Author: Suzanne Sease

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

Today’s featured photographer is: Trevor Reid

How long have you been shooting?
I have been shooting for 5 years.

Are you self-taught or photography school taught?
It depends on what skills we are talking about. I had a great photo teacher in high school and then attended RIT, both of which provided a solid conceptual and technical foundation. My assisting experience in New York City really taught me everything from large-scale production and lighting to talent management. I picked up business, marketing and personal skills on my own and of course learned a lot shooting for myself. I also had the opportunity to shoot side by side with one of my mentors for a few years, he taught me more than words can describe. You never stop learning, and there is so much to be learned from different people at different times.

With this particular project, what was your inspiration to shoot it?
This was the third time I went down to shoot spring training in Scottsdale, AZ and I had previously noticed that most players and clubs are very generous with their time and access. Along with the desire to shoot something unique, I wanted to give the players something tangible after they gave me their time or I stole a moment. Polaroid just popped into my head and I always wanted to shoot with an SX-70. Every time I photographed a player for this series, I would shoot two frames and give them one to keep.

How many years have you been shooting this project before you decided to present it?
Years?! Some things take time, others come together quickly. This one came together quickly. I was down in Scottsdale for three weeks and shot almost every day. By the end of the project I had around 350 Polaroids to myself for an edit. In today’s digital age, it seems like so few…but I think so much more when shooting film…and even more when shooting Polaroid. I have no doubt that I will continue to shoot Polaroid over the next several years and this project will continue to grow.

I have another personal project, USA Handmade that has been in the works for two and half years now. There’s a glimpse up online, and I’m excited for the project to continually evolve.

How long do you spend on a personal project before deciding if it is working?
Honestly, I don’t really think about if its working on not. It’s a personal project, ultimately it needs to resonate with the person who created it, if it does, then it’s working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
It feels great! When I do my personal work I’m not thinking about meeting my clients needs or looking to fill a gap in my book. I’m simply doing what I love to do in its purest form, taking pictures and trying to make beautiful images.

If so, has the work ever gone viral and possibly with great press?
Nope, I need to do a better job of getting it out there; it’s also impossible to know what will go viral when or where.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Frequently! It’s a great way to get unpublished work out there for the world to see.

Have you printed your personal projects for your marketing to reach potential clients?
I have some special plans for printing this project, and USA Handmade.

Bio:
Trevor received his Bachelor of Fine Arts from Rochester Institute of Technology (RIT) where he focused primarily on advertising photography and production. Trevor has been working in New York City and Boston for several years where he has established relationships with HBO, ESPN The Magazine, Titleist Golf, Men’s Health, and Boston Magazine, amongst other editorial and advertising clients. His work can be seen in several publications and advertisements nationwide.

Artist Statement:
The Polaroid project is an ongoing personal project by photographer Trevor Reid conceptualized to give back to the people who help create the moments Trevor captures. Each time Trevor photographs a person with his Polaroid SX-70 he shoots two Polaroids and gives one away to his subject. “In some ways, I feel guilty about capturing moments and feel the need to immediately give back. This project provides a way for me to do that.”

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

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

Today’s featured photographer is: John Davis

How long have you been shooting?
About 15 years.

Are you self-taught or photography school taught?
I studied Photography at The Maryland Institute, College of Art (MICA).

With this particular project, what was your inspiration to shoot it?
The unique concentration of artists and creatives that call Baltimore home is the main inspiration. More specifically, the Treason Toting Company project, part of a larger project collaboration called SCOUT (see Artist Statement), was inspired by the guys at Treason and their commitment to quality, style and the creative class of Baltimore. Jason Bass and Aaron Jones truly embody the qualities of the bags they make.

How many years have you been shooting this project before you decided to present it?
This particular project was shot over the course of about one month. I didn’t have a plan for the work before it began so it’s been shown in a few different places: framed prints exhibited at local craft brewing space, a traditional portfolio book and as part of a brand video created by my friends and collaborators at ShineCreative.tv.

How long do you spend on a personal project before deciding if it is working?
It depends on the subject, but I usually know pretty quickly if it’s working. I like to give it some time to breathe, so I’m usually not too concerned with how long I spend on something. Sometimes I’ll lose interest in a project and move on but I might also come back to it later… possibly years later. A personal project that doesn’t work out can still be a success if I’ve learned something from it.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
By design, shooting for my portfolio is almost always different from my personal work. The goal of my personal work is to explore new directions for my commercial work. In the case of Treason Toting Company, the personal work was where I saw my commercial work moving so I knew I wanted it to be different and that was really the point of project.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use a combination of Facebook, Twitter, Instagram and Tumblr. Social media is the perfect place to test and get feedback on new work, Personal and Commercial.

If so, has the work ever gone viral and possibly with great press?
I wouldn’t say anything has gone viral but it has definitely helped drive more people to my website. It’s also a great way to keep my name out there. Even though we’re all striving for it, I think “going viral” and “great press” can be overrated. It’s hard to argue with going viral but it’s really difficult to gauge great press. I’ve had great press and lots of attention from the right people but still not seen an uptick in jobs. It’s also possible that the rewards aren’t felt for a long time, or spread over years, and by then it’s really hard to say where it all started. I believe consistency in social media is most important for it to succeed. Unless you have a dedicated social media person, it’s really hard to keep on top of all of it.

Have you printed your personal projects for your marketing to reach potential clients?
I’d say about 50% of my marketing draws from personal projects. Combining personal and commercial images in marketing can create just the right amount of tension to give things a fresh look. My clients really enjoy seeing my personal vision, especially when juxtaposed with commissioned work. It has also helped some of my clients find new ways of using me.

Just recently, The Treason Toting Co. project caught the attention of a long time Higher Education client of mine and led to them hiring me to shoot a project for Stanford University in Palo Alto, Ca.

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John is a photographer based in the Baltimore, Maryland. He specializes in telling stories with images for a wide range of clients, from higher education and advertising to national editorial publications. On his “off” days he keeps busy by training for his next Marathon and photographing his fellow athletes.
You can see more of John’s work here:
http://www.jdph.com

Contact: john@jdph.com

The Treason Toting Company project is the first project in a series collaboration with my friends and colleagues at ShineCreative.tv. The project is called SCOUT and is an exploration of the creative path and those driven to pursue it. Treason was an opportunity for me to experiment with a style of shooting that I had previously only applied to my Education Lifestyle work. By expanding my vision and being free to tell the story as it unfolded, I could take a more intimate perspective, observing in a way that allowed the essence of Treason to come to the surface and tell a true story with images.

