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WEDDING PHOTOGRAPHER INTERVIEW: PETER GARR

Lawrence — Thu, 13 May 2010 07:14:41 +0000

“I focus strictly on wedding photography. I believe that it’s better for me to be a GREAT wedding photographer than a mediocre “everything” photographer.”

Portrait by: http://www.maggieharkov.com/

PAST

LAWRENCEATIENZA.COM: In your early years of high school, were you involved in the yearbook ? What sparked your interest in photography?

PETER GARR: I’ve been taking snapshots as far back as I can remember. Early on I would shoot using my dad’s Kodak 110 pocket camera. When I was about 12 or 13, I finally got my own camera — a Kodak Disc. I had a lot of fun with that little Disc camera. Around the same time, I started shooting with my uncle’s Nikon FE 35mm camera, which is how I learned to operate a manual 35mm SLR. I still have that camera and love bringing it out from time to time! By the age of 15 or 16, I wasn’t interested in photography as much as I was interested in playing drums and making music in punk and metal bands, but I was always the default photographer for family and social events. By the time I was 19, my new love was computers and digital technology. It wasn’t until years later, when digital cameras started to hit the market, that my interest in photography was renewed. It was when cameras became little computers that my passion really started.

I took a trip to visit my old friend, Robert Orth (http://desertphotographer.net/), in Tucson, Arizona in 2003 when my interest really sparked. I showed up in Tucson with my little Canon A40 digital compact camera only to have Rob take me on several day-long photography field trips throughout the Arizona desert. Although Rob was shooting a Canon EOS 10D, I was still impressed with the photos I took with my A40 and from then on all I wanted to do was shoot!

LAWRENCEATIENZA.COM: Do you still have photos taken from the early years when it all started? What were your subjects? Are the digital photography pictures online to share with everyone to compare with your photography work today?

PETER GARR: The photos from my early digital days were mostly of my wife (my girlfriend at the time) and her four sisters, plus anything and everything along the way — birds, flowers, streams, and trees… especially trees. I love taking photos of trees! Sorry, but these photos aren’t online for public viewing. However, if you come to my house I’ll make sure to torture you by making you sit through a long, boring slideshow of my early “work” along with my running commentary. Hahaha!

LAWRENCEATIENZA.COM: What books did you read at the beginning of your wedding photography career that helped you prepare for today? Title of book, author and price of book please…just messing around, the title of the books should be fine thanks to google search. Do you recall any other resources that you referred to heavily to help you prepare for the wedding photography business? We want to know what the must have resources are to fully equip ourselves when and if we ever plan to take that leap of faith into wedding photography.

PETER GARR: My favorite books pertaining to photography, and the ones that have taught me the most are:

Understanding Exposure by Bryan Peterson
Fast Track Photographer by Dane Sanders
À Propos de Paris by Henri Cartier-Bresson
The Business of Studio Photography: How to Start and Run a Successful Photography Studio by Edward Lilley
Wedding Photography: Art, Business & Style by Steve Sint

I also spent a lot of time reading and posting on some online forums, including:
Digital Grin (http://www.dgrin.com)
Open Source Photo (http://www.opensourcephoto.net/forum/)

LAWRENCEATIENZA.COM: What was your very first professional wedding photography job? Was this purely out of luck that you were at the right place at the right time? How did you get your first wedding photography job? Once you had your first job under your belt was it difficult to get another wedding photography job? What did you do to acquire more work besides providing awesome images?

PETER GARR: In 2005, my wife gave me the original Canon Digital Rebel as a Christmas gift. This was a huge leap forward for me from my A40. I was eager to do great things with that camera. The year prior, I shot, for free of course, one of my sister-in-law’s wedding with my A40 compact. I don’t know if you’ve ever seen photos from a wedding shot by an amateur hobbyist using nothing but a 2.0 MP point-and-shoot with direct flash in a low-light chapel, but it sure left A LOT to be desired!

My good friend Danny Baker of Epic Imagery (http://www.epicimagery.com) has been a wedding photographer for more than ten years. I’ve known Danny since before the camera bug bit me. Shortly after I got my Digital Rebel, I asked Danny if I could tag along with him to assist on a low-key, off-season wedding for a mutual friend of ours that he was shooting and that my wife and I were invited as guests to. Not only did he have me join him to assist, he also let me shoot as a second and he even paid me a few bucks! I’ve continued to shoot with Danny many times over the years and he’s been instrumental in my career. Many of my favorite weddings that I’ve shot have been with Danny.

LAWRENCEATIENZA.COM: After your first photography job, What was the next photography gig you obtained and how did you go about your execution? Did you apply all that you’ve learned in all the photography books you’ve read ? Did you buy more photography books or accessed any more photography resources to help you jump to your next big step in the game of photography? What tools do you recommend that are a must have that helped you get to where you are present day?

PETER GARR: I spent my first year as a professional photographer strictly second shooting for other studios. After my first job second shooting for Epic Imagery, I continued second shooting for Epic, and I still do to this day. I also started calling and emailing other studios asking if they needed a second shooter and responded to classified ads on Craigslist from studios looking for second shooters. In my first year, I must have been a second shooter for over a dozen weddings between three or four different studios.

In January 2007, one year after my first job as a second shooter, I booked my first solo wedding for March 2007. In February, I booked another wedding for that summer. At the time I was doing business under the name “In The Moment Photography.” One thing I learned was that I needed to personalize my brand in order to connect better with people, so I changed the name of my business from “In The Moment Photography” to “Peter Garr Photography.” My name is actually Peter Garabetian, but since my long Armenian last name has always been a struggle for most people to pronounce, spell, and remember, I shortened it to just the first syllable, from Garabetian to Garr, and, as they say, the rest is history.

I didn’t buy any new books or other tools at that time, although I was blessed by a very generous gift given to me by a close relative. At the time I knew I needed to buy some new lenses and other gear in order to take the next step in my photography. I had already bought myself a new EOS 30D body, Tamron 28-75mm f/2.8 lens, and I was renting a Speedlight whenever I had a second shooter job. Prior to booking my first solo wedding, I reached out and asked a relative for a small business loan in order to buy the gear I needed. To my amazement, rather than giving me the loan, he offered to buy the equipment for me – free and clear! It really is exceptional to have someone care enough and believe in me enough to be so generous. I don’t take this generosity for granted at all and I know how powerful the spirit of giving is in the lives of both the giver of and the receiver. I wouldn’t be where I am today without the faith and graciousness of others.

So what tools do I believe are a must have? Without a doubt — relationships. Without the healthy and positive relationships I have with family and other photographers, I would never have had the opportunity to work as a second shooter with all the studios I have. The experience as a second shooter is how I learned about shooting weddings. Working with different photographers and observing their varied styles of shooting, interacting with subjects, and their approach to the entire wedding. No two photographers are the same, so having exposure to different photographers while working as their second shooter has helped me immensely. Also my relationship with my relative who, instead of giving a loan, gave me the equipment I needed. As people, and as photographers, relationships are the core of who we are. We need to reach out, ask for help, offer to help, and be genuine in everything we do. I always hear David Jay echo a quote by Tim Sander which states that, “Your network is your net worth.” That’s so true. Here’s another book I recommend that helps with this subject, “How To Win Friends and Influence People” by Dale Carnagie.

PRESENT

LAWRENCEATIENZA.COM: What keeps the money rolling? Your brand and reputation in the wedding photography space is possibly a huge factor to your longevity? Am i right? Do you have any recommendations on brand building for weekend photographers trying to get into professional wedding photography?

PETER GARR: My advice for brand building is, first and foremost, personalize your brand. YOU are your brand. In a business that’s built on personal relationships with clients, I found it important to personalize my brand. That’s why I changed my brand name from “In The Moment Photography” to “Peter Garr Photography.” There can be a dozen “In The Moment Photography” brands in America, but only one “Peter Garr.” Also, be yourself and be genuine. Don’t pretend to be someone you’re not. People can sense a fraud and nobody likes to do business with a fraud!

Also, there’s so many photographers who can take a great photo, and most clients don’t know the difference between a great photo and an average photo. The quality and style of my photography can set me apart only so much. What I’m banking on setting me apart is me — my personality, my genuine interest in meeting new people and capturing what’s important to them — things that not just anyone sees or senses.

When I started as a wedding photographer, I was a weekend warrior like many. I had a full-time job as an I.T. Systems professional that I hated and all I wanted was to be a full-time photographer. When I took a leap of faith to leave my day job in 2008, I thought I was a full-time photographer, but my time was actually split between being a photographer and a stay-at-home dad to my beautiful baby girl. It was frustrating and challenging at times (it still is), but I wouldn’t change it for anything. I had a very slow off-season last year with no wedding bookings from the start of winter until early spring. In years past I would book some family portrait sessions or even some holiday events over the winter in order to generate some revenue during the off-season. This past winter I had nothing booked, but I still had bills to pay and mouths to feed. So what did I do? I humbled myself and took a part-time computer service job to help pay bills. With the economy the way it is, every pro photographer I know is feeling the strain. If you are also, know that you’re not alone.

Also, I see so many photographers trying to be like other photographers, attending workshop after workshop, hoping to learn some special secret to success. My advice is to save your money. There are some good workshops out there worth attending, but you don’t need to go to every workshop in town. Instead, I recommend getting out there and shooting. There’s nothing that can compete with real world experience. Meet with other local photographers, pool your money together to hire some models (or find models to volunteer) and practice. Reach out to other photographers and offer to assist or second-shoot for them. Also, there are so many free and inexpensive resources available to photographers to learn from, both on-land and online. For example, there are free SmugMug User Group meetings in almost every major city in the United States. At the Los Angeles SMUG that I lead, we have many of the top photographers in the industry come out and teach other photographers every month, and it’s totally free. All are welcome, all are loved!

LAWRENCEATIENZA.COM: What is currently in your photography bag? Please be as detailed as possible for those starting out photographers that want to be just like you. Are you mainly doing digital photography? From your photography equipment arsenal, what do you bring for your photography engagement sessions? What do you bring for your wedding photography sessions?

PETER GARR:

I only shoot digital and here’s the list of my equipment.

Canon EOS 5D Mark II with Battery Grip
Canon EOS 30D with Battery Grip
Canon EOS 20D with Battery Grip
Canon Speedlight 580EXII
Canon Speedlight 580EX (x2)
Canon CP-E4 External Battery Packs (x2)
Canon ST-E2 Speedlight Transmitter
Canon EF 15mm 1:2.8 Fisheye Lens
Canon EF 16-35mm 1:2.8 L USM Zoom Lens
Canon EF 24-70mm 1:2.8 L USM Zoom Lens
Canon EF 50mm 1:1.4 Prime Lens
Canon 70-200mm 1:2.8 L IS USM
Sandisk Ultra II and Extreme III Compact Flash Cards
Boda v3 Lens Bag
Tamrac 698 Rolling Photo Backpack
CameraSlingers Straps
Manfrotto 055MF4 Pro MagFiber Tripod
Manfrotto 488RC2 Compact Ballhead
Manfrotto 681B Monopod
Manfrotto 3229 Monopod Quick-Release Head
Various Light Modifiers, Flash Diffusers, and Bounce Cards
Powerex 2700 mAh AA Batteries
MAHA MH-C801 Battery Charger

For engagement sessions, I always bring two camera bodies — one to use and one as a backup. I also bring two Speedlights — again, one to use and one as a backup. I usually bring all my lenses since they all fit in my Boda v3 Lens Bag. There’s no reason not to.

