The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Kids in the Hood began as a selfish pursuit of a photograph a day to push me as a creative. I came to it when my son was about 7, and he ran with a band of characters from our neighborhood. As a homeowner, I’d first come to know them as agents of entropy: they’d let the hose run too long, fight and squabble, pilfer from our recycling bin.
Over nearly 10 years of photographing them, the slow magic of parental love seeped beyond the bounds of my kid and onto the kids I got to know through my time in their world. Silently, I cheered, feared, hoped and worried about each of them. When the test of time and circumstance made the project harder – tweens going separate ways, teens inside on phones, Covid isolating us all – the nature of the work changed. Perhaps the biggest hurdle to my ultimate goal for the project was the fact that my son no longer wanted to be photographed on the regular. I struggled with this as a photographer, but ultimately my motherhood won, and I set him free (mostly). I set them all free (mostly). In the end, it was the natural arc of youth that dictated when it was time to stop. What didn’t stop is my love and admiration for each of them.
Dylan’s optimism is legendary, and it just might restore his imagination for what his life can be. I hope that Seamus will remember that joy is as important as the rest of the countless emotions in his head. Perhaps the most captivating kid in this project, Casper has always been utterly authentic and fluid. It seems they are flowing still. My son, Finn, has always seemed just a little concerned. As he’s matured, he’s colored it to look more like apathy or ambivalence to keep the world at bay. I will keep urging him, with and without camera, to trust the world, and most importantly, himself in it.
They’ve all (mostly) graduated from high school now and have chosen very different paths from one another. Almost none of them talk to each other anymore. But I do think and hope that they will forever remember where they came from and the days they spent together.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
In our latest series, “Personal Space,” we delve into the evolving landscape of the modern workplace, inspired by a New York Times article on large companies encouraging employees to personalize their office spaces to draw them back post-pandemic. This project emerged from the profound shifts we’ve all experienced in our professional lives, highlighting the blend of home and office environments.
To bring this vision to life, we purchased a standard office cubicle, transforming it into five distinct conceptual spaces, each reflecting a unique story of personal identity and professional adaptation. Each image in this series serves as a narrative, portraying how employees reclaim their workspaces with creativity, making them not just places of productivity but extensions of their homes and personalities.
Our goal with “Personal Space” is to capture the essence of this transitional period, where the line between work and home blurs, and the cubicle becomes a canvas for personal storytelling. Through these images, we explore themes of resilience, adaptability, and the human need for connection and expression in the face of change.
This series invites viewers to reflect on their own work environments and the subtle yet profound ways in which they personalize their spaces. It underscores the importance of creating workplaces that foster not only productivity but also well-being and personal fulfillment. “Personal Space” is a tribute to the enduring human spirit and its capacity to adapt and thrive, even in the most unexpected circumstances.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Helping photographers build estimates is one of the primary functions of our producers. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.
Concept: Images of a Consumer Health brand’s products being used by talent in multiple scenarios Licensing: Unlimited use of all content captured for 4 years Photographer/Director: Brand Narrative and Portraiture specialist with a portfolio of similar content Agency: Medium-sized Client: Consumer Health Care & Product Manufacturing Client owned by a large global pharmaceutical brand
Summary
I recently helped a photographer/director quote on and negotiate a project for a client seeking brand narrative content of doctors, technicians, and patients using their products.
The agency brief described photo and minor video lifestyle content of talent performing procedures within exam rooms, bathroom and bedroom home locations. The agency initially asked for an estimate including all production needs and 4 unique talent. The final use of the content would be client web and social, as well as consumer and trade publication advertising. The agency requested a 4 year Unlimited use license. They also made it clear multiple times that this was a formality for the brand and that they did not plan to use the images for OOH, Broadcast, nor POP. The agency intended to handle all retouching and video editing and asked us not to include quotes.
We included a Client Provisions section within the Job Description to note who would be handling these items as well as all products to be photographed.
The client didn’t have a prescribed shot list per se, but they did have an idea of the multiple scenarios they wanted to capture. The photographer/director and I sketched out an anticipated schedule for the talent and time needed for each scene. We anticipated 2 shoot days with the 4 talent on each day. Based on the agency, client, and how they intended content use, I suggested the fees should be in the range of $22-30k. The agency did not disclose a budget, but I felt that they might have a $110,000-120,000 project budget range and we placed the fees at $28,000 for the 2 day shoot.
I added $1,000/day for the photographer to tech scout the location in advance of the shoot and 4 pre-pro days needed.
Crew
We added a videographer at $1,500 per shoot day. We also added a first assistant at $550/day, including the tech scout. A second assistant on the shoot days to help with lighting and camera equipment management was also added. We included a digital tech/media manager at $700/day. We included a producer for 8 days to help with the crew booking needs, schedule coordination, on-site time management, and catering. These fees were consistent with previous rates the photographer had paid crew on past productions in this location.
Equipment
We included $3,800 for cameras, lighting, and grip rentals. The photographer would bring their own cameras, lenses, and would rent continuous lighting, modifiers, stands, and sandbags from a local rental house. We added $650/day for the digital workstation rental. Then, $700 was also added for hard drives to back up the content. We included $2,200 for any miscellaneous production supplies such as production book printing, tables and chairs for meals, equipment transport, hard drive shipping, etc.
Locations
The photographer/director had a local warehouse/studio in mind for the project. The studio already had some sets built that we could easily transform to suit our creative needs. We included the quoted $800/day for the studio for 4 days to cover the build days/pre-light, and 2 shoot days. A studio location manager and cleaning fees were also needed for the location, and we noted these lines separately for agency information.
Casting & Talent
We included $2,500 to cast the 4 talent, $3,360 for talent use fees, and 8 daily session fees at $600/day per talent. These fees were quoted by a casting director in that region.
Styling Crew
We Included a wardrobe stylist and assistant for 5 days each, plus an estimated $3,500 for wardrobe costs. A combo hair/makeup stylist and assistant was necessary and included. Last, we also included a prop stylist and assistant for 5 days each, plus $4,500 for anticipated prop costs.
Meals
We included $3,250 to cover meals and Craft Services for the anticipated folks on set.
Misc.
We included $1,400 for insurance to supplement the photographer’s liability and Workers’ Comp policies.