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

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

Today’s featured photographer is: Brinson+Banks (Kendrick Brinson and David Walter Banks)

How long have you been shooting?
We both started working at newspapers 10 years ago before moving to freelance photography, and then we teamed up to create Brinson+Banks a little over two years ago.

Are you self-taught or photography school taught?
A little both–we were both inspired by the same passionate photojournalism professor at The University of Georgia (Jim Virga, who is now in Miami) but we took only three classes each, which covered the basics of photojournalism ethics and how to manually use a camera and tell a story with photography.

With this particular project, what was your inspiration to shoot it?
With Chameleons, we were incredibly inspired by the landscape in Southern California. We both grew up and spent the majority of our lives in Georgia and South Carolina and when we moved to Los Angeles a year and half ago, we were just visually awestruck by the diversity of the environment and it sparked something in both of us. Right away, we wanted to explore it all–we went to beaches and the desert and the mountains between and shot landscape photos in preparation for this project (and also because it was, and continues to be, a great adventure).

How many years have you been shooting this project before you decided to present it?
Just one year.

How long do you spend on a personal project before deciding if it is working?
I think that really depends on the project. Both of us have personal projects of our own (something we do as individuals, rather than a team) that we’ve worked on for years, and one that Kendrick is convinced will never be done because she enjoys working on it so much. Personal projects should be foremost about documenting/capturing something you’re really interested in–you’re doing it for the joy of doing it, not for business, but for sheer pleasure–so it could be one shoot or 10, one month or 15 years. It’s working if you feel your work, your eye, your creativity is growing. If you’re not excited about it anymore, that will show in the work, so give it a break and a rest or call it finished. Don’t force it.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
We both feel so damn lucky that we’ve found a job that we are so passionate about. We’ve talked to photography students at almost a dozen photography schools at this point and something we always drill to the students is personal work. It’s how you grow and evolve and keep from stagnating. It’s where we stumble upon happy accidents that then we’ll repeat on a shoot for a client. If you’re not getting paid to shoot the photos you want to shoot, build a portfolio on your own of personal work and maybe it will translate to future work.. Recently, a client hired us to duplicate a photo we shot while we were shooting just for fun. That’s the best marriage of the personal side of photography and the business side of photography when they blend like that, though it doesn’t happen every time. I would think that if your personal work is extremely different than the work you do for clients, then maybe you should share that work and see if you can expand your client-base to include that type of work, too, so you can create more of what you love to create and have it funded, as well. But some projects we do just for the sheer joy of doing them and wanting to branch out of our comfort zone and that’s good, too, to show off a different aesthetic.

Personal work is really important because it’s a place to mess up and have fun and experiment without any outside influences saying “no, do it this way” or asking for it to be tamed down. You get to have fun for the sake of having fun, and with all the meetings and emails and shooting we do for “work,” it’s a really important refresher and can really revitalize us.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yep! We love using social media to share our personalities–that’s how a lot of our clients keep in touch with us. We don’t see a huge line between the personal and the business because it’s all making photos and it’s all doing what we love. The jobs we do are personal, too, because we put so much of ourselves into them.

If so, has the work ever gone viral and possibly with great press?
We’re a married couple and do this pose with the camera on self-timer and last year that series of photos, that was hilariously dubbed “#BrinsonBanksing” went viral–it was published everywhere from CNN to the Weather Channel to Cosmo to Buzzfeed. It’s a funny thing how you can work your butt off putting your work-work out there and then something we do for fun, that is a truly personal family album type thing, goes all over the world.

Have you printed your personal projects for your marketing to reach potential clients?
Yep! Almost half of our portfolio book is personal work. A lot of our emailers and postcards we send out to clients are our personal work. We get hired to do jobs because of the work we do for fun. How great is that?

———————————–

Artist Statement:

Chameleons was born from a fascination of the new landscape we’d landed in. We are two photographers who spent the majority of our lives in the green of the Deep South. We relocated to Southern California and discovered foreign flora where green was replaced by pink and tan, and dogwood trees were replaced by succulents and Joshua trees. We’ve always been inspired by the landscape, and a lot of our lifestyle and portraiture work is environmentally based, so when we first moved to LA we knew we wanted to explore the region more with our cameras. We concocted a plan to go to the ocean, the cliffs of Malibu, the desert, the mountains and to then project those images on models in a studio–it was the perfect excuse for an adventure in our new home and to experiment more with our portraiture as a team. We had fun collaborating with our models and creating something a little out of context for the viewer. And, as a bonus, it was a way for us to announce our new home in a visual way.

———————————–

We are Kendrick Brinson and David Walter Banks, a commercial photography team based in Los Angeles. We collaborate with each other, our team, and our clients to create portraiture and lifestyle imagery that tells a story or creates a mood.
We met in a photojournalism class in college and fell in love with photography and storytelling at the same time in the same place. But we didn’t fall in love with each other until two years later. Before we joined forces to create something more colorful and surreal as a team, we worked individually for the likes of TIME Magazine, The New York Times Magazine, Sports Illustrated and FADER for several years.

We love to be involved in every part of the creative process from the conceptual, storyboarding and planning stage to the execution on the day of the shoot and everything in between.

We have been interviewed by PDN, American Photography, TIME’s Lightbox, The New York Times Lens Blog, CNN Photos and PhotoShelter about our unique vision. Our images have appeared in exhibitions in Houston, New York, Atlanta, Groningen, The Netherlands, and are in the permanent collection of the Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection at the New York Public Library, and the Museum of Contemporary Art of Georgia.

Clients
R/GA, Target, Airbnb, Tiffany & Co., Audi, Garnier, Deutsch, ADIDAS, L’Oreal, Publicis Kaplan Thaler, Seventh Generation, Leisure Society, Bombay Sapphire, Vitamin Water, Hennessy, Google, Panera, Enterprise, SBE, Sanofi, PhotoShelter, Billboard, Huck, Wonderland, Rolling Stone, NME, Panda Express, The New Yorker, TIME Magazine, New York Times Magazine, Sports Illustrated, Shape, NPR, Complex, Fortune Magazine, New York Magazine, XXL, GQ, ESPN The Magazine, The FADER, Stern, Smithsonian, Inked Magazine, Mother Jones, Newsweek, Le Monde, Juice, AARP, US News & World Report, Bloomberg Businessweek, Wired, Forbes Magazine and Golf Digest, among others.

