The Art of the Personal Project: Ellen Jantzen

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

 

Today’s featured artist:  Ellen Jantzen

The place of one’s birth greatly influences who they are but through moving, new landscapes await to reshape their very being.

Here I am blending photos from my years in the Midwest (Missouri and Illinois) with current photos I’ve taken while living in New Mexico. During these times of COVID- 19, travel is restricted so this gives me the opportunity of revisiting past photo shoots and creating new combinations, new work.

The landscape looks as if it were moving as though one was quickly driving past, but the clouds seem heavy and still. There is so much of life racing past us these days while our heads are in the clouds. Are we moving or remaining still as abstract land meets the real sky? We are reshaped by our circumstances. We become, in essence, a blending of all former homelands with the present.

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Stuart Miller

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

 

Today’s featured artist:  Stuart Miller

Blood Generation is a collaborative exhibition between contemporary photographer Stuart Miler, and Artist Taloi Havini. Taloi invited Stuart to come and photograph a series of portraits dedicated to a tribe of young people known as the “Blood Generation”.

This is the name that was given to those children who were born into war, triggered from external interests in mining and sustained by acts of local political self-determination.” In 1990, the people of Bougainville lived under air, sea, and military blockade for ten-years with a reported loss of twenty thousand lives. Bougainville’s Indigenous landowners remain disheartened, displaced, and dissatisfied. The issue remains unresolved, and we ask ourselves – who is responsible for the “Blood Generation”

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Suzanne Saroff

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

 

Today’s featured artist:  Suzanne Saroff

‘‘Perspective’ is a two-part series. The original photos I titled “Perspective.” Then I titled the photos that came after “Perspective Revisited.”

These pieces were a deeply personal experience for me to create. Creating my artwork is a transformative, meditative experience. That was especially so in creating my Perspective series. I was in my early twenties when I started this series. I had been working on other still-life photography series involving these props – the glassware, the fruits, and the flowers – but that earlier series was about the shadows they made. While photographing that earlier series, I saw that the orange I had been photographing had taken a completely new shape behind the water glass. This phenomenon in art – distortion through lenses of all types, even when the lens is not attached to the camera – has always interested me. From Irving Penn’s work on the concept, to my carrying around a crystal ball when I was a kid, photographing my hand holding the crystal while the world flipped upside down behind it.

At that moment, seeing the distorted orange at an unexpected angle brought me back to my childhood, where photography was a discovery of the hidden obvious. Right then, I became obsessed, which turned into a journey of exploration that has led me deeper into what I can try to capture and communicate with my photography.

Something so simple – water, a background, and an object- being transformed with the right light and “Perspective.”

The second part of this series was revisiting what I had started. In this second part of the Perspective series, I dove deeper into the folds and dimensions of communicating with color and texture. I hope that these captured images share some of the ripeness of emotion and feeling that I had then, and how what I was able to see helped to unravel tangled knots that are so common in all of us.

Through the years, I continue to revisit this work, each time with a new perspective. As I have grown up in this career in New York, I find comfort in the feeling of the challenge of discovering something new in the obvious. I chase that feeling, obsessively working through new ideas. As I balance my commercial projects with my own personal work, I have continued to revisit this “Perspective” concept, as each visit brings me joy and comfort, and the most exciting visits do bring me something new.

To see more of this project, click here

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Artist Bio

Suzanne Saroff is a photographer and video artist based in NYC. Her body of work is still-life focused, with a multimedia approach. She has always been an observer – noticing small details. As a child, this meant falling behind on hikes to look at unnoticed bugs and flowers, and as an adult, she continues to notice the often unseen. She uses still-life photography as a way to communicate feelings and ideas. Her work is feminine, bold, and nuanced. She loves to explore objects, textures, and colors and how they can add layers of energy and meaning.

Central to her approach is experimentation and new ways to work with light and composition. In her studio, she likes to build technical sets and then break all of the creative “rules”. This process is cathartic and is where new ideas emerge. She likes to examine, take apart, or combine flowers and objects, searching for new ways of looking at them to create and communicate feelings and emotions.

In addition to her ever growing body of personal work, Suzanne has shot for many clients, including Glossier, Gucci, NARS, Prada, and her photography has been published in the New York Times, The Wall Street Journal, the New Yorker, and many other publications.

 

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Claire Harbage

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

Today’s featured artist:  Joanna Kakissis , Claire Harbage

The Cossacks’ traditions live on near the front lines in Ukraine

(featured in NPR The Picture Show)

KHORTYTSIA, Ukraine — This lush, wild island, the largest on the Dnipro River, is just outside the southern city of Zaporizhzhia, not far from the front line where Ukrainian soldiers are trying to reclaim occupied land.

It includes a nature reserve, where horses run free, and was once a headquarters for the Zaporizhzhian Cossacks, 17th century warriors revered in Ukraine for their insistence on freedom and self-governance.

“They are my ancestors,” says Yuriy Kopishynskyi, a tall grandfather with a shaved head, twirled mustache and linebacker’s build. “They are also part of the Ukrainian story today.”

You can find likenesses of Zaporizhzhian Cossacks everywhere in Ukraine — on T-shirts and coffee mugs, in paintings in government offices, on statues big and small. Their hairstyle — shaved, except for a ponytail on top of their heads — is also popular with Ukrainian men and even a few women.