For weddings, I pretty much bring all my camera bodies, Speedlights, lenses, monopod, tripod, CP-E4 External Battery Packs. Basically everything I can fit into my Tamrac Rolling Backpack (it’s HUGE!).

LAWRENCEATIENZA.COM: What is your favorite image in your current photography portfolio and why? How did you approach the photographic execution? Give us a glimpse on how you construct an image from scratch.

PETER GARR: Currently , this image is my favorite.

I love the simple beauty of the bride, Nicole, in the photo. Her bare neck, shoulders, and ear just moments before she adorned those features with her wedding jewelry. The sweeping curves of her face, ear, shoulders, and hair. Her freckles, closed eyes and long, fan-like eyelashes. Even the single lock of hair resting on her left shoulder. I took this photo candidly and it’s a great example of “less is more” and how you can get a great photo during the most fleeting moments.

LAWRENCEATIENZA.COM: Do you have a photography studio? Is having your own photography studio space essential for a professional wedding photographer? Has any of your photography engagement sessions ever take place in a studio? If not, where do you mainly photograph the engagement sessions? Could you reveal to us 3 of your favorite locations and why?

PETER GARR: No, I don’t have a physical studio. In fact, I work at a desk setup in the middle of my living room. I don’t believe it’s essential to have a brick-and-mortar studio nowadays, especially for wedding photographers like me who shoot 100% on location. However, for me, my greatest struggle in my business is that I don’t have a separate workspace in my home. Working in the living room poses many distractions for me, especially with my 3 year old daughter running around and competing for my attention.

I used to meet with my clients at coffeehouses like Starbucks or Peet’s, but I found those places to be too distracting an environment for a number of reasons. Besides the distractions, coffeehouses don’t project the type of atmosphere I want when meeting with clients. I’ve recently started meeting with clients at the lobbies of four or five star hotels. Although hotel lobbies are still not as intimate and controlled of an environment as meeting at my own studio, they are far better than coffeehouses.

My favorite locations for engagement sessions are whatever locations are important to my clients. I make my engagement sessions all about my clients. I always recommend to them we hold their engagement sessions at locations that are important to them — where they first met, where they went on their first or favorite date, where they got engaged, a locations that has special meaning to them like a shared interest or hobby. Obviously, the location should have good light and be conducive to photography, but it’s not about me and what I want, it’s about my client’s and what they want. Their engagement photos should mean something to them for their entire lifetimes, not just be a place they went on some random day because it was “where the photographer suggested.” It has to hold special meaning to them!

LAWRENCEATIENZA.COM: What types of commercial gigs are you currently involved in now and how did they surface? What are your recommendations on how we photographers diversify our wedding photography offering to the marketplace?

PETER GARR: I focus strictly on wedding photography. I believe that it’s better for me to be a GREAT wedding photographer than a mediocre “everything” photographer. Expertise in one area of photography is important to me and to my clients. However, I do shoot the occasional family, newborn, or maternity portrait as well as corporate and private events, but my passion and expertise is wedding photography. I don’t advertise or market my non-wedding work, so all non-wedding work I get is from referrals or assignments from studios I partner with. My brand is as a wedding photographer. I think marketing any other type of photography dilutes my brand.

FUTURE

LAWRENCEATIENZA.COM: What are your immediate goals as a wedding photographer? Are you planning on releasing any how-to books? What are your recommendations to people thinking about starting a photography book?

PETER GARR: My immediate goals as a wedding photographer are to network more with wedding coordinators/planners and to continue to improve my photography skills, which I believe is a lifelong process. I’ve come to realize that the photography industry is saturated with too many workshops and books, which mostly rehash the same things. I have no authority to write a book when there are photographers with many more years of experience and insight than me. The industry is full of photographers who want to be the next authority or workshop superstar. I know that growing my business by having excellent relationships with my clients and with other wedding vendors who are happy to refer me and to provide positive testimonials are the keys to my success. I’d like to shoot more destination weddings and hope to shoot my first international destination wedding someday soon. At the end of the day, I’m a wedding photographer, and shooting the weddings of happy, loving couples is what pays my bills and is what I love to do.

LAWRENCEATIENZA.COM: A lot of professional wedding photographers are starting to run workshops. Will you start offering workshops in the future?

PETER GARR: I don’t know what the future holds, but at this time I’m not looking to run a workshop. However, I organize and lead the Los Angeles SmugMug Users Group (SMUG). SMUGs are monthly meetings that feature speaker presentations by prominent photographers, mini workshops, shootouts, and fun social activities. SMUGs are free and open to all professional and advanced amateur photographers, whether or not they have SmugMug accounts. All are welcome, all are loved!

PETER GARR: I recently bought a Canon EOS 5D Mark II and love how it shoots video. Shooting video is a whole new and slightly different world for me. I agree that wedding clients can now have the best of both world with photo/video Fusion. Some of the Fusion work I’ve seen by photographers like Robert Evans is amazing! I hope to have a Fusion sample completed soon.

LAWRENCEATIENZA.COM: Ok so thinking about the future and how it is very important in any endeavor especially the professional wedding photography business. What do you suggest wedding photographers do in the future to solidify their presence in the photography industry? What will you do to ensure that you remain on top, not taking into account your photography niche?

PETER GARR: Learn everything you can about business, including sales, marketing, accounting, and communication. Go to a library, enroll in community college classes, join Toastmasters International, read business blogs. Always keep learning about business and human nature!

LAWRENCEATIENZA.COM: Thank you again for your time and giving back. What would you like to leave for us photographers to think about when moving forward with wedding photography for the future? If you have any words of wisdom will be appreciated.

PETER GARR: Learn your craft and respect your clients. This is essential to any successful business. Network with other photographers and wedding vendors. If you can, avoid loans and credit cards. Don’t throw your money at every workshop that comes around. Instead, get together with other photographers and learn from each other for free. Share your knowledge and take the lead. Be humble and make your business about serving your clients and your community with the very best you have to offer. Everything else will fall into place.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Manuello Paganelli

Lawrence — Tue, 20 Apr 2010 07:59:32 +0000

“MY best training came from my newspaper working experience at the Chattanooga Times. It helps me to work fast and to do the job right under pressure.”

PAST

LAWRENCEATIENZA.COM: In your early years of high school, were you involved in the yearbook? What sparked your interest in photography? Do you recommend all the weekend photographers out there to initially stick with the subjects they know and build from there? Do you have any suggestions on how to build that progression? How did you progress to where you are today in photography?

MANUELLO PAGANELLI:

I didn’t have any interest in photography until my last year in college. I bought a Canon A1 camera just to get my mind away from my insecurity of continuing medical school. Then one day at a magazine store I discovered Darkroom Magazine, and read an article on Ansel Adams and was very fascinated by his work & life story. His passion was photography but he was trained as a classical piano player and that is what his folks were hoping for. So I felt I was in a cross road just like him. OF course at that time I didn’t know much about photography or thought that would be my calling. That said when I finished the whole story I dialed information got his phone number and called him. We then develop a mentoring friendship, which lasted until he passed away.

For sure anybody interested in photography should take photos of what comes naturally to them. IT doesn’t matter if is shooting your pet your kids, landscapes or clouds. Just stick to that and from there you can branch out. IT takes a while to learn and grow. The main thing is to be patient and to shoot plenty. And keep on shooting and after that shoot some more. MY career has been great to me and I had been very fortunate. One of the main things is never to take anything per granted. Many clients had given me an open door and by doing great work and by been responsible and real to my subjects that opened many other doors.

LAWRENCEATIENZA.COM: Do you still have photos taken from the early years when it all started? What were your subjects? Are the pictures online to share with everyone to compare with your work today?

MANUELLO PAGANELLI: Yes I still do and most of those images were street photography. I had always been passionate by the work of W.Eugene Smith and Robert Frank and as someone who wasn’t born in the USA the work of Frank spoke very close to my heart.

LAWRENCEATIENZA.COM: What books did you read at the beginning of your photography career that helped you prepare for today? Title of book, author and price of book please…just messing around, the title of the books should be fine thanks to google search. Do you recall any other resources that you referred to heavily to help you prepare for the photography business? We want to know what the must have resources are to fully equip ourselves when and if we ever plan to take that leap of faith.

MANUELLO PAGANELLI: I gotta tell you that I had never taken any photo classes. The only book I bought was one on strobe lighting. I thought it was a great book when I got it and 3 weeks later my photos were more creative and looking much better than the images on that book. Then I tossed the book in the trash can.

LAWRENCEATIENZA.COM: What was your very first professional photography job? Was this purely out of luck that you were at the right place at the right time? Was there a hidden plan to penetrate the market from within? Would you recommend it to new photographers trying to break into the market and that are having difficulty breaking in? Once you had your first job under your belt was it difficult to get another gig? What did you do to acquire more work besides providing awesome images? Have you ever considered being agency represented? If you are agency represented how did you attract a photography agent?

MANUELLO PAGANELLI: MY first photo job I got was working at the Chattanooga Times. I had zero experience and somehow I was able to meet the Managing Editor of the paper. He gave me a chance during the summer of 1983. I was only going to be there for 3 months or so. Once summer was over he called me to his office and the room was packed with the director of photography, city Editor, Sports Editors and others. I was ready to hear “Son you had done great and we want to thank you and wish you well in your career.” Instead what they said was, “How would you like to work for us full time.”

Two years later I moved to Washington DC where I was hired to work for Agence France Presse. They were the new kid in town and I was there for only six months. AFP was the worse place I ever worked. They were nasty to photographers and very condescending. After that I said, “will never work for anybody again.” and began my solo freelance career. I started shooting for USA Today, The Washington Post, NY Times, and LA Times & Reuters. Did that for almost a year then I learned to used strobes and started showing my work in NYC and a week later after I got back to DC Forbes magazine called me with my very first job and that was a HUGE push for my career. I remember Forbes asking me, “how much you charge for an assistant” and I didn’t even know what an assistant was. After that first gig other magazines commenced to call me.

I thought about representation from a photo agent. Once I got a call and this agent wanted to rep my work. At this time I had constructed quite a client list that kept me very busy: Times, Sports Illustrated, Newsweek, People, Business Week, Forbes to name a few. Yet this rep wanted me to split not only new clients that she would find me but also any income I would make from my already established clientele. I told her thanks but not thanks. For the most part I get my own gigs and I had been blessed so I don’t have to give any 20% or whatever the going rate is with an agent. Also for the most part I am very good at negotiating my own deals so it can be a win/win deal. I hate leaving money on the negotiating table. The other day I lost a bid for a one-day commercial shoot. It would have netted me 25 K but according to the adv agency the client decided to go with a different photo style. I just hope that whomever they went with was charging properly for the licensing usages they wanted plus his creative fees.

The new photographers need to trust in themselves. Faith, talent and consistency are the only values that will carry them to the next level then ad a dose of luck.

