Author: Suzanne Sease

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Baldwin because he is a fantastic photographer that can work in any environment. He is really professional, flexible and has a great attitude. He and his crew are a pleasure to work with.

 

How many years have you been in business?
13 years. I began as an assistant, and have been shooting full time for the past 4 years.

Are you self-taught or photography school taught?
There were a few darkroom and printing access classes, otherwise self-taught and on the set training.

Who was your greatest influence that inspired you to get into this business?
For me it is more the sum total of many great influences and teachers along the way. I was inspired photographically by National Geographic magazine growing up, and a few of my male mentors were involved with photography.

My Grandfather, and both my Bio and 2nd fathers were hobby photographers. My Dad gave me my first camera, his old Minolta XG7 with 50mm lens. My birth Dad taught me how to develop and print in his darkroom. My uncle has been an artist for as long as I can remember, and continues to be one of my greatest muses.

In my twenties, a photography instructor invited me to help him out on a shoot, and the idea of working in the photography industry became a reality for me.

Over the years, I have had the opportunity to work with a select handful of talented photographers, from Maui to California and NYC. These experiences ultimately inspired me to transition into the business as a full time photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Fresh lifestyle = fresh Inspiration.

My lifestyle is an essential part of my process; it’s a major catalyst for my creativity and ultimately supports me in keeping my inspiration fresh.

These moments: in-between assignments; traveling with my fiancé’ and our dog; other domestic road trips; laughing with good friends and family; hanging with my two Godson’s (4/8 years); international surfing destinations; people; faces; places; vices; and a consistent yoga practice to ring it all out at end of the day. These all trigger that involuntary response in me to grab my camera and take a picture.

Do you find that some creatives love your work but the client holds you back?
I’m not sure a client can ever hold me back, creatively.

My personal experience is that I have the freedom to choose my projects and my response to that project’s challenges and obstacles, regardless of circumstance.

How I relate to the client and/or project is the issue, not the other way around. Most importantly, it’s the client’s dime, and I am grateful to have the opportunity to collaborate and contribute my creative process to their project at the end of the day.

What are you doing to get your vision out to the buying audience?
This year I am working with Jennifer Perlmutter as my marketing consultant. We edited out imagery that best represents my personality and style, created new hard promos, email promos, and PDF portfolios, and built an overwhelming list of applicable creatives, buyers, and brands to reach out to. This marketing campaign, with it’s specific strategy, timing and methods, along with the intention to connect with as many creatives as possible, in more ways than one, is the primary driving force for getting my vision out to the buying audience this year. This spring was the official kickoff, and we have been getting a great response so far.

What is your advice for those who are showing what they think the buyers want to see?
Follow your heart, shoot what you enjoy shooting most, and shoot as much as possible in-between the days you are not hired to shoot or are surfing, haha. Considering how many exceptional photographers there are today, I feel buyers want to see quality not quantity, authenticity, brand identity, unique perspective or style, continuity, energy, movement, emotion, integrity, and a sense of who we are as Artist’s, individual personality’s, and that we will deliver exceptional work when given the opportunity to do what we love doing.

Larry Sultan, a brilliant photographer I had the pleasure to work closely with, once told me that being a commercial photographer alone is not sustainable in and of itself. To be successful in the world of commercial photography, we have to find the Artist within us, and allow ourselves to genuinely and ultimately inspired and driven by our true artistic passions. This is something; I am still exploring today, and most likely will be for the rest of my life.

How often are you shooting new work?
As often as possible I am shooting new work, ranging from commissioned work to personal work, a spec shoot to an afternoon portrait, a surf trip with best friends, a music festival, and snap shots of all the random organic moments in-between.
The frequency of my shooting is more spontaneous than calculated, and ultimately dependent on concept, subject matter, location, and the next time I can step away from the desk and out of bounds, chasing light, capturing life, scoring surf, and seeking Gurus along the path of photographic enlightenment.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Absolutely, I’m not sure photography would be sustainable in the commercial sense, if I were not shooting for myself. My lifestyle is an essential part of my process; it’s a major catalyst for my creativity and ultimately supports me in keeping my artistic talent true. This being said, I am shooting what I enjoy shooting, looking inside more than ever, following my heart, slowing down and letting go of some sort of sense of urgency or rush mentality in my work, allowing myself the dignity of my own artistic process, vigilant personal practice, cultivating peace of mind, laughing, loving, traveling, surfing, shooting and having fun doing what I love to do most.

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Chris Baldwin
2716 3rd street Studio #2
Santa Monica, CA 90405

cell: 949.228.3686
email: cebaldwin@mac.com
www.chrisbaldwinphoto.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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Thomas Barwick. He does beautiful corporate/lifestyle stock work, some of which is available on Getty.

How many years have you been in business?
I started assisting 1990 and shooting full time in 1995.

Are you self-taught or photography school taught?
I did a fair amount of commercial photography course work at Syracuse University, but I was a Liberal Arts student, so I have an English degree.

Who was your greatest influence that inspired you to get into this business?
I spent what seemed like quite a bit of time in museums as a kid (parents choice, not mine). I didn’t have the patience to understand the nuances of a lot of the art, so I would like to walk around the galleries and see what would stop me, some of that visual training may have rubbed off.

I was a full time assistant for a photographer in the waning days of his advertising career. I got to watch him begin re-invent himself as a very successful stock shooter. I didn’t start shooting stock for many years after I left there, but I understood that it could be a viable way to be a photographer.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
We almost exclusively produce stock, so in order to make the business economically viable we need to create imagery that will stand out on a page with 100 other images on it. We have to continually push to create better and better imagery. I am also not much of a technical perfectionist, I don’t want to do something I did last week or last year, there is no sense in repeating something we’ve already done, so we have to continually look for a new way to work on a theme or an idea.

Do you find that some creatives love your work but the client holds you back?
Fortunately, we get to work with a fantastic creative department at Getty Images and a brilliant Art Director. They continually challenge us to keep our work fresh. One of the best things about the way that we work is that the only real risk we have is cost of production. We own what we are doing, so can take chances with weather, locations, models and ideas. We will generally work with a loose idea and try to play off the real emotion that happens when we set a shoot in motion.

What are you doing to get your vision out to the buying audience?
Not enough. Until recently, there were hardly any tools for us to direct link to our collection, or specific shoots at Getty. That has changed and over the next few months we will begin to take advantage of that

What is your advice for those who are showing what they think the buyers want to see?
At the end of the day, I think anyone in a creative industry needs to feel creatively challenged with the work they do. There is always an awareness of what a buyer wants or needs, but you eventually need to find creative satisfaction and by doing that I think you tend to lead rather than chase.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
In effect, everything we shoot is for us. We don’t get paid to create imagery; we create it and hope that it will resonate with a buyer. So at the end of the day we have to be satisfied with what we have done creatively. We have to try to always evolve and elevate what we are doing.