“Legend says that when a Cossack dies,” Kopishynskyi says, “God reaches out for that ponytail to pull the Cossack to heaven.”

Kopishinskyi sits in a thatched hut surrounded by five protective ducks, near an animal refuge and a horse-riding school run by his daughter. He explains that the world often associates Cossacks with Russia, because some became loyal servants to the czars. But the Zaporizhzhian Cossacks fought invading Muscovite princes.

“They were de facto border guards, protecting their sacred land,” he says.

For the last 20 years, Kopishynskyi has trained locals and foreigners to fight like Zaporizhzhian Cossacks — with swords, maces and their bare hands. One of his best students is Andrii Lozovyi, a cheery hulk with a drooping mustache and long oseledets, which he calls “the haircut of champions.”

“Every adult, every child wants a hairstyle like that so we can look like our heroes,” he says.

Before the war, Lozovyi and Kopishinskyi practiced their combat techniques inside a fenced-in complex lined with weathered wooden houses. This is the reconstruction of a Cossack sich, or a military administrative center. It includes homes, a church and a museum.

Lozovyi disappears into the museum and returns with weapons, including a heavy sword and two axes. He takes off his shirt and expertly swings the sword around.

“I can also do this while riding a horse,” he says. “Whether we use horses and swords or howitzers and HIMARS, it all goes back to the same Cossack spirit to defend our land.”

Lozovyi says he’s been rejected from military service because of multiple bone fractures he suffered falling off horses. Kopishinskyi’s other student warriors are all on the front line, and they’re fighting other Cossacks who live in Russia and support Moscow. Kopishynskyi bristles.

“The Russian Cossacks were nothing but servants, and all they ever did was submit to the czar. The Zaporizhzhian Cossacks never submitted to anybody.”

Except this one time, he says, and there were terrible mistakes. Between 1648 and 1657, the Zaporizhzhian Cossacks rebelled against the Polish Commonwealth but also massacred local Jews and Roman Catholics. Then, in 1654, the Cossacks signed the Pereyaslav Agreement with the Russian czars for military protection. The Russian empire grew and punished those who didn’t submit. The Zaporizhzhian Cossacks held out until Catherine the Great, one of the Russian empire’s most formidable leaders, disbanded them in 1775.

“The way I see it, the Pereyaslav Agreement helped create the Russian Empire,” Kopishynskyi said, “and the Russia we know today.”

Now, he says, Ukraine and Poland are close allies, and Ukraine has a Jewish president, whom Kopishynshki calls a brave Cossack. They are defending their land from Russia.

“My own daughter is so strong,” he says. “She could fight five Russians.”

Anastatasiya Kopishynska, a champion equestrian, is tall and athletic like her father. Back at her riding school, she helps two twin toddler girls onto one of her horses.

“They’re not scared,” the girls’ grandmother says. “They must be Cossacks.”

Kopishynska’s own young children have been in Ireland since the war, living with her mother. Her husband is fighting on the front line.

“I told my husband, ‘Look, be careful out there, because if something happens to you, I will have to head to the front line myself to avenge you,'” she says.

“That’s what a Cossack does,” she says. And in today’s Ukraine, the Zaporizhzhian Cossacks are fighting again.

The story as featured in NPR The Picture

Photographs by Claire Harbage

 

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Glen McClure

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

 

Today’s featured artist:  Glen McClure

Photography, for me, is an adventure. I’m always searching for what’s next: the next human face with great character or the next incredible natural wonder. As I travel across Virginia, or to Ireland, France, and Italy, I strive to make the finest portraits of the people and places that I encounter.

My “street portraits” reveal people in their natural habitats. Through my lens I try to capture the nuances of my subjects’ expressions, attire, and surroundings that tell their stories or inspire the viewer to want to learn more. A face, an attitude, a gesture can resonate so much. The right photograph can search out the complexities of person’s character, and through my images, I strive to forge a connection between the person in the portrait and the viewer.

My landscapes are studies in the mysteries and patterns of nature. I am fascinated by weather and atmosphere—light, shadow, rain, clouds, lightning—that set a tone or mood through which to view lakes and oceans, mountains and sand, meadows or forests from new perspectives.

I work in black and white, and in color; the scale of my work varies from large too small. I always let my subjects determine my approach to convey new insights into them. Love of detail and texture define my work—hair, beard, eyes, skin, fabric, mist, leaves of trees, grain of wood—infinite ingredients and subtleties that inform the composition. And, ultimately, fine quality is what I seek—from the click of the shutter to the final carefully crafted print—to serve my subjects as well as I can.

Paul Strand, the pioneer of 20th-century American photography, said it best: “the material of the artist…lies in the world around him.”  My photographs offer the viewer an opportunity to take the time to notice, to look closely, and to see.

To see more of this project, click here

To purchase this book

The Gallery Show runs from Feb. 3-March 30, 2024 (Norfolk, VA)

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: The Rathkopfs

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

Today’s featured artist:  The Rathkopfs

 

JESSE AND THE RED BALLOON by Anna, Jordan and Jesse Rathkopf

“Jesse and the Red Balloon” is a collaboration with our son Jesse that delves into the profound impact of isolation on the mental well-being of young children during the pandemic. This photographic journey explores a child’s perspective on a rapidly changing world and delves into how parents can create a sense of security amid uncertainty.