LAWRENCEATIENZA.COM: After your first job, What was the next photography gig you obtained and how did you go about your execution? Did you apply all that you’ve learned in all the books you’ve read ? Did you buy more books or accessed any more resources to help you jump to your next big step in the game of photography? What tools do you recommend that are a must have that helped you get to where you are present day?

MANUELLO PAGANELLI: MY best training came from my newspaper working experience at the Chattanooga Times. It helps me to work fast and to do the job right under pressure. And honestly I can’t remember who my second client was. After the first one the rest came pretty fast. YOU know you always will remember your first girlfriend but can you name the second and third one. The tools comes from inside of me that inner feeling that hits my eyes when the light is perfect or the moment feels right. Too many photographers relied too much on the technical aspect or Photoshop tricks and they are missing so much.

PRESENT

LAWRENCEATIENZA.COM: What keeps the money rolling? Your brand is possibly a huge factor to your longevity? Am I right? Do you have any recommendations on brand building for weekend photographers and/or Photographers in general.

MANUELLO PAGANELLI: Besides my vision and executing my jobs in a way that a client will be proud is what keeps me going and paying my bills and mortgage. Either shooting for some top magazines or a few adv gigs here and there. Some folks also collect some of my fine arts images. Younger photographers should come into a photo shoot with an open mind and thinking that is going to be their last one. So they better hit a homerun. The moment you see it that way is when your shooting gets much better and each time you learn from the last one. The best way to learn is by making mistakes. As long as those mistakes are not crucial then you can be on your way up.

LAWRENCEATIENZA.COM: What is currently in your photography bag? Please be as detailed as possible for those starting out photographers that want to be just like you. From your photography equipment arsenal, what do you bring most of the time for your commercial shoots?

MANUELLO PAGANELLI: If I am traveling overseas a canon 5d, Canon 5D Mark ll, two hassy cameras, a couple leicas, a Diana and a Holga, an array of lenses from 20-35mm, 24-105mm, 70-200mm lens, a couple Canon speedlights 580EX. At the start of my career I did plenty of sports and used to have a couple fast 300mm F2.8 lens and a 600mm f4 lens. Those lenses were very pricey and heavy. Also a pouch with over Twenty 8 GB flashcards. IF am shooting black & white film then I carry my T-max 100 & 400 ASA. I also don’t leave home without my ipod. ON local shoots my bag is lighter.

LAWRENCEATIENZA.COM: What is your favorite image in your current portfolio and why? How did you approach the execution? Give us a glimpse on how you construct an image from scratch.

MANUELLO PAGANELLI: Honestly they are so many. I do love my black & white documentary work from Cuba and my black cowboy series. My Black Cowboy series was shown last year at the Annenberg Photo Space in Los Angeles. But some images on my website that I am very proud of is of my friend and singer Ke$ha. I met her and her family a few years ago before she became famous with her song Tick Tack. I went to college in Tennessee and her family is from there so we hit it off very well. That was our connection when we met.

When it comes to my editorial photo shoots usually the client will give me the free range. Is a pretty open thing with them usually telling me “Just go there and do your thing.”From time to time the client will have a photo concept especially for covers or if this is an advertising photo shoot. But for the most part they give me plenty of creative freedom.

LAWRENCEATIENZA.COM: Is having your own studio space essential for any commercial photographer. Do you have a photography studio of your own? If so, what do you look for in a photography studio?

MANUELLO PAGANELLI:

Never had a studio. I really don’t think is essential especially with all the overhead involved. Usually rent it when the shoot calls for it. Just rented one yesterday while shooting one of the talent in Dancing with the Stars TV show. Sometime the shoot is even done at my home. They usually come alone or with their entourage. Then once their agent/publicist/assistant sees that all is cool they chill out in the backyard with some refreshing drink while I am working inside with my crew. Chris Issak had a ball at my place and so did singer Fantasia. Regardless where you do the shot make sure is comfortable, with plenty of safe parking, have wifi available, the temperature is right, and you got the right music and the food to served. And have a great crew to help you to the finishing line.

LAWRENCEATIENZA.COM: What types of commercial gigs are you currently involved in now and how did they surface? What are your recommendations on how we photographers diversify their product offering from Commercial and stock in today’s marketplace?

MANUELLO PAGANELLI:

Just finished working a cool photo cover with colorful TV chef Guy Fieri. Who was a ball of fire and energy just like his larger than life personality that you see on TV. Can’t show those images yet but they came out beautifully. For that shoot we had a makeup person, food stylist and 3 assistants. For the location we rented this amazing place in Sonoma wine country. Afterwards he sent me a cool email inviting me and my kids to a show that he is having at Disney. He wants to meet my girls so we are his VIP guest which is pretty cool.

Also the way to diversify is by shooting other style of photos different than what you are used to. We need changes or are like eating scramble eggs with butter-toasted bread each morning. Too many new shooters want to do the same style of the glossy or gritty look while doing lifestyle or celebrities. There is a lot more than just that. Not need to get jammed into one or two things.

FUTURE

LAWRENCEATIENZA.COM: What are your immediate goals as a photographer and artist? Are you planning on releasing any how-to books? What are your recommendations to people thinking about starting a photography book?

MANUELLO PAGANELLI:

I get asked that question all the time. I had never been a person of how-to-books. Maybe since I am self-taught all came from the inside. From a strong deep gut feeling. SO in all fairness I am not the right person to give book advices. I do know that now is much easier to have self-publishing books. I do would love to do a book just on my black & white images. But I had been saying that for a few years now. Maybe this will be the year.

LAWRENCEATIENZA.COM: A lot of professional photographers are starting to run workshops. Will you start offering workshops in the future? I know TIME is not your friend, but there are ways to get around that maybe offering internship opportunities to intern with you for a small fee during one of your paid shoots. Or maybe provide an opportunity to be a spectator for one of your weekend shoots?

MANUELLO PAGANELLI: I had been doing workshop for a long time now. I don’t do it often but whenever possible I do it. I had done some overseas in Europe, Argentina, at the Brooks Institute, The Pasadena Art Center, and the Julia Dean workshops. In fact I am doing a cool workshop April 24^th at the Julia Dean:

http://www.ssreg.com/juliadean/classes/classes.asp?courseid=13093&catid=1811

and a few days before, April 21, I will be the guest speaker in Los Angeles for ASMP:

http://asmpla100421.eventbrite.com/

LAWRENCEATIENZA.COM: I am sure you’ve read many articles discussing how in the future videography and photography will be one? What are your thoughts on that and how will you evolve to the new morphed medium?

MANUELLO PAGANELLI:

That is here to stay and is part of our future. I had been learning a bit about videos. As many of your readers know the Canon 5D Mark ll has set some benchmark for video making. Is one brilliant camera for making high def videos.

LAWRENCEATIENZA.COM: Ok so thinking about the future and how it is very important in any endeavor especially the photography business. What do you suggest photographers do in the future to solidify their presence in the industry? What will you do to ensure that you remain on top, not taking into account your photography niche?

MANUELLO PAGANELLI:

I always tell new photographers to always keep their © and make sure that while doing business make it a win/win deal. Never jump at the first offer given to you. Usually they call you with the lowest prices. There is not need to give the art buyer an answer right away. Just jot down the information and say, “ok I got all the details of the shoot including your name and phone number/email now let me get back to you in a day or two.” That is the time for you to do the research and learn more about the client.

Photographers need to learn a few things about the business of photography and the cost of running a business. Is not all about taking beautiful photos but also about making sure that what you create is respected and that you are compensated right for it. Ironically a client can value our work but doesn’t mean they feel the same about us.

That is when we had to show them that we know our business and that we are serious people. And that MUST come from us first other wise nobody is going to take us seriously at all. Also there is nothing wrong about asking questions or sharing information. SO if a client calls a newbie and he/she is clueless about how much to charge or how to go about doing a contract then reach out to a well established or more experience photographer and ask them.

LAWRENCEATIENZA.COM: Thank you again for your time and giving back. What would you like to leave for us photographers to think about when moving forward with photography for the future? If you have any words of wisdom will be appreciated.

MANUELLO PAGANELLI:

I would tell them follow your dream and what your heart tells you. Ignore all the negative vibe that may come from your own family, friends and even other photographers who may want to shot you down before you can even fly. IN life is about trying and experimenting. There is nothing to loose by trying and so much to gain. At this juncture you may feel that photography is your calling and you give it your best ride and along the way you discover that you are better suited to be a filmmaker or a writer. Still the very first path that you took lead you to this soul revelation. When you eventually arrive to your destiny and you are given that long waited chance then do it with the same passion and love that got you there and do it well for you may only get one shot at it.

I can’t finish this interview without repeating again, ALWAYS, keep your ©. All those images are money in the bank. I recently licensed a couple images to a client for 20K to be use for two years for the web, in house collateral and a magazine ad. So protect your work and its value at all cost. At the end clients will respect you even more.

PhotographySILO.com at WPPI 2010 in Las Vegas

Lawrence — Thu, 04 Mar 2010 16:02:36 +0000

PhotographySILO.com has arrived in vegas after a gruesome 2 hour delay due to heavy winds at the Vegas airport. The good side is that I met two seasoned photographers and gained some insight on their experiences. I am looking forward to more “sponge action”.

I’ve finally completed setting up PhotographySILO.com command central at “the castle”.

I am looking forward to sharing my experiences with my readers every day while I sit in bed looking at a cool view of “the castle” and “the pyramid” beam of light.

If the windows were cleaner, this image would rock. I also have an hdr of the castle that will be posted when i get home to my Macbook Pro.

I’ll have a 2-way radio with me at all times on channel 5 if you want to say what is up.

If you haven’t already, follow me on twitter http://www.twitter.com/lawrenceatienza

You won’t just be reading about my experience at WPPI but you will now be able to see what I see thanks to the folks at Vholdr. You will experience WPPI in my perspective using the ContourHD – HD Helmet Camera by VholdR .

So make sure you bookmark this page!

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PhotographySILO.com at WPPI 2010 MARCH 7TH, Sunday

EVENTS/PARTIES:

Sunday 312-317 Keynote – Gregory Heisler Keynote 6:00 PM – 7:30 PM

Sorry everyone due to the 2-hour flight delay, I missed all of the items planned for Sunday. Although, I will do my best to locate other photographers that attended the items below to provide you with their feedback and experiences.

Sunday 309-311 WELCOME RECEPTION Event 7:30 PM – 9:00 PM

Experience by Jen May

“Imagine a room full of theme park lines with crowds in between and you’ll get a good picture of what the WPPI Welcome Reception was like.

This is sort of expected when you’re kicking off the 30th Anniversary and reuniting with thousands of photographers. So, I’d say that it was a good opportunity for photographers to chat with each other, check out the scene and find out about parties happening after the reception. not a waste of time at all.”

Credit: Jen May Pastores of Jen May Photography

Thanks Jen!

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PhotographySILO.com at WPPI 2010 MARCH 8TH, Monday

Wow am I exhausted. Yes, i a m starting today’s entry in this fashion. Shall I say it again? I am exhausted. Words of warning.. This is my first WPPI and to add to my fault, I only searched for tips and tricks on how to conquer WPPi two days ago. With that said, my first tip for WPPI is to plan at least a week before you arrive to lay your feet down on sin city’s soil.

