Rosser / Lebeau

Francois and Ben say “life is an intricate narrative that requires us to appreciate its depth and authenticity by embracing its genuine, spontaneous, and natural beauty.” By adopting a documentary approach, they focus on capturing spontaneous, realistic moments to showcase the raw beauty of life and evolved their friendship into a new photography business. I checked in with them to learn more now that Volume 2 is out.

Heidi: How did your friendship begin?
Rosser / Lebeau: It was in 2012. We were both new to living in NYC and learning how to navigate that place. Our paths were bound to cross because we were both in the photo industry already and avid rock climbers. We got to assist a friend at the same time, and we just got along instantly. We started rock climbing and sharing photo ideas, knowledge, and experience, and our friendship just grew from this.

Now that you are 4 years into this project, what surprised you about this new endeavor?
It surprises us that we’ve been doing this together for four years! Also, the reception of our service has been above and beyond our expectations. Our work gets in front of people who appreciate what we observe in the daily lives of the families we work with, which is very rewarding. To see that our initial vision and drive found their audience, we couldn’t ask for better.

As a team, we consistently reevaluate the business, asking each other what we could do differently to improve, which leads to a to-do list that we are tackling one by one. But as of now, I don’t really know what we could have done differently cause it’s been going quite well.

Ben’s photography career has some early influences from event, fashion, and celebrity photography, and François’s in the outdoor industry – how did both these influences inform your business?
The experience we were able to accumulate helped to mold how we approach our shoots with Rosser / Lebeau. When we met, we realized quickly that we had a very similar taste in photography. Being observant, and build the strength of a photograph through composition, light, and somewhat the decisive moment. In Ben’s career, there’s a lot of this that is applicable to get the best of his coverage or portraiture. Always need to be fully present and have a high sense of anticipation.

On François’s career side, it is practically the same, but just in a different environment. Planning the shoot around the best light, be there and ready for the unexpected, and being involved with the story itself to have a high sense of intimacy through the images.

All those tools, from our perspective, are necessary to allow ourselves to create what we want to create with Rosser / Lebeau. Working with kids is not easy, and it can go in EVERY direction imaginable. So when we decided to take the leap, we were well-equipped to start this endeavor. We’ve learned a lot since then, and that new knowledge pays back now in our solo careers too.

How do you complement each other?
Great question. Ben has a high sense of elevated imagery, due to his background covering celebrities, fashion, and events. Well composed, clean, and thoughtful. Ben always has good remarks on what makes a good photograph and how we can improve from one image to the next.

François, on his side, always loved the saying “imperfect perfection”. He often embraces being organic and in the moment, often pushing further in that realm to see through what people should expect. He is a firm believer there’s beauty in anything and uses it to his advantage when he creates.

On the business side, well, we learn together everyday. We definitely have separate strengths that when combined, makes those tasks easier too.

François is a father of two now, how is family life fueling that creativity? Do you think you’d take the same photos if you were both child-free? This is assuming Ben has kids….
Francois: I think having kids doesn’t affect much how I perceive things. At least for me. But what I understand way more is the value of those images we are doing for the families. When Ben gets to spend time with us in Colorado, he always carry his camera and shoots loosely. And ALL the images that he takes are SOOO precious to us. I cannot imagine how it is to receive a gallery of that caliber, without being used to be surrounded by quality imagery.

It just lines up with our motivation when we started Rosser / Lebeau : We wanted to create images that will last a lifetime and be passed to the next generations, instead of being a short lived creation that the nature of commercial photography is. And by experiencing it myself, it means a lot to have those images for our family.

In Volume 2 the images feel more intimate, and graphic – is this a reflection of you both feeling more comfortable in this new space?
Probably just the nature of putting the hours in. We have more opportunities, we met many types of families and people, and we also have the work we created that supports us. We are totally aware that it is very vulnerable to open yourself to be photographed this way, but when people embrace it and feel comfortable with us, that’s when ‘’the good stuff’’ happens.

