwhelming, and though it felt real/raw, it lacked an energy and excitement. I realized there still needs to be enough punch, just the right amount of polish and authentic environments make all the difference. That is the direction we strive for now. VSCO alone can’t solve all of our problems.
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How do you approach gear differently?
Gear is less about the environment and lends itself to more to studio photography which is quite unlike the rest of the magazine. We try to show gear in a very practical, utilitarian way that best illustrates why we feel the need to showcase it in the first place. Bicycling gear definitely evolves over time, but month to month, year to year, the changes appear very minimal. We are often shooting the same things over and over so I try to focus first on how can we best show what is being written about rather than thinking style and lighting first. We work closely with the editors to get a feel for what matters most. Then we go full blown “bike porn” and shoot whatever we think looks the coolest and try to get as close as we can to it. Most often that is what ends up in print, but we still listen to the editors. Also, we take full advantage of provided photography from the companies when available. I figure they have spent a lot more money than we could ever afford on these products. Bonus: they often even come with clipping paths! We have a small but scrappy art department that can comp a lot of provided shots together, add shadows and make it feel like a highly produced editorial page. This allows us to produce and afford our larger shoots.
Gear covers have an entirely different approach to the rest of the magazine. Full disclosure, I cannot get enough ring light for a bicycle cover. I feel embarrassed when I ask photographers to dust off their ring lights, but I honestly think they were made to shoot bikes in studio. Plus there are so many bikes in the advertisements and I have yet to see one shot that way, so it’s really a distinctively editorial look.
What’s the hardest part of doing a single subject title?
BICYCLING requires a direction that clearly separates editorial from advertising. We show people riding bikes and gear. The advertisements are of people riding bikes and gear. Luckily editorial trends and advertising trends usually tend to be the opposite. Cycling advertising is starting to look less produced though so I may have to rethink everything.
Regardless of the direction though, a bicycle can only fit on a 8.5” x 11” page or 17” x 11” spread so many ways. It’s extremely tough to get creative shooting bikes without sinking into a really bad conceptual idea that, at the end of the day, doesn’t even show off the bike that well. This probably has a lot to do with my ring light fetish.
What is your favorite section to design and favorite to photo direct?
I love designing a good profile feature. At previous magazines I would do around 2 every issue. Here it’s closer to 1 every three issues, so I really appreciate them when they come along. My favorite section to photo direct would be the one that requires that doesn’t require direction. That section is slowly in the making, but my goal is to have photographers shooting what they would want to be shooting anyway. I know that sounds cliche, but I really believe there is a bicycling photo culture growing in way similar to skateboarding or surfing. When you have people shooting what they love, their submissions are far better than what I could assign or direct and truly capture everything we want the magazine to be. I am also fortunate to work with editors that see the value in that and are encouraging an art first approach to our features. Hint: please send me awesome stuff.
How often do you ride? if at all?
I ride frequently now. I never did until this job, but I have drank the kool-aid and now I have closet full of tights.
What are you looking for your portraits and riding shots?
I want portraits that draw the reader in and make them spend time with it without realizing it. Something intimate that goes beyond style, but is more about the connection between the photographer and the subject. That connection gets passed on to the reader. For riding shots I’m looking for something with a more voyeuristic feel. The rider should be a real cyclist, not a model. I want the environment to be as much of a character as the rider. These  shots should inspire me to want to ride by making it look like fun, an adventure, not necessarily a workout.
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There’s a nice range to your covers in both gear, scenics and riding, is that a new direction for the title? I remember it always being riders on the cover ( and gear of course )
It is a new direction, one that is closer to what we have been doing inside the magazine. I have never wanted the magazine to exclusively feel like a fitness magazine, but rather an enthusiast magazine where getting fit is a great result of cycling, but not the sole purpose. The overly aggressive solo rider taking up the entire cover gives off a very intense, heavy, serious vibe which isn’t who we are.
What’s the best way for photographers to get in touch with you?

This Week In Photography Books: Sugimoto/Misrach

by Jonathan Blaustein

I’ve been watching a lot of John Wayne movies lately. I was always a Clint Eastwood guy, so I’d never really understood the Duke, until recently. It’s stupefying to discover the way one man stood as a symbol for an entire nation.

John Wayne captures the rough, charismatic, violent and patriarchal vibe that permeated the US in the post-WWII years. If his middle name were actually Manifest Destiny, would anyone really be surprised?

He led with his big, hamhock fists, and we all needed to trust that he knew what he was doing. He was John Wayne, after all, a facade built upon poor Marion Morrison, just as our fair country was crafted upon the bones of a conquered race.

I even read a quote in which Mr. Wayne said he had no problem with the fact that America stole all this land, because the Native Americans weren’t using it properly. For real. I read that. (Though in our suspicious Internet age, I guess that doesn’t mean he said it.)