As you read through my daily “journal” entries of WPPI 2010, look out for the random tips of tricks learned through my mistakes.

Ok well let’s begin. I woke up today on 03.08.10 at 6:20AM not because i have an early meeting or need to eat breakfast but to wake up my girlfriend. Which worked out overall as it forced me to get and prep the equipment that I would use to cover today’s events.

I first unloaded my Think Tank Photo Urban disguise pro 70 and placed the equipment on the extra bed.

My goal for the first day was to attend a few platform classes and do some recon work in the exhibits. I was successful.

After first registering/self badging (i missed registration Sunday because of the 2 hour delayed flight), I was still able to make it to the Jerry Ghionis – Reinventing the Wedding Album. Boy was I glad I made it.

Jerry Ghionis started the platform class at WPPI by going over his albums when he first started many years ago. They looked really bad in my opinion. There were a lot of highlights in the images. The colors were extremely over saturated. Again, it seemed that was the norm back then so it was acceptable.

After a few minutes, he started showing off his most recent work that won numerous WPPI album contests. I was truly humbled and inspired . His change was drastic. I was amazed on how much the photography and his style improved…Am i biased because my style is similar? No, I don’t think so as there were massive applause after his various images that were presented to the class. You then saw attendees of Jerry’s platform class whip out their camera’s to capture the images displayed on the large screens to refer to at a later date.

Jerry then proceeded with providing us with information on what has worked for him in his album design. He went over details on how to extend a background and use different styles of albums to communicate the story of the couple.

You will just have to check out the rest of Jerry’s work to understand the extent of knowledge he shared at the platform class.

At about 9:30AM, I stepped out of the platform class with Jerry and camped slightly camera right to the front door. This way I can capture the attendees exiting the fairly packed platform class with Jerry Ghionis.

After 30 minutes, I proceeded to the exhibits.

My task for today for the exhibits at WPPI 2010 is to do some recon work of some of the vendors. With great success.

At around 10:30AM, I made sure to stop by the Smug Mug Pro booth to show some support to a fellow photographer Peter Garr.

If you haven’t heard of him you will soon. He’s a Santa Clarita based wedding photographer and the Los Angeles Smug leader, blogger of http://www.fotoracle.com/ , entrepreneur and all around great guy. He talked about how to be a photographer in these hard times. We can all use these tips. Thanks Peter.

I’ve also met Mark Wallace for the first time in person and he was really cool and then I continued to walk through a few vendors and made mental notes to the most important vendors for my visitors and myself to visit on Tuesday.

After the exhibits walk through, I was extremely tired and my equipment is running low on batteries.

So, I completed my coverage images and proceeded to the command center. It took me about 30 minutes to walk from excaliber. So, I need to do my best and make a reservation to MGM signature. 2 hours or so ago, I then got ready to see Jared Bauman . Unfortunately the line was long so I moved to Jim Garner’s platform class. Jim had some insightful information to share. The insight has definitely impacted how I run my photography efforts.

After Jim Garner’s platform, I decided to grab a bite as the next platform will not start for another hour. I intended to go to Blake Discher’ platform that went over until I ran into Jen may photography and Peter Gar photography. Two great full time photographers. Make sure to check them out for inspiration.

Jen may at first wanted to check out Jasmine Star’s platform titled Ghetto Fabulous Marketing. But due to the line that practically wrapped around, we all agreed to check out Kevin Kubota’s platform.

Before the Kubota platform class we had a few minutes, so i took the opportunity to get some WPPI Experience footage I was successful in that task as Jen May agreed to be video taped. The video will be posted when i return from WPPI.

During Kevin Kubota’s platform class, I asked to borrow Peter Garr’s camera to take some images.Although, I won’t be able to post these images until a later date because I borrowed Peter’s camera and he had it in raw so he will still need to slightly process the pictures.

Kevin talked about the core strength of our studio and for the most part it was a good platform class. There were a few mental take aways to really look into and see efficiencies.

After Kevin’s platform, we were curious to check the “Pool party”. Once we got to the party, we were given one free drink voucher. But before, we proceeded down to the stadium floor, I asked a favor for the fellow photographer to take an image of the huge are just for photographers.

The party was a quick experience as literally less than 30 minutes, the tower no longer exists.

That was my exit to the room and here I am writing for you my readers instead of sleeping. I hope you appreciate it. Look out for me at the showroom floor.

I was also able to catch up with Jen May from Jen May Photography and she gave a little blurb below.

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PhotographySILO.com at WPPI 2010 MARCH 9TH, Tuesday

Wow am I exhausted. Yes, i a m saying it again..I didn’t even get to go to any parties because I couldn’t wake up after an intended 1hr nap which turned out to an 8 hour nap.

As you read through my daily”journal” entries of WPPI 2010, look out for the random tips of tricks learned through my mistakes.

Ok well let’s begin. I woke up today on 03.09.10 at 6:00AM again. I knew it was going to be another long day.

My goal for the 2^nd day was to attend a few platform classes and actually stop by to the exhibitors from the list I generated after yesterdays recon of the exhibit floors. I was able to get some great video intros of exhibitors that i will be going in more detail as you read the “journal entry” for March 9, 2010

I’ve realized that it is impossible for me to make it to the 8AM start platform classes due to my current work flow for PhotographySILO,.com.

With that said, I headed straight to the trade show and worked my rounds to capture video intros (elevator pitch style) of the different exhibitors.

I was able to meet the owners of the companies that have supported my blog by providing review units. They were all great and very friendly in person. Like Shai of Spider Holster is a great guy very friendly and approachable. The people at Think Tank Photo were very knowledgeable about what the photographer needs in a bag and it is apparent in their product line. I’ve met more supporters that would be introduced in more detail later down the journal entry.

The companies I’ve met with will be listed in the order of meeting with them and discussing their company and product.

Ok so at around 9:40AM, I arrived at the main floor of the MGM convention center awaiting the opening of the trade show floors. As I waited, I prepped my video gear as I will be heavily using the equipment for the scheduled exhibitor.

As the doors opened for the MGM Grand Marquee Ballroom, the first vendor I approached was Finao Online LLC.

I met for the first time the co-owner of Finao Christine Perry-burke. She was great. Very energetic and passionate about her product and is displayed in her video below.

After meeting Christine and listening to her talk about her products, I am now more inclined to select them as my album vendor of choice. As i moved to the exit of the ballroom, I ran into Brett from Post Pro Photo. Brett goes over the companies service offerings to photographers across the globe.

I then moved to the MGM Grand Ballroom where i met the majority of the companies of interest.

As I entered through the doors, i proceeded in the direction of Think Tank Photo. I told my contact at the company that I will stop by the booth this time around and I kept my promise. I am surely glad I did as I was able to learn about the new items in their product offering.

I am definitely considering their new lighting equipment bag. Stay tuned for more details.

After my chat with Think Tank Photo, I moved a few feet to see and finally introduce myself to Shai of Spider Holster. Shai was able to provide me with a quick demo of his ingenious product that I see will be the next big hit in photography gear.

Thank you Shai for the support!

I then moved to the right of the exhibit floor and met with the knowledgeable folks of Tamron.

In the video, you will see the offering of Tamron and how it is a great solution for a budget conscious consumer that want great glass.

As I walked more to the right of the showroom floor, I made sure to drop by to the Black Rapid booth and say hi to Ron Henry.

He introduced the company and showed off the product and revealed a new product for the ladies in the short elevator pitch style video below:

I then moved to the LENSBABY booth and to my surprise Craig Strong was there to speak a few words about this product below.

I then found my way to the GO|Bee booth and met Lauren Hillary. She is the owner and designer of GO|Bee bags. Lauren talked to us about her product offering in the video below.

I then passed by the Forbeyon booth as their albums caught my attention as I moved through the exhibition halls.

As my time was running low before the next platform class, I only had time to visit one more company. The last but definitely not least was Mpix Pro. The knowledgeable person at the booth provided me with a better understanding of Mpix and their offering.

I then rushed back to level 3 of the convention to catch the 11AM platform class with Louis, but it looked like he didn’t end up doing a makeup class. I was lucky that Jasmine Star had a platform class at that time.

Jasmine Star…What can i say? She is a STAR. Jasmine is insightful and just down to earth. She engaged the crowd like no other presenter of all the platform classes I’ve sat through. I will not even bother detailing what I’ve learned after sitting through her class because it would just be too long of a journal entry. So I’ll save you the trouble of reading through it.

If you live near orange county, make sure you attend her Smug meetings.

The last platform class for the day was a Legal class, which unfortunately didn’t help me much as it was pretty basic and the information is what you should have already known if you are a photographer at any level. It was a good refresher of course.

After 8 hours of platform classes and roaming the trade show floors, I was beat. I ran into a fellow photographer Peter Garr the Smugmug Los Angeles Leader. We first met up so that I could get some images from the Kubota platform class for my blog that he took for me. We went up to his MGM Signature suite and downloaded the images to my thumb-drive. I have to say that the rooms at the MGM Signature are amazing. I will make sure next year to stay at the MGM Signature. Of course it is dependent if I get enough sponsors. After the quick exchange, I grabbed dinner with Peter and his friend and also fellow photographer Danny Baker. It was a great dinner talking shop and about our experience from the platform speakers messages.

As the evening progressed, I decided to go back to the room to drop off my video gear from the day with the intention to attend the SmugMug and bayphoto party. But as I dropped my gear in the room , I felt really tired and with an hour to spare before the party, I took a nap….You know what happened next….. 8 hours later and here I am writing this journal entry. I really need to try to make it to at least one party. Wednesday will be more of a possibility as I’ve pretty much covered WPPI for PhotographySILO.com, I can relax a bit today and just enjoy the convention as just a photographer and not a blogger/publisher of a photography information site.

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PhotographySILO.com at WPPI 2010 MARCH 10TH, Wednesday

Wednesday is my scheduled chill day. Since I’ve completed my coverage of the WPPI 2010 convention, I am free today to roam the exhibits of the show room floor as a photographer.

I woke up at my usual time of 6AM. It was easier this morning to wake as I fell asleep at 9PM yesterday, Tuesday night. Yes, I went to sleep at 9PM. I didn’t intend to sleep this early. Tuesday night after dinner, I went back to my hotel room to drop off my photography and video equipment and get ready for the SmugMug party. It was only 9PM and the party didn’t start till 10PM. Since I was exhausted from the days coverage of WPPI, I decided to take a short 1 hour nap. You know the rest.

So Wednesday morning, I went on with my daily routine of taking a shower setting up the gear and my 30 minute walk to MGM from Excalibur.

At around 11:30AM, I entered the platform class doors of Jared Bauman. To make note, this class is a makeup of the max capacity of his original 3/8/10 platform class.

Jared Bauman talked about how he was able to accomplish a 6 figure income with his current process.