How often are you shooting new work?
Over the course of the year we average between one and two shoots per week. May through October are extremely busy and November through March can be extremely frustrating.

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Tom Barwick Bio
Photographer/Filmmaker Thomas Barwick has been with Getty Creative since 2002 and is based in Seattle.  After graduating from Syracuse University in English with what he calls “no marketable skills” he began assisting photographers to survive and fell in love with the business.   He spend the majority his time between working on stock exclusively for Getty Images, and doing the occasional editorial and advertising gig.  Known for his “polished realism”, Tom’s work has been licensed for national and worldwide campaigns such as Dell Computers, Crate And Barrel, Scotia Bank, CitiGroup, and Toyota to name a few.  His fascination with the fleeting and fickle genuine moments that tell a complete story makes his imagery uniquely stand out.

Website
http://www.barwickphoto.com

Blog
http://barwickphoto.wordpress.com

Collection at Getty
http://www.gettyimages.com/photographers/Thomas%20Barwick/search?family=creative

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Simpson. I love him not only as an artist, but as a person. He has an unique style and is great to work with.

How many years have you been in business?
I have been shooting professionally for about 3 years now.

Are you self-taught or photography school taught?
I graduated from Maryland Institute College of Art (MICA), with a BFA in photography. My four years there really helped to hone my eye and expand my creative sensibilities. I’ve also learned a tremendous amount in regard to the business end of photography as well as photographic techniques from working in the field. The knowledge I’ve gathered from those experiences coupled with my formal education is how I learned to make a career out of photography.

Who was your greatest influence that inspired you to get into this business?
Throughout my career in photography there have been many people who have inspired me, teachers, peers, photographers I have assisted and photographers who’s work I admire, but nobody has inspired me as much as my Father, Jerry Simpson. My Father is an incredible director and cinematographer who started out as a print photographer. I have been lucky enough to work side by side with him on various shoots, where I do the stills and he shoots motion for clients. While working with him I have also learned a lot about motion, assisting him with shoots and even collaborating with him on projects. He has pushed me to achieve goals that sometimes seem impossible and has taught me a ton about the business.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I find inspiration in many different outlets: new restaurants I eat at, books I’m reading, meeting new people and places I’ve visited. Living in New York City is hugely inspirational too, there are always new shows to go to, new foods to eat. I’m constantly inspired by my surroundings and new experiences. All of this helps me to push the envelope, keep my eye sharp and come up with new ideas. I find that sometimes when my mind is clear and I’m not thinking about photography ideas pop into my head that then develop into images later on. It’s funny, a lot of times I won’t know that something has inspired me until a week, month or year later when that moment will reappear and push me to shoot something new. It’s also important for me to keep testing, through shooting personal work I’m able to work out ideas and develop different concepts.

I have also been able to travel extensively for work and for pleasure over the years. It’s always inspiring to be able to get on a plane and wind up in a completely different environment. Experiencing different cultures and different ways of life is very influential for me.

Do you find that some creatives love your work but the client holds you back?
I truly enjoy the collaborative process of working with a team of creative folks and clients. Usually clients are excited to work with me because they love my work and trust me. I like working with other people and I’m comfortable articulating my vision to people that may not see what I’m seeing. Developing this trust is important and ultimately leads to the best end result.

What are you doing to get your vision out to the buying audience?
I have found that most of my success comes from face to face meetings with people. I try and schedule meetings with buyers and creative people on a monthly basis. Most of this is up to me as I don’t have a rep, but I enjoy the process and know it’s all part of the career. I’ve been fortunate enough to meet some great Art Buyers and Creative folks that are always happy to help me get meetings and give me feedback on what I’m doing. It’s always flattering to me that people who meet me for the first time are so willing to help me.

Personalized emails are also hugely beneficial, it doesn’t take much to reach out to someone and ask them about what they are doing. Being interested in other people in the business and wanting to know their perspective always helps in developing long lasting relationships.

What is your advice for those who are showing what they think the buyers want to see?
Don’t do it. I can’t say enough about making work for yourself and pushing what you enjoy, the paid work will follow. It’s a bad cycle to produce work that you think people want to see, and as you do that you drift further away from what you want to be doing. Creatives, buyers and photo editors are so much more likely to higher you because they find your work to be amazing as opposed to seeing something that fits a campaign or story. Having edgy and interesting work is how you get your first projects and from there it keeps building.

I try to challenge myself constantly and put myself into situations that I’m not 100 percent comfortable with. Whether that’s in the studio or on location, it can be as simple as trying to light something that I have never had to light before or experimenting with a new camera or lens. It’s important to do this work on your own so that when a job comes along that’s challenging you are prepared for it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Always, I feel strange if I don’t. I’m constantly thinking up new projects that I want to work on. It’s easy for me to go to the farmers market and develop new shots in my mind, and then before I know it I’m in the studio creating new work. I find that I’m constantly inspired to develop my work, and at the moment I’m editing a large body of travel photography. If I’m feeling stuck I go for a bike ride or head up to the woods and go camping for a night.

How often are you shooting new work?
As often as I can, if I’m not busy I try and shoot for myself at least a few times a month. For me it’s a downward spiral if I’m not creating, I feel much better when I’m making work.

——————–

Since Chris was young he has always had a strong passion for photography, after seeing his first black and white image appear in the darkroom he was hooked. He decided to continue his passion when he enrolled in Maryland Institute College of Art (MICA). He received his BFA from MICA and quickly moved to Brooklyn, New York.

Since moving to New York his photography has taken him to countries such as St. Vincent and the Grenadines, Portugal, and Italy. He has worked for such clients as AVON, Johnson & Johnson, and 7-UP. He enjoys the collaborative process of photography and being able to help clients reach their visions. He loves that through photography he has been given opportunities to meet some of the most amazing people through out the world.

If Chris is not photographing or editing images, he enjoys cycling, camping and cooking meals with good friends.

CONTACT

Chris Simpson
www.chrisrsimpson.com
chris@simpsonfilms.com
Instagram: @chrisrsimpson
917.513.4263

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.

Catch Suzanne presenting with Kat Dalager for Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Tania Quintanilla. Her style is very classic beauty. She has an excellent command of studio lighting and impeccable retouching skills. On set, she is fun but also very focused, she’s a great leader and she knows what she wants and how to get there. In my opinion, she is the best fashion photographer in central Texas and I feel her career is about to take off in other markets in a big way.

How many years have you been in business?
My Austin studio opened in 2005, but I’ve been doing photography work since the mid 90’s.