Inspired by the timeless tale of The Red Balloon/Le Ballon Rouge by Albert Lamorisse, our project pays homage to the original narrative. Unbeknownst to us initially, the little boy in the story was Albert’s son, adding a poignant layer to our exploration.

To tailor our story to Jesse’s emotions, who felt sad by the bullied child in the original The Red Balloon/La Ballon Rouge, we co-created our narrative, focusing on places he wanted to visit and showcasing a world where “the child” is accompanied by his “Red Balloon” friend in search of fun and exploration despite the harrowing circumstances.

Navigating the desolate streets of NYC during the COVID-19 crisis, we couldn’t shield Jesse from the trauma unfolding around us – neighbors in masks on food lines, closed establishments, and, in one of the most densely populated cities, Jesse often stood as the sole child in sight. Yet, instead of shielding him, our collaboration became a source of strength. The resulting images encapsulate the interplay between internal psychological dynamics and external realities. They navigate a spectrum, alternating between moments of playfulness and the poignant solitude portrayed in each photograph.

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Peter Howard

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

Today’s featured artist:  Peter Howard

My journey to Ecuador, initially driven by a personal project, took an unexpected turn. The primary purpose was to accompany my family in returning my father-in-law’s ashes to his homeland for a final resting place. Amid the emotional backdrop of this poignant task, I found myself captivated by the breathtaking beauty, vibrancy, and warmth of the Ecuadorian people and the charming towns they inhabited.

In this moment of emotional intensity, being intimately connected to my father-in-law, I felt compelled to document the life unfolding in these cities and towns. Returning to my roots, I chose to embrace a simpler approach to photography – one body, one lens, and an old extended frame camera. In my professional life, I am often surrounded by assistants and a crew, facilitating concepts for clients. However, this personal endeavor allowed me to savor the creative silence that enveloped me on the streets.

The act of photographing became a therapeutic outlet, a means to navigate through the complex emotions surrounding my father-in-law’s passing. Through the lens, I aimed to convey my deep appreciation for the country that held a special place in his heart.

Regrettably, the current challenges facing Ecuador weigh heavily on me and my family. I empathize with the people and the nation as they navigate these troubled times, reflecting on the profound connection I forged with this remarkable country during a time of personal significance.

 Peter Howard, a distinguished photographer hailing from Baltimore, possesses a remarkable talent for capturing the essence of individuals through his lens. Specializing in portraits and lifestyle photography production, Peter’s work transcends conventional boundaries, offering a sincere exploration of human narrative.

With a commitment to showcasing the beauty of individuality, Peter Howard’s photographic journey is a celebration of the human spirit. His portfolio invites viewers to delve into the intricacies of human stories, fostering an earnest connection with the subjects and a deeper appreciation for the art of capturing life’s fleeting moments.

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Survey from Art Producers on why they are important.

Personal Projects have always been my favorite galleries of a photographer’s website as it showcases their creativity.  To get an industry perspective, I have teamed up with Heather Elder to get agency art producers’ opinions on personal projects and why they are so important.

As a former art buyer with decades of viewing websites and portfolios, it is a personal project that many times seals the deal on being hired.  Advertising campaigns are a collaboration of photographer, art director, creative director, account executive, client, and support crew.

In 2016, I started “The Art of the Personal Project” on APE with the vision to showcase a photographer and their personal style.  I search the internet for photographers on websites like Found, Workbook, APA, ASMP, CA, The Picture Show: NPR, photographer representatives and photographers for the work I admire.  For personal projects to showcase, I look for at least 6 to 8 images and a unique subject/story.  I don’t take submissions.

Below are the results of Heather and I reaching out to art producers, and we hope it is enlightening and inspirational.

Ali Berk (Director of Art and Print Production at 72andSunny), Caroline Fahey (Senior Art Producer at Droga5), and Cliff Lewis (Executive Producer and Director of Art Production at Droga5) have generously shared insights into the vital role personal work plays in keeping portfolios fresh, the delicate balance between timeless and outdated, and the art of holding interest in a world marked by fleeting attention. Through the points of view of these industry professionals, we aim to glean insights that not only guide photographers but also illuminate the ever-shifting dynamics of contemporary photography

 

APE/HER Art Producer Questions & Answers:

How crucial is it for photographers to keep their portfolios current with new content, and what are the consequences of failing to do so? Can a portfolio still captivate interest if it showcases older but compelling work?

Ali Berk: I always think that if you are making new work, even if it’s personal work, you are moving your creativity forward. I also believe that new work can attract fresh interest and bring in new clients.  Of course, portfolios can still captivate interest if it showcases compelling work, some work is timeless! But if the work feels stale (sometimes clothing and overall style starts to look dated) it might be time to experiment rotating in new work to see how it performs.

Caroline Fahey: Totally keep older work you feel proud of, and still reflects who you are as an artist. If it feels dated in terms of your style or work, you’d normally take on, I would remove it, as it is also really important your portfolio feels cohesive and has a strong point of view.