Post-Production
We added $1,000 for the photographer/director to perform a First Edit for Client Review and deliver all content to the agency on a hard drive.
Initial Results
We heard back from the agency about 2 weeks later that their client wanted to move ahead with the project but had a budget of roughly $95,000. The request was “Can you make this work for $95k? What do we need to sacrifice in order to reduce the estimate to $95k?”
I suggested that we could reduce the creative and talent fees if we reduced the duration of use to 2 years. The agency was receptive to this and asked to see those costs in an updated estimate. The agency also was kind enough to reduce their on-set headcount.
Revised Estimate
Fees
With the new use duration in mind, I suggested the fees should be in the range of $16-18k. The photographer agreed to place the fees at $16,000 for the 2 year use. Our estimate included a Licensing Options line stating the cost of extending the use to 4 years for an additional $12,000 + $1,800 per each talent. If you’re following the math, this would bring the photog’s fees to the same amount as the 4 year license estimate and increase the talent use fees a little bit.
Meals
We included $2,730 to cover meals and Craft Services for the updated headcount on set.
Everything else stayed the same on the revised estimate.
The photographer/director was awarded the project, and the production was a big success. The photographer/director was very thankful for the help and just sent me a link to view their edit of the project. I’m always very appreciative when I get to see the final work that a photographer is proud of!
If you have any questions, or if you need help estimating or producing a project, please reach out. We’re available to help with any and all pricing and negotiating needs— from small stock sales to large ad campaigns.
Heidi: You have been scanning the 1000+ slides for the past 10 years – what did you think when you first saw all the boxes of slides? Seth: Honestly, I was ignorant of the scale of the task. I had only scanned slides in small batches before. In the end, the effort felt appropriate given the subject matter. It was a struggle, just like the hike, but it also came with a real feeling of accomplishment. That said, I will likely have someone else scan a hundred slides of my parent’s thru-hike of the Appalachian Trail in 1972.
What were your feelings about handling tangible slides?
Some of my earliest memories are the slideshows my parents and friends would put on at Thanksgiving. These slides would transport me from our small farm in Vermont to wild adventures far away with crazy characters. They set the spark that would lead me on my path of adventure and exploration. That made the process of handling them that much more meaningful.
Beyond the personal side, I love the time capsule aspect of physical slides. Not only the content they hold but the little physical details, the fonts on the slide mounts, the discoloration on the edges, and the date stamps from 1974. These are from a different era, a different time. They age and change with time, there is life to them.
My father had handwritten numbers on the slide mounts. Those personal touches separate physical media from digital and give them that life. Now and again during the process, I would be struck by the fact I was holding slides that my parents had taken and curated over 40 years ago. These are the only records of this period in my parent’s life and some of the few images documenting the early days of thru-hiking. It made the project feel more profound. I made a point of putting scans of the physical slides in the book because they came to mean so much to me.
Since you’re involved in tactile experiences with The Postcard Project and other collages was this a different way to express a tactile medium? For the postcard project, I used vintage postcards from the 1930s, sketched blue ink portraits across three postcards, and mailed them separately to an unsuspecting recipient. The postcards share a lot of the little touches that the slides have. They are a tangible connection to the past, with a life to them. I have always been fascinated by taking something with that life and adding art to it.
I think the key difference between the PCT project and many of my other projects was the process of first digitizing something old, then creating something new via software, and finally printing it as a new physical book. I relished the storytelling process through the layout while infusing some of my aesthetic and style. The challenge was retaining the life of those slides in something new. I specifically left some of the images uncropped with the jagged edges of the slide showing. These imperfections are increasingly important to art as AI can create near-perfect original pieces. It is the imperfections that make art human.
I am also really intrigued by physically mailing items to people. Today most people only get packages, bills, and marketing in the mail. We are losing that unique experience of being surprised by something showing up from someone we care about. The postcard project was an opportunity for me to create that experience for people. I sent one of the PCT books to my parents’ hiking partner Bill Jahn. He had no idea I was scanning the photos, let alone making a book. It caught him off guard and I got a very loving note from him afterwards. I don’t think you can have that type of impact with digital mediums.
Did your parents talk much about their archive? In some ways, I don’t think they fully appreciated what the archive represented, to them personally and to the hiking community. There had been discussions about digitizing the slides but it was not a strong push. For many years, there was no talk of the slides at all. It made the moment they opened the book that much more fulfilling. I could see in real-time the realization of the scale of what they had done.
What do you think is lost in the digitalization of family archives/history? One of the promises of digitization is that it will make the content more accessible. Instead of being stored in a stack of boxes, requiring a projector to view, they are readily available on a shared drive. The reality is that you don’t end up spending the same quality time with them. I still love flipping through photo albums from my childhood and lament that my kids don’t get that experience. This was highlighted the other day when my kids were going through the photo album on my Facebook page. I realized this was one of the only places they could see all their childhood photos. I am resolved to get some books of our photos printed now.
A task like this is daunting – how did you approach it? It took nearly ten years to complete, so I’m not sure about my approach. I made a concerted push at the beginning, getting 400 or so done in the first month. Then I would do 50 in a go when I had time. It was such a repetitive monotonous process that it was difficult to keep the momentum. When I took a moment to review the images and saw how great they were, I got motivated and pushed for the next group to get done.
Were you always planning on making a book for your folks as a gift? When I started, the only goal was to get the slides digitized and on a shared drive for my mother and father. Through the process of handling the slides and seeing the images for the first time in years, I began to feel they deserved something more. I don’t think you can engage as deeply with the photos through a screen. Once the book was printed, I spent hours flipping through it, finding new details and discovering new favorites.
Now that the book is done – what would you do differently – are you inspired to document your life?The book was made for my parents and as a result, I prioritized getting as many images in as possible. I laid out the book quickly. I wish I had taken more time on the layout and reviewed the photos closely. Once I saw the photos printed, some were much better than I had thought when I saw them on the screen and justified more real estate. I would also like to add quotes from those involved to bring more life to the images.
Personally, the process confirmed my belief that documentation, digital or physical, of these types of life experiences is important. It provides a way to relive the experience and to keep the memories alive. It made me commit to improving my photography skills and capturing as much as I could on recent trips to Greenland and Newfoundland.