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

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

Today’s featured photographer is: Brian Kuhlmann

How long have you been shooting?
I started this business while still in high school, so 31 years.

Are you self-taught or photography school taught?
Self taught.

With this particular project, what was your inspiration to shoot it?
My inspiration was the oil spill disaster in the Gulf of Mexico. The seen and unseen effects on the wildlife were horrendous. I chose to shoot dancers with fabrics and petroleum products to recreate visuals of the spill.

How many years have you been shooting this project before you decided to present it?
This is still a rough draft .

How long do you spend on a personal project before deciding if it is working?
Not sure how to answer this. I work on the project until I feel it is complete. Every test works in one way or another.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I don’t draw lines between the two. I love to shoot, and all of my images are my portfolio; the only difference is where I decide they end up in my presentation.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Not really. With the current terms and conditions of social media sites, I am careful what goes into those venues.

If so, has the work ever gone viral and possibly with great press?
I had a couple of these images picked up by magazines and books. Rangefinder did a short piece, and Weldon Owen also ran a page dedicated to one of the images, in the book “How to Photograph Anything”.

Have you printed your personal projects for your marketing to reach potential clients?
My personal projects usually end up in gallery shows. I have used some of the images as special gifts for important people in my life.

————

Brian Kuhlmann’s favorite part of being a photographer is… photographing. He’s been a working photographer for the better part of 30 years. While now based in Los Angeles, he started out in St. Louis and lived more than a decade in Chicago. His commercial work is based in creating energetic lifestyle for some of the largest brands in the world.
Into The Fray – Brian Kuhlmann

Capturing the controlled movement of dancers has long been a passion of mine; this particular body of work was a direct response to the Deepwater Horizon oil spill in the Gulf of Mexico and its effect on wildlife.

Working with professional modern dancers, I shot this sketch of what is to be a larger project. We explored different textures and materials, from the watery texture of silk to more literal petroleum-based products, letting the dancers bring their own personal interpretation to the subject matter.

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

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

Today’s featured photographer is: Jazzmine Beaulieu

How long have you been shooting?
5 years professionally

Are you self-taught or photography school taught?
After graduating High School, I attended the Hallmark Institute of photography where I was enrolled in a 10-month program focusing on the technical, business and artistic sides of photography. Upon graduation, I moved to NYC, where I immersed myself in the world of photography, galleries, Fine Art and Street Art, developing close relationships with a wide range of talented artists in these and other fields. My experiences both professionally and socially since moving to NY, have taught me many things applicable to my field, that I could never have learned in the classroom, so in a very real sense, I was formally educated and self-taught.

With this particular project, what was your inspiration to shoot it?
I had seen some images from India’s Holi Festival and was incredibly inspired by the otherworldly effect that the application of this substance had on those who used it and immediately decided that I wanted to use it as an element in my work. A Colourful Life was born by my desire to use the powder as an incongruously playful environment for 65yr plus women. The inevitability of aging is mostly discussed or illustrated with a sense of dread. I conceived this project as an opportunity to instead, celebrate it. To communicate the idea, that spirit, beauty and joy do not have to diminish with age and in fact it’s life’s experiences that make us all that much more vital. The images I captured wouldn’t be nearly as interesting without the brass of the women in them.

How many years have you been shooting this project before you decided to present it?
This came together fairly quickly. From concept to capture it was about 6 months.

How long do you spend on a personal project before deciding if it is working?
The answer to this question is always going to be specific to the project itself. In this instance, I somehow always believed that it would work right from the start but my confidence in it grew enormously as soon as I met with my team. Their shared enthusiasm helped reinforce my feeling that this was going to be something very special.

By the time we walked into the studio, the only production left to do was to set our stage and capture the narrative that played out on it. As soon as we captured the first image that was a direct manifestation of our collaborative efforts it was clear the shoot would be a success. As a photographer that moment is the drug. It’s a high that keeps you moving through the entire project. At that point, no matter what, it’s a winner.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Human connection is the most important element in my work. I love interacting with people, hearing their stories, telling them mine. Whether the project is for portfolio or an assigned production, my relationship to the people in my images is what drives me. My hope is, no matter the content, that my audience sees and more importantly feels that when viewing my work.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Absolutely. All the time. But mostly selective edits and behind the scene images to my shoots that are meant to be teasers to the galleries I post to my own website. I also love to post images from my social outings primarily because I love my life and enjoy sharing, but also because my social adventures are direct influences on my work.

If so, has the work ever gone viral and possibly with great press?
Facebook licensed a selfie I had taken of my best friend and I last year and that image did go viral. It received 328,000+ Likes and 6,000 shares.

Have you printed your personal projects for your marketing to reach potential clients?
I think nowadays, printed promotions need to be really special to get the desired attention of it’s audience and justify the cost for the photographer. I have sent very limited, personalized cards out, but this project will more then likely be the one that gets designed into a stunning package and mailed as an edition to a wider audience.

Project Team:
Photographer: Jazzmine Beaulieu
Creative Director: Megan Yanchitis
Powder Design: Lee Milby
Hair and Makeup: Stacy Skinner
Wardrobe Styling: Jess Mederos

Jazzmine Beaulieu (1984) was born in Lewiston, Maine to an artist mother and a musician father. After graduating high school, she attended Hallmark Institute of Photography, completing a ten-month curriculum focusing on the technical, business and artistic sides of photography. She graduated at the top of her class, receiving an award for “Best Overall Portfolio” and “Most Promising New Artist”.

After graduating, she moved to Brooklyn NY, where she currently resides. Since her graduation, she’s done many successful campaigns for a wide variety of clients, including: Virgin Atlantic, Easy Jet, Azo, Taleo, Culturelle, Estoven, Mega Bus and Facebook.

(She also does non-profit work with the Make-A-Wish Foundation and Cre8tive Youth*ink/ Art Without Walls).

Her latest project entitled, “A Colourful Life” was just premiered by Vanderbilt Republic at (Un)Scene an exhibition in NYC that was part of the Armory Arts Week.

Follow her on instragram @jazzminephoto

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

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

Today’s featured photographer is: Mark Scott

How long have you been shooting?
We moved to Germany in the middle of my freshman year of high school – my Dad was in the Army. It could have been awful, but it wasn’t – the experience helped me become a photographer. I was fascinated with how different everything was and started taking pictures non-stop. I had a camera for several years before, but it was shooting around Europe that really got me started “seeing” the world in pictures. I’ve shot commercially now for about 25 years.
 