Seeing current and new work also allows me to see the kinds of brands you’re working with, ideas you’re generating, and where you want your work to go in the future.

Cliff Lewis: I do think it’s important for photographers and artists to keep their work current and relevant. In today’s fast-moving environment, it’s critical for producers and creatives to see that photographers and artists are at the very least, excited by the world and in the conversation. Remember that media is driving attention spans down, so we have very little time to engage anyone. In the ad world, a great deal of research around photography is done on social media so it’s a great way to have fun, be yourself and share your voice as an artist. Once you generate interest, that often leads to your website. At that point, as well as your current projects, you can share more commercial leaning or older work too.

What is the threshold at which a piece of work is considered outdated? At what point does older work lose its relevance or value in a portfolio?

Ali Berk: As creative people, we all strive to make something unique. Make beautiful things people have never seen before. In order to make work that is at the forefront of what’s being made, you have to keep making, keep experimenting, keep advancing the medium.

Caroline Fahey: Work is outdated if it no longer applies to what the photographer desires to shoot or accurately reflects their intended/current style.  If that work sticks out like a sore thumb and feels disconnected to everything as a whole, it loses its value.

Cliff Lewis: The threshold for older work is very subjective. I think this really distills down to instinct and your own feelings. Is it still relevant? Who am I showing it to, and did they inquire based on that work? Some pieces are incredible and should be shown but perhaps in a separate space?

Have you noticed a distinct shift in the style or content of photographic work post-pandemic, and in what instances can pre-pandemic imagery detract from a portfolio’s relevance?

Ali Berk: I don’t have a singular answer for this, as I think each genre of photography goes through distinct trends. These shifts in trend aren’t unique to the pandemic, but I think we all taught ourselves new ways to stay self-motivated, which might have led to the formation of smaller, creative teams working together to set new trends.

Caroline Fahey: Hmm, I don’t think I have actually, or perhaps I don’t really see a distinction. More just new trends?! With that said, I don’t think it’s worth crafting your portfolio to a specific trend or moment. Better to build your own unique style that will last you your career.

I also think this new rising generation of photographers are very focused in the celebrity/portraiture world, so it’s always refreshing to find younger photographers who aren’t necessarily in that space.

Cliff Lewis: In terms of pre and post pandemic, I believe that there has been an incredible acceleration in content (I’m not particularly fond of that word) and in particular, user generated content or content captured in that style. Social platforms like Tik Tok are changing the game. That is not to say that we are not still busy with advertising work in the more traditional lanes, but social platforms are starting to redefine the rules in terms of style and content. There are some demographic lines of course but a lot of brand audiences reside on social media so it’s inevitable that the medium is attracting a great deal of attention from brands and agencies.

From your perspective, does the regular creation of personal work correlate with a photographer’s career success, and if so, what are the underlying reasons for this?

Ali Berk: Making personal work, shows you are open to change, open to evolution. Even when you don’t have a project ‘for work’, you are staying curious and keeping your mind busy. I think this just sets you up to have an open mind set. I love looking through a portfolio not being able to distinguish what was made for a client and what wasn’t. There is so much freedom and possibility when you’re making something just for yourself, there’s no doubt that work will eventually bring new connections and people into your life.

Caroline Fahey: I’m not sure if there is a simple yes or no answer to this and it likely depends on the photographer. With that said, certain photographers’ personal projects allow me to bridge the gap between what they love to shoot, and how that can be translated to a hyper specific brief I have on the table for a commercial client.

At the end of the day, we are looking to create imagery that doesn’t feel like an ad. So, seeing how your personal style can translate into a commission is super important.

By simply only showing commissions on your site, it may pigeonhole you into specific projects/asks, whereas your personal projects will allow the ability for new opportunities you may not expect. We often are trying to find photographers that may push the boundary on a specific brief.

Cliff Lewis: A photographer’s personal work is an opportunity to present their voice, be bold and free of any commercial constraints, to showcase ideas in the purest form. And social media provides the platform, so I think there is absolutely a correlation between personal work and success.

What guidance would you offer photographers seeking creative direction for new projects? Are there any themes or concepts that seem oversaturated in today’s market?

Ali Berk: For photographers seeking creative direction, I would suggest trying to put yourself out there and connect with art directors and prop stylists whose work you admire, to see if they would be open to test shooting. I acknowledge it’s a privilege to have access to studios and equipment, so even testing with natural light and an iPhone can help you jam on ideas that might lead to something new!

Whenever there is a theme or concept that seems oversaturated in the market, that’s the sign that there is opportunity in the market to try something new. By the point that everyone is tired of seeing the same-old, for the people who look at work all day, anything new will be exciting! Mess around! Break the mold and try it from a new perspective.

Caroline Fahey: Don’t be afraid of collaborating with other art directors/creative directors/stylists to help concept for personal projects. No need to feel like your personal work must solely come from you, and you only.

If the idea/concept is unique, it will speak for itself and not feel oversaturated. I don’t think there is a reason to avoid creating something you feel compelled to make for the sole reason it may already exist.