How much time do you spend with the families, there’s spontaneity and intimacy to this work which is hard-won.
We allow ourselves to let things happen, so the classic 30 minutes session is not applicable for us. If we want to deliver the product and service we promise ourselves to do, a minimum of 2 hours is a must, but if we feel the energy is still there and thing are happening (or will happen) we will definitely stay with the family.

Do you both travel to the locations or is the work divided by location?
Definitely. We had inquiries from all over the continent and hoping that we will find a way to make it sustainable even on the international level. For families, we shoot them most of time solo. Ben being located in NYC will take care of the east coast, while Francois being in Denver will connect with the people on the west coast. Everything is interchangeable depending on availabilities, but it’s been working great like this. And for weddings, we tackle the coverage together. Having our style being very similar, it is nice to be working under the Rosser / Lebeau umbrella, and being able to trust each other with delivering images of the quality our company aspires to.

Red Bull Media House
Photographer: Paris Gore
Anthill Films Director: Darcy Wittenberg

Heidi: How did your personal life and love of riding evolve into this project with RedBull?
Paris: A few years ago I had done some heli biking in the Andes outside of Santigao, Chile and flowing around some areas that had these massive 4,000 foot plus open faces that could totally be ridden by the right athletes. We were filming for a Specialized Bikes gear shoot in 2022 and came back from that trip with a ton of knowledge and contacts in the area. Jumping forward to the following year Darcy Wittenberg (Anthill Films Director) and I sat down last summer 2023 to chat about a potential new movie they were working on with Red Bull. Anthill has produced some of my favorite bike films of all time and grew up watching some of the original films on repeat. Darcy wanted to know if I had any knowledge of some big mountain freeride biking zones that would push the boundaries of what has been done before. Turns out my previous trips insight was enough to sell Anthill on Red Bull on going there for this movie project.

What made this feel like a long shot?
Pitching the idea to Darcy felt like a long shot, but as the conversations went on it sounded like the trip was going to happen with Brage Vestavik, Kade Edwards and Brett Rheeder with a full film crew, two helicopters and some of the most exposed riding anyone has ever attempted to ride in the world. I’ve pitched a lot of ideas before and they all are usually well accepted but never the right “fit” for a brand or too much money, etc. So it felt really rewarding that this entire production was trusting what I had seen down there and actually went for it considering how much money was being spent to produce this segment all I could think about now was hoping that it actually works to ride these faces.

Dream jobs like this often come with risk, reward – what was the situation that led to the crux move for the crew?
Kade and Brage evidently had found this line they wanted to ride; we named the Horny Condor which was a couloir through some massive rock exposure and was super tricky to ride the top portion of. So we had to bring in tools to bench in some dirt for the guys to safely get into the line before freeriding down to the bottom. I’m finishing up in the helicopter making our way over to the top and we get word that Kade and Brage have both broken all the tools they have and need one from the truck and lodge. I get deemed the man for the job and jump in the heli to fuel up and grab these tools for the boys.

The intensity of a situation ramps when someone uses your first name to give a directive, true?
Tools in the back of the chopper, me and the pilot make our way back up into the zone where the guys are working and Julio has a wild idea to fly into the area and land on a semi truck sized boulder. Things were starting to get a little crazy now and I’m thinking what in the actual fuck is this guy doing. A pilot myself I started to feel the adrenaline coming on and feeling the intensity of the situation I’m getting in. Julio starts flying up the line blasting rotorwash down on the crew and I’m like dude I don’t think is a great call but he puts a skid on this rock holding collective and tells me “Ok Paris, open the door and put the tools on the rock”. Which I began to do and unable to reach behind me, I have to undo the full harness I’m locked into. Immediately, Julio is throws his hand onto my chest and says “NO” So I buckle up and eventually get the pick axes out the door onto this rock ledge he’s got hardly one helicopter skid on. We do a wild turn out and land on a river bank with my blood pumping into my brain so hard I could hear it.