Are you self taught or photography school taught?
Originally self taught. In high school I packed a 35mm camera around everywhere. Shot tons of b&w, spent hours and hours in the darkroom on base, processing and printing pictures. My chemistry teacher, who was a photo geek, introduced me to the work of photographers like Cartier-Bresson and Andre Kertész. He liked to critique my pictures, always encouraging me to shoot more.

I took a community college photography program in Washington state learning basic technic, and then moved to L.A. to go to Art Center. But I never made it there. I was lucky to get a full-time assistant job with a successful lifestyle photographer who also had just come to L.A. Most of the work was ad campaigns for agencies in NY and Chicago. It was intense, but I was learning so much I decided postpone Art Center. Assisting is a job every young photographer should have for a while. We did everything in house from estimating to image delivery. Besides working as camera assistant on shoots, I was involved in production, casting, scouting, even sourcing props at the studios and prop houses. After that, I freelanced with a variety of out of town photographers shooting ad campaigns on the West Coast. I never went back to school.

With this particular project what was your inspiration to shoot it?
My first studio was on Melrose, right in the heart of the Melrose District. Melrose, which isn’t far from my home, is a magnet for creative people from all over the world. I’m pretty low key, and not much of a fashionista, but what I’ve always loved about Melrose are those people who do make bold personal statements with the way they look and dress. And combined with the creative street artists there’s always opportunity for pictures. That’s a good match for a social media project. There’s a great energy from street shooting, and I wanted to revisit Melrose as a project to share on social media.

How long have you been shooting this project before you decided to present it?
From day one I started putting this work out on Instagram. But when I started, there was really no project yet. I just shot and posted pictures. A few months later I started dopemelrose.com, an image blog using WordPress. I got great response, so I included DopeMelrose pictures in my printed portfolio, on my website and in the work I promote on Workbook. That section of the portfolio always sparks conversation.
 
Since shooting work for your portfolio is different from personal work how do you feel when the work is different?
That’s an interesting question, because the difference is a little blurry sometimes. Some of my personal work is shot for my portfolio. It’s the motivation and the approach that changes.
 
Exploring the world through the lens of a camera is such a great feeling of discovery. It’s what I fell in love with when I first started taking pictures and what motivates my personal work.  I like to explore subjects that interest me – then observe, experiment and let the imagery evolve organically.  I approach some projects like visual brainstorming … looking to find or create moments that are authentic, moments that tell a story or that have amazing light and composition. Personal work helps to hone my craft and is a great source of inspiration for my commercial work.
 
But of course the approach is different when I’m shooting portfolio pictures that are relevant to clients and brands I want to work with. DopeMelrose is much more serendipitous. Portfolio shoots are storyboarded with clear image goals in mind and production values more like assignments. I shoot lifestyle, so crew, talent, scouting, locations, permits, permissions, props and wardrobe are necessary when producing portfolio shoots. 
 
How long do you spend on a personal project before deciding if it’s working?
How do you define “working?” Personal projects always work. Not because they always create awesome images but because the experience is fun, interesting and the process exercises creativity. 
 
Have you ever posted your personal work on social media venues like Reddit, Tumblr, Instagram, or Facebook?
I started DopeMelrose to be an ongoing social media project using Instagram. Instagram has been key to this project because when I ask someone to participate, within a few seconds they have my Instagram up on their phone and they’re totally cool to shoot a quick portrait. I’m experimenting with shooting on an iPad, selecting the picture with the people and posting immediately. People love being part of the entire process. I just started posting to tumblr.
 
If so has the work every gone viral and possibly with great press?
Nothing like @thedress or “Charlie bit my finger”.
 
Have you ever printed your personal projects for marketing to potential clients? 
Early in my career I marketed a personal project I shot on the American West to a handful of Western brands. That quickly led to years of work with the Martin Agency for Wrangler.
 
Pictures from that project – cowboy portraits, authentic relationship moments and the printing technic have also inspired other ads. It’s exciting to get layouts referencing personal work. Imagery from that project has also been licensed for a variety of companies, including a major U.S. liquor company promoting its brand in Eastern Europe.
 
One really exciting result of the American West project was that I was asked by an art buyer I had been working with to hang a show of my photographs in the halls of Ogilvy NY.  
 
I shot and marketed that project for several years. It’s really amazing not only how much commercial work was the direct result of that one project but also how many amazing creatives I’ve gotten to know and collaborate with along the way.
 
Artist Statement
I wanted to connect with the creative spirit and personal stories of the people who make Melrose what it is.  Past generations have influenced this street with Punk, New Age, Goth. It will be fun to look back and see the social and creative influences of today’s generation.
 
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Mark Scott is a lifestyle photographer based in Los Angeles.  He specializes lifestyle, portraiture, sports and reportage. You can see his work at http://www.markscottphoto.com

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

As a former Art Producer, I have always been drawn to personal projects. A personal project is the sole vision of the photographer and not an extension of an art director/photo editor or graphic designer. This blog thread is to feature the personal projects of photographers who advertise in LeBook. You can find him here: http://www.lebook.com/vincentdixon Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Vincent Dixon

How long have you been shooting?
Professionally, about 20 years. I was seldom without a camera for about eight years before that so twenty-eight in total.

Are you self-taught or photography school taught?
Self-taught.

In my early twenties, I moved from Ireland, to France. I was a post-grad science student in Paris and discovered the street photography of Cartier-Bresson, Eugene Smith and Andre Kertész. I became friends with Justin Creedy Smith, Peter Lindbergh’s assistant at the time, and that fueled my interest in photography. As soon as I finished my Ph.D., I did an internship at a photo studio for about two months, and then over a two-year period, I assisted the fashion photographer, Steve Anderson.  That’s where I learned the basics, like how to expose film. Then I worked as a producer for a couple years. So most of my training has been on-the-job training in terms of photography.

For example, before I shot my first major advertising assignment, the Absolut Vodka “Cities of Europe” campaign, I really had never used a 4×5 camera. I took a photo assistant for the first photo. After that I shot the rest of the campaign with just the Art Director, Pascale Gayraud. No producer, no assistant, just the two of us. It was quite an adventure. I spent about a week looking at locations and then about three or four days shooting on each photo.  That was my school.