Cliff Lewis: Pretty much everything is oversaturated in today’s volume rich media environment. What is scarce are rich ideas and intelligent, thought-provoking work. It is hard to puncture a saturated world. With typically only a short window to capture someone’s imagination, I would say work towards ideas that excite you the artist, that move you, and ones that provide the chance to share your unique point of view. Also remember that today’s social platforms also reward ideas that are imperfect. Of course, craft and execution are important to us but sometimes, viewers are moved by ideas and insight without the need to spend too much.

What implications might a scarcity of recent work have when it comes to engaging with new clients or collaborators?

Ali Berk: I would suggest that no matter how scarce the work, you try to operate with the same mentality. Continue to share your work with new clients and collaborators. You don’t need to spend money making mailers or sending gifts to get attention- emails work. Instagram works. Keep posting your new work and it will catch. Send emails when you have something new to share.

Caroline Fahey: Generally, it does ring some alarm bells. Some thoughts that go into my head (does not mean by any means the below are true – just where my head goes!)

  • If the work they have shot within the past year isn’t work they are proud of showing, it means they probably won’t be happy w/ images they create for my campaign, which is not a good sign.
  • If there is a lack of work, will the photographer be able to confidentially execute the brief on the table?
  • Does this photographers work on their website accurately represent their current style? Can I expect this on my shoot?
  • Is it a risk to show this work to creatives if there is a lack of work as a whole? If creatives want to pursue bidding with this photographer, do I feel confident they can deliver this brief?

How do you view the inclusion of speculative work aimed at specific brands within a photographer’s personal portfolio? 

Ali Berk: I think it’s a good idea to include speculative work if you’re trying to articulate a creative thought! However, I would operate with sensitivity to IP, by keeping that work for 1 on 1 portfolio reviews vs. publishing that work online.

Caroline Fahey: It’s super helpful to see how a photographer’s style can translate into a branded project. When viewing it from the eyes of a producer, it may spark ideas for a brief we have coming up / allow me to see your work in a different perspective.

Cliff Lewis: I love speculative work. In the last two years I know of at least two photographers who approached major clothing brands with speculative work and ideas. Based on thoughtful proposals and clearly a love for the brands, the result was a commission directly with the client and a hugely successful campaign of images. So, if you love a product or a brand, have passion and a vision, I’m sure clients would want to hear from you.

Can you highlight a memorable personal project from a photographer that captured your attention? Did that project lead to job opportunities, and what about it stood out to you?

Ali Berk: A personal project that has remained impactful for me is Daniel Jack Lyons’ project Like A River/ IG.   This long-term endeavor features extraordinary images capturing under-represented communities in the Amazon.  The images are incredibly impactful and really stuck with me.

Cliff Lewis: When I was at BBH in London, the Dazed editorial project “Feel it “ by the photographer, Rankin caught our eye. It was a photo series of couples kissing. We had a creative brief in the agency for a new twisted seam engineered jean from Levi’s and Rankin’s kissing series was just an instinctive fit. The shape, the mood the modernity of it was just perfect. Of course, there is an element of luck with timing but if you are creating and getting your work out there, the chance exists.

The Art of the Personal Project: Todd Antony

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

Today’s featured artist:  Todd Antony

Each year, in addition to my advertising work, I try to undertake one or two personal projects to keep myself fresh from a creative standpoint. I get to go out and create work purely the way I want to, answering only to myself. These projects have led me down the path of shooting various subcultures and groups around the world. The lesser known the better. I’m fascinated by these small and compelling groups who have a unique perspective on life and the way they approach it.

‘Cholitas Escalators’ and ‘Dekotora’ are both their own series within this larger body of work that spans the past 9 years. The work crosses the globe, seeking out little known groups or subcultures of seemingly ordinary people who lead extraordinary lives in their own way. People that can lift a mirror up to show viewers both our differences and more importantly our similarities. In a time when the world is seemingly becoming more and more polarized, I would like the photography in these projects to hopefully be a bridge of sorts to narrow our differences.  (Note: Dekotora will be featured at a later date)

These ladies are the ‘Climbing Cholitas’ or ‘Cholitas Escaladoras Bolivians’. A group of Aymara indigenous women who are breaking stereotypes and shifting perceptions. In January of 2019 they summited the 22,841ft peak of Mt Aconcagua. The highest mountain outside of Asia. And did so eschewing traditional climbing clothing in favour of their traditional, vibrant, billowing dresses, and using their traditional shawls to carry equipment rather than backpacks.

The word ‘Cholita’ has previously been used as a pejorative term for the indigenous Aymara women of Bolivia. But these women are reclaiming it as a badge of honour.

In the very recent past, as little as 10 years ago, Bolivia’s indigenous Aymara women were socially ostracized and systematically marginalized. Known as ‘cholitas’, these women, easily identified by their wide skirts, braided hair and bowler hats, suffered racial discrimination and could be refused entry to certain restaurants, using public transport and entering certain public spaces such as the capitals central square, Plaza Murillo

While these women have been advocating for their rights since at least the 1960’s, their movement was further invigorated by the 2005 election of Evo Morales. Bolivia’s first Amerindian president. Since then, the majority indigenous population have seen greater recognition and autonomy. 

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Al J. Thompson

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

Today’s featured artist:  Al J. Thompson

NPR: The Picture Show

At the same time, gentrification can be both pervasive and personal.