Along with being an athlete you’re a trained pilot, how has that informed your creativity and ability to navigate jobs?
Being an athlete and pilot myself, I genuinely live the sports and adventures I shoot so it really translates into authenticity while on an assignment. It helps me have a better connection to the subjects and people I’m shooting with finer detail. The other part of that is also just being able to get into certain situations that require experience in the mountains. Being able to snowmobile, snowboard or mountain bike into hard to get places gives you an advantage to really put yourself in the same terrain as a professional skier or mountain biker. Being awarded jobs due to this is definitely a factor, most athletes or brands might be hesitant to work with someone that is more green and could pose a risk to the crew because at the end of the day we are all working as a team for safety, hazards and ability to get where we need to go

Were you shooting mostly from the heli along with reportage of pre and post riding?
It was a mix with the helicopter since it’s time is expensive and limited there were a few shots where I was able to shoot from the helicopter. It’s a lot trickier than you might think but in the end it’s always worth it. We would also get dropped onto opposing ridges or slopes that would give us a solid angle without needing to shoot out of the helicopter which was generally the most ideal scenario. The only speciality equipment I had brought was a Nikon 180-600mm lens due to the sheer size of the mountains it was absolutely necessary.

What was the directive from the film crew? how did you integrate – remain unobtrusive?
We worked together easily to perch in a similar area together with another filmer so we never really got in each others way. Since most of the angles they are shooting are what I would need as well or vice versa.

Were stills integrated as part of the final film or supplemental creative?
The stills were not used in the film itself but more in the promotion and titles for trailers, youtube, Red Bull TV, etc.

Powder Magazine

Artist Talk with Krista Svalbonas

Artist Consultation with photographer Michael James Hillman

Founder and Curator: Douglas Marshall
Marshall Gallery
Current Exhibition

Heidi: How long have you been doing portfolio reviews?
Douglas: Well, I’ve been doing reviews overall close to a decade now I guess. I’ve done many of the review festivals around the country as well as looking at countless portfolios in the galleries over the years. But for the last 2 or 3 years I have been doing the private portfolio reviews, meeting with artists one-on-one either online or at my Santa Monica gallery. These started in response to the ubiquity of the standard 20m-minute tabletop review format. Many people on both sides of the table relate to a form of speed dating. I found many artists felt unsatisfied, understandably, never getting to any depth in such a short meeting. So these longer private meetings allow us to go there. And that many artists had nuts and bolts questions about the gallery world which can often be murky and gate kept. Like commission percentages, production costs related to exhibitions, pricing, etc.

What form do you like to review photography work? Formed or unformed – one is open to possibilities, the other you build together as the discussion unfolds.
As far as the state of work we review… The work can be at any stage really, I just put myself in a position to help in whatever way is useful. It can sometimes be like a therapy session haha!  Sometimes the work is raw and unformed and it’s editing people want to go through and general framework development… what’s working, what’s not. Other times they are finished portfolios with which people want to discuss things like pricing, editions, printing, and gallery relationships. The former, for me, is more my background as a once-upon-a-time artist myself and the latter from my 15 years in the gallery field having worked for four galleries before starting my own. But I always try to be honest and direct with the artists. No one just wants a pat on the back, they are there for the fair criticism. There is so much BS in the art world, people appreciate honesty.

I do prefer to look at prints, when possible, but of course virtual meetings open the reviews to many more artists around the world. In person always allows for deeper connections and when artists ask about doing festival reviews, I always encourage to do in-person only. This business is all about relationships, and you can’t accomplish quite the same thing online.

Your gallery has a specific focus, was that in response to seeing beyond the medium – looking towards the hybrid of where photography and art intersect? Reframe photography?
Yes, the gallery focuses primarily on what I often refer to as process-based photography. That is to say, that for me and my curatorial focus the physical or conceptual act of how the photograph is made is of equal weight as what it visually records. So many of the artists whom I present use experimental analog processes, unique printing techniques, mixed media with painting, embroidery, etc.