After the platform class, I proceeded to the trade show floors for the last time. I made sure to say hi to Shai from Spider Holster and traveled to the Samy’s booth with the intention to buy a lens. After a few minutes of contemplation between buying a lens, I decided to purchase an SB-900 Nikon flash, a Hoya high quality circular polarizer, and two nikon camera batteries.

With my latest purchases, I had to work my way back to Excalibur to drop off the items to my room before the next platform class.

Once all my new photography toys were dropped off, I then walked another 30 minutes back to MGM in time to make it to the 2:30PM-4:30PM Jonathan Canlas Platform class titled “I’m Not Just a Wedding Photographer. Jonathan talked about how he doesn’t just classify himself as a wedding photographer but a photographer with a style that transcends all of the types of photography. From commercial to weddings his style is apparent and consistent.

I then moved on to the last platform class of the day involving business of photography. With the careful instruction of Craig Heidemann, he enlightened us on how we should treat our photography business.

At around 5PM, I met up with some photography peeps for dinner at a Brazilian restaurant. It was fun and filling dinner.

Before dinner, I was able to conduct experience interviews with a few of the photographers that you will see below.

After dinner, we then proceeded to the awards ceremony and witnessed greatness in our craft. Once the award ceremony ended, we worked our way to Mandalay Bay for Scott Robert Lim and camera slingers party. This was the first only party, I was able to attend. This will definitely change for next year as I plan to attend at least one party each day. I know this is only possible if I have help with my coverage of WPPI 2010. So next year, I hope to bring along an assistant to help me with my task to cover WPPI for photographySILO.com to the best of my ability.

On the way home from dinner, I was able to capture a taxicab confession from some photographers.. watch out now.

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PhotographySILO.com at WPPI 2010 MARCH 11TH, Thursday

I attended the special bonus program with Sondra Ayers and Jerry Deck and met a photographer that i’ve interviewed on this site. His name is Mark Robert Halper. You should check him out here.

I then met up with an old friend had dinner and was on my way back home.

I’ve learned a lot on my first time at WPPI. Next year will be ten times better. I hope to gain enough sponsors for myself and an assistant to help with the costs of coverage for the site.

I hope you enjoyed the coverage and please let me know on what you would like to see for next year.

WEDDING PHOTOGRAPHER INTERVIEW: SESHU

Lawrence — Thu, 04 Mar 2010 06:03:33 +0000

“Let me be frank and say that “the top” is an illusion. There is no “top”. One could and should keep on elevating their game. That’s what inspires me most. I want my next wedding or portrait session to be better than the one I completed yesterday.”

PAST

LAWRENCEATIENZA.COM: In your early years of high school, were you involved in the yearbook ? What sparked your interest in photography?

SESHU: Yes, I worked at my high school’s yearbook as one of its photographers. My first camera was a Pentax ME Super (which I still have). I shot film – mostly black & white – and had it processed and printed for me. I didn’t quite get into that other aspect of photography, which is finishing a print, until I was introduced to it by a friend in Japan. I had been studying at Waseda University as an exchange student when Robert Guarnieri who was also there and in a “camera club” invited me to shoot on the streets of Tokyo. The camera club had darkroom privileges and so I remember getting my hands wet in darkroom chemicals for the first time there. I was hooked, as I think a lot of people are when they see their first image come up magically in the tray. Ultimately, it was more the process of finding and making images that excited me about photography. As a somewhat shy child, photography was my license to inject myself into a scene. I don’t think I ever used the camera to hide behind it. It was and still remains a tool for me to connect with people and their ideas.

SESHU: Oh, yes, I still have boxes of negatives carefully stored away. I just need a reliable scanner to get them all digitized. My early subjects as I mentioned to you were people on the street – doing their thing. Street photography was so exciting to me. These days it’s very hard to do that without getting stopped and questioned. When I was pursuing a graduate degree at Indiana University in journalism, I worked for the student paper there and shot a lot of concerts. Being in a small town like Bloomington, meant having a little better access to these musicians who would come through. I wanted to see what they were like backstage, so I usually went in and hung out with them. Sometimes they wouldn’t mind and sometimes they would. I learned back then that if you didn’t ask, you didn’t get. It was a valuable life-lesson in some regards.

SESHU: I can’t say that I sought out any particular book to learn about wedding photography. As a documentary wedding photographer much of my approach is based on the kind of work I produced for newspapers and international magazines as a freelance photographer. I did very little directing then of my subjects and I do very little of it now. I feel I have remained true to what really moves me about photographing people as they are. Establishing rapport, gaining access and then immersing myself into a scene is my unique approach to weddings as it was photographing people like Keb’ Mo’ or Clarence “Gatemouth” Brown. I don’t think a book can teach you diplomacy. One thing I will say that is required of documentary wedding photographers such as myself is this constant state of being curious and patient – of your subjects, your environment, the abilities of your gear … whatever. Staying curious, to motivate you to photograph people’s unguarded and perhaps honest emotions, is key. And obviously patience is required because you can’t command the right elements to align themselves in the frame. You wait for it, then when you see it evolve, you trip the shutter.

SESHU: A friend of mine who is a journalist was getting married and he approached me to photograph his wedding. I can’t even recall if I charged him for it. He and I had been friends for some time and I suppose he had liked my work. I hadn’t thought of building a bridge between editorial photography and wedding photography and now I wished I had. The second gig came my way out of sheer desperation on my part. I was working at a community darkroom in Seattle and I saw a note on the board for a wedding photographer. The couple, getting married for the second time, were not really interested in anything ornate. My style and I suppose at that time my price was attractive to them. I charged them $300. And yes, I rocked those images too. Why not?

SESHU: As an editorial photographer, I was dependent on newspapers. I attended as many journalism conventions as I could afford. Being seen and heard is so key to one’s marketing. It has all shifted online these days, but it is still very useful to connect with your peers face-to-face. So, the next set of gigs came through an editor I had met at the Neiman Conference on Narrative Journalism. I photographed for a magazine called India Today. The work was challenging and didn’t pay much at all. I figured back then that I had to make the jump to something that would sustain me. But I didn’t want to take up a genre of photography that wouldn’t move me. The fact that a wedding lends itself so well to being narrated as a story worked out in my favor. I am able to use the editorial aesthetic in a very different way for my wedding clients.

PRESENT

SESHU: As someone said, branding doesn’t mean you go out and get a logo designed. That’s a logo, not a brand. Branding to me is about how you are perceived by people around you. Creating a brand takes time and you have to believe it is a process. Expect to have up’s and down’s. Learn from both of them. I feel building a personal brand has become a lot easier with a slew of online tools like Twitter Facebook and LinkedIn . I think the first thing I would say to people wanting to create a brand is – decide on how you are going to be valuable to someone else. Find your niche. Learn about it yourself, then teach others how to solve their problems. Give without the expectation of getting anything back in return.

SESHU: I’ll repeat a mantra my friend David duChemin says all the time – “Gear is Good. Vision is Better.” Every few months, the camera manufacturers release new products into the world. It’s nearly impossible to keep up. If you are running a business, buying new gear as and when they come out is going to bankrupt you. So, I suggest you carefully evaluate your needs before you go shopping.

I am all digital now. If a client wanted me to shoot film, I can. I still have a Nikon F100 stored away. I now use a Nikon D300. I have had it now for nearly three years and it has served me really well. I bought the camera I needed, not the one I wanted. Finding myself photographing in darker venues these days, I am leaning towards a full sensor camera like the Nikon D700 or its upgrade, whatever that will be. For lenses, I use the Nikon 17-35mm a lot. I also like the look and feel of the Nikon 50mm f/1.4D and the 85mm f/1.4. Another must-have lens is the Nikon 7-200mm f/2.8 VRII. For strobes, I have upgraded to the Nikon SB-900 units. I bring these to an engagement session or a wedding.

SESHU: The image of Tushima being carried by her brothers, right before she is married is one of my favorite. There is such grace and beauty in it. There is also a little drama. If you notice, one of the bride’s cousins on the upper left has turned around and is looking at her. That kind of drama cannot be orchestrated. Or, it can be, but it will feel hollow and dishonest. I saw the entourage making its way out to the altar. I remember back-peddling and shooting at the same time. I saw a chair in the foyer and grabbed it and launched myself on top of it to get the perspective I did. This is perhaps the most poignant image from the series. As a former photo editor at ESPN, I understand how images must work on the page or on the screen. Selecting them, editing them and making them sing is what I love doing.

SESHU: I work out of my “home-studio.” I have to put that in quotes because I share that space with my two kids and their toys! I prefer to photograph in an environment where my clients are going to be most comfortable – most likely their own home or a spot on the map that means a great deal to them. It can be Houston, Texas or Canton, Connecticut. It matters little to me where I go. It’s more important that my clients feel secure, open and relaxed.

SESHU: I haven’t pursued purely commercial assignments. If there is an agency out there looking to work with a photographer who can produce images with an editorial edge to them, I am it! Weddings are a seasonal business. In the off-season, November through March, this past year, I started working on my portraits website. While I knew full well that I could create portraits, I didn’t have a whole lot to show. So, I went on Twitter and found a few folks who I had known through TweetCrawls here in Connecticut, who would be willing to be photographed. The response has been great. I initially gave away 20 1/2 hour headshot sessions, all done in my “home-studio.” When people are able to see what you can produce, they are more likely to pay for it. It’s as simple as that. Starting in January, I decided I would charge $149 for a 1/2 hour session. My clients would receive one high-resolution file in exchange, with the remaining images available to them online for ordering through a gallery. They would have full rights to reuse that image in whatever way they wanted (except for purely commercial purposes). To see some examples, go here – Connecticut Headshots.

FUTURE

LAWRENCEATIENZA.COM: What are your immediate goals as a wedding photographer?

SESHU: I would love to photograph more destination weddings, especially in India. Having grown up there, I understand the culture. On a recent trip, I met with the editors of a magazine called Better Photography in Mumbai. They are currently wrapping up their first national contest to chose a wedding photographer of the year. Not being an Indian-citizen, I knew I couldn’t submit any of my work. So, they’ve asked me to be one of the judges! I also met with the folks who run a popular wedding resource online called WeddingSutra . So, it was a very successful trip.

LAWRENCEATIENZA.COM: A lot of professional wedding photographers are starting to run workshops. Will you start offering workshops in the future?

SESHU: I would love to offer workshops on photographing multicultural weddings. I know what to expect of workshops and how to approach them. Each is of course unique, but there are things that are common amongst them, too. Having attended a lot of workshops, I know how valuable or useless they can be. Structuring one isn’t easy but I do want to teach and you’ll know when the first workshop comes together.

SESHU: I am not really sure. I think visually. Every single time I’ve picked up a video camera I have enjoyed it, but I’ve always wished I had photographed the same subject with a still camera. I suspect, though, to keep abreast of technology and trends, there will be a day when I will jump out of this shell and shoot video. It’s the editing that’s a real challenge. Few know how to do it well. I have been tempted to sign up for Final Cut Pro classes just to check it out. It’s on my radar, but I am not seeking it out actively at the moment.

SESHU: Let me be frank and say that “the top” is an illusion. There is no “top”. One could and should keep on elevating their game. That’s what inspires me most. I want my next wedding or portrait session to be better than the one I completed yesterday.