Photographer Al J Thompson entwines these two ideas in his debut bookRemnants of an Exodus.

A pool of light on asphalt, the dangling Jordan’s of a boy on a tree limb, a police officer from the shoulders down, his right hand resting on his holstered gun. Thompson’s photos pose a truncated perspective of Spring Valley, N.Y., the New York City suburb where he came of age. The frames shy from literal views of change — Thompson intends to leave the big picture incomplete.

“This could be anywhere,” he says. The causes and effects of gentrification in cities across the country have spawned fierce debate in recent years about how to keep rising housing prices from driving out longtime residents.

Thompson considers gentrification to be “a term that relates to the undermining of a community by building new empires.”

It’s this visual tension — between the specifics of this neighborhood and the ubiquitous issue of displacement — that carries the viewer through Thompson’s work.

When Thompson migrated from Jamaica to the U.S. in 1996, he joined his mother in Spring Valley. The two were part of a largely Black community of Caribbean immigrants. The town park served as the meeting place for everything familiar. Jerk chicken sizzled during cookouts in July. Men played cricket on long weekends. And during many nights when floodlights illuminated the grass, Thompson and his friends ran through the park fields playing soccer.

Today, a development called Park View Condominiums overlooks that same space. The three-story housing complex is just one of the many long-litigated results of the area’s urban renewal push. Since 1990, Spring Valley’s Hispanic population has seen a sixfold increase and its number of ultra-Orthodox Jewish families has soared, shifting the demographics of what a community looks like. The proportion of Black residents has declined by 10% over the same time.

With this perspective, Remnants of an Exodus is as much a meditation on memory as it is an examination of place.

“By shooting this project, I’m also experiencing nostalgia,” Thompson says. “The sense of community, at least within the African diaspora, that’s been gone.”

Thompson also invites viewers to revisit their own recollections through his selective visual compositions. A quick pace of vague images allows the reader to project — a folded sign affixed to a chain link fence, the point where a willow’s limbs meet the ground, graceful fingers around an umbrella handle. Interspersed, direct portraiture brings pause. We spend time with the determined eye contact of a young girl with beaded braids and the knit brows of a woman set back in foliage.

“It’s very rhythmic,” Thompson says. “It’s almost like a musical.”

Just one explicit depiction of change interrupts this rhythm. In his only wide landscape, Thompson shows the viewer those new condos rising just beyond the fence that surrounds the park. In at least this frame, the past and present appear in harmony.

Maura Friedman is a visual journalist based in Washington, D.C. Follow her on Instagram @maurafriedman.

 

 

To see more of this project, click here.

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. She has a new Twitter feed with helpful marketing information because she believes that marketing should be driven by brand and not by specialty.  Follow her at @SuzanneSeaseInstagram

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

The Art of the Personal Project: Doug Menuez

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

 

Today’s featured artist:   Doug Menuez

In a world that often moves at a breakneck pace, finding moments of stillness and introspection can be a challenge. However, filmmaker and artist Doug Menuez has managed to capture these moments in his latest documentary, “Because of You, I Am”. This film takes viewers into the world of taiko, the Japanese drum, through the eyes of two of its beloved pioneers while delving into the deeper philosophical aspects that underpin it.

“Because of You, I Am” follows the stories of PJ and Roy Hirabayashi, two Japanese American artists who found the taiko drum as their identity and voice fifty years ago. Executive Producer of the film, Pear Urushima, has been a long-time collaborator with Doug since they first met on a project for Apple. Pear, who is a marketing guru and also a taiko player, thought of Doug to tell this story knowing his deep passion and understanding of artistry, working in tandem with his ability to share stories of humanity and art.

Pear produced PJ and Roy’s website (pjroytaiko.org) which celebrates their journey of taiko artistry, social activism and community building. From the start, this project was designed to be a multimedia production, requiring Doug to see the whole picture of the documentary film, stills, and publications while shooting. The entire crew worked together to merge all of these components, setting a captivating exploration of cultural exchange, mentorship, and the pursuit of artistic excellence.

“Because of You, I Am” offers a genuine glimpse into the rich tapestry of Japanese-American culture and history. Doug skillfully weaves together interviews, historical narratives, and breathtaking visuals, creating a compelling narrative that transports viewers to a world where intentionality reigns supreme.

Each element of the film serves a purpose and gives deliberate attention to each detail – from the choice of black-and-white cinematography to the carefully curated interviews. With these intentional decisions, Doug invites the audience to reflect on the power of simplicity and the beauty found in spaces left unfilled.

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Scott Lowden

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

Today’s featured artist:   Scott Lowden

Dia de los Muertos is a beautiful amalgamation of indigenous Mesoamerican and Catholic traditions, creating a culturally rich and visually stunning celebration. My fascination led me to Patzcuaro, Tzintzuntzan, and Isla de Janitzio Mexico, where families gather at the gravesites of their loved ones, creating ofrendas (altars) with personal items, favorite foods and beverages of the departed. The above-ground burials are deeply rooted in the cultural and spiritual practices of the indigenous Purepecha people and add another element to the mystical scene.