I was discussing my newfound fascination with a friend of mine just after Christmas. Iván was my professor in graduate school, and he studied film at NYU. He agreed that John Wayne represented America during it’s reign as the big-swinging-dick-World-Power, but suggested he had been supplanted by another fictional hero for the post-Vietnam era: Forrest Gump.

We had a good giggle at first, because it’s hard to even believe how much everyone cared about Forrest back in the nineties. (Run, Forrest, Run.) But afterwards, he said he was dead serious. Forrest was a bumbling, compromised, win-by-the-skin-of-your-teeth, trust-in-the-luck-of-the-Universe kind of guy. Nobody thought he was a real superhero, but he managed to turn out OK.

These days, Forrest Gump seems quaint to the point of irrelevance. We like our heroes ironic and snarky, like Robert Downey Jr, beefy and dim, like Channing Tatum, or not-even-American, like Chris Hemsworth and Michael Fassbender. And as for Forrest, he’s been relegated to the cultural dustbin.

He did leave us with a few words to live by though, didn’t he? “Life is like a box of chocolates: you never know what you’re going to get.”

How can you argue with Forrest on that one? You can’t. Especially when, like me, you’ve just opened up a plastic sleeve to find “Assignment No. 2: Sugimoto/Misrach: San Quentin Prison,” published by TBW books in Oakland.

My first thought was very 21st C: WTF?

You find what looks like an institutional file folder, replete with a water stain up top, and a red ink smudge closer to the bottom. It sits there, that red ink stain, judging me. The more I look at it, the more it resembles a tornado.

Open it up, and the left side has a succession of names, including those two aforementioned art stars. Then, on the right, we see a statement claiming that an essay, to follow, was written by a prisoner in San Quentin named Michael Nelson. Whatever we’re to read was apparently written while he was in solitary confinement.

They had my attention all along, but now my eyebrows have stood at attention like a Guantanamo prison guard. What are we about to see, I wonder. And will it be filled with facts about the tragic, embarrassing incarceration rate in this country? It is to be an essay that makes us question how such a dilemma came to pass?

No. Not at all.

Flip out again, and you’re staring a sheet of lined, yellow paper, with text handwritten in blue ink. Or so it seems. I’ve seen enough photobooks to know that it’s a high grade reproduction, but still, it’s interesting.

The flap on the righthand side states that all the proceeds of this publication will go to support the prison education programs that spawned this project. Things begin to fall into place.

The first page of the essay is a letter, in which Mr. Nelson apologizes for missing class, as he cannot attend in his current circumstance. He wonders if he’ll be able to achieve full credit, while locked up by himself in what must be some form of hell.

Again, can I get a WTF?

Open the last two flaps, and we see a reproduction of a famous Sugimoto picture from his movie theater series, and a photo of a drive-in movie theater screen from Misrach’s seminal “Desert Cantos” work. We’re looking at two examples of seminal work from the 20th Century.

Flip up the first page of the yellow-paper-stack, and we find a thoughtful, well-written essay that compares and contrasts the two images. It’s a copy of an actual prison class assignment from 2011.

Wow.

I’ve seen a lot of things in my day, and a lot of books in the 3.5 years that I’ve been writing this column. But I’ve never seen anything like this.

The essay is smart, but takes a turn towards poignant when Mr. Nelson alludes to his own situation in life. The metaphor of a world changing beyond recognition, seen in the pictures, also seems well-chosen, for someone living on the inside.

At the end, we get a page that explains a bit more about Mr. Nelson’s background. Jailed for murder at 15, 17 years into a 25 year sentence. Like many a good Bay Area liberal, he’s found himself working within the system to help others.

His info is followed by straight bios for Mr. Misrach, Mr. Sugimoto, and Mr. Dertinger and Ms. Poor, who both teach at CSU Sacramento, and work with prisoners as well. It was a rare mis-step, I thought, the conventional bio page in a production this original. Good information to have, of course, and smartly placed, when your curiosity is at its peak…but then, we all have bios. (One more piece of PR that makes us feel like we’re products to be bought and sold, in lieu of our prints and services.)

Regardless, I hate to quibble, as this is a very inspiring piece of work. Definitely one to buy, as your money will serve others, and this feels like something rare that people will look back on, down the line.

Bottom Line: Incredibly innovative production

To Purchase “Assignment No. 2: Sugimoto/Misrach: San Quentin Prison” Visit Photo-Eye

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

The Art of the Personal Project: Jeremiah Stanley

- - Personal Project

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

Today’s featured photographer is: Jeremiah Stanley

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Full disclosure, Jeremiah is a current client of mine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here’s my shameless plug:

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

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

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

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

ARTIST STATEMENT ABOUT THE PROJECT:

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

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

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

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

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

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

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.