Another offshoot of the PCT project was that I started doing public presentations of my trips. I had such fond memories rekindled of my parents’ slideshows and lamented that we don’t share our experiences like that anymore. I find it to be much more gratifying than simply putting up an Instagram post.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
I’ve been creating my Christmas card series since 2007.
It originally started as a joke to take a goofy portrait of myself in my single days to give to friends. It’s now turned into a serious project every holiday season that friends and family eagerly await the release of. We like to ‘out-do’ ourselves in terms of goofiness, quirkiness, or cleverness every year. It’s a goal of ours to create something that looks so real in terms of concept and execution, that if it were found on the street, someone would think that it was a real ad, band photo, or album art.
In the early years it was just me, then my cat Opie came along, followed by my wife, and now our two girls. It used to be easy to shoot something goofy, but now it’s become a fun challenge to create a realistic concept that works with all of our family members.Sometimes the concept is a loose idea that is worked out the day that we shoot and release it, and other times it’s figured out months in advance. This year’s concept is already worked out, we just need to purchase some clothing and props and shoot nearer the holiday season.
Last year’s card was the most complete to me in terms of realism and concept. We created a band, a song, album art, and merch. I recorded a simple song with my daughters, shot and designed the album art, and even had a merch site to sell t-shirts, mugs, and prints for family and friends.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
Heidi: With a year under your belt, what are your top learnings from the past year? Michael: Making a magazine is the easy part – or at least it sometimes feels that way.
Editing a magazine – from commissioning and greenlighting articles and imagery to then working with the writers and photographers to perfect their work and get the assignments over the finish line – is the dream job for me. I feel beyond lucky to be doing this. But all the other stuff that comes with it? Business ops, marketing, and all the other shit… that stuff more often than not makes my head spin trying to keep it all straight and figure out the optimal way to do things. I’m constantly learning things, often things that I didn’t know that I didn’t know. As someone who has spent all my time on the editorial side in the past, wearing a bunch of different hats – from customer service rep to ad sales – has given me a new found appreciation and admiration for the folks who make everything else run smoothly. There’s just as much an art to that side of the equation.
There were 319 past issues of Summit – and then you resurrected the title, why did you pivot on the naming convention? There were a handful of reasons., When I shared my hopes to resurrect Summit with a former colleague, he asked me why I wasn’t going to just start a new magazine from scratch instead. “There are so many better names!” he said. Firstly, I just flat out disagree with him about the name – what’s better than Summit for a climbing and mountaineering mag right?! Secondly, the whole point of resurrecting a magazine is to continue an existing story – to pick up where others left off. I’ve gotten to tell the broad strokes of the story of Jean and Helen, Summit’s founders, quite a bit at this point, and I still feel humbled to do so.
But just because I’ve brought Summit back to life, it’s not as though this is the same magazine it was in 1955 or 1965 or whenever. It’s a different project. Informed by that original title, yes. But not one in the same. So simply calling it Summit Magazine didn’t feel quite right. From 1990 to 1996, there was a second incarnation of Summit under which the name was tweaked to Summit: The Mountain Journal.
Calling the new iteration Summit Journal felt like a way to pay homage to both of these former eras, yet also signal that this is something new, something different.
I didn’t necessarily expect many people to read all of that into the name pivot. If anything, it’s more about keeping the mission straight in my and my art director’s heads here behind the scenes. To make sure we always remember that this title had a long, vibrant history before we came along and brought it back to life, but also that that shouldn’t dictate or limit what it is and can be in this new era.
You’ve been blending archival and current covers – are you leaning in into brand equity or balancing photography and the whimsical design Summit was known for? It’s a bit of both. On the one hand, I think Summit Magazine’s most iconic covers are the illustrated ones by artists like Sheridan Anderson and Richard Pargeter. Continuing that tradition just felt like a no-brainer.
But doing an illustrated cover today also felt like something different in the outdoor media landscape, which has become overwhelmingly photo-centric. Don’t get me wrong, I don’t think that’s a bad thing; I just think the illustrated covers signal a different type of magazine.
Now, having said that, after I decided that I was going to do an illustrated cover for our first issue, I got a bit nervous. What if too many people were turned off by it? What if some people just wanted a cool climbing shot? Heck, I love an epic climbing photo as much as the next person. And so I figured I might as well do two covers – one illustration, one photo. That allowed me to have my cake and eat it. too.
And as I thought about it more, that felt like just one more way to capture the duality of this project – something old that is also something new. It suddenly seemed like the obvious way to do it. And with that in mind, we’re continuing to do two covers for each issue for the foreseeable future.
How did the archival content of Summit shape your contemporary editorial direction? While it was always U.S.-centric, the older magazines had a very worldly sensibility. I’m very much trying to carry that forward.
The old magazines were mostly filled with pretty utilitarian stuff: how-to articles, trip reports, that kind of thing. I’m not against the latter, but I won’t be putting how-to articles or tech tips or gear reviews or any stuff like that in Summit Journal; there’s more than enough of that online. Rather, I’m trying to cultivate a more literary sensibility: climbing has, I would argue, perhaps the most literary tradition of any sport out there. There are old articles in the original Summit by climbers like Arlene Blum and Royal Robbins that are literary in a way that most stuff back than wasn’t. I’m trying to take that example and fill the entire magazine with it. Also to be clear: when I say literary, I’m not talking about esoteric think pieces or mind-numbing philosophy or impenetrable MFA-style prose. I’m talking the best kind of journalism, reportage, and essays that you see in the best of mainstream pubs – The New Yorker, The Paris Review, Esquire, the Outside of yesteryear – but with a climbing bent.
Congratulations on the mention in the NYT piece – what’s your take on the future of print publishing for independent magazines? I’m wildly optimistic, as crazy as that might sound. In addition to Summit Journal, the NYT piece covered other great magazines like Mountain Gazette, Adventure Journal, Ori magazine, Emocean, and The Surfers Journal. But the article was focused just on the outdoors, obviously. A similar analog renaissance is occurring in seemingly every space, it feels like – whether traditional sports, or food and culinary arts, or what have you. I’m discovering new, wonderful magazines and magazine stores literally every single day.