What I will do and have done for the last 10 years is to continue to learn from my peers, share with my peers and perhaps teach those who are just starting out. I suggest photographers identify what kind of photography they like pursuing. It took me a while to get to weddings. But the trip has been worth it. One could fall in love instantly or the love could grow over time. I also recommend they start networking and doing so for the right reasons. There is tremendous strength in numbers. It’s a cliché, no doubt, but it is true. The synergies you will find by working together is going to propel you and “your competition” upwards. I believe this wholeheartedly, if we are all on the same page about helping each other out.

SESHU: Photography is a gift exchange. They give, we take. We give, they take. Remember, it’s not always about money. Think of ways of giving/sharing your skill with someone or a community, without expecting anything in return. You’ll be pleasantly surprised how things come back to you in different ways.

Here are some links that might be of interest to your readers:

Tiffinbox – http://www.tiffinbox.org
OpenShade – http://www.openshade.org

FEATURED PHOTOGRAPHER INTERVIEW: Michael Grecco

Lawrence — Fri, 01 May 2009 19:36:52 +0000

I just finished my first Feature film, the making of the book called: “”Naked Ambition: an R Rated Look at an X Rated Industry.”

PAST

LAWRENCEATIENZA.COM: In your early years of college studying filmmaking and photography at Boston University, were you involved in any photography clubs? What sparked your interest into taking photography and filmmaking in college? How did you progress to where you are today from your education and freelancing for the Associated Press?
MICHAEL GRECCO: I did the photography for the Boston University Magazine while in my first photojournalism class. Part of the class was to do an internship when the semester ended. Mine was going to start in a few weeks when a historic blizzard (no I’m not telling you the year!) hit New England, I got on my skis and ski goggles and made pictures, then dropped my film at the Boston AP office. I have never looked back.

LAWRENCEATIENZA.COM: Do you still have photos taken from the early years when it all started? What were your subjects? Are the pictures online to share with everyone to compare with your work today?

MICHAEL GRECCO: My pictures are not online yet. I saved all the film I could, and I have it archived in my files in my office. It’s very organized-I realized it’s importance early. We are now scanning it all to add to the Getty Archive. It’s pretty amazing to see all the things I have done over my career.

LAWRENCEATIENZA.COM: What books did you read at the beginning of your photography career that helped you prepare for today? Title of book, author and price of book please…just messing around, the title of the books should be fine thanks to google search. Do you recall any other resources that you referred to heavily to help you prepare for the photography business? We want to know what the must have resources are to fully equip ourselves when and if we ever plan to take that leap of faith.

MICHAEL GRECCO: Well, I got hooked on the idea of being a Photographer as my life’s path through the Time/Life books on Photography. The books have titles liked, “The Print,” “Masters of Photography,” “The Art of Photography,” etc. The books were awe-inspiring. It was that classic scene with me under my covers with a flash light staying up late checking all these books out.

LAWRENCEATIENZA.COM: What was your very first professional photography assignment with the Associated Press? Was this purely out of luck that you were at the right place at the right time? Once you had your first job under your belt was it difficult to get another gig? What did you do to acquire more work besides providing awesome images? Have you ever considered being agency represented?

MICHAEL GRECCO: No, they were impressed that I came in with film in the middle of a crushing blizzard. My internship started right away, but it was something as boring as covering the Massachusetts State house and a press conference with Governor Dukakis. That was one the reasons I hated daily news photography, if nothing was happening where you were, the images were not as exciting and interesting as when hard news was happening.

LAWRENCEATIENZA.COM: After your first job, What was the next photography gig you obtained and how did you go about your execution? How did you become a regular contributor to PEOPLE? Did you apply all that you’ve learned in all the books you’ve read ? Did you buy more books or accessed any more resources to help you jump to your next big step in the game of photography? What tools do you recommend that are a must have that helped you get to where you are present day?

MICHAEL GRECCO: Well, while working for the AP I had this alternate life of listening to early punk music and hanging in the clubs. I started working for some local music magazines and doing both for a while until I got a staff job at the Boston Herald. I did that for a few years cover many events, including the Schwarzenegger wedding and Caroline Kennedy’s wedding. At those shoots 1 out shot the 3 photographers from the Agency Camera 5 that People had hired. They had to pick up pictures from me for the magazine. At that moment Beth Filler, the deputy picture editor, told me if I ever left the paper she would hire me. I quit within months and moved to LA.

PRESENT

LAWRENCEATIENZA.COM: What else is there that keeps you rolling in the dough? Your brand is possibly a huge factor to your longevity? Am i right? You have definitely built your brand through your website, your books your blog and giving back to the photographic community like what you are doing here right now.. Do you have any recommendations on brand building for weekend photographers and/or Photographers in general.

MICHAEL GRECCO: My brand is built on going out and taking great pictures. Every time I walk out of my home or office to shoot, I know that photographers are judged on their last shoot. That has to be first. Everything else falls into place after that. I do spend time on updating my site and making sure it looks good and is current. I spend time on doing a certain amount of press, I do enjoy the business side of the equation. I am happy doing both.

LAWRENCEATIENZA.COM: After surfing through Youtube. I came across a video of you using a California sunbounce in an outdoor shoot. Was that some kind of sponsored shoot? If so is that something you recommend to other photographers? Do you think partnerships with photography equipment manufacturers are important?

MICHAEL GRECCO: I do use strategic sponsorships in my business. It only works though when I like the company and products I am supporting. I have to really be into the product. Being sponsored not only helps you get gear, but it often creates a platform to lecture from or to promote a book.

LAWRENCEATIENZA.COM: Since 1992 you have been regularly shooting magazine covers for Time, Wired, Entertainment Weekly, ESPN and People to name a few, what magazines are you presently regularly shooting for? Which is your favorite publication to shoot for and why? How would you recommend photographers go about shooting for popular magazine publications? What is a good penetration strategy?

MICHAEL GRECCO: I am moving into directing and producing. I just finished my first Feature film, the making of the book called: “”Naked Ambition: an R Rated Look at an X Rated Industry.” I am also pitching a TV series at this moment. I like directing and I have been incorporating still images into the productions. It has worked out rather well.

LAWRENCEATIENZA.COM: You’ve photographed celebrity portraits to the likes of Martin Scorsese, Christina Applegate, Hugh Hefner, Lucy Liu, Robert Duvall, Mel Brooks, Ben Stiller, Owen Wilson, Joaquin Phoenix, Jet Li and Penelope Cruz to name a few. How do you go about photographing these actors and actresses? Do they approach you or do you approach them. If you approach them, how do you go about doing so?

MICHAEL GRECCO: I approach them as I would anyone else. Very down to earth and as a good listener. The last thing I want to do is make a scene over someone and give them a stage to see how they reach to it. Most actors are very down to earth and some actually very quiet and introverted. I think the most important thing is to be genuine. I discuss this at length in my book, “Lighting and the Dramatic Portrait.”

LAWRENCEATIENZA.COM: What types of commercial gigs are you currently involved in now and how did they surface? What are your recommendations on how we photographers diversify their product offering from Commercial and stock in today’s marketplace?

MICHAEL GRECCO: We recently did a “Got Milk” campaign and a Campbell’s Soup campaign with Ladainian Tomlinson.

FUTURE

LAWRENCEATIENZA.COM: Already a major player in the photojournalism/fashion photography space, what is next? What are your immediate goals as a photographer and artist? Are you planning on releasing any more how-to books? Lighting and the Dramatic Portrait was great (at least the parts i read in Barnes and Noble) What are your recommendations to people thinking about starting a photography book? I know you have recently released a book titled “naked ambition” an R rated look at an X rated industry. Are you receiving any backlash from this book due to its content? What compelled you to produce this coffee book?

MICHAEL GRECCO: I will do another book. I think it’s going to take some historic work and publish it in a new way, with video, etc. Then I do want to do another social documentary piece as a book and a movie like the “Naked Ambition” work. I am and have always been fascinated with subcultures and want to explore another.

LAWRENCEATIENZA.COM: I think it is safe to say you have a good following of photographers wanting to be just like you. Will you start offering workshops in the future? I know TIME is not your friend, but there are ways to get around that maybe offering internship opportunities to intern with you for a small fee during one of your paid shoots. Or maybe provide an opportunity to be a spectator for one of your weekend shoots? I would definitely be interested in that and sure there are others in the same boat.

MICHAEL GRECCO: I do workshops fairly regularly. I have a one week workshop coming up in late February at the Palm Beach photo workshop. I often teach at the Maine Photo Workshops and lecture all around the country. If you check my website out at www.MichaelGrecco.com/seminars you can see where I will be next.

LAWRENCEATIENZA.COM: I am sure you’ve read many articles discussing how in the future videography and photography will be one? What are your thoughts on that and how will you evolve to the new morphed medium? I know you currently do some video work but how do you plan on taking that to the next level?

MICHAEL GRECCO: For me this will not happen like it is for newspaper photographers and photojournalists. They shoot video and pull still out. For me I do both consciously and then make a movie or show out of them. I shoot the stills to either be animated, sequenced or moved around, and then shoot video where appropriate. I stated delving this in my new movie, “”Naked Ambition: an R Rated Look at an X Rated Industry” and am continuing to experiment with it. Please check out the movie and let me know what you think.

LAWRENCEATIENZA.COM: Ok so thinking about the future is very important in any endeavor especially the photography business. What do you suggest photographers do in the future to solidify their presence in the industry? What will you do to ensure that you remain on top, not taking into account your photography niche?

MICHAEL GRECCO: Well, it’s like the economy in the USA, the middle class is shrinking and the upper and lower classes are growing. You need to figure out where you want to end up and then figure out how to get there. I do books and make movies now to position myself, everyone has to figure out how to stand out.

LAWRENCEATIENZA.COM: Michael thank you again for your time and giving back to your fans and followers. What would you like to leave for us photographers to think about when moving forward with photography for the future? If you have any words of wisdom will be appreciated.

MICHAEL GRECCO: Never lose site of taking great pictures. It’s the foundation of being a great photographer.

FEATURED PHOTOGRAPHER INTERVIEW: David Bean

Lawrence — Wed, 01 Apr 2009 19:16:32 +0000

“I’m shooting a lot of musicians and again, advertising. What I do shoot does vary but it all falls under either advertising or musician/celebrity portraits.”

PAST

LAWRENCEATIENZA.COM: As a graphic designer, you were approached by a design client to see if you took band photography, correct? If I recall correctly from that interview, your reply to the client was “yes”. Do you recommend young photographers to take that leap of faith when that opportunity presents itself? What were you thinking about when this happened?

DAVID BEAN:
I’m not sure if that kind of leap is for everyone. I’ve always been the kind of person who thought they were capable of anything. It’s worked out well for since hopefully I’ve had what it took to back it up. But man a lot of my early work wasn’t so much bad as it was way to safe.

LAWRENCEATIENZA.COM: Do you still have the photos taken from that first shoot? Are the pictures online to share with everyone to compare with your work today? Can you give us a step by step account of that very first shoot? What were the issues and what did you first learn?