The focus of which is probably three-fold in origin. My background in school and early in my career was all black and white humanist photography. Street, documentary, etc. But as I got exposed to the wider photo world primarily through visiting international art fairs, I began to see a growing prevalence of these experimental practices from contemporary artists and their origins in art history. I also have a love for the “traditional” fine arts, like painting and sculpture, so it sparked my interest to see the boundaries between them and photography blurred in contemporary work.

For the artists, my thinking is that it’s somewhat of a reaction, conscious or otherwise, to the mass consumption and ubiquity of digital images. Mass even seems an understatement with some billions of images produced daily. To see the work of an artist like say Chris McCaw, our current exhibition, who is creating real objects with his method of photography is so refreshing in a world drowning in pixels. We are just tired of staring at screens and want to get our hands dirty like painters, there is something quintessentially human about working with material while still loving the documentary / story-telling potential of the camera. And then for me, realizing there were few if any galleries focused on this intersection, I decided that my gallery would do so, but it’s always evolving.

We met when your studio was on Abbot Kinney, fast forward to today – what has changed, and how has your gallery evolved beyond showing work?
I’m not sure too much has changed. Even in the 500 sq ft shoebox in Venice where we met I was trying to produce exciting and ambitious shows. Now I just have 3x the space to do so. But certainly, Bergamot Station has a certain legacy of galleries and especially with focus on photography. So being here allowed me more access to collectors, curators and foot traffic by proximity with my gallery neighbors, many of whom I have worked with over the years.

But I am happy to say with certainty the gallery’s capabilities and awareness has grown exponentially since then, having recently exhibited in the most important international photography fairs and making regular acquisitions with major museums, both important signifiers that something we’re doing here is working.

Beyond the exhibitions, we of course host the private consulting appointments as well as quarterly critique nights that we call “Static Fire” where we invite four photo-artists to show work in progress with about two dozen guests and just have a fun night looking at work. We sell tickets for these events to cover costs and afford a small donation to various local art non-profits like Las Fotos Project and Venice Arts, both of whom are doing great work for LA youth. These have been fun and for me less pressure than the requisite salesmanship that is required for the exhibitions.

Robert Adams, House Construction, Colorado. 1975 Vintage silver gelatin print 6 x 7 1/2 in.

Rodrigo Valenzuela, New Land, 2024. Toner ink on canvas with acrylic. 36 x 48 in.

How you are defining the two sets of artists you are showing?
Well, most of my career pre-Marshall Gallery was in showing 19th and 20th Century work which has a strong market and thus many legacy galleries focus there. So, while the main exhibitions at Marshall focus on contemporary work, I really enjoy putting their work in conversation with vintage works which I source from a network of collaborative collectors in LA. For example, a recent show juxtaposed UCLA Photo Professor Rodrigo Valenzuela’s mixed-media works from his “New Land” series with vintage prints from the 1970s New Topographics movement such as Robert Adams and Henry Wessel. Both had conceptual angles of thinking about land use in the American West. It also helps to bridge the gap to contemporary work for collectors who may typically only be interested in vintage works. Many collectors are wary of the edition systems of contemporary photography, so I think it helps when works are one-of-a-kind due to the physical process of the artist.

Ultimately, I love the history of the medium and revere so many of our bygone photo-heroes, so I do love to show them when it makes sense with the contemporary show on view. But certainly, most of my energy goes to the artists working today. I keep close relationships with my artists, it’s like a sort of creative marriage.

Creative Director: Marshall McKinney

Heidi: In our last interview in 2008 you had just taken the helm at Garden & Gun, a national magazine about a regional lifestyle – fast forward to 2024, tell us about this magnificent, long run as Creative Director.