Are you self-taught or photography school taught?
A little of both: I started photographing my friends in makeshift fashion shoots in high school, later one of my teachers encouraged me to go to Brooks Institute in Santa Barbara, CA. I picked up a lot of technical skill at Brooks. When I was there digital SLR’s were just coming out, and they were still teaching us on large format film cameras and darkrooms. It was a really wonderful experience. I took some underwater classes where we would scuba dive near the Catalina islands, and every time you went under with all of your gear you could only shoot 36 frames max. It really taught you to slow down. Back then, instead of experimenting with Photoshop, students would mess around with high sensitive film and cross-processing. I would have to wait at least a week to get the results back from the lab. It’s funny to think that was only 15 years ago.

Who was your greatest influence that inspired you to get into this business?
My early years were heavily influenced by MTV, Vogue magazine, and pop culture generally. My family moved to the U.S. from Monterrey Mexico in the mid 80’s. Whitney Houston and my mom were the center of my fashion universe. Later, my high school photography teacher, Mr. McNichols, showed me how I might make a living from something I seemed good at and enjoyed doing. He was the one who really pushed me to go to photography school.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I view my work as a team sport. I’m easily inspired and aim to be a great collaborator. I surround myself with talented people and we all bring our own experiences and ideas to the game. My job is to collect ideas and stay flexible; I want to be a conduit for the group energy. There are a lot of trends that are hard to appreciate at first– I stay open-minded. Once we put the shot together, if its not rubbing me the right way I can’t ignore it. When it’s right, it feels really right. Like in your guts right. In the end, staying true to myself is where my talents are tested. I get to bring it all home, bring it all together, and that’s the best part.

Do you find that some creatives love your work but the client holds you back?
Sometimes. But coming from a fashion background, having too many people with too many opinions is part of the job description. So I’m used to it. Everyone wants that client with a money tree and a vivid imagination. That’s fun! But I can also enjoy the challenge of a small budget and a big idea. I also like to have really clear communication with my clients from the beginning. I try and always get on the same page way before the shooting starts.

What are you doing to get your vision out to the buying audience?
I shoot a lot of fashion and beauty editorials. That’s my main outlet. In the last couple of months I have started working with a new magazine in Austin. The art director has really let me shape the direction of its fashion section, so I get to experiment with some new ideas that have been calling to me for a while. Of course, I also send out mailers, and work at keeping my book, website, and social media up to date.

What is your advice for those who are showing what they think the buyers want to see?
You’ll never be better at being someone else than you are at being yourself. Shoot who you are, discover and use your voice. When you tap into that inner voice, people naturally want to hear it.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I work out a lot of my creative angst in my fashion editorial work and with my hair clients. And I love to shoot more abstract work, so I carry a small camera around wherever I go. I’m just fascinated with the human face. I paint too, and it’s always portraits. I can’t get away from portraits. I love retouching my own work. I get really into it. When I shoot for my hair clients, I have to pay such close attention to each strand, it’s like sculpting the image after its been captured.

How often are you shooting new work?
I’m either shooting or working on a photo project in some capacity every day. One of my favorite photography teachers, Ralph Clevenger, once told me after a holiday break from school, “If you’re not shooting or thinking about shooting every day then you’re in the wrong place.” There’s so much work that goes into each shoot, and I love to be a part of every step if I can. I never really stop being a photographer. Even if I had to walk around with my eyes closed I would still be dreaming up something to shoot.

——————–

Tania Quintanilla, fashion/advertising photographer and artist, born in Monterrey, Mexico, and now based in Austin, Texas.

Tania@tqphoto.com
(512) 632-2471
http://www.tqphoto.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.

Catch Suzanne presenting with Kat Dalager for Market Right 2014 in NYC on Wednesday, October 29th http://yodelist.wordpress.com/2014/10/03/were-proud-to-announce-market-right-2014

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Jonathan Hanson as an established Baltimore portrait and music photographer for this column. He is always keeping it fresh by capturing the essence of the real people and urban culture- the charm- of Charm City. All the while, his images still show glimpses of universal human spirit in the subjects and polish of his portraits.

How many years have you been in business?
5

Are you self-taught or photography school taught?
I’m mostly self-taught. I feel fortunate photography is an intuitive process for me. I’ve learned the most through trusting my gut, knowing when to listen to others and pushing myself beyond my comfort zone. Facing new challenges is where the real learning takes place for me, that conflict gives life to my work.

Who was your greatest influence that inspired you to get into this business?
I took a trip to Amsterdam with two close friends around the same time I first became interested in photography.  A few days into the trip, we were sitting in the courtyard of a café when I noticed a sunflower craning in the warm evening light. I walked over, carefully composed a photo, and as I hit the shutter, a gust of wind blew the sunflower out of frame. I cursed the wind and shot another frame. A few weeks later when I was looking through the film, my first major lesson in photography was staring back at me. The photo where the wind blew the sunflower was far better than what I had composed. I realized there is a crossroads where preparation, chance and being in the right place at the right time come together to create something special.  I’ve been obsessed since.  

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think it’s really important to live in a community that inspires.
Baltimore has been the backbone of my work since moving here six years ago. The creative energy and abundance of eclectic subcultures offer a constant stream of original work I draw inspiration from.

Do you find that some creatives love your work but the client holds you back?
I tend to get a lot of creative freedom so if issues arise it’s usually with very restrictive editorial contracts that are a fight to get amended or can’t be amended at all.  In these instances, I feel held back because the terms are meant to only benefit the hiring company and deny the photographer the opportunity to earn future income.

What are you doing to get your vision out to the buying audience?
I’ve had the most success showing a printed portfolio during meetings with creatives. The prints give the presentation life and dimension while encouraging people to linger over the work. Because of the sheer volume of photos online and the speediness we navigate through them, giving someone a print to hold creates a connection to the work that a digital screen can’t offer. I recently shot a series of projects for Johns Hopkins that were the result of passionately discussing my work over coffee and a stack of prints.

What is your advice for those who are showing what they think the buyers want to see?
A couple of years ago, I met with an art buyer and I brought my freshly printed book full of new work.  She quickly pointed out a few images that honestly did not hold up against the others.  On the train ride back, I thought about those images and why I made them. I made them to cater to what I thought a buyer wanted to see.

The personal connection needs to be present in the work to take on an authentic, original voice that will inspire people to hire you. This is a business only the passionate and driven can survive. You have to believe in what you do… otherwise, what’s the point?

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Personal projects are the foundation of my work. I’m currently shooting a street portrait series (These City Streets), a portrait series exploring androgyne and I just wrapped up a music video with musician, Al Rogers Jr. I’ve learned more through personal projects than I would through a formal education in photography.  More important, each project is a way to reflect personally and question the way I see the world.