DAVID BEAN:
I can dig them up. They are all slides so I would need to get them scanned in somewhere. I got real lucky with that shoot. Slide film is the most unforgiving of all formats. Basically I got hired, took the money I was going to make and bought a Nikon film camera, some slide film, rented some hot lights and did some location scouting. I had no assistant and not much gear other than a Sunpak flash and the rented lights.

It wasn’t a bad shoot but if those guys were comparing the shoot to others they had in the past I’m sure they were scratching their heads while I shot them.

LAWRENCEATIENZA.COM: What books did you read at the beginning of your photography career that helped you prepare for today? Title of book, author and price of book please…just messing around, the title of the books should be fine thanks to google search. Do you recall any other resources that you referred to heavily to help you prepare for the photography business? We want to know what the must have resources are to fully equip ourselves when and if we ever plan to take that leap of faith.

DAVID BEAN:
Hmmm…i started as graphic designer so a lot of what I learned as as designer really helped me with photography. Even books like “The Designer and the Grid” really helped me later on as a photographer. I’m really not that much of a book reader. I probably learned more from magazines and the Internet. I do think that a lot of what I read was terrible for me as a photographer. The biggest mistake I made as a photographer in the early part of my career was thinking that I “had” to do it the way people were teaching in books, magazines, etc. I didn’t realize there are an infinite number of ways to light someone. I would work so hard to do it the “book”way and thus my work was way too safe.

LAWRENCEATIENZA.COM: Can you refresh our memory of that first professional band photography job that fell on your lap as a graphic designer? Was this purely out of luck that you were at the right place at the right time? Would you recommend it to new photographers trying to break into the market and that are having difficulty breaking in? Once you had your first job under your belt was it difficult to get another gig? What did you do to acquire more work besides providing awesome images? Have you ever considered being agency represented?

DAVID BEAN:
I believe it was a diving gift from God. But I love the quote, I forget who it is that said “The harder I work, the luckier I get.” I believe in luck but not in some mystical way. I believe luck is very practical and anyone can aquire luck. I’ve read studies on why people are lucky and it boils down to not having too much of a routine. People that don’t drive the same way home every day, people that are outgoing and strike up conversations with strangers, people that go to parties, etc end up being “lucky.” The more opportunities you give yourself to create opportunities the luckier you will be.

After that gig i tried to find other bands to shoot. I did find some and just kept at it. I recommend people begin by shooting the people they know, bands, friends, etc and build up a portfolio that way.

The other BIG thing to find a photographer to assist for. You can learn more by assisting than any school.

DAVID BEAN:
When I started shooting digital hadn’t quite taken hold yet. It was about 6 months after I did my first shoot that the Canon D60 came out. It was a 6 MP DSLR and it was $2,500. I bought it and photography instantly became a lot more easier to practice and learn. We had a darkroom in our house at the time and I basically never used it again.

I never assisted, even though now I wish i had. So I really just kept sitting on the floor of Barnes and Noble for hours on end reading. I don’t remember any names of any books. The only book I still read is one called “Pricing Photography” that is a great resource for learning about the business side of photography.

PRESENT

LAWRENCEATIENZA.COM: What else is there that keeps you rolling in the dough? Your brand is possibly a huge factor to your longevity? Am i right? You have definitely built your brand with your website, blog and giving back to the photographic community like what you are doing here right now. Do you have any recommendations on brand building for weekend photographers and/or Photographers in general.

DAVID BEAN:
Branding is not just a logo but the entire way you run a business. And as a photographer it’s how I live my life in front of others. The way you answer the phone, the way you act on a shoot or even the way you act in front of people in general, is all branding you. The trick is to be consistent with your branding. Your blog, web site, business cards, etc should all look like each other.

I have big advantage being an ex-designer. If a photographer has no design skills I highly recommend them hiring one to do it. I also encourage people to not settle for a template web site like everyone else. If you can afford it or know someone who can do it cheap, design and build a custom web site. This makes you stand out more.

Twitter, Facebook, etc are also good places to build your brand.

LAWRENCEATIENZA.COM: I’ve noticed on your site, you have images of Niki Taylor. What photography jobs to that scale are you involved with presently? How do you go about obtaining this type of work? What do you recommend aspiring photographers to do to get them on the right path on becoming a Advertising/Music photographer.

DAVID BEAN:
I’ve shot Niki a couple of time and even went to Thailand with her for 10 days. I shoot celebrity types frequently. I just finished up shooting a new Food Network host 2 weeks ago. She will have 2 new shows on the network. I have shoots for record labels and unsigned artists coming up as well as some ad ones. Every shoot is different and I love that facet of photography.

You will only be hired for the kind of work you have in your portfolio. if you have no advertising-looking work the chances of getting hired by an ad agency is slim. I recommend people find out exactly what it is that they want to shoot and then load your portfolio up with that. You can’t just go out and shoot celebrities but you can do personal shoots that looks like ads or no-name musicians. There’s always a way to build your portfolio when you don’t have work.

LAWRENCEATIENZA.COM: I just checked out your blog today and came across a youtube behind the scenes footage of your shoot for “Haste the Day” and “Jordan Pruitt”. Do you recommend other photographers to produce these types of videos to show off their work? What benefit do these videos offer you?

DAVID BEAN:
Both of those videos I had no part in. I just found those floating around YouTube. But I do record some of my shoots and will be launching GoBehindTheShoot.com very soon. I think videos are a great way to get your name out there, but you have to make sure it’s interesting and educational.

LAWRENCEATIENZA.COM: Is having your own studio space essential for any commercial photographer? I see you have a rockin 4,000 square feet studio named Studio Daylight. Absolutely amazing. Other than providing plenty of ambient light, what other benefits does this studio provide you?

DAVID BEAN:
Having a studio is a necessity in the dead of Winter or Summer. When it’s freezing or unbearably hot out, people don’t want to be shot outside. A studio also acts as a blank canvas with which you can create any world you want. Even though my studio is very vibey, I treat it as blank white walls. By that I mean, I build sets and such to make it look like I’m not in the same space over and over.

It’s a place you can rely on as a backup solution in case of rain, a place you know you have no matter what. And a place to keep your loads of gear.

LAWRENCEATIENZA.COM: What types of commercial/entertainment/misc gigs are you currently involved in now and how did they surface? What are your recommendations on how we photographers diversify their product offering from Commercial and stock in today’s marketplace?

DAVID BEAN:
I’m shooting a lot of musicians and again, advertising. What I do shoot does vary but it all falls under either advertising or musician/celebrity portraits. To be successful in photography you really have to find what you want to shoot and only shoot that. If your portfolio contains too many types of work you won’t be hired for any of it. At least not on a national, bigger level. Being diverse does help on a local level or when economic times are real tough. But generally the rule is be known for doing 1 or 2 specific types or work.

FUTURE

LAWRENCEATIENZA.COM: As a key player in the Music/Entertainment photography space, what is next? What are your immediate goals as a photographer and artist? Are you planning on releasing any how-to books? What are your recommendations to people thinking about starting a photography book? Per your blog, it looks like you will be releasing a new education site soon titled “Go Behind the Shoot” for fans of photography, music entertainment. Can you expand more on what this site is and how it will benefit the photographic community?

DAVID BEAN:
My immediate goals are to re-analyize my business during this rough economy. I want to make sure I’m doing things as efficiently as possible. Right now, work is becoming a little scarcer to find. You really have to be at the top of your game these days to stand out.

My only real plan is to try to keep getting better and learning more. Anytime a photographer thinks they’ve got it all figured out or doesn’t need to improve, they are serious trouble.

I do have plans for a book but I don’t want to go in to what it is yet. The site, GobehindTheShoot.com will feature behind the scenes shoots of not just me but other photographers. It’s meant to be both entertaining and educational. The videos I do on there will show an actual shoot and while I’m doing the shoot I will give instruction on why I’m doing what Im doing, making the choices that I am, etc.

DAVID BEAN:
I have just started a new workshop called “Light and Commerce.” It’s a one-day workshop that talks both about the practical/technical side of of photography (lighting, posing, etc) and the business side of things (client relations, estimating, etc.)

I’m really excited about doing these, not just in Nashville, but around the country this year. I’m putting up a small web site for the workshop, but in the meantime people can get some basic info on my blog.

I do take on interns but I try to limit the number to 1 or 2 at a time. I am looking for an intern with Photoshop Experience to help me with some of my post-production as well as shoots. I also have a ton of people that want to come out for weekend shoots but I rarely ever shoot on weekends.

DAVID BEAN:
I’m not clear on a timeline but I do see video and photography becoming more of a single business. I sometimes shoot the still photography on a video shoot. But I think the day is coming when clients will just pull hi-resolution stills from the video rather than shot them separately. Cameras like the Red can produce great quality stills from video.

I don’t think everyone will merge the two but those that do will probably be very successful. I really have no desire to get too deep into video other than being a director. I’ve produced and directed videos and it’s been fun but photography is what I enjoy most.

LAWRENCEATIENZA.COM: Thinking about the future is very important in any endeavor especially the photography business. What do you suggest photographers do in the future to solidify their presence in the industry? What will you do to ensure that you remain on top, not taking into account your photography style/niche?

DAVID BEAN:
That’s a tough question. I’d say there are three things to help you get to the top. The first is to take amazing photos. But that alone wont’ get you too far unless you become a marketing machine. There are some great photographers who never go anywhere because no one knows about them. Then there are average photographers who market really well and become very successful as a result.

The third thing is to learn everything you can about the business and craft of photography. Learn every aspect of it so that when opportunities arise you will ready both in your knowledge and experience.

LAWRENCEATIENZA.COM: DAVID thank you again for your time and giving back to your fans and followers. What would you like to leave for us photographers to think about when moving forward with photography for the future? If you have any words of wisdom will be appreciated.

DAVID BEAN:
I would tell people to be true to their own style and not try to copy other people’s. You will never stand out unless you can create a recognizable style that is all your own. I’ve found mine but am always tweaking it to be better and more representative of who I am. You’ll sometimes here the term “point of view” in relation to an artist. Every artist needs to have a POV to their work; how you see the world and how you interpret what you see.

Be flexible, always learning and shoot as much as you can even if it’s just a personal project. And I can’t speak enough of the value of assisting for more established photographers. You can learn sooooo much that way.

FEATURED PHOTOGRAPHER INTERVIEW: Nick Onken

Lawrence — Sun, 01 Mar 2009 19:06:39 +0000

“My first big commercial job was for Nike, and it was a bit of right place at the right time, in the respect of an art director friend recommending me to his producer in when they were in a pinch.”

PAST

LAWRENCEATIENZA.COM: In your early years of High School, were you involved in any photography clubs & or school newspaper? What sparked your interest for photography? How did you progress to where you are today?

NICK ONKEN: I was never involved in any photography clubs or newspaper. I took an intro to photography class in high school which was basic. I decided I wanted to be graphic designer when I was in high school, and that’s what I went to college for. I took a required basic photography class in college, but that’s because it was part of the program. I never thought about it at all until 4 years into my graphic design career. I had picked up a glorified point and shoot digital when digital was just entering the scene. I bought it to shoot content for my own design work and that was it. A year later I ended up convicing a non-profit design client to split a trip to Africa to build a photo library. When I got back, it hit me that I could actually see doing photography as a career. Eight months later after wrestling with giving up my graphic design career, I started assisting Jim Garner in Seattle. I assisted Jim on some of his local seattle commercial work for the first year.