Marshall: It all began in April of 2008 for me at G&G. What a run. Sixteen years! That’s like ten plus six years. That’s like 5,843.88 days according to Siri. This means I’ve lumbered through 192 weeks of closings (that’s 3.68 years of deadlines for those still doing the math). Can you believe it? Nope, neither can I. So many long days and nights sussing out and sorting through big ideas, prose, pictures and sketches to build a print brand unlike any other. Then, we were a small scrappy crew of misfits. Seriously, like eight of us. Some with no magazine experience at all. Didn’t matter. Within us burned the intangibles: heart, drive, determination, spirit, resourcefulness and f@#ing energy to burn, baby! Today, the foot is still hard on the gas and without a doubt, the brand, driven by the passions and minds of its people, is hurtling headlong into a bold new future. Unfortunately, this is where I get off. August, 2024. Adios.

T’was a thrill ride. In my professional career, I never thought I’d be so blessed as to work with the finest, sharpest minds in all of “Magazine-dom,” both internally and externally. I’ve watched interns come up through the ranks to become some of the best writers, editors, and photo editors in the business. I’ve seen editors and art directors go on to become VPs. Watched publishing prophets hail the coming of the iPad only to see it snuffed out like some ole Camel Light. To be sure, I’ve seen it all. Done it all. Er, won it all, #athankyouverymuchg&g. And, I wouldn’t change or trade a damn thing.

G&G’s success is, and always will be, directly connected to the creativity, fire and gusto that resonates in the youthful souls of the folks who bring it to life. Each person I interacted with there, young or old, was a remarkable teacher and I am grateful for the experiences shared and learned.

So, now that I’m slowly gliding into this next phase of my professional life, and can take a breath, if only for a minute, I have the luxury of hindsight. Thus, I’ve agreed to tackle a few questions from APE. An exit interview if you will. Buckle up. Here goes

What are your three favorite covers and why?
I not picking these covers on technical acumen or whiz-bang execution but rather on the “feels and vibes” and times associated with the experiences shared while nabbing them. I thrive in that space where ideas are manifested and sketched over morning coffee—together—before jumping in the car or on a plane to get them in the can. I adore all my photographers and I’m 100% sure I dig 98% of my covers. There are outliers but like red-headed children we tolerate them all the same—even when they do look a little kooky and act funny.

I only partner up on covers with people I trust.  I know them on a personal level and usually we have a deep rapport. Heck, all my lensmen are brilliant, empathic, whip-smart artists, technicians and masters at their craft. So again, I’m only picking these three covers through gauzy reflection, and like children, I don’t really have a “favorite” or three favs but here goes:

1. Dec 2019 – Jan 2020 Photographed by Gately Ben Williams

Keep it stripped down when you can.
This cover shoot was quite simply a fun trip with one of my best friends, Gately Ben Williams and his new, lovely and talented bride (and one-time co-worker of mine), Hunter. The idea was to take a road trip down to the Santa Fe river in Florida and get something that felt warm for a winter issue.

My mind, where covers are concerned, always leans toward the graphic and composed. If that happens to come off “arty” occasionally, well, so be it. My intention is not to be “arty” which I associate with fey, contrite or, worse yet, cute. Finally, my experience with newsstand covers is simple: don’t fuck around trying to be something you’re not. Be definitive. Be uniquely yourself and true to brand. Always and in all ways.

I want my G&G covers to be two things: direct and filled with as much subtext as possible. Meaning, the image has to hit on the reader’s senses (taste, smell, sound, etc). Get them to feel the coolness of the water for example or stop for a moment to reflect on the sounds they might have heard the last time they went tubing. I want to trigger a memory of, say, spending time with their spouse in their younger years at some watering hole of their own. Maybe it gets them to reflect on their own daughters growing up? The point is, subtext to me is leveraging the power of the form.

We are busy people living busy lives. As a creative director a big part of my job is to choreograph moments that give pause in the service of sparking fantasy or aspirations. So, back to Florida. After a long day of trying a number of ideas, which rendered shots that were great but perhaps too sexy or pinup-ish, at dusk I went back to the original sketch, the first big idea. You don’t ever have the luxury of time on a cover shoot. Making the manufactured feel authentic is an art unto itself. In order to pull that off, I highly recommend sketching out your ideas long beforehand.