For me, the Internet and digital media have gotten so big that it can feel overwhelming. I have a couple online sources I rely on, but venturing beyond that feels scary – and there’s only so much time in the day that I want to be staring at a screen if I don’t have to be. In that kind of world, careful curation and high-quality print feel that much more valuable.
I’m under no illusions that print will suddenly become the de facto distribution medium again or ever approach what it was in its heyday – no one wants that or is saying that would be good! But for delivering something different, for unplugging, for slowing down, for really absorbing a quality story and images… it’s hard to beat print for that. And I think there are enough people who agree to make it a thriving business for small, niche pubs like Summit Journal.
Have you been getting hearty photography submissions? Yes! Right out of the gate submissions and pitches were slow – no surprise there. But now that it’s been almost a year since we announced Summit’s resurrection, there’s a steady trickle of both every week. We’ve started to commission some larger photographic stories, but our bread and butter continue to be submissions of already produced work. That’s just kind of the reality of the landscape and what we have the budget and bandwidth to work with. So with that in mind, if you have any great climbing or climbing-adjacent photos or ideas, send ‘em my way! mlevy@summitjournal.com
Heidi: When did your passion for doing the sport of parkour/freerunning start and eventually evolve into photography as a practice?
Matteo: I started practicing parkour in 2014, in my second year of high school.
I started in a gym called Total Natural Training, owned by one of Milan’s oldest parkour groups: Milanmonkeys. It was newly opened at the time, so I was one of the first subscribers. I used to be a bit of a loner, often feeling too shy to express myself through words, so I found a way to express myself through movement.
It was my life back then. When I got back home from the gym I used to hop on YouTube to watch parkour videos and take notes of what I wanted to work on next. I would always buy all of Milanmonkey’s merchandise as soon as it was available and wear oversized gym pants with crazy graphics every day; the height of parkour fashion at the time.
After three years of training indoors I moved on from the gym and started training on the streets, finally getting in touch with the wider parkour community. I started going to jam sessions and other events that attract parkour athletes from all over the world, exploring parts of the city I didn’t even know existed.
It was the first sport I fell in love with, it helped me become more confident with my body and make good friendships along the way.
When I began my photography studies I felt drawn to the topic of subcultures. To better understand how passions work I felt the need to first dive back into my own and study it as something between a photographer and a practitioner.
Rediscovering such an important part of my life through the lens of a camera felt almost spiritual.
How did looking at urban space and visualizing sequences, textures, and light inform both your freerunning and the photography you wanted to shoot? Parkour content is mostly displayed in video, the viewer will see every instance of a stunt. Photography works very differently.
Based on what the athlete is going to do, you have to figure out which part of the trick is the best one to show, often having to predict when to press the shutter.
Many tricks are spectacular in real life, but when frozen in place don’t look all that interesting. That’s when you have to rely on other elements to make the photo speak, like a very dramatic light, a specific angle, or a longer exposure. These challenges were exciting to tackle, and taught me a lot about how to approach fast moving subjects with the camera
Why black and white for this body of work? Urban architecture is a fundamental component of parkour. There’s a tight interaction between the athlete and the elements of the city landscape. The grayscale highlights this connection by presenting both people and the environment with the same color and better defines the geometry of the spots, and areas of the city where the architecture allows an acrobatic interaction.
This work involves artistic movement and an intimate connection to urban space and architecture. What influences did you draw from? One of my favorite activities outside of training was scouting for spots. We would put together a little group, buy “provisions” and make little expeditions in the city suburbs or in some towns close by; take pictures of what we considered interesting, and publish them on Facebook. This eventually translated into my love for urbexing, the exploration of abandoned buildings, which also has a widespread and active community.
How did the ICP program stretch you creatively – what was the most useful learning? ICP has been invaluable for my growth as a photographer, thanks to the classes and my fellow students. It’s a great environment to experiment and to understand what works and what doesn’t within a story.
I was particularly fond of creative classes, where we explored the concept of visual art beyond just the action of photographing. Recognizing all the important elements in a story and representing them in creative ways can add layers to a narrative. For example, in my project for ICP, I included scans of drawings and phrases that the protagonists of my work left in my notebook; or used a white sheet of paper to collect footprints. These elements offer more dimensions to the otherwise flat surface of a picture. I want to experiment with that even more moving on.
How did you prepare for the ICP portfolio reviews and what was your biggest takeaway? I remember the last weeks before the portfolio review as the most hectic time in my experience at ICP. The most important thing was feedback, but since many classes ended, we couldn’t rely on periodic meetings with professors. There was a lot of scheduling and sending emails, but among the students, we were helping each other out a lot; putting sequences together and having mock interviews.
The review itself was much less stressful than I expected. At the end of the day we were presenting the project we’ve been working on for the whole year, so talking about it came naturally.
How often do you use the jam maps and is this a worldwide system for free running? Almost every major city has a spot map available to anyone; I always check them out when I travel somewhere new. They are constantly updated and include information on the spots, like difficulty or the kind of obstacles there are.
Even when a city doesn’t have a proper map it’s always easy to contact the local community via social media and get a list of the best spots.
What projects are you working on now? For my project at ICP, I went for a very different underground subculture. I documented the story of the Nocturnal Creatures Society, a young group of ravers from the New Jersey suburbs that banded together due to the lack of youth-oriented gatherings in their towns.
NCS will travel on the road throughout America this summer organizing rave parties; I’ll be there to document that.
I’m not abandoning my parkour journey though! I plan to get back to it at a later date.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
I endeavor to realize and document beauty every day in the people that surround me wherever I am in this life journey. I am endlessly intrigued by people especially those that appear different than me and I rejoice in experiencing our commonalities. I celebrate unity, diversity, inclusion and love for everyone from every land and all cultures.
I believe that at its core portraiture is a somewhat intrusive act. It is my duty as the photographer to minimize that intrusion and to connect as honestly, thoughtfully and respectfully as I possibly can.
My latest personal project This Is What Jewish Looks Like started over a year ago through a desire of mine to represent people with truth and dignity. In this first phase of my project, I photographed 60 Jewish people of diverse backgrounds, race, and origins over the course of 3 days. This imagery was compiled in collaboration with Reboot and released as a Public Service Announcement on MTV, Paramount, Showtime, and their affiliated channels in celebration of Jewish American Heritage Month.