This Week In Photography Books: Stephen Gill

by Jonathan Blaustein

It’s Thursday, which means this column is due later today. Unfortunately, the writing will be sub-standard. We all know things are better once they’ve had some time to marinate, whether it’s pictures or words or chicken teriyaki.

My apologies. It couldn’t be helped. This has been one crazy mother f-ing week, and last week was just as challenging.

Have you ever found yourself in a phase where you were forced to stand by your words? When it seemed like the Cosmos was waking up each morning with the express intention of testing you to your core? Checking whether you actually had the stones to follow through on a promise?

Welcome to my world.

Yesterday was one of the hardest days I’ve had in a while. It began at 6:30 am, with a prompt wakeup by my ever-energetic son. Lots of errands, paying bills, getting the kids off to school. Then I had to teach a class. (Got a new student, too, so it was back to square one.)

From there, still more errands, then a trip to Santa Fe to drop off a picture for a show, and pick up more books with which I can entertain you. (We hope. I always wonder if I might have a day where I’m more obnoxious then helpful.)

Then, and only then, did I drive to Albuquerque to be interviewed for a PBS television show about my project “The Value of a Dollar.” I’d sworn to the producer at the outset that I’d be helpful, relaxed and engaging. The perfect subject, I assured her.

“Don’t worry,” I said. “No matter what, I’ll be low-maintenance.”
(Cue the ominous foreshadowing music in your head.)

The shoot went well, and then after a quick beer with a friend, I drove the nearly 3 hours back home at night. The big moon lit the road, but I was too busy trying not to have my brains fall out of my ears to notice its beauty.

I’m done, I reminded myself. Done. I did it.
It’s over.

The phone rang early this morning, and I missed the call. I noticed the 505 area code, and realized it was the aforementioned producer. Calling to congratulate me, I wondered?

No such luck. It seems one of the cameras wasn’t working right, and we have to shoot the whole interview over again. I took a deep breath, smiled, and told her “No problem. I’ll do even better the next time.”

Inside, my soul was crying like an inexperienced actor. Deep, overly-emotional sobs, with a shaking chest. But I pretended not to notice, and just got on with being a good sport.

It’s one of those core life lessons, I think. If you do the hard work, and push yourself, your life will be richer, and your pictures will improve too.

Some of those lessons, once learned, are hard to unlearn. With respect to photography, one of the classics I picked up years ago was to try to put the camera in odd and unexpected places. (I tell my beginning students that every semester.)

Be creative where you put the camera. Up high, down low, and into the randomest corners you can find. In fact, I said it just yesterday, to that new student. His classmates concurred, assuring him they’d already stuck their cameras inside nasty holes in the wall, into the musty innards of their school’s structure.

They loved the resulting pictures, and encouraged their new colleague to do the same.

Because as many of us know, when you stick the camera into wacky places, you never know what you’ll find. (Or what boring subject the camera will transform into a bit of ephemeral magic.)

Such is the case with “Pigeons,” a new book by Stephen Gill, published last year by the Archive of Modern Conflict in London. Now, I know that bird pictures, and bird books, are something of a cliché. Like I’m always saying about boobs, birds also sell books.

But we’ve never seen a bird book like this one. Oh no. I’m quite confident of that. Because Mr. Gill stuck his camera into some pretty nasty and dodgy crevices. Under girders, around steel beams. Up where these grayscale flying rats reside, when they’re not busy pooping on statues and cooing you to sleep at night.

While I might have gone out of my comfort zone with last week’s book, this one is right in line with what I normally like to show. It’s innovative, strange, and likable in it’s funky ugliness. A great idea, well executed, will always grab my attention.

The use of shallow depth of field is strong, as it highlights the awkward textures inside the birds’ nests. You almost feel the cold and damp, but in a good way. (It won’t make you Siri up the EasyJet website to see how cheaply you can get to Sevilla next Wednesday.)

Personally, I hate vermin. Some mice have just eaten the wiring to my car’s speedometer for the second time in a few months. It’s going to cost me a couple of hundred bucks to fix. Little bastards.

Pigeons I don’t mind so much. Probably because we don’t have any here in the mountains. (And if we did, we’d likely call them doves.) I get to look at magpies, ravens and eagles instead. Now I’m wondering what their homes look like, and hoping some enterprising photographer will show me where they hide.

Bottom Line: Very cool look inside pigeons domiciles.

To Purchase “Pigeons” Visit Photo-Eye.

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Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

The Art of the Personal Project: Tosca Radigonda

- - Personal Project

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

Today’s featured photographer is: Tosca Radigonda

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

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

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

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

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

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

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

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

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

Artist Statement-

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

Bio-

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

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

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information.  Follow her@SuzanneSease.