On this day there were a bunch of kids in the springs splashing and playing along a dock, not the best situation for what I wanted the image to communicate, solitude and stillness. But, as the day waned, they slowly—mercifully—left the area. That’s when Ben and I were able to move to the end of the dock and shoot down on Hunter.

I love this image for a lot of reasons. One, Ben and Hunter gave me so much of their energy throughout the day. They gave me so many variations that could be used in the interior of the magazine, and that’s something I value. Two, everything we do as creatives, at its best, is a partnership predicated on balance and trust. I trusted Ben to give me a number of stellar solutions and, in turn, he trusted me and gave his all to my sketched idea. Three, the image is graphic. It plays with repetition of form. It’s tranquil and calm which lends to the narrative I wanted to achieve. The water is clear. The image has essence and to my eye it’s a catalyst for subtextual think. That being: I could use some stillness. I could use a vacation in warm waters. I’d love to be somewhere fun with my wife and daughter. Finally, this image reminds me of all the cocktails and conversation that flowed with these two lovebirds after we wrapped the shoot. Truly, it was a wonderful couple days work all around.

I’ve taken on many a cover mission like this with shooters including: Rob (and Lisa) Howard, Michael Turek, Brie Williams, David McClister, Robby Klein and others. All mega talented, affable, easy spirits that are a joy to behold and work alongside especially when it’s a stripped down scenario like this and not some big ass production.

2. Feb/March 2019

Throw the kitchen sink at it whenever you gotta and just build the damn thing.
What you see here is a bar we built in The Voorhes studio by some of the most baller, open, gracious, energetic and creative people in the business. Adam and wife Robin, assisted by the incomparable, Nicki Longoria took a sketch I made and ran with it a hundred times farther than I could have ever hoped. We had a custom neon sign made. We had working beer taps. We had a stuffed squirrel drunk on Miller Lite. This was devised at a time in publishing when covers needed that extra wink in order move the needle on digital newsstands—talking to you Apple. So of course I wanted everything to be analog and made of hand whenever and wherever possible.

Could we have shot this in some cool bar somewhere? Mmmmm, maybe? With that comes a whole host of other problems which I won’t go into now. Trust me, they are many. This to me felt like the only solution and it all started with a sign maker and the energy and can-do spirit Adam and team brought to solving the conundrum.

I’m not sure what’s in the water down there in Texas but if you head that way knock on The Voorhees or Darren Braun or Fredrick Broden’s door. No telling what you might find going on behind it.

3. Dec 2008 / Jan 2009.

This cover by Andy Anderson was a revelatory moment for me. Affably nicknamed, “Turtle Junk,” after the New York Times wrote a review—a positive one!—of our brand, it was the impetus that got my head screwed on tight as to how best to feature and approach subjects on G&G’s coves. It’s so singular and unique. It’s composed. It’s direct. It’s awash in story, cultural richness and wonder. It’s simple and in that way it’s elegant and timeless. Mostly though, it wasn’t until I put eyes on the image that I knew how we were going to visually stand apart.

Up until that moment G&G was kind of wobbly, like a newborn giraffe, the way a lot of new launches are in the beginning. It took seeing that image for me to begin to understand what the brand was telling me it wanted to be. For better or worse I’m not one to immediately suggest what I think any brand should be. I have instincts but I ain’t no Mussolini. I like to listen to the market and the material, then I like to react to what I think they’re suggesting to me. I can’t stand it when people march in on their high-horse talking so much shit about what they think this or that is. I’d rather saunter in on a turtle’s back—that way they never see you coming—and build something beautiful and solidly stable, together.

Further, where covers are concerned, were it not for the talents and eye of photographers Peter Frank Edwards, Squire Fox, David McClister, Andrew Kornylack, Johnny Autry, Brie Williams, Brent Humphreys, Amy Dickerson, Jim Herrington and Dan Winters G&G wouldn’t be here today. Truly, it’s all about the company you keep and they are the finest.