As with all of my work I am dedicated to finding that beauty that we all share as human beings floating around on this planet and I treasure our connections. I am only scratching the surface with where I am going next with this project of capturing diversity and inclusion in the Jewish faith. I welcome you all to follow along.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Waterway is an ongoing project I started in 2009 just after buying a house on the Detroit River.
This series of images is focused on foggy mornings when things are quiet, calm, and surreal.
It’s a magical time to be on the river as threads of mist permeate from the water into the cool air leaving it a horizonless abyss, disorienting, removing any visual reference to direction.
It’s a time to explore, watch, and wonder as the breeze rolls blankets of fog into various tunnels of sight and the sun’s rays of light fight relentlessly to burn through the thick moist air.
Sometimes without warning the fog will just vanish leaving this mysterious place behind, and you’re left waiting for the next time the fog will play with your mind.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
I am the father of a young boy and the only child of a single mom. I’ve never met my dad.
I’ve been traveling around the US to take portraits of fathers and sons from many different cultural, ethnic and socio-economic backgrounds. The different ways you can grow up in this country are astounding but many challenges for fathers and sons and the love between them are still the same.
The most basic role of a father is to protect his child while also allowing the kid to learn and grow by failing and getting hurt (but not too much). It’s a constant balancing of preaching caution and abandon. On top of that there’s the expected guidance in inter-personal, scholastic, tech-related, sexual (dear Lord, no!), and financial behavior. Plus installing a basic value system for dealing with a constantly changing world. What could possibly go wrong?
Obviously, the father-son-relationship is incredibly influential for both. Many times, a son will follow in his dad’s footsteps, and most dads have to make big life changes to accommodate their children. Children might have to return the favor when their parents grow old.
I’ve tried to capture all of these things in my images. But the glue that holds everything together is the love between a parent and a child. It’s primal and fundamental. If it’s not there for whatever reason, it’s probably hard to have a good lifelong relationship and it’s probably hard for the child to develop all the tools needed for a good life. If the love is there, there’s a good chance it will carry father and son through all their difficulties and shortcomings. Probably everybody who had a child can recall the feeling when your baby’s lying on your chest. It’s glorious and terrifying all at the same time and it really changes your life forever.
Andrew & Homer, Brooklyn, NY, 2016
Homer is 9 days old in this image and I think you can see here the foundation of everything. The love between a parent and a child is so primal and fundamental. If it’s not there for whatever reason it’s probably hard to have a good life-long relationship and it won’t be easy for the child to develop all the tools he or she needs for a good life. If the love is there, there’s a good chance it will carry father and son through all their difficulties and shortcomings. Probably everyone who has had a child can remember the feeling of your baby lying on your chest. It’s glorious and terrifying all at the same time and it changes your life forever.
Fung Kit (Michael) & Wing-Hong (Andrew), Mountain View, CA, 2023
Fung Kit immigrated from China to study in the US. He stayed on and became an engineer for Hershey’s Chocolate in Pennsylvania. He and Andrew live now in separate apartments at the same complex in Silicon Valley where Andrew is the founder of a tech startup. Andrew invited his friends Brian and Louisa for a game of mahjong with his dad. (Fung Kit mopped the floor with the young people.)
Jason & Chester, Jupiter, FL, 2018
Jason is a firefighter and surfer. He’s very concerned about safety in his professional life, but as is apparent in this image, he’s also confident in his physical abilities. Like everything in life and fatherhood, it’s about balance.
Jonathan & Benjamin, Randolph, NJ, 2021
Jonathan is a lawyer who is very passionate about hunting. He is the owner of a deer hunting camp in the Poconos. While Benjamin is still too young to go on a proper hunt with his dad, Jonathan is teaching him how to track deer, look for signs of wildlife in the woods and search for antlers that the bucks shed.
Wyatt & Mike, West Point, NY, 2019
Mike graduated from West Point 30 years before Wyatt. He spent 4 years in the Army before he rejoined civilian life. He returned to West Point to celebrate Wyatt’s graduation from the military academy.
Paul & Sonny, San Francisco, CA, 2023
Paul is a craftsman who works with artists to build their creations. He and Sonny went through a very rough time, Paul’s dad passed away and their family dog died while Sonny’s mom had a life threatening health crisis. To keep themselves occupied and grounded they’ve built things like a soapbox car together. Here Sonny is practicing his welding skills in his dad’s workshop.
Paula & Jonathan, Brooklyn, NY, 2018
Paula is a father who transitioned from male to female when she was 61 years old. Both she and Jonathan are pastors. Paula, when she was a man, was a televangelist and ran a mega-church on Long Island. After she transitioned she lost all her jobs with that church and she now leads a small congregation in Colorado. Jonathan, who is the pastor of a church in Brooklyn, wrote a book about the experience of his dad becoming a woman (it wasn’t easy). They gave a TED talk together shortly after our shoot.
Raul & Mario & Salomon & Ramon, Abiquiu, NM, 2021
Salomon was one of the founders of the Abiquiu Volunteer Fire Department. His son Mario is also a volunteer in the same department, Raul is a professional firefighter in Los Alamos, and Ramon is a retired professional firefighter for the Navy in Virginia. They all live in Abiquiu now.
Voodah & Rahmel, Brooklyn, NY, 2019
Voodah is an artist who collaborates with his son in a series of videos. He taught Rahmel meditation and encourages him to meditate often to create a space for himself in a crowded life.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
In my images of Muay Thai kickboxers, I traveled to Bangkok, Thailand, capturing these athletes at various training camps and stadiums where they compete. This project captures the dedication, rich tradition, and vibrant pageantry of Muay Thai kickboxers, revealing a world where physical prowess and spiritual depth converge.
My fascination with Muay Thai stems from witnessing the unwavering commitment of these athletes. With my images I aim to show the rigorous training, the moments of silent contemplation, and the dynamic energy of these athletes. The fighters’ expressions, the intricate details of their ceremonial attire, and the intense action sequences all tell a story of honor, respect, and the pursuit of excellence.