The juxtaposition of marigolds and sugar skulls with Catholic icons and candles creates a visual poetry that speaks to the blending of these traditions. Iconic candlelit paths leading to hillside cemeteries, adorned with papel picado and the intoxicating aroma of copal incense, beckon the spirits to join the living in a celebration of life and death. Through my photographs, I strive to convey the profound connection between the Mayan reverence for the deceased and the Catholic rituals that permeate the island.

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: John Grande

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

Today’s featured artist:  John Grande

My series is called Under The Table[top]. The idea resulted from a happy accident. I was shooting a down shot on a matte plexi surface with a light underneath. I was under the table adjusting the light and saw that the object I was photographing projected onto the surface. Not in a typical fashion, but with the contact points sharp and readable and the areas further away more blurred and abstract.

I brainstormed ideas and produced 9 images total. They ranged from a breakfast table to a snack table with drinks, whiskey and cigars, a wine bottle and a spilled glass, roses and a vase and a cutter, and probably my favorite; melted ice-pops.

My name is John Grande. I am a still-life and people shooter specializing based in NYC. When I’m not in my studio or at my workstation I’m cooking for my wife, adoring my big gray cat, fly fishing in the Catskills or watching silly cartoons.

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Margaret Lampert

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

Today’s featured artist:  Margaret Lampert

The Art of Growing Up

My documentary short, The Art of Growing Up, was inspired by a conversation I had with a mother of three about how one speaks to young children about all the craziness of the world we inhabit; how to make sense of so many things that are completely and utterly senseless. She said that, of course, these conversations are excruciating but so necessary, and that it was in these children she found hope for the future.

Since every advertising project includes a motion component, as photographers we must all demonstrate our ability to direct. Rather than showcase this skill through work made for clients I decided the most powerful way to make my case was to concept and direct an original piece.  As a lifestyle photographer I have always tried to set my work apart by capturing moments that feel completely authentic rather than performances conjured up only because a camera is present. As my goal was to show how my still work translates to motion, I decided I wanted to tell a story that was as authentic and honest as my still pictures.

I first presented my idea to a team I had worked with previously: creative director Andrea Diaz-Vaughn and producer Sarah Clough. They were both immediately enthusiastic about the project and collaborated with me on every detail related to bringing this idea to life including sharing family, friends, countless hours, and most of all their expertise in concepting, scripting and storytelling. Their passion for the project and guidance in the development and execution of the piece made it all possible. After seeing my DP Aurora Brachman’s short film ‘Joychild’ I knew she was the perfect fit both in terms of sensibility and her extensive experience working with kids and teens. Editors Jeff Ledell and AJ Serrano wove it all together so artfully with the perfect combination of voices, b roll & music. Our team was small but mighty and I am so proud of what we’ve created.

 

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Blair Bunting

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

 

Today’s featured artist:   Blair Bunting

The World’s First U2 Spy Plane Photo Shoot at the Edge of Space

“Eight years of planning, and six months of training, all to sit in a cockpit for five hours to do a photoshoot while simultaneously being the furthest human being from the planet (other than those on the ISS). To put it simply, I would get into a spacesuit, climb into a Cold War spy plane that would then be chased by another spy plane to the Edge of Space to conduct a first-of-its-kind photoshoot.

Being overcome by emotions was not an option, as one cannot wipe their eyes in a spacesuit, and irritating them with tears can make focusing a camera impossible. It wasn’t the only wild challenge that faced me on this photoshoot. As to top it off, I could not get too excited or exhausted, for excess breathing and heart rate would immediately ice over the canopy at the altitudes we were at.

The sheer sight that existed at the apogee of the flight was (and still is) difficult to process. The sun sat not far from the half-moon, both against a black background as the blue sky I had seen all my life was behind me. Then as I veered down, the most emotional views I have ever witnessed existed, it was planet Earth. Beautiful blues, greens, and browns, but not even a hint of mankind could be seen, the curvature of the planet filled this absence.”

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Andy Anderson

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

 

Today’s featured artist:   Andy Anderson

 

Andy Anderson Taps Into Cuba’s Diverse Visual Canvas for a Personal Fashion Project

Andy Anderson believes that to have true success as a photographer, it requires you to be obsessed with the art form and for Andy, staying curious. It’s this fervor for the craft that fuels his creativity and a deep appreciation for collaboration that brings his visions to life. Recently, Andy created a personal project focusing on fashion photography, a genre he has explored over the past year.

Not commissioned by a client, this personal journey was to expand his portfolio and test his ability to art direct a fashion shoot. The shoot was a celebration of craft, an opportunity to grow as an artist and in the end, the images prove that Andy’s philosophy and talent meld together to create beautiful imagery.

Andy says that his choice to travel to Cuba comes from visiting the country for the past 30 years and learning about the country’s rich diversity of people, architecture, and clothing. All of these things offer the perfect palette for his creative vision. The visual diversity of Cuba provided an ideal canvas for the shoot and Andy’s deep love for the country only fueled his enthusiasm for the project.