Do you have a favorite spread?
That’s impossible for me to answer. Not because I like so many but rather I have so few. Still, I’ll give you one I like a lot. It’s pretty simple but I just dig it.

Here’s the backstory: We asked Dan Winters to shoot musician, James McMurtry for us down in Texas. I spoke with Dan on the phone about how much I liked James’ music and about what he meant to me as a blue-collar genre-bender out there pounding stages night after night after night. I told him I felt a kinship with him. Perhaps Dan felt the same way because almost an hour had passed and we still hadn’t spoken about the shoot. Of course that didn’t matter to me because, well, Dan’s the man as they say. And I tend to agree.

Couple weeks later the images arrive in classic Winter’s style. Stoic. Iconic. Proud. Singular. Then, it occurred to me, oh shit, I gotta figure out what the fuck to do for the design. It was late in the cycle. I needed to turn this one around fast. Yet, I couldn’t. I felt helpless. I just wasn’t locking in on something worthy or original. It was torture.

I’m thinking to myself, this guy Winters is best buddies with all the great art directors and editors across the land. What the hell can I do that he’s never seen before? Am I even capable of hitting a high-taste level that honors a hardworking man like, James McMurtry? Oh, shit.

After an excruciating battle with self-doubt and worry, while sipping a couple of bourbons, it’s 1 a.m. and I’m still sitting at my desk in the office twiddling my thumbs. Part of the problem might have rested with the edit team. Maybe they were feeling the same way about the headline as I did about the design? They didn’t seem to have much cooking yet or, maybe they did and it just felt flat? Dunno, can’t remember. The one recollection I do have was that I put on McMurtry’s version of a tune called, Choctaw Bingo. I cranked that motherfucker up as loud as my i-mac would go and I stood up and danced. Right there in the middle of my office, which I shared with Maggie Kennedy, my photo editor, I shook my ass. Then, thoroughly awash in spirit, I cranked out a giant “J” with a guitar’s sound hole in the middle along with some filigree that felt a bit like McMurtry’s hair blowing in the breeze. With that I yee-hawed and went home to bed.

The next day I showed it to Sid Evans, my editor at the time, thinking he’d blow it apart because there was no definitive headline. Instead, he looked at it and nodded. Print it. We did. Not that we had a lot of other options because we were out of time and my hangover was setting in pretty good.

What would you tell anyone getting into the magazine business today?
To would be publishers:The sweet spot is somewhere between a mass newsstand magazine and a coffee table book. Do something deliberate and focused and beautiful. Do it on the best stock you can afford, no more than four times a year. Believe in your dream. Never give up. Don’t let obstacles stop you. Then, I’d advise them to buy a lottery ticket every couple weeks.

To journalists and editors: Tell the truth. Your currency and value is in your candor. Be your authentic self and find your own voice. Also, learn to think like an art director.

To photographers whom I fucking adore!: My best advice is to study a few masters, really lock in on them. Learn how to compose images that are graphic and expressive. Play. Write. Sketch. Work to become a natural born salesman, philosopher, psychologist and light-hound. Become proficient in the language of the trade. And, when you sense a trust building with an art director or fellow creative lean in and partner up. It’s amazing how far you can go, together. Lastly, pay close attention to all the others on the periphery of your craft. Explore the subtleties of make-up, watch what the stylists are doing and why, educate yourself on food propping and styling and acquire skill in interiors, exteriors, portraiture, reportage and more. Give yourself a wide base of knowledge then slowly tighten the focus on what you find the most interesting. NEVER STOP. NEVER GIVE UP.

What would you tell your younger self?
To my younger self I’d just say this: Stay resilient, hombre. Trust the process. Stay true to yourself and to those who are offering you their hard-earned knowledge. Make those folks an ally. While acumen can get you to the doorstep it’s experience, resolve and connection that’s going to define you and carry you across the threshold. Hold on tight Bubba! It’s gonna be a weird and bumpy ride.