How often are you shooting new work?
I’m shooting new work every week either personal or commissioned.

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Jonathan Hanson is a Baltimore based editorial and advertising photographer. Select clients include Adidas, Bank of America, Animal Planet, Der Spiegel ,Ebony Magazine, Essence, Fortune, Sports Illustrated and The Wall Street Journal.

Music, color and culture inspire much of his work. He credits early street photography for seducing him into being a photographer.

jonathan@jhansonphoto.com
www.jhansonphoto.com
IG: jhansonfoto
FB: facebook.com/jhansonfoto

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Joseph Puhy because he is absolutely darling.

How many years have you been in business?
19 years total, including assisting which started in high school, but shooting consistently the last seven years.

Are you self-taught or photography school taught?
I graduated from Brooks Institute of Photography in Santa Barbara, back in the days of film and Polaroid. I’ve taught myself everything digital since my days in the darkroom.

Who was your greatest influence that inspired you to get into this business?
First off, my father was a Creative Director, so there was endless reference material at home to get lost in; art, photography books, art publications like Zoom and Lurzer’s Archive. Also, he’d take me out on shoots during the summers. Next, it was the photographers I worked for on summer breaks in high school and first years at college. They introduced me to the craft of photography, lens choice, lighting, processing, film stocks, and how it all tied together. There was a real sense of alchemy that I couldn’t figure out but was drawn to. That’s the reason I decided to go to Brooks and learn the technical aspects of photography.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
It’s a balance that I’m constantly refining. Luckily, now I have a body of work where I can throw a few curve balls into a commercial book. A balance between execution, observation, and subject matter.

Do you find that some creatives love your work but the client holds you back?
Yes, to a certain extent. Not so much when shooting the job, because at that point it’s a collaboration, more in trying to get the job. I’ve found that having great relationships with creatives, buyers and producers has gotten me to the table to bid on some amazing projects but often lose out to a “bigger name photographer” based on the client’s recommendation. In the end it’s their money, and they need to make the decision that’s best for them. I just keep pushing forward to the next opportunity.

What are you doing to get your vision out to the buying audience?
First, I try to meet face-to-face with agencies where I might be a good fit. That can be a difficult process, but I think that when meeting someone in person, they can get a better sense of what I’m about. I participate on many marketing sites, and was recently invited to be a part of At-Edge.

What is your advice for those who are showing what they think the buyers want to see?
You better like it too. You have to show work that you want to produce.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I do personal projects for promos. If there is time on jobs and the situation allows for it I try to do a version for myself.

How often are you shooting new work?
Every month.

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I am a Los Angeles photographer that works with a wide range of clients from commercial to editorial. My style has a natural aesthetic with a cinematic approach. I capture moments of people and things relating to their environment, either in harmony or discord. That relationship tells stories worth sharing.

Website: www.puhy.com
E-mail: Joseph@puhy.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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Patrick Fraser. I worked with him on extremely complicated projects and he always over delivered. Understanding vision of agency creative, suggesting solution for unusual concepts, delivering beautiful photography and always under budget. What else can an art buyer want from the photographer.

How many years have you been in business?
My first magazine assignment was 16 years ago.

Are you self-taught or photography school taught?
I didn’t go to photography school I actually studied fine art majoring in painting at University in England. Before that I took a foundation course in art & design in my hometown, which had a few photo classes. My father was a documentary filmmaker and gave me my first SLR at age 8. He taught me a lot about photography and showed me how to do black & white printing in the darkroom we had at our home.

Who was your greatest influence that inspired you to get into this business?
I used to collect photography monographs from a really young age and pore over new issues of The Face and Arena magazines as a teen. If it came down to one photographer I’d have to say Avedon. What inspired me about his work was his range of subject matter. He mixed fashion and celebrity in the studio with everyday American workers outdoors in the American West series.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I’m always shooting editorial which keeps me on my toes and keeps a constant feed of new work rolling in. Editorial gives me the creative freedom to experiment whilst collaborating with a photo editor or art director. I like how it sharpens my problem solving skills, which can be invaluable on advertising shoots. Editorial is a good way to experiment with new lighting set ups and keep visually exploring. It’s also a good way to keep your name out there.

Do you find that some creatives love your work but the client holds you back?
I’ve been lucky, as I can’t say I have had that experience. Once I have been selected for a project I like to keep up a level of communication, which makes it hard for this to happen. If the communication is clear from the word go and the collaborators are all working well together then the client is usually more than happy with the results.

What are you doing to get your vision out to the buying audience?
You never can market yourself enough and I should be more aggressive in this department. My marketing plan is multi layered and consists of personal printed pieces, e-mails, alongside my editorial credits. My agent also sends out marketing and they do showings of my portfolio.

I was skeptical at first of social networking for marketing and promo, I felt like it weakened the work. Now I have started to post more images that I love and behind the scenes shots on Instagram and have begun to use it more, like an online portfolio. I feel like Instagram is the best social network tool for photographers and a good way to get one’s work in front of creative minded people. You can see my posts @patchypics

What is your advice for those who are showing what they think the buyers want to see?
Photography trends come in waves. You’ll see a photographer being used all over for a couple of years, their style of shooting might start to get copied and then the market for that imagery gets saturated. One must always stay true to one’s own vision and continue to grow and evolve. Shoot what comes naturally to you. Following trends is the kiss of death.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes always. I’m always out there shooting a test, making a film or thrashing out an idea I had driving or even in my sleep! Just this past week I was up in Vail at a dance festival for a few days and then I started asking the dancers if they had some spare time for a session. I came back with some really strong new images and that started an idea for a new series for me.

How often are you shooting new work?
I have a constant flow of new work. I get excited when there is a gap in commercial or magazine assignments where I can just go off and make images for myself both stills and motion. That is the time to explore what you love and usually that’s when you come back with strong images which were self motivated.

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10 FACTS ABOUT PATRICK
1) When he was 18 he rode an Enfield 350 Bullet Motorbike around Northern India.
2) He is renovating a 1948 Homesteader cabin in Joshua Tree, CA.

3) Is reading The 100-Year-Old Man who Climbed out the Window and Disappeared

4) Made his first piece of furniture in 2012, a bench for his garden

5) Is restoring a 1973 Alfa Romeo GTV

6) Loves to sketch

7) He is big on roasting and using the BBQ for slow cooking

8) Rents a production office near Abbott Kinney in Venice, CA

9) 2014 completed a documentary about the art of Taxidermy called Skin Movers

10) He Plays the French horn

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Q. Sakamaki. I always find myself lingering over Q’s dreamlike images. Even though many images in his mailers were taken with Instagram, they have a nostalgic vibe, especially the double exposures. Work on his site is classic, news journalism. He is not afraid to tackle difficult subjects, although it may be difficult to find commercial applications for his work.