With this particular project, what was your inspiration to shoot it?
In 2011, I took a sabbatical from commercial photography and went on a yearlong journey around the world with my wife and four children. It was priceless share many new experiences with my family, as well as a time to submerge myself in creating photo-essays of our travels away from the confines of a working schedule.

How many years have you been shooting this project before you decided to present it?
I started showing it pretty much immediately. From the road, I regularly sent friends a “Picture of the Day”.  And then a selection debuted as part of a self-published magazine called “Wanderings” which had several stories from the year traveling and the Pushkar Portraits.  Also from that magazine, Lisa Matthews, Managing Art Producer at Team One, curated her favorite images for a showing at their agency in Los Angeles.

Wanderings on-line: http://vincentdixon.com/wanderings/

And a little clip on the making-of: http://vincentdixon.tumblr.com/post/73353102298/a-behind-the-scenes-look-of-the-printing-to

It was a great to see the prints framed and hanging at Team One: http://vincentdixon.tumblr.com/post/73361107847/gallery-show-at-team-one

How long do you spend on a personal project before deciding if it is working?
I am shooting pretty much continually and thinking about projects most of the time. I’m also looking back at work I did, some of it over twenty years ago. I think what changes is our definition of “Is it working”?

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Lucky for me, most of my commercial work is informed by my attraction to street photography — meaning I always try to make photos that have the spontaneity of reportage despite their construction.  So when I’m shooting for myself, I really just go for projects that interest me and hope that maybe they will resonate with a wider audience. If they do, great, and if they don’t, well, I was just shooting for myself and that is an end in itself. You never know, maybe they will have an audience later or maybe they don’t deserve one.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I’m not as good at this as I should be, one of my intentions for 2015 is to do more social media, it is a wonderful way to share your work.

If so, has the work ever gone viral and possibly with great press?
I worked on a portrait project for The Mimi Foundation in Belgium last year https://www.youtube.com/watch?v=pMWU8dEKwXw and the video of the project got 15 million hits on Youtube in two weeks that really changed my way of looking at media and the way we present projects.

Here is a promo we’ve recently completed where we used a video instead of a printed piece. https://vimeo.com/117510349. I really enjoyed making this with my friend and editor Stuart Radford.

Have you printed your personal projects for your marketing to reach potential clients?
Yes Wanderings Vol. 1 that I spoke about above was such an effort. https://vimeo.com/84136488

We are also honored to have it featured by Danielle Currier over on her “No Plastic Sleeves” blog:  http://blog.noplasticsleeves.com/sharing-personal-work-vincent-dixon/

This is what I said about The Pushkar portraits in Wanderings

Pushkar Camel Festival 2012:
A year ago I came to Pushkar with my family during the annual Camel festival that is held every November at the time of the Kartic Purnima full moon. Villagers, traders and famers come from all over Rajasthan to trade up to 20 000 camels and horses. It is also one of the five Dhrams or pilgrimages that is held in high esteem by Hindus and holds the only temple to Brahma in India. This was one of our first stops in India and I was completely blown away by the exoticism of it all. It is a photographer’s dream. That in itself can become a problem. You are quickly exhausted by the intensity of the colors, the crowds, the endless possibilities, strange as it might seem because there is so much to do your brain can lock down. I think that it took me a year to absorb all I had seen.

Coming back I needed to try something different. Last year I travelled light with just small cameras. This time I brought bigger cameras and lights. There were a number of reasons I wanted to do this. First I am fascinated by how the camera itself affects the photo we take, how for example bigger cameras can slow us down and perhaps force us to take a more studied photo. The Rajasthani are incredibly handsome, the detail of their clothes and jewelry are remarkable, they have an eye for color and form that few possess. I wanted my portraits to reflect this. On a photographic level I needed the precision and care that these tools bring to try capture the subject.

Inspired by Irving Penn’s “World In A Small Room” I set up a small studio at the camel fair. On Monday when I got to Pushkar I found a large tent and rented it for a few days. It wasn’t ideal, it had green netting on the sides and the roof was full of holes that created green shadows and these hot spots. I had some cotton cloth died black that night. It took most of Tuesday morning to get things set up. Here are some of the photos that I took Tuesday afternoon and Wednesday.

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Born and raised in Kilkenny, Ireland, Vincent relocated to France in his early twenties.  Shortly after earning his PhD in Molecular Biology from the Institut Jacques Monod, Paris, he embarked on his photographic career.  As a result of his ability to make images that merged photorealism with surrealism, he was quickly awarded top advertising campaigns including Absolut and Perrier.  Those highly visible assignments helped cement his photographic reputation throughout Europe and later in North America; making him the go-to for many agencies and their ideas.

Along the way, Dixon’s work has won many advertising awards from organizations such as:  The Art Director’s Club; Gold, Silver & Bronze Cannes Lions, Gold, Silver and Bronze Clio’s, New York Festivals International’s Advertising Awards for Design, International ANDY Awards, One Show, D&AD Silver Pencil, International Advertising Festival, The Epical Awards, the French Art Director’s Club, Grand Prix Strategies, Grand Prix de L’Affichage and the London International Awards.

Photo awards have come from Communication Arts, PDN, Lucie Awards Advertising Photography of the Year, American Photo Contest Advertising Image of the Year, PDN Pix Digital Imaging Annual and featured in Luerzer’s 200 Best Advertising Photographers Worldwide.

Dixon’s clients include Absolut, Adidas, Axe, Dow, Coca Cola, General Electric, Jameson, Mercedes, Nissan, Playstation, Pepsi, Schick, Sony, Toyota, Visa and Virgin Media.

Vincent currently resides in Philadelphia with his wife and four children.

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

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

Today’s featured photographer is: Michael Rubenstein

How long have you been shooting?
Ten years give or take.

Are you self-taught or photography school taught?
Photography is a second career for me. My undergraduate degree is in Environmental Policy from Prescott College in Arizona. When I first started learning photography I was self taught with a lot of help from other photographers and hours pouring over photo books at Powells in Portland, Oregon. 

At some point I decided that I wanted some formal training and I attended the graduate program of the School of Visual Communication at Ohio University. It is a two year program. I completed one year and then took a contract position at the Oregonian in Portland, Oregon. I learned an immense  amount at the Oregonian from the many incredible photographers and from Mike Davis and Patty Reksten, my editors. I wouldn’t be able to see things the way I do if it wasn’t for them.  I stayed there for about 8 months and then freelanced in Portland. Until I moved to Mumbai in 2007.