This project is a visual homage to the athletes who dedicate their lives to mastering Muay Thai, preserving its legacy for future generations. It is an invitation for viewers to witness the beauty and discipline of this ancient tradition, celebrated in the heart of Bangkok.
The ceremonial rituals, the intricate details of their attire, and the dynamic movements in the ring are all captured to convey the beauty and discipline inherent in Muay Thai. This project is about the spirit and passion that these athletes have for their craft.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
Documentary Program at the International Center of Photography Joao Lutz: Baptism
Heidi: You came to NYC as a filmmaker with a handful of international clients. What drew you to the Documentary Program at the International Center of Photography? Joao: My transition from film to stills was driven by a desire to explore a different form of storytelling. As a filmmaker, I was used to working with motion and sound to convey narratives. However, I became increasingly fascinated by the challenge of telling compelling stories through single frames and the magic space that breathes in the gaps between them. Photography offered me a new way to capture moments and emotions more intimately and immediately
In filmmaking, I often create stories, but with photography, I had the opportunity to discover and reveal the unexpected narratives that exist in the world around us. This element of surprise and discovery is exciting. The amazement of realizing situations a documentary project can take you is extremely fulfilling.
I was drawn to ICP because it provided an opportunity to deepen my understanding of visual storytelling through real-life narratives. The program’s emphasis on developing a cohesive narrative through still images resonated with my desire to hone my skills. Although I transitioned to still photography, I haven’t stopped working as a filmmaker. I continue to pursue both fields. I believe they don’t have to be set apart and are exceptional tools to create rich, multidimensional approaches to storytelling.
How did the Baptism project come about? Baptism began from my fascination with the resilience and dedication of open water swimmers in Brighton Beach, New York, during the winter months. Growing up in Brazil, I spent most of my time on a farm or in a small town by the ocean. When I moved to New York, the beach became a place of comfort and familiarity. It made sense for my first documentary project to focus on a location where I felt somewhat at home. The project involved waking up at 3:30 AM two to three times a week to be at the beach by 6:00 AM to photograph these swimmers.
Initially, I was drawn by the extreme nature of their practice and the stark contrast between the bustling city of New York and the serene, spiritual connection these swimmers found with nature at Brighton Beach. This juxtaposition of city life and nature’s tranquility fascinated me. As I spent more time with them and engaged in deeper conversations, I realized it was much more than that. The project evolved to capture a community of people who come together to find spiritual solace and connection in the water.
Was it difficult to connect with the group of swimmers during their swim ritual? Initially, there was a gradual process of building comfort and familiarity, both for myself and the swimmers. As with any natural human connection, it took time for us to get to know each other and for me to understand their ritual and stories. By consistently showing up and respectfully observing, I gradually gained their trust and became more familiar with their practices. Engaging in conversations, sharing my intentions, and showing genuine interest in their experiences helped build a rapport. Once they understood my goal was to document their journey authentically, they became more open and enthusiastic about participating in the project. I needed to approach the project with sensitivity and respect for their personal and often meditative practice.
How did the ocean inform your photography; what did you learn from this project? The ocean and the elements played a significant role in shaping my approach to this project. The ever-changing conditions of the ocean and the weather influenced the mood and composition of my photographs. When I started, it was cold but still sunny, and as time went on, it became cloudy, snowy, and extremely windy. Adapting to these conditions was an incredible learning experience. I also began getting into the water myself, which helped me connect with the swimmers on a deeper level. By putting myself in their shoes and feeling the cold water on my skin, I gained an understanding of their experience. This project reinforced the importance of being present and responsive to the environment, allowing the natural elements to guide the visual storytelling. Most importantly, I learned that the practice for these swimmers is not just about physical endurance but a spiritual journey through their connection with the ocean and their surroundings.
What made the most impact for you at ICP? What surprised you? The most impactful aspect of my time at ICP was the exposure to diverse perspectives and the rigorous critique process. Engaging with a community of passionate photographers and educators pushed me to refine my vision and technique. Coming from a filmmaking background, where I worked for five years, I had never worked on a documentary project. Moving to New York and starting ICP, where I had to work on a long-term documentary project, was challenging. I was used to creating stories rather than finding them in the world.
I struggled with going around and finding stories, which made it challenging. However, jumping into the “Baptism” project made sense because of its connection to my background. Once I opened myself to the project and trusted the process I was fascinated. I felt lucky to have access to such a new world. The more I do it, the more grateful I am to have a camera. It almost feels like a free pass or a passport to stories that I would never be able to see or live.
I was pleasantly surprised by the collaborative spirit and the depth of feedback I received at ICP. The opportunity to learn from industry professionals and peers alike was invaluable. The critiques, though challenging at times, helped me grow as an artist and understand the importance of narrative and emotional connection in my work.
How did the portfolio reviews go? The portfolio reviews were an enriching experience. I received valuable feedback that validated my efforts and provided me with new directions for my work. Reviewers appreciated the storytelling and visual metaphors in my “Baptism” project, and I gained insights into developing and presenting my work.
How did you prepare for the reviews?
To prepare, I curated my portfolio carefully, ensuring it showcased a cohesive narrative and represented my artistic voice. A significant part of my preparation involved studying who my reviewers were, and understanding their backgrounds, interests, and the kind of work they do. This allowed me to adapt what I showed and how I presented my work to better connect with each reviewer. Knowing and planning how to engage with each person was crucial since every reviewer comes from a different background and interests.