How many years have you been in business?
More than 25 years.

Are you self-taught or photography school taught?
I think both. I went to a photo school in New York, but the curriculum was very short (9 months or so). Indeed, for many parts of photography, I learned by myself.

Who was your greatest influence that inspired you to get into this business?
Deborah Turbeville and Sara Moon. And Yukio Mishima might have given a big influence to me even for the question, though he was a novelist.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
By checking, feeling, reading and listening to any kind of great art. Also lately I have been dong Instagram through which I can get inspiration, especially when I encounter great, yet different type of photos.

Do you find that some creatives love your work but the client holds you back?
Yes. It is natural in this industry, but also one of the most disappointing things, especially after committing lots of energy and time.

What are you doing to get your vision out to the buying audience?
Recently I have found that Instagram would help for the purpose, though still on the way of the experiment. Also my agency Redux helps. Though the best way is to directly communicate with those in face to face.

What is your advice for those who are showing what they think the buyers want to see?
Thinking too much about what they want to see is not good. It makes less originality. Any great art comes from the artist’s original vision, not from others.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Yes, I often shoot for such a purpose somehow or to make myself grow more.

How often are you shooting new work?
In recent years, I have started to shoot New York again, very often, most time purposely by iPhone. Though I may restart using more other cameras, too.

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Q. Sakamaki is a documentary photographer, covering war to socio-economy in the world, as well as many other social issues, combining the journalistic views and the story-telling with aestheticism. In recent years, his works also contain many of personal matters and views. Actually by dong so, he is exploring and shooting his own self-metaphors. His photographs have appeared in books and magazines worldwide including Time, Newsweek, and Stern, and have been exhibited in solo shows in New York and Tokyo. He has received many international awards, including World Press Photo and Olivier Rebbot of Overseas Press Club. Sakamaki holds a Master’s degree in International Affairs from Columbia University in New York. He has published several books, including “Tompkins Square Park” – photo essay of New York Lower Eastside’s anti-gentrification movement, by Power House Books. Sakamaki is represented by Redux Pictures.

Contact Info:
Q. Sakamaki
info@qsakamaki.com
qsakamaki@yahoo.co.jp
www.qsakamaki.com
http://instagram.com/qsakamaki

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Anthony Blasko. I’m keeping a close watch on him. There is a current of quiet drama flowing through Blasko’s photographs that harkens back to the works of 20th Century painter, George Bellows. I especially love Blasko’s “Jon Jones” series for Victory Journal.

How many years have you been in business?
I’ve been shooting professionally for about 3 years.

Are you self-taught or photography school taught?
I have a BFA. But that’s not a road I would take again.

Who was your greatest influence that inspired you to get into this business?
It’s hard to cite one influence. Robert Frank, Bruce Davidson, Mark Cohen, Sally Mann and Garry Winogrand have all had a large impact on how I look at things.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Being fresh isn’t something I ever think about but I do try to push myself with every project and try to make it my own. What drives me is looking at the work of others, there’s a lot of great work out there that sets the bar really high.

Do you find that some creatives love your work but the client holds you back?
I know this happens, but I haven’t had much experience with it. But I understand that when you’re working with bigger brands other things need to be considered, and that might be limiting. But at that point you work with the creative to come up with something interesting.

What are you doing to get your vision out to the buying audience?
I find people really love books. I like to print books or magazines of my personal work to send out. Right now I have 4 projects that are close to being done that will become printed pieces in some form. I’ve also worked on a number of projects with Victory Journal, which has allowed me to shoot some interesting stories, as well as get my work in front of a lot of people.

What is your advice for those who are showing what they think the buyers want to see?
I’m sure it works for some, but I think in the long run you’ll probably enjoy your work more if you’re making it for yourself. In return you’ll probably work more because of it. I also think that if you’re not shooting work that’s your own, people will notice.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I’m always shooting personal work. At the moment I’m working on numerous projects, the largest is titled The South. I’m spending 3–4 weeks shooting in each Southern state with another photographer, Chadwick Tyler. We’ll publish books for each state. I’m also finishing up a project on competitive bodybuilding, which will also be a book.

———————

Anthony Blasko is a NYC based photographer. Represented by McDermott Management.

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Kristyna Archer. Aside from her obvious talent as a shooter, she is personable, fun, able to roll with the punches and goes to the max to make people happy. We used her and my creatives are as smitten with her as I am. We are all excited about what the future holds for her.

How many years have you been in business?
I went out on my own as a photographer 3 years ago.

Are you self-taught or photography school taught?
I went to Columbia College in Chicago and received a BFA in Photography. The camaraderie I experienced from both faculty and classmates during my time there was electric. Then you work your first day on set and you realize you know nothing about how this industry works. A formal education was a great foundation, but only scratched the surface.

Who was your greatest influence that inspired you to get into this business?
I mean there’s a plethora of who, what, and whens that all culminated into “I don’t see how I could not do this everyday.” But specifically I had some amazing professors that would just rip apart your work in critique, which challenged me and pushed me to become a thorough and intentional artist. Linda Levy believed in me and pushed me out the door when I was afraid to make the leap from assisting to shooting. And of course there are those specific artists, directors, writers, cinematographers, that I am constantly inspired by and in awe of- Diane Arbus, Erwin Olaf, Wes Anderson, Anton Corbijn, Sagmiester, Larry David, Thom Yorke.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I think the easiest way to answer this question is to “be random.” Put yourself in totally random places and situations, with different people all the time, and you will have a plethora of ideas to let bake until they are ready to hatch. That’s sort of what I do. Embrace the spontaneity in life. Also being present in the moment and in tune with all the hilarious human behavior that is happening constantly around you for great entertainment value. People are weird but we all try really hard not to show it. Yet the quirky parts of us are the best parts of us.

Do you find that some creatives love your work but the client holds you back?
Ok, I am not trying to be a “goodie-two-shoes,” but honestly every client I have had thus far has had a respect for what I am bringing to the table and has allowed me to do what I do best. And vice versa, I respect what they need to make their client and team happy. You get exactly what they want, and then you give them a different perspective that sometimes you are unable to see from being too close to a project. It’s the perfect balance and a great collaboration. Everyone wants the best results for the most reasonable cost. You problem solve and think ‘out of the box’ to make something look expensive in a “bogo” kind of way.

What are you doing to get your vision out to the buying audience?
There’s nothing better than meeting someone in person, getting to know them, and seeing what work strikes a chord most for them personally. Yet meetings are hard to get, so I try to make sure my personality comes thru in the marketing materials that I put out into the world. Business is personal, so I love to write notes or make ironic statements on my printed promos. And as much as I wasn’t fond of social media before, now I’ve truly accepted it’s essential and a great tool for business. There are those that abuse it, but I think the power of the potential networking outweighs it.