With this particular project, what was your inspiration to shoot it?
I’ve always been interested in craftspeople. People who make very high end goods by hand in small workshops.  Its always been amazing to me that one person an make something that most often is produced by robots in a giant mass production facility, and make it better.

How many years have you been shooting this project before you decided to present it?
I shot the project for a few months before I started to show it, but its ongoing. I think I’ll always be shooting this project.

How long do you spend on a personal project before deciding if it is working?
I’ll give it a few days of shooting before I look at it and say, “Do I continue to dedicate time and resources to you, or is this it?”

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Variety is the spice of life right? To me, the challenge is making something that speaks to me. Whether its on assignment or personal really doesn’t factor into it. Once I have the project, self assigned or not, I need to make the best of it.
Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, everywhere but Reddit.

If so, has the work ever gone viral and possibly with great press?
No not really.

Have you printed your personal projects for your marketing to reach potential clients?
Yes. I definitely have and they have responded very well to it. This project has helped me to get at least 2 or 3 commercial jobs and more than a handful of meetings.

Artist Statement:
While manufacturing continues its march towards automation the art of hand making beautiful and useful products is making a comeback. These people are at the pinnacle of design and craft. They produce the best of what they make in small workshops, the way things have been made for hundreds of years. As a documentarian it was my honor to photograph these men and women as they worked. 

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Michael Rubenstein is an editorial and commercial photographer and director based in New York City. He enjoys documenting interesting people and situations the world over. Before moving to New York he covered South Asia from his home in Mumai, India. His clients have included Merge Records, MasterCard, Budweiser, Saatchi and Saatchi, Nike, Yahoo!, The University of Massachusetts, Fordham University, AARP, NPR, The WSJ, The NYT, Mother Jones, Monocle and NBC News. 

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

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

Today’s featured photographer is: Agnes Lopez

Full disclosure Agnes is a client of mine.

How long have you been shooting?
Professionally since 2003. Many years before that, my brother-in-law bought a Minolta Maxxum 9000 for me from a pawn shop as a gift because he knew I was interested in photography.

Are you self-taught or photography school taught?
Self-taught. I got my start as a stylist for commercial photographers, so I picked up a lot on set. I would watch the photographers closely to see how they worked and then go off and practice on my own with local models, taking my film to Walgreens to get developed and scanned. I also took some classes at the local community college, where I learned how to use a darkroom and print my work. Cutting my teeth shooting film still influences the way I shoot today. I tend to be very calculating and specific when I finally hit the shutter.

With this particular project, what was your inspiration to shoot it?
In the past three years I’ve made a move into photographing food and food lifestyle images, though mostly for editorial, so I wanted to prove to myself that I could produce a full concept from start to finish.

How many years have you been shooting this project before you decided to present it?
I shot the project early last year and presented it about a month after the last day of shooting.

How long do you spend on a personal project before deciding if it is working?
When I plan a project, I spend a day or two scouting and a few days laying out my vision. I’ll break down the day into a detailed schedule so I can get the absolute most out of my time.

On the day of, I just try to feel it out. I shoot a few frames and don’t try to force it. Since it’s personal work, I give myself the freedom to move onto the next shot if a particular setup isn’t working.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Shooting personal work is more about the process for me. What I ultimately get from the shoot doesn’t have to be a set of portfolio images; I want to learn and grow from something outside of what I do every day.

In my day job shooting for a monthly magazine, I’m usually given a short amount of time and specific parameters for the images I’m producing. With personal work, I’m able to take as long as I need and can experiment with different lighting setups and compositions. The hope is always to bring what I do with my personal projects into the other work I do.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Occasionally. I will be posting more of it this year after I finish the project I’m working on now.

If so, has the work ever gone viral and possibly with great press?
Not yet, but I plan to do more of it and keep putting it out there for people to see.

Have you printed your personal projects for your marketing to reach potential clients?
Some of the images from this shoot are in my current portfolio, which is primarily my food work.

Artist’s Statement

I had this idea to focus on cocktails and how bartenders make them. I pitched my idea to a package store in my area, the Grape and Grain Exchange, which sells small batch liquors and has a bar up front where they offer really unique drinks.

The bartenders are serious about what they do but they’re also funny guys. My goal was to show the bartenders in their element and how their personalities go into the drinks they make.

————–

Agnes is an editorial and food lifestyle photographer with a home base in the historic Riverside-Avondale neighborhood of Jacksonville, Florida and is available for assignments worldwide.

From documenting the effort that goes into preparing a pop-up dining event or photographing the fine cuisine of a AAA Five Diamond Award-winning restaurant, Agnes traverses the Southeastern US and beyond with her camera in search of inspiration and exceptional meals.

Her work can be seen regularly in the pages of Jacksonville Magazine and its other publications, Taste, Home, and 904 Magazine.

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

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

Today’s featured photographer is: Dennis Stevens

How long have you been shooting?
I have been shooting for close to eight years now with three of those being professional.

Are you self-taught or photography school taught?
I am completely self taught through experimentation.

With this particular project, what was your inspiration to shoot it?
Growing up, I always had a strong fascination with firefighters. Last summer I took the initiative to speak with the local fire chief about my photography and he granted me the privilege of working alongside his firefighters. I spent nearly a week trying to get a sense of how I was going to capture such a powerful subject, but in the end it turned out fantastic.

How many years have you been shooting this project before you decided to present it?
This project began last July, and I released the first set of images in mid-august.

How long do you spend on a personal project before deciding if it is working?
It truly depends on the subject that I am capturing. Traditionally, I will spend around three days to determine if I connect with the subject, if not I normally abandon the idea until a later date.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
I am very selective in the work I choose to publish in my portfolio. Portfolio work for me has to be perfect in quality, while my personal projects don’t have too high of standard since I am just expressing myself.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I present my work on different venues depending on the subject matter. For example, I posted this project nearly everywhere I could including the firefighting sub-reddit.

If so, has the work ever gone viral and possibly with great press?
My work with first responders has gone viral within the firefighting community. As of January 2015, my series had received over half a million views as a result of social media sharing. Although with a lot of viral images out there, only a couple thousand of viewers knew that I was the photographer.

Have you printed your personal projects for your marketing to reach potential clients?
At this point, I have not. Although, I plan to create multiple promotional pieces that I will distribute to agencies this summer to introduce my brand.