What’s next for you? I plan to continue exploring subcultures and communities that come together for unusual reasons. My work focuses on capturing these unique groups and the beautiful stories that emerge from their interactions. One of my ongoing projects, “Wheelie,” documents the city stunt bikers in New York City. I’m excited to dive deeper into this project and continue discovering and sharing the compelling narratives within these communities. I also look forward to potential collaborations and assignments that challenge and inspire me to grow further as a photographer.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
I grew up in the town of Wahoo, NE, population 2,000. I lived on the family farm and went to a one room school in the middle of a corn field. When we moved into town, I spent most of my time at my grandmother’s house. When she decided to move at the age of 97, I wanted to preserve the feeling and memory of the space that always felt like home to me. I remember the way the light came in through her windows and loved that nothing changed there as long as I can remember. I used my vintage Rolleiflex camera to photograph her home and some of the places around town that once seemed mundane but now have great meaning for me.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
This body of documentary photographs examines the role of gas stations throughout the South, using these spaces as a lens to study this complex region, the people who live here, and how the populations and priorities of these people are shifting. In a time when our politics are increasingly polarized, our neighborhoods segregated, and our rhetoric strained, still nearly everyone regularly passes through these same commercial spaces. We come together here almost out of necessity, or at least convenience. My images give particular due to the culture and people in these communities—the workers who sustain these gas stations and the customers who rely on them for fuel, food, essential goods, and community. This project puts expressed emphasis on emerging immigrant foodways launching from gas station kitchens—the cuisines of one’s native country and how that is merging with more traditional flavors of the American South, shifting the very definition of what is Southern food. I highlight the egalitarian nature of the gas station, integral to the lives of people in every socioeconomic bracket in the South, especially in rural areas. Spanning more than ten years, this project touches down in 11 southern states, documents more than one hundred gas stations, and features a diverse mix of portraits, scene-setters, details, and documentary images.
I feature personal projects so your work can be seen. It is so nice to see this project get so much press (I found her in a CNN article and reached out to her). This is the press she has gotten already for this personal project https://www.katemedley.com/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 advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
I caught up with Ben Ditto after Patagonia featured his work in the Spring 24 Journal, he was currently in the center of Nevada at a little cliff he’d been climbing on for a few years – and was kind enough to share a few thoughts- the best office is a mobile one.
You have a category on your site called, The Wild Bunch, which looks like a good time. Who are these fellows and how did this trusted merry band come to life? Ben: Myself, Nico Favresse, his brother Olivier, and Sean Villanueva O’Driscoll were dubbed by Captain Bob Shepton before our 2010 Greenland big wall and sailing adventure for which we won the Piolets d’Or. Bob must have seen some early videos from Nico and Sean such as the ‘Power of Jam‘ and ‘Free South Africa ‘in which there was a lot of music and light-hearted antics all while sending the gnar.
Previous to that trip we had been climbing together for years, initially meeting Sean while staying at Miguel’s Pizza at the Red River Gorge in the early 2000’s. Visitors can see an old newspaper clipping on the wall where I’m walking a slack-line, and Sean is in the background.
You recently were on a team that headed to Greenland, the objective was a 4,000 ft slab of granite: The Mirror Wall – how did that come about and what made you say yes to this ambitious trip?
Well, this was to be our third trip together sailing in Greenland and climbing big walls, so when the offer arose it was hard to say no to. Again, we have Bob Shepton to thank for instigating the 2023 trip to Greenland. Bob, in his 80s, has long since sold his sailboat, the Dodo’s Delight, but he’s not out of the adventure game yet. Turns out Bob had met a young British skipper named Mike Brookswho owns the steel sailboat, Cornelia. Mike is a keen adventurer and offered to take our group of climbers to the Arctic. After a few phone calls daring each other to go, we decided to try to climb the mirror wall.
I stay in touch with Nico and Sean and all their exploits but it’s been years since I’ve done an expedition with them. However, I wasn’t too surprised to get the call to join them as the photographer on the trip. It does take a special sort of appreciation for adventure, climbing, sailing, and hardship. It was tricky deciding whether or not to join this expedition, but ultimately my summer was free and I was psyched to go.
Since our other expeditions, my work and life have taken on a different form. For most of my 20’s and 30’s I was constantly on the move, now I’m usually staying closer to home. Part of me thinks that if I’d had other work during that same time, I might’ve missed out on all the good fun we had in Scoresby Sound.
Previous expeditions to Mirror Wall used helicopters for the approach, you guys green-pointed instead. This round-up isn’t for the faint of heart.
7 days of prepping the boat in Scotland
16 days of Sailing and 5 days waiting on a storm in the Faroe Islands, then another 14 days in Iceland waiting for the ice pack to clear.
10 days of strenuous hiking, and 9 days of challenging climbing
How much pre-prep goes into a trip like this? (both physical and mental)
Ha ha yes, the stats are pretty dizzying, especially when you consider we went through all that to climb approximately 1/2 of a big wall FA. I lost track along the way but there must have been over 30 glacial river crossings to add to the list. We all stay in good climbing shape, covering all the bases of hiking and physical strength you need to do an expedition like this. But there’s a lot of it you can’t train for. The things that take a beating are your feet from the jagged glacial surface and your hips from wearing backpacks and harnesses. A non-climber would probably wonder why to bother going to these difficult-to-access places; let alone humanly powered. Packing three months of food and climbing equipment for seven people is no small task. We have Nico to thank for accomplishing that task. We usually share a few spreadsheets and take care of finances on TriCount.
Cornelia and the lads sailed from Scotland in June and picked me up along the North Coast of Iceland, before continuing North to Scorseby Sound. For our team, part of the experience is overcoming uncertainty and being in the moment that sailing provides. We never knew if the pack ice would provide passage until we pushed into it. Similarly, we didn’t know what the Mirror Wall would yield until we started climbing.
I’m forever impressed with the athletes who mastermind these missions – however, the photographers are equally as impressive. You’re on a dual track – athlete and creative, how hard is that to manage? I think everyone’s career is balanced with everything else that’s happening. I’m not suggesting that being a climbing athlete is the same as being a parent, for example, but similarly, I have to juggle a few priorities.
I find myself operating in distinct modes. I’m either a photographer or a climber on any given day, but I rarely mix the two unless work requires it. You know, as photographers were constantly multitasking to solve problems and it’s nice to be able to simplify and just go climbing now and again.
What was it like to photograph the “featureless, shield of granite?” for the first time – what was running through your mind? Approaching the wall I found it impossible to avert my gaze. It was like a puzzle to solve: where is the line we will climb? Where are the cracks in the mirror?!
As a climber, I have a deep sense of appreciation for climbing at the highest levels. Watching Sean pour everything into this line on the mirror wall was pretty much the greatest show on earth, and I was the only one who could see it. The photographs (and footage) are my way of sharing this performance with the world.
How much camera gear did you carry and was it hard to shoot in the frigid conditions, any gear failures, this area is known as the “Arctic El Cap” On the boat, I took two camera bodies, two drones, a bunch of batteries, hard drives and cards. But for the actual load carrying and big wall ascent, I had to pair everything down to one camera 2 lenses, and one drone.