What is your advice for those who are showing what they think the buyers want to see?
It’s over before its even started. That might be a little harsh on my part, but one thing about this industry is you must have a thick skin, strong sense of self, and succinct vision to get anywhere. Who really wants someone to spoon-feed what you think they want? It seems so disingenuous and unattractive. I suppose I relate it to dating. Stop trying so hard and just be yourself. Whatever you are passionate about the most will be the most obvious anyway.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Constantly. That’s the only thing you can do to perfect your craft, develop your style, and find your voice. You can’t be afraid of bad ideas. I think there’s a lot more to lose by not getting it down on paper, or further, creating and being afraid to share. What’s the point? It’s just a discussion or conversation I am trying to start, and there’s no right or wrong. I understand being vulnerable can be scary, but how can you be an artist and not put yourself out there and literally leave your heart on the page. It’s always your best stuff, even if it’s too revealing. The process of discovery and evolution of a concept will help cause a breakthrough. The more you create the higher your chances of making your best work all the time.

How often are you shooting new work?
All the time. Once a week to once a month I’m working on personal projects depending on how busy I get with client work.

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Kristyna is an advertising and editorial photographer who specializes in storytelling.  Her work focuses on conceptual narrative and portraiture. Her clients range from Canon, to Inc. Magazine, to the New York Times.  After growing up blocks from 8 Mile Road and traveling all over the Asia-Pacific as an on-location retoucher, she’s capable of finding a common denominator regardless of upbringing, culture, or language.  She is inspired by her own paradoxical observations, the idiosyncrasies of human behavior, and an inherent love for fashion and design. She currently splits her time between Los Angeles and Chicago. Kristyna is represented by Friend + Johnson.

www.kristynaarcher.com
www.friendandjohnson.com

Say hello at me@kristynaarcher.com
Follow her antics:
Instagram @kristynaarcher
Twitter @kristynaarcher

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Chris Sembrot. I love him not only as an artist, but as a person. He has a unique style and was great to work with.

How many years have you been in business?
I’ve been on my own professionally for the past four years.

Are you self-taught or photography school taught?
A combination of both. But, the best part of my education came after I left school. Working as an art buyer for five years really allowed me to learn the business of commercial photography from the inside out. Plus it gave me direct access to art/creative directors on a daily basis. It helped forge relationships with people I work with today.

Who was your greatest influence that inspired you to get into this business?
It had to be my mom. When we were growing up, she’s the one who always had a camera in her hand, capturing whatever moments she could. When referring to my eye, she always says, “You got that from me.” Hearing her say that always makes me smile!

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I try and shoot personal projects that have a different look and feel than my “normal” work. My biggest goal whenever I concept a project idea is to somehow bring out my personality. I stay in the moment and enjoy the freedom of capturing something that strikes me on that day, hour, minute. I don’t shoot nearly as many tests shoots as I do personal projects, because I want my personal work to stand on its own.

Do you find that some creatives love your work but the client holds you back?
I think the honest answer is sometimes, yes. However, recently (more often than not) I have had the good fortune of creative freedom. Working with creative and account teams who trust that my creative vision will ultimately fill the needs of our client makes all the difference in a shoot. It’s not always easy but when you communicate with each other and collaborate as a team, it makes all the difference.

What are you doing to get your vision out to the buying audience?
When I’m not sending out my quarterly mailers, and personal emails, I’m meeting face to face. If I’m given 15 minutes of a busy art producer’s time, you better believe I’m giving it my all. Social media is also huge. I blog 2-3 times a month and am consistently reaching out on LinkedIn, Facebook and Instagram.

What is your advice for those who are showing what they think the buyers want to see?
Don’t. Show what moves you – what you’re proud of. Show work that is inspiring for a creative to see and hopefully he/she can envision it in a campaign or editorial spread. Be bold and show what you’re passionate about.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am always keeping notes on ideas when they strike. I cull through them constantly and pursue the ideas that keep me inspired. I think many of my Facebook or Instagram friends would agree that I like to utilize both as creative outlets.

How often are you shooting new work?
I’m shooting every week. And when I’m not shooting, I’m thinking about it. New ideas fill my head constantly.

——————

Chris first cut his teeth in the commercial photography world while working as an agency art buyer and producer. He consciously chose the agency route because it offered him experience on the business side and allowed him to shoot and build his first professional portfolio.

Chris now works and lives in his hometown of Philadelphia where he is channeling his love for photojournalism into commercial work. His work has been featured in Communication Arts, Graphis, PDN, American Photography and OneEyeland. His clients include Converse, Reebok, Fuse Network, Guardian Guide, Red Bull Majestic Athletic and Nylon Magazine.

In his spare time, Chris enjoys surfing, building furniture, brewing beer and developing ideas for his next adventure.

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Victoria Will. She was a pleasure to work with, ever gregarious and an all- around rockstar on set. Difficult weather conditions, challenging directors and limited time with the cast did not hinder her talents. I can’t wait to work with her again.

How many years have you been in business?
10 years ago I started working as a photojournalist in New York City. That gave me the background that allowed me to go freelance 4 years ago to focus on the parts of photography I enjoy most.

Are you self-taught or photography school taught?
I suppose I’m a little bit of both. I didn’t go to a photo school, but was lucky enough to study with Emmet Gowin and Andrew Moore at Princeton.

When I was transitioning from photojournalism, I took a portrait workshop in Santa Fe with Platon. It blew my mind and changed my life. From him, I learned what I don’t think I could have learned in a classroom. I saw just how powerful a collaborative effort between a subject and photographer can be and how you need to trust your vision — it’s something that can’t be forced, but has to be felt.

That workshop wasn’t my last. I find those environments recharge me creatively and I am always hungry to learn.

Who was your greatest influence that inspired you to get into this business?
Looking back, it’s so clear that I was always a visual person. I learned and expressed myself that way best. My mother even saved portraits of dolls that I made with her polaroid camera when I was 6, but it took me awhile to figure out. It wasn’t until college that I starting to think about photography as something I could actually pursue. I stumbled into a history of photography class with Peter Bunnell and immediately fell in love. After that I couldn’t read fast enough and spent a lot of time devouring the work of Lillian Bassman, David Bailey, Larry Sultan, and the paintings of Andrew Wyeth and John Singer Sargent. At that point, photography became more than just an artistic expression, it became a sort of language for me that I could really understand.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I find inspiration in the usual suspects — photo books, music and movies, but also in the strangest places. Its not always visual, sometimes its a sound, or a feeling, or an experience that I want to recreate in a visual way. For example, the first time you get to jump in a pool at the beginning of the summer — thats the way I want a photograph to feel. I think it should have an emotion attached to it.