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Dennis Stevens is an eighteen year old photographer based in Orlando, FL. He specializes in lifestyle, advertising, and performance photography with a hard focus on first responders. He is network driven and loves to create work with new clients. He has been shooting commercial photography freelance for the past three years while attending high school. He has been regarded by the greats of his industry as ambitious and someone who will make his mark.

His work with first responders has been widely recognized in the first responder industry. His continuous series highlighting the Winter Park Fire Department has been viewed by nearly half-a-million people worldwide as a consequence of social media sharing. His most recent campaign with Honeywell International received the attention of nearly twenty-thousand viewers within the period of a work week.

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

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

Today’s featured photographer is: Matt Odom

How long have you been shooting?

I’ve been shooting for eight years. I started shooting after being laid off of my old job in television and experienced a close family member’s death. I used photography as a way to alleviate the pain. I had always wanted to shoot but I didn’t have resources to get a camera when I was younger because I just couldn’t afford one.

Are you self-taught or photography school taught?

I’m completely self- taught. I come from the school of YouTube and Books. I read, read, and read some more to get the technical aspects down. I used to gobble up every YouTube video I could find on lighting. For business I searched for podcasts and listened to anything that had to do with the business and marketing for photographers. As I grew in photography I began to follow photographers like Miller Mobley, Jeremy Cowart, Tim Tadder, Tom Hussey, Joe McNally, Seth Hancock (who I owe a lot of this to), Jeffery Salters, and Derek Blanks. I just studied their work and deconstructed their lighting and went from there. I almost did art school at UGA but having already graduated from a private university I didn’t want to incur any more debt. To me this is a constant learning process and I strive to improve all the time. You are only as good as that last photo!

With this particular project, what was your inspiration to shoot it?

As a child I used to be mystified by huge exotic animals and I drive by a local taxidermy almost every other day. I decided that I wanted to spend half a day with a taxidermist and photograph the way the work. I felt that it presented such a weird art form they we aren’t used to seeing on an everyday basis.

How many years have you been shooting this project before you decided to present it?

This was one of my shortest projects it took about two months to get everything narrowed down. I’m in progress of doing a BBQ Project and that is more than likely going to be a year and a half in the making. 


How long do you spend on a personal project before deciding if it is working?


I’m pretty nitpicky, so it varies on if I feel the project is something unique and provides the viewer with a perspective that they have not taken when looking at the subject matter.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?

Personal work allows for full creativity and the opportunity to put your touch on something that you just can’t get on some commissioned jobs.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?


I have just become a huge blogger and I am always posting personal work to Tumblr. A lot of my photographer friends talked me into instagram and I’ll admit it’s pretty addictive normally I post a lot of behind the scenes stuff on there. I love the exposure that comes with social media!

If so, has the work ever gone viral and possibly with great press?


Haven’t had that experience just yet! I will say that my Taxidermist project has began to pick up steam. The Kings of the Rings project is another one that has become pretty popular too.

Have you printed your personal projects for your marketing to reach potential clients?

I actually just printed a small booklet of my Taxidermist project to go out in a few weeks to art directors, editors, and potential clients.
I received my copy and absolutely love it. Nothing beats seeing your work in print.


Artist Statement:

The Taxidermist project was done to provide people with an inside view of the hard work and art that goes into creating these larger than life replicas of nature’s most graceful and sometimes dangerous creatures.

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Matt is an award-winning editorial portrait, commercial, sports photographer out of a town just a few minutes south of Atlanta called: Macon, Georgia. He holds a Bachelors Degree from Mercer University. Back in the day, he tried his hand in television as a commercial TV producer and sports TV reporter. During that time there he shot local news and a little photography (he stuck with the later). When he’s not on assignment, he’s more than likely watching his favorite soccer team Arsenal Football Club, coaching soccer or listening to jazz.

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

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

Today’s featured photographer is: Jason Lindsey

How long have you been shooting?
15 years Professionally

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

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

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

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

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

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

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

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

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

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

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

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

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

Today’s featured photographer is:

Geoff Levy

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

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

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

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

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

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

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

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

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

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

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

Today’s featured photographer is: Diana Zalucky

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Today’s featured photographer is: Tosca Radigonda

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

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

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

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

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

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

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

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

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

Artist Statement-

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

Bio-

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

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

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

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

Today’s featured photographer is: Ted Catanzaro

How long have you been shooting?

I’ve been shooting photos since high school. My parents were very supportive about photography. One of the bedrooms of our house was converted into a darkroom and there were always cameras and photo magazines lying around the house. Our encyclopedias were the Time Life Library of Photography. My brother went to Ansel Adams’ workshop in Yosemite for a couple of summers when Ansel was still alive. I remember my dad talking to him on the phone a few times when we were building our darkroom. I had an incredible photo teacher at Palisades High – Rob Doucette. A bunch of kids in his classes went on to become professional photographers. I still keep in contact with him on Facebook and see him surfing a couple of times a year.

Are you self‐taught or photography school taught?
I learned the basics about photography developing, printing, and the history of the medium—in high school, and I did my undergraduate and graduate work in fine art at U.C.L.A . Again, I was lucky to have great instructors at UCLA like Mike Kelley, Chris Burden, Roger Herman, and John Divola. Robert Heinecken was the head of the photo dept. We rented a loft from him in Culver City. During my years at UCLA we had visiting lecturers like John Baldassari, Lewis Baltz, and Gary Winogrand.

With this particular project, what was your inspiration to shoot it?
Originally, the blog was a way of posting images for friends and families, just to share what we’ve been up to, what it’s like to have five boys, and it sort of became a creative vehicle for me. The writing along with images sort of developed into the life of the blog. We put a link for it in our website just because it was the easiest way to navigate to it.

The blog is the first category I go to on anyone’s website. I’ve had my blog for about seven years now and there are certain themes and stories that are recurrent. They usually involve being a dad/husband, coffee, music, surfing , gardening, cooking, camping, or going to Kauai.

How many years have you been shooting this project before you decided to present it?

I’ve had the blog since 2008. I try to update every week or so. I try to stay away from direct work postings or behind the scene stuff. If I do post about an assignment I try to keep it more personal.

How long do you spend on a personal project before deciding if it is working?

That’s hard to say, The most popular project on our website is our Holiday Card section. It features our holiday cards from the mid-1980’s to the present.

I’ve got a couple of other projects I’m working on right now, like my surfer tailgate portrait project, a Homeboy/Homegirl story, my Punk rock project, and my Dead Rat project. All of these get some airplay to some extent on the website, Insta, Tumblr. Etc… and I’ll see where they go.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?