It pains me to say it, but I had a problem with my DJI drone while we were up on the wall. Due to our remote and un-connected location, I couldn’t log into my account and my drone would only fly a couple hundred feet away from me at any time. It was a pretty frustrating feeling because I had tried to find a workaround for the DJI log-in issue and ultimately couldn’t find anything that would work.
Can you tell us the average temps? We were on land most of August and sometimes on the load carries it would be very warm, which was good because of all the water crossings. It seemed impossible we’d see a polar bear in those temperatures. ( we didn’t see any).
The wall faces North and only gets a couple of hours of sun each day, which can feel pretty nice. However, in the shade average temps hovered just below freezing most of the time.
Looking back on the trip now, what comes up for you? On an expedition like that, there are innumerable challenges we’re forced to face each day. However, with time, most of that stuff fades into the background and I’m left feeling lucky to experience such an incredibly wild place with an amazing group of characters.
How long have you lived in Bishop and how has that influenced your photography? I moved to Bishop in 2010 from SLC. Ultimately, I chose to live close to the mountains rather than close to work or clients. I still travel for work, it just takes a half day longer to get to an international airport.
However, The Eastern Sierra is a desirable place for productions of all sorts and we see everything from commercials to feature films shot nearby. For those shoots, my work has transitioned into location management, but I often wear several other hats. It’s always appreciated when a producer understands the value a local can bring when working in a faraway place.
How long have you been working on the Great Basin project? While studying photojournalism at the University of Utah in the early 2000’s I became aware of ranchers in the Great Basin who were fighting against the SNWA ( southern Nevada water authority) to keep their water rights secure from exportation to Vegas.
This story is still unfolding.
What excited you about studio photography? It’s the antithesis of raw nature. In college, I assisted a product photographer (shout out to Butch Adams!) where I learned to love lighting portraits and products. Our property in Bishop includes a commercial office building where I keep my studio. It’s great to have a place where I can make a big mess and then leave it for the night without anyone caring.
As a yearbook photographer in High School, I learned that a camera was my ticket to freedom. With a photo assignment in my pocket, I could wander the halls, leave school early, and generally be on my program. Climbing is also known as ’the freedom of the hills’ so really it’s a perfect combo for me.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
In this photo series, I embark on a journey through inspiring locations that have the power to ignite the imagination. Guided by the virtual lens of Google Street View, I find myself wandering through the digital corridors of the world, embarking on endless virtual walks. Like a spy plane soaring above, I observe the landscape from different angles, seeking out wooded areas, specific architectural styles, and mysterious structures that exude a captivating atmosphere. These locations serve as the foundation upon which I build my narrative.
However, the initial allure of these virtual discoveries often gives way to reality when I visit them in person. Changes in the environment or alterations to the building itself can leave me disappointed. Just as Google Street View captures a moment in time, my photographs also freeze a specific instance. Yet, in their evolution, they reveal the loss or emergence of certain character traits unique to each location.
Every place undoubtedly harbors a story, a history waiting to unfold. These stories become the seeds for my photo series. Approaching with an air of naivety, I engage with the owners of farms, houses, and other inhabited places. My initial intention is to seek permission to capture their residence in an image. With a genuine curiosity, I ask them to share a personal story that resonates deeply with their home. An event or memory that has left an indelible mark and is intimately intertwined with their dwelling. It’s as if I am selecting a still from a movie, immortalizing a moment frozen in time.
The residents’ personal stories form the foundation of my images. Drawing inspiration from their narratives, I create and stage new situations that expand upon the truth, allowing room for interpretation and exaggeration. The resulting photographs, The Nearest Truth, are grounded in true stories yet venture beyond simple documentation. Nothing is quite as it seems, as I aim to create a world where reality and imagination blur together, beckoning viewers to question their own perceptions.
Through this approach, I hope to uncover the hidden narratives embedded within these captivating locations. The fusion of personal stories, carefully constructed staging, and the inherent magic of photography allows me to delve into the depths of human experience and create visual moments that resonate on multiple levels.
In The Nearest Truth, reality dances with the imaginary, prompting viewers to delve deeper into their own interpretations and immerse themselves in a world where tales are told through the lens of a camera.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Half of all the firearms in the world that are owned by private citizens for non-military purposes are in the United States of America. The overall number, indeed, exceeds the Country’s population: 400 million weapons for 328 million people. This is not a coincidence, nor is it a market-related issue: it is rather a matter of “tradition” and constitutional guarantee established with the Second Amendment, ratified in 1791. This law reassures the inhabitants of the newly independent territories that their Federal Government would not be able, one day, to abuse its authority over them, and they are guaranteed the right to bear arms.
Two hundred and fifty years later, the Second Amendment is still ingrained in all aspects of American life.
Gabriele Galimberti has travelled to every corner of the United States – from New York City to Honolulu – to meet proud gun owners and photograph them and their weapons.
He has photographed people and guns in their homes and neighborhoods, even in places where no one would expect to find such arsenals.
These often-disturbing portraits, together with the accompanying stories based on interviews, provide an unexpected and uncommon view of what the institution of the Second Amendment really represents today.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
With mostly monochromatic hues and an aesthetic that hints at time’s passage, Amy Selwyn’s images invite the viewer into a realm where light and shadow dance in a slow and expressive duet. Each photograph, though distinct in its subject — a cathedral’s vault, a fog-wrapped forest, a solitary bathtub, and a church standing sentinel in a hazy expanse — shares a common thread of contemplation and consideration.
The cathedral’s arching lines reach toward the mysterious of the heavens. The forest scene, veiled in mist, speaks to the enigma of nature’s beauty, her paths less traveled, and the quiet introspection such a world elicits. The soft solitude of the bathtub, framed by morning light, mirrors the intimacy of moments when we confront (welcome?) the naked self.
Collectively, these works are a meditative exploration on solitude, reverence, and the search for meaning amidst the ephemeral. They stand, Selwyn believes, as odes to the quietness in life, the spaces between breaths, the silent stillness that defines our existence. Within these silent vignettes, the artist extends an invitation to pause, to reflect, and to find solace.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @SuzanneSease. Instagram