I’ve spent a lot of time observing the people around me—and I was always struck by how beautiful a simple and natural human gesture can be. Those little moments can tell a much larger story. Ultimately, I love creating narratives that allow a story to unfold. My goal is to create work that takes you on the same sort of journey.

Do you find that some creatives love your work but the client holds you back?
I’d like to think that the creatives and the client ultimately choose me because they believe that my point of view will help bring their ideas to life. That being said, I love collaborating, with anyone that will have me. Luckily, every part of a shoot is a collaboration whether its with the client, the subject of the shoot, or the crew. That’s where being flexible becomes a crucial part of the job and you have to be willing to make adjustments. Working as a photojournalist really helped teach me that it is possible to adapt to any situation without having to compromise my vision or the clients needs.

What are you doing to get your vision out to the buying audience?
I love to send out work that I think is successful and what better way is there to promote yourself than creating work you feel has a piece of you in it. At heart though I am a people person so I try to meet as many people as I can — face to face. Sitting down with someone helps to give them a better idea of who I am and who they would be hiring. To me making a connection and having someone trust that I will execute their vision is just as important as the work.

On the other hand, I don’t do it alone. I am lucky to have people in my life like my photojournalist husband, and my agent, Paige Long, who I am constantly brainstorming with and bouncing ideas off of. Paige has an incredibly creative eye and great institutional knowledge that has helped define my voice. Having that close network of support is invaluable.

What is your advice for those who are showing what they think the buyers want to see?
I give the same advice someone gave me — shoot what you want to be hired to shoot. If you are inspired by your subject, it will show. If you aren’t, and you are doing it for the wrong reason, it comes from the wrong place and I think that shows as well.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
There was a time when I didn’t shoot for myself enough. That sometimes made it difficult to have a connection to the work. Now I shoot for myself as often as I can, experimenting and looking at things with new eyes. That’s how a recent project with tintypes happened. I saw one and became obsessed with making them work for me. Its not so much about trying to push the envelope, but about trying to evolve creatively. If I’m making the same safe images all the time, there is no room to grow.

How often are you shooting new work?
Whenever I am inspired! I have a list where I write down images I someday want to make that I’ve imagined and I’m slowly making my way through. Its feels like a rolodex of pictures in my head. But as fast as I cross them off, I seem to write more down.

——————

VICTORIA began her career at the New York Post where she was a staff photographer. In a news environment responsible for headlines like “Headless Body in Topless Bar,” Victoria honed her skills and sense of humor. With a focus on commercial and editorial portraiture, her photographs appear in newspapers and magazines worldwide, from the Associated Press to W magazine, The New York Times to Vogue. A graduate from Princeton University, she hails from Washington, D.C., but now resides in New York with her two French Bulldogs and photojournalist husband.

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Reed Young. He is an editorial photographer whose work has so much story in it that I always stop and spend time with it. He really deserves some exposure for being interesting, thoughtful in the topics he covers and insightful in the compositions he depicts.

NOTE: Reed was nominated twice by two Art Producers from different agencies that have great reputations.

How many years have you been in business?
I’ve been doing freelance assignment work for 7 years.

Are you self-taught or photography school taught?
I graduated from Brooks Institute in Santa Barbara.

Who was your greatest influence that inspired you to get into this business?
There are many. I’ve always been inspired by the work of Irving Penn and Richard Avedon. When I was in photography school, Steven Meisel and Steven Klein inspired me to try and become a fashion photographer. But I learned early on that it wasn’t fashion I loved but the stylistic use of lighting. So I applied it to what I was most interested in –- portraiture.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I was never a good writer, so photography became an excuse to be a storyteller in a different way. I shoot at least two personal projects each year on subjects that interest me. For example I lived in Italy from 2006 to 2009, and while I was there I became fascinated with how American films are always dubbed into the Italian language instead of subtitled. After some research I learned that Italians have grown attached to the voices they associate with each Hollywood actor – so much that they’ve come to expect the voice of someone like Tom Hanks to always be the same person. This inspired me to spend a month in Rome photographing the dubbers in recreated scenes from their characters most iconic roles. Last month The New Yorker featured the story, which has already led to some exciting new opportunities.

Do you find that some creatives love your work but the client holds you back?
When it comes to advertising, I look at every assignment as the intersection of the creative, the client and me. It’s my job to bridge everyone’s goals into one successful outcome of which everybody can be proud. I shoot a lot of magazine assignments as well and they allow for a bit more freedom. The photo editor usually has ideas in mind, and they encourage me to interpret their ideas in a way that works best with my style.

What is your advice for those who are showing what they think the buyers want to see?
My first job out of college was in the art production department at McCann here in New York. I learned more in 10 months than in all three years of college. The experience allowed me to learn the business from the inside, instead of the usual perspective of a photo assistant. I learned that art buyers are drawn to work even if it isn’t what they are producing on a daily basis. Art buyers and photo editors receive hundreds of promos each week, and they basically look at them only long enough to throw them in the trash or delete them from their inbox. I learned quickly that it’s important to have a consistent style and to show work that’s hard to forget.

What are you doing to get your vision out to the buying audience?
I’ve realized my best work comes from the heart. The beauty of doing personal projects is that I can market myself with the type of work I want to be assigned.

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Reed Young is an American photographer born in 1982. He grew up in Minneapolis and now calls New York City home. He shoots assignment work for magazines including Time, The Guardian Weekend, Fortune, Fast Company , Popular Mechanics and Runner’s World. Young’s work has taken him all over the world in search of stories that focus on the human perspective.

www.reedyoung.com +1 917.821.4449 me@reedyoung.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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Pip. We collaborated with him to shoot for one of our clients. He was a pleasure to work with and his photography is outstanding. He’s only 25 and he’s already short listed for the AOP awards and he made it into the Creative Review annual this year. Added to all this, he’s also self-taught.

How many years have you been in business?
I’ve been working professionally for 6 years now.

Are you self-taught or photography school taught?
I’m self- taught, I didn’t go to college or university. I already had a solid technical understanding before I left school, and I’d never been particularly interested with conceptual analysis or the history of photography, so it didn’t make sense for me to go. I just wanted to get out into the world and start shooting without the limitations of working to a course project brief. Not having any qualifications has never inhibited me though – it’s important to remember that even with a first class degree from a top university, in the eyes of the client, you’re just as inexperienced as the day you enrolled. Portfolio is everything.