When asked what the best part of this shoot was, Andy unequivocally responded with “the crew.” The significance of a solid crew was amplified by the unique challenges of working in a closed society like Cuba. Not only did the local crew help to facilitate the logistics of the shoot, but they also helped navigate complexities like obtaining locally sourced clothing for the fashion project. This wasn’t just about dressing the models; it was about embracing the authentic Cuban style by using clothing that was sourced within the country, some of which were vintage and celebrated the rich history of Cuba. The expertise and professionalism of the crew were vital in ensuring that every aspect of the shoot, from location scouting to art direction, was executed flawlessly. Andy Anderson described them as the most professional crew he had ever worked with, and their dedication to the project was a testament to their commitment to making this personal shoot a success.

During the nine-day shoot, Andy and his team scouted a variety of locations, from sandy beaches to private homes, bustling streets, and boxing gyms. Each location was carefully chosen to showcase the distinct beauty and culture of Cuba. Havana, with its captivating scenery and frozen-in-time charm, proved to be a visual treasure trove and enhanced the allure of the images. Working with local talent added authenticity to the shoot, as the models were local to the area and represented the community visually and culturally.

Andy’s approach to the project was fluid and open-minded. He began with a rough idea but allowed the creative process to evolve organically and collaboration and experimentation were key. This project inspires us and is a reminder that curiosity and creativity and instrumental in evolving your work. We’re excited to share the still imagery work with you now and keep an eye out for the 16mm film Andy and his DP Cavin Brothers shot on location in the coming months.

Local Cuban Crew:

Executive Producer – Josue Lopez Lozano

Producer – Daniela de Mello

Stylist – Narciso Martinez

Hair and Make Up Artist – Jennifer González Vigo 

Model – Melanie Wilma

Model – Lea Vall

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Annabelle Breakey

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

Today’s featured artist:  Annabelle Breakey

This is a body of work that focuses on a world that we all secretly have, but don’t really talk about: Guilty Pleasures. Guilt oftentimes is deeply intertwined with our relationship with food. Those tantalizing, excessive, and undoubtedly indulgent yummy experiences that we all pine for – to gorge, swig, smoke, stuff, dip, indulge, just over your fill. This work is not to be a guilt trip; It’s meant to be a guilty pleasure and to be enjoyed and explored with your own sense of wanting and to have a giggle over your own experiences. No judgement, all fun.

The reason why the subject is so appealing is that 38 percent of Americans confess they’re at least a little ashamed of their guilty pleasures, with 39 percent admitting to lying about them and 22 percent hiding one from their partner.

Whether the food is expensive, like indulging in a Tomahawk steak and bottle of red wine, by yourself, or excessive such as ordering way too much Chinese takeout and reading trashy novels in bed while eating by yourself, the goal of this work is to have a playful poke at our inner selves. We’ve all wanted what’s in the pictures to some degree.

Through this project, I want to free viewers to enjoy their own culinary guilty pleasures. In other words, go there and not be shy, within reason. We’re all human. Your love for food should be a sign of self-care, not weakness. Sometimes we just need a little fun with our relationship with food and not feel bad about it. Live a little.

To see more of this project, click here

Instagram

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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram

The Art of the Personal Project: Rob Gregory

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

 

Today’s featured artist:  Rob Gregory

I began photography in the mid 90’s as a freshman in high school. I was signing up for classes when my older brother, who was full of older-brotherly wisdom and advice, pulled me aside and said, “Hey! I know you need an art credit. You should take Photography. It’s an easy A.” Funny how one person’s passing grade can become another’s life-long passion.

 

Back then I was rolling my own film, developing it by hand and enlarging it in the dark room. For years, I shot black and white exclusively. Even later, when I moved into digital photography, and began my career, I still gravitated towards high contrast, dark, moody images.

One day, a few years into my career, a creative director was reviewing my portfolio and said something that ended up having a huge impact on my work. He said, “Man, I absolutely love this stuff. I just wish our clients would go for something like this.” I asked what his clients typically liked, and he explained that they tended to go for bright images with lots of color.

I mulled over what he said and knew I needed to push myself out of my comfort zone. I went back to my studio and started exploring a world full of light and color — and I absolutely fell in love with it.

This project is an example of work that fully embraces this bright world I have come to love. I used LED lighting with full RGB capabilities to create unique color combinations that complimented the wardrobe choices. In recent years, I’ve found myself shooting with continuous lights more often than strobes because I love the versatility they provide. They allow me to control color temperature and RGB with the touch of a button.

This project wasn’t all smooth sailing though. I often say that my job is mainly problem solving, and this was no exception. The biggest issue I ran into was that the camera port on my main camera had apparently become loose and my tethering cable wouldn’t hold a connection to my computer. I spent HOURS working on it the day before the shoot before finally giving up and moving over to my backup camera: my trusty old Nikon D800. So, for all the gear snobs out there, this project was shot with a DSLR and lens that were both purchased back in 2012.

No matter what challenges may arise, I believe that having a clear vision for the work you want to create is the most important aspect of photography. When you have that North Star, it’s easier to roll with the punches and adjust without losing your cool or direction for the shoot. When you know where you’re going, nothing can stand in your way.

Credits:

Wardrobe/Prop: Madeline Telford

HMUA: Viki Moon

Models: Eric Ntrakwa, Hailey Wilkins

To see more of this project, click here

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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 advertising and in-house corporate industry for decades.  After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999.  Follow her at @SuzanneSease.  Instagram