It’s different, and I’d be kidding myself if I thought we actually got booked for shoots based on the blog, but every client we work for tells me how much they love reading the blog and looking at the photos. Ever since then I’ve geared the portfolio/ website to my personal work. Our new website design makes it really easy to create a new project or story.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?

I use Instagram, Facebook, and Tumblr and spend way too much time on all of them. There’s something weirdly satisfying (and perverse) having my images being stored on a phone in someone’s pocket halfway around the world.

If so, has the work ever gone viral and possibly with great press?

No, I wish, but it’s really rewarding when someone says I love your blog, I spent an hour on it, or, that last blog posting made me cry.

Have you printed your personal projects for your marketing to reach potential clients?

Yes, most of our promos/marketing uses our personal images from our blog.

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Ted Catanzaro is the Ted of Ted & Debbie, a photography production team based in Los Angeles. They have 5 boys and 2 guinea pigs.

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

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

Today’s featured photographer is: Mike Marques

How long have you been shooting?
12 years professionally

Are you self-taught or photography school taught?
I am a graduate of The New England School of Photography in Boston.

With this particular project, what was your inspiration to shoot it?
Personal work is what keeps me going so I am constantly thinking about topics and concepts. At that time, I wanted to have a Connecticut focused topic that needed more attention than it was getting. The National Multiple Sclerosis Society, CT Chapter had been a client of mine for a couple years and I attended one of their fundraising events. I came across a book, published by the national chapter, that had portraits of people across the country diagnosed with MS. Not one person was from Connecticut. The number of diagnosed CT residents was about 6500 then.

I contacted the chapter about creating a book on a local level. At first, there was push back because publishing a book costs money and they weren’t interested. I had to change my approach. All I asked was for them to let me photograph some residents to show them where I was coming from. They started to understand my view of wanting the local community to see that MS is close to home. After meeting with the communications director a few times she agreed to reach out to some residents.

I personally did not have any connection to the disease and was not too familiar with it. There is no cure and it affects everyone very differently. I knew this would present its challenges and force me to think outside of my wheelhouse.

How long do you spend on a personal project before deciding if it is working?
At the beginning it was just about creating a few portraits. We put the idea of a book aside and just focused on one resident at a time. The MS chapter came up with lists of names of who could be photographed and we discussed which stories which raise the most awareness. I spoke directly with my subjects before photographing them and talked about how MS has affected them and what they have done to still live the life they want to live. MS affects people differently both physically and mentally so the approach to each portrait was new every time. One of the earlier portraits was of Karen Guarnaccia (in wheel chair, sitting in front of sliding glass door). MS has had a large affect on her physically – some days getting out of bed was not an option. The final image was Karen on a good day. I arrived at the MS office a few days after the shoot with a 16×20 print of Karen. The director finally realized the type of images I wanted to create and the impact they could have in our community. We started meeting on a regular basis to discuss possible subjects. We reached out to well over 100 people, many of which did not want to take part for various reasons. At first we set the number at 25 portraits. When we hit 25, there were some things the images had not addressed so we kept moving forward.

How many years have you been shooting this project before you decided to present it?
We started shooting in September of 2010 and the last portrait was taken in December of 2013. We sometimes went a month without photographing anyone. Between me traveling for assignments and the chapter having busier times throughout the year, scheduling was often difficult. Also, we did not shoot much in the summer months due to the most common symptom of MS being heat sensitivity.

Something I decided from the very beginning was that whatever was to become of this project, the final images needed to be shown together as a whole. There are so many stages and severities of the disease that one image alone could not tell the whole story. This idea led us to word “mosaic” – each portrait is strong on its own though everything together reveals an even bigger picture. Word started to get out about the project so we did release a few images that could be used for press and social media.

In February 2014, we had a gallery opening to reveal i am a MoSaic and to show gratitude to those who took part. Many had not seen their portrait until the day of the gallery opening. Some people’s MS had progressed since their portrait was taken. There were many tears, some of sadness and some of joy. It was a wonderful day and a truly humbling experience.

Since the original show, the images have been on display at the Connecticut State Capital in Hartford, The Grove – a co working space in New Haven, CT, and the Aetna world headquarters. I am currently working on putting together a fundraising event in Stamford, CT (just outside NYC) for March 2015. The images would be on display a few weeks before and after the event.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Portfolio shooting has more of an initial direction and focus you are going for. I was ok letting this project take shape on its own without thinking too much about it. I wasn’t concerned as much about the photography but more about the communication and understanding going into a shoot. I do not work with models often, I photograph real people. With any portrait, there needs to be a level of trust between myself and my subjects. Putting something like MS in the middle of all of that presents a whole other element I don’t deal with often. Working this way changed the way I shoot – for the better – and helped me grow as a photographer.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I usually post to my blog and that feeds into my Facebook and Twitter. There were numerous production and behind the scenes images throughout the years as the work was being created. Once the project was complete, I had a routine to post a few of the final images per week for a little over three months.

If so, has the work ever gone viral and possibly with great press?
We did get a good amount of traction from our initial social media outreach. Through that, I was able organized an NPR panel with three of the subjects and myself. I did a couple morning TV shows as well as numerous print media around the state. The MS Chapter continues to use these images for marketing and raising awareness in all media.

Have you printed your personal projects for your marketing to reach potential clients?
I have created a promo piece specifically focused on i am a MoSaic. It is a 8.5” x 5.5” handmade book with images from the project and the story behind it. I also built a website dedicated to the project: www.iamamosaic.com

Project Statement:

i am a MoSaic is a collection of images portraying Connecticut’s many faces of multiple sclerosis. It is collaboration between photographer Mike Marques and the National Multiple Sclerosis Society, Connecticut Chapter. As a dedicated volunteer and supporter of the National MS Society, Mike has traveled around the state for nearly three years capturing residents living life as fully as possible in the face of MS. More than 40 residents of all ages, races, genders, and abilities were photographed. This is a unique and moving portrait of the many ways in which people live with this potentially debilitating disease. Together, the images become a composite picture of hope and resilience.

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Mike Marques is a portrait and lifestyle photographer based in West Hartford, CT. The images he creates are the result of the trusting relationships he builds with his subjects. When he’s not traveling on assignment, he can be found cycling the backroads of Connecticut or on a hike with his cattle dog. His clients include Connecticut Magazine, General Electric, Health Dialog, United Bank, World Wrestling Entertainment.

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