Who was your greatest influence that inspired you to get into this business?
I was always a big fan of people like Ansel Adams, Anton Corbijn and Kevin Cummings when I was growing up. Their cinematic, black & white vision was something that really spoke to me. They also all had a graceful way of combining landscape scenes with portraiture – something else I’ve always loved. I think the romance of their work is what drove me to pick up a camera in the first place and the business side of things developed naturally as I continued to create work I was proud of.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
Following on from my last point, the most important thing is to be shooting things that excite you. As primarily a portrait photographer, my work is about storytelling, so humans are my first love and my main inspiration. I love meeting interesting people, learning about their lives and the way they perceive the world – everyone has a different story.

Do you find that some creatives love your work but the client holds you back?
I’ve been generally pretty lucky with clients – I can’t think of many times I’ve been held back or asked shoot in a way I wasn’t comfortable with. When shooting commercially there always has to be compromises from each party, but I’ve found the best clients are good communicators – ones who lay down a thorough brief then take a step back and let the photographer approach it in their own way. The best results usually come out of a mutual trust between photographer, creative and client.

What are you doing to get your vision out to the buying audience?
I love doing editorial work – although budgets are small and turnaround times are nearly always tight, there’s more of a creative freedom to experience, compared to commercial work. It’s still one of the best ways to get noticed, having your work in print. Social media is also a big part of the game these days – twitter, instagram and tumblr are all great platforms for sharing your work and telling the world about what you’re up to. A massive percentage of the creative buying community now regularly use these networks to source new talent, get inspiration and keep up with the latest trends – embrace technology, get involved and get noticed.

What is your advice for those who are showing what they think the buyers want to see?
It’s never good to try and second-guess what people want to see, because half the time they don’t even know what they want to see, until they see it. From experience, you can win clients and jobs from the most unlikely places and you can fail to get something you feel like you were born for. The best thing you can do is shoot what you love in a style you love, and your work will have integrity. Passion resonates and is highly infectious.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
Whenever I’m not shooting editorial or commercial work, I always try and get stuck in to personal projects. Because most of my work is portrait based, I try and mix things up when shooting for myself. Lately I’ve been doing a bit of landscape work – it’s a totally different experience to shooting people, but its nice to have the time and space to really consider the shots I’m taking.

How often are you shooting new work?
I prefer to shoot sets of images in the form of a personal project, rather than odd shots here and there. I usually do something big every couple of months if I can fit it in, but working regularly with clients tends to take up most of my time.

CONTACT

Name: Pip
Website: www.bypip.co.uk
Twitter: @bypip
Instagram: @bypip

BIOGRAPHY

Pip is a self-taught photographer from Yorkshire, Northern England. Avoiding conventional paths into the industry, he exchanged University and assisting for a start in professional work at the exceptionally young age of 19, when he was signed by London agency Shoot Group. Since then, Pip has worked internationally with a dizzying range of people, from the freshest bands and emerging acting talent to international pop stars and Hollywood greats. Recent subjects have included Ellie Goulding, London Grammar, Lawson, Professor Green, Conor Maynard, Jeremy Irvine, Harry Treadaway, James Nesbitt, Russell Brand, The Inbetweeners, Richard E Grant, Helen McCrory and Sir Ian McKellen. Last year saw him become the youngest ever cover photographer for ‘Photo Pro’, the largest professional photography magazine in the UK, and be featured in the prestigious Creative Review Photography Annual. With an extensive range of editorial clients and advertising commissions from Royal Opera House, Barclaycard, Waitrose, Channel 4, NASA, BBC Worldwide and Topman under his belt, at just 25 years old, Pip is currently one of London’s more exciting young portrait photographers.

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.

We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agency and want to submit a photographer anonymously for this column email: Suzanne.sease@verizon.net

Anonymous Art Buyer: I nominate Evan Lane. He is a fantastic photographer that can work in any environment. He is really professional, flexible and has a great attitude. He and his crew are a pleasure to work with.

How many years have you been in business?
I have been shooting about 4 years professionally.

Are you self-taught or photography school taught?
I went to Emerson College for film. Photography was self-taught out of necessity for instant gratification. Filmmaking is such a lengthy and layered process from start to finish.

Who was your greatest influence that inspired you to get into this business?
I’d say it was a culmination of things. After my parents split when I was 4, my mom dated artists and scientists. These people influenced and strengthened my natural curiosity. My dad was a film editor and taught me how to be frame accurate. My grandparents exposed me to cultural experiences and would take me to tons of galleries and museums. From those experiences I was able to learn how to form my own subjectivity for art, the composition, textures, color palates and subject matter. I think narrative film has had a huge impact on the way I approach photography and see it as another form of story telling.

How do you find your inspiration to be so fresh, push the envelope, stay true to yourself so that creative folks are noticing you and hiring you?
I will never stop leaning or evolving as an artist and foremost as a human being. I think it is important to stay excited about what interests me. On many levels I am a documentarian and I approach photography as a window into my life.   I think I get hired for this unique perspective as result.

Do you find that some creatives love your work but the client holds you back?
I think it just depends on the client. A lot of the times there are really pragmatic reasons for a client to intervene, the nature of a forcing ideas for practical reasons can definitely cause the final product to deviate from the personal vision they hired you for to begin with.

I think it just depends on the client. A lot of the times there are really pragmatic reasons for a client to intervene, the nature of a forcing ideas for practical reasons can definitely cause the final product to deviate from the personal vision they hired you for. I personally like the challenge of thinking outside of the box, inside of a box.
 
Other clients have less pressure from a large chain of command and hand over the reins. Those are usually the best shoots because the best relationships are ones built on trust. They want what they saw in your portfolio.

What are you doing to get your vision out to the buying audience?
Of course there is the conventional way of getting out there, meeting art buyers and showing my book. I think it’s all about continually shooting new work, paid or not and then pushing that through social media. I have met a bunch of art buyers and art directors through Instagram. It’s a live-streamed portfolio that people are selectively subscribing to. It allows me to see how people react to my photos in an instant and on an almost subconscious level.

What is your advice for those who are showing what they think the buyers want to see?
If you stay true to your own personal vision, the ones who notice you are the ones who understand your work and see a place for it. You don’t find your audience, your audience finds you.

Are you shooting for yourself and creating new work to keep your artistic talent true to you?
I am always shooting for myself.

How often are you shooting new work?
2-3 days a week and I always have my camera on me.

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The work of LA-based photographer, Evan Lane, is unapologetically honest. His photography takes the form of a visual diary, documenting organic and relatable moments. The photos maintain that inherent effortlessness – breaths of life on pause. In 2012, Evan launched Langly to bridge the fashion and functionality of camera bags. Today, Langly can be seen on photographers on 5 continents and Evan can still be found on the road chasing down shots. If you need to get a hold of him, contact Dara at I Heart Reps.

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.