LAWRENCEATIENZA.COM: Do you still have photos taken from the early years when it all started? What were your subjects? Are the pictures online to share with everyone to compare with your work today?

NICK ONKEN: It’s funny, my new rep HYPERLINK “http://www.greenhousereps.com” http://www.greenhousereps.com actually has a few of my original images from Africa on my travel portfolio section of their website. Other than that, there is nothing from my earlier days online. As for the lifestyle side of my work, I started out shooting my pretty friends, then moved into shooting models for modeling agencies. When I was shooting models for agencies, it was all about the models, so my work looked more catalogueish, and eventually diverted more into lifestyle concepts, which is where I’ve ended up today.

NICK ONKEN: Honestly, I don’t recall ever reading any books on photography. I read a couple books on business of photography, but nothing ever really technical. I always got lost in those books because I’m not that technical of a shooter. I am more visual, and always have been. My technical side has more so caught up with my visual direction and vision. There are some great resources out today by consultants like Leslie Burns on the business of photography. I also hired Amanda Sosa Stone as my business consultant who helped me craft my vision as a photographer and get on the right marketing track. Also assisting really helped give me real world experience and immersion. I never went to school for photography as I learn better in context.

LAWRENCEATIENZA.COM: What was your very first professional photography job? Was this purely out of luck that you were at the right place at the right time? Would you penetrate the market from within? Once you had your first job under your belt was it difficult to get another gig? What did you do to acquire more clients besides providing awesome images? How is it being agency represented?

NICK ONKEN: My first big commercial job was for Nike, and it was a bit of right place at the right time, in the respect of an art director friend recommending me to his producer in when they were in a pinch. I thought things would roll from there because the client was happy with the product, but I didn’t see another big commercial job for another 2 years. It takes a lot of time on the journey and everything in your work shows where you are as an artist and what you can handle. Acquiring new clients besides providing awesome work comes down to your networking and relationships. A great networking book I read a while back is “Never Eat Alone” by Keith Ferrazi.

Being agency represented is fantastic, but it’s because I’m with the right agent. It’s raised my status as a photographer just by being with them. They also have a channel of contacts that would have taken me years to acquire.

LAWRENCEATIENZA.COM: After your first job, What was the next photography gig you obtained and how did you go about your execution? Did you apply all that you’ve learned in all the books you’ve read ? Did you buy more books or accessed any more resources to help you jump to your next big step in the game of photography? What tools do you recommend that are a must have that helped you get to where you are present day?
NICK ONKEN: In all honesty, it was my own ambitions of shooting my own work all the time. That’s where I’ve learned the most. Every time you set up a shoot, and keep clicking is where you learn. I also assisted other photographers to watch how they shoot and approach it. I’ve found that the best way of preparing for the bigger projects is to produce your own bigger and bigger shoots. This will cost you money, but you will have more produced images, and in the end get you more produced work. I’ve always focused on the development of my work and honing my creative vision and that’s ultimately what has gotten me work. So the biggest tool of all would be shooting for yourself. You can always take workshops as there are some great photographers teaching workshops. Santa Fe Workshops has some great 1 week workshops that don’t require going to school full time.

PRESENT

LAWRENCEATIENZA.COM: What else is there that keeps you rolling in the dough? Your brand is possibly a huge factor to your longevity? Am i right? You have definitely built your brand through your website, your blog and giving back to the photographic community like what you are doing here right now.. Do you have any recommendations on brand building for weekend photographers and/or Photographers in general.

NICK ONKEN: I wouldn’t necessarily say it’s all been rolling in the dough, as it’s really been the last year it’s financially been comfortable, but there is a huge investment in your business that you must put in to make it successful. The last couple years I’ve dumped thousands of dollars into marketing, and equipment. (read my transitions, passions, and sacrifices blog post about this) Luckily, my previous career as a graphic designer I have been able save a lot of money in that department, but I am one of the few photographers that can actually design their own stuff because I studied it and did it for 5 years. For anyone who doesn’t have formal training I would not recommend doing that stuff yourself. Hire a designer.

Your brand and how you package and show your work is hugely important. You should have a good website as it is your gateway to getting in the door. Everyone hiring prescreens by your website. If you’re a weekender, or don’t have much money a good place to start is getting a template site from bludomain.com. If you’re wanting to build a brand, you have to hire a designer. Brandenvy.com has some more economical branding solutions for the weekenders and wedding photographers.

LAWRENCEATIENZA.COM: If i recall on your interview with lightsource, you do not really use studio lights for your shoots and use purely the sun. Since you have a travel/lifestyle look executed with the extensive use of the sun as a backlight would you ever consider really integrating flash to your photo sessions? If so, what type of lights would you use?

NICK ONKEN: yeah, most of the work you see on my site is natural light. Recently I’ve been getting hired to shoot concepts that are all lit. I just shot a campaign that was shot at night, so I had to light everything. We used HMI’s to light everything. Then I just did a shoot for Cosmo this last week in the studio where we created fake window light with Profoto strobes. Every job is different and requires different lighting. It’s all problem solving to create the desired solution.
LAWRENCEATIENZA.COM: I see you are also a Travel Photography How-To book author. Do you have any more books that you’ve released? Can you candidly let us know what it is like to write a book on photography?

NICK ONKEN: I’ve just begun writing my book on travel photography, and it’s my first book, so I’ll have to let you know what it’s like.

LAWRENCEATIENZA.COM: What personal projects are you presently working on? Do you recommend photographers to actively create personal projects to expand their photography arsenal?

NICK ONKEN: Travel photography has really always been my personal work, which I shoot when ever I travel to a new international location. I just shot a personal project in the City Of God, a favela in Rio De Janiero.

Yes, I am a huge advocate for photographers actively shooting their own work. It’s the only way to grow as a photographer. It’s essential.

NICK ONKEN: My work has developed into Lifestyle advertising and that’s the types of jobs I’m getting. It really has come through networking and getting my work in front of the right people, then keeping them updated with new work.(another reason to always be shooting for yourself)

In regards to diversifying, it depends on what that means. In general, the whole idea is to focus and create a unique style as that is what you will get hired for. You want to show the work that you want to shoot. You can diversify within your style, but you have to develop that style first. You have to find your strengths and develop a strong portfolio within that genre.

FUTURE

LAWRENCEATIENZA.COM: Already a major player in the lifestyle/commercial photography space, what is next? What are your immediate goals as a photographer and artist? Are you planning on releasing any more how-to books?

NICK ONKEN: What’s next? Shooting the jobs I want. The dream clients, and refining my work to get hired for those jobs. I want to shoot bigger and better personal projects which involve a higher level of production.

As far as books, I’m going to work on writing and releasing this first one, then see where to go from there.

NICK ONKEN: I’ve actually been thinking about this lately, and I will probably offer them in the future, but not for a year or so. There are a few things that I’d want to get in order before offering them. I’ve also been thinking about offering internship opportunities and how to go about doing that. I think the education game in photography has changed, and real time education is more valuable than going to school. That will probably be on the same timeline as workshops.

NICK ONKEN: Yeah the future of video and photography are becoming mixed. I’ve been getting asked for my “Director’s reel” a lot lately, which I don’t have. I’ve only done a few things, and those being mostly stop motion. I’m currently slowly working on a reel, but for the most part right now I’m focusing on still world.

NICK ONKEN: It’s really all the above: continually shooting great work, packaging it right, keeping a strong brand, marketing consistently, and providing a great and smooth service to your clients.

LAWRENCEATIENZA.COM: NICK thank you again for your time and giving back to your fans and followers. What would you like to leave for us photographers to think about when moving forward with photography for the future? If you have any words of wisdom will be appreciated.

NICK ONKEN: Again: shoot shoot shoot! The more you practice shooting the more you’ll learn and the better you’ll get. You have to be very self motivated to do this! It’s the only way to get there.

FEATURED PHOTOGRAPHER INTERVIEW: David Tejada

Lawrence — Sat, 21 Feb 2009 18:57:13 +0000

“My interest in corporate photography began when I started working for Houston based photographer Joe Baraban. ”

PAST

LAWRENCEATIENZA.COM: In your early years of high school, were you involved in the yearbook ? What sparked your intere st for Corporate photography? Do you recommend all the weekend photographers out there to initially stick with the subjects they know and build from there? Do you have any suggestions on how to build that progression? How did you progress to where you are today?

DAVID TEJADA: Not only was I involved with the school yearbook, I also shot for the school paper.

My interest in corporate photography began when I started working for Houston based photographer Joe Baraban. When I started assisting Joe, he was shooting corporate annual reports for Fortune 500 companies all around the country. My exposure to corporate photography peeked my interest in how the world functions and how things are made. It’s curiosity that continues to feed my interest in shooting corporate assignments.

For the weekend shooter I’d recommend sticking with subject matter that you know, take this time to develop your skills in the area of composition, design and lighting. I suggest studying the work of other photographers you admire, figure out what it is about there work or a particular image that grabs your attention. Try to deconstruct all the elements of that images to understand what it is that draws your attention. I personally keep a folder of images that I really like from various photographers, it is usually an example of wonderful lighting. For me, it all about lighting. That’s just me.

I would strongly recommend taking workshops to hone your skills. I’ve personally attended several workshops for myself, being self taught I think it’s very important to continue your education and develop new skills that you can bring to your craft.

LAWRENCEATIENZA.COM: Do you still have photos taken from the early years when it all started? What were your subjects? Are the pictures online to share with everyone to compare with your work today?

DAVID TEJADA: I still have many photos in my portfolio that are at least 20 years old. The subject matter of those images are less important than the fact that the images are well designed, composition, lighting and emotion of the image.

DAVID TEJADA: Back when I was starting in the business, there was a book titled “Shooting your way to a Million dollars” I read and referred to it often. As I mentioned earlier, I’m self taught. My shelves where full of AM Photo books, Kodak Pro Workshop Series books like “Corporate & Location Photography”, “Industrial Photography” by Jack Neubart. and many others.

I would also mention that professional organizations like ASMP (American Society of Media Photographers) or PPA (Professional Photographers of America) have wonderful resources for the young photographer.

LAWRENCEATIENZA.COM: What was your very first professional photography job? Was this purely out of luck that you were at the right place at the right time? Would you penetrate the market from within? Would you recommend it to new photographers trying to break into the market and that are having difficulty breaking in? Once you had your first job under your belt was it difficult to get another gig? What did you do to acquire more work besides providing awesome images? Have you ever considered being agency represented?

DAVID TEJADA: My first professional assignment for for Bovay Engineers, Inc. When I left Joe Baraban’s employment as his assistant, I moved back to Denver where I was living when I met him. Bovay had a project in Idaho that they needed photographed and the art director knew me from my Houston days with Joe.

Not certain I understand your question regarding penetrating the market from within? In regards to breaking into the market, you need to be clear as to what market your trying to enter. If say for instance your interested in pursuing healthcare related photography, your book (portfolio) needs to demonstrate your skills in that area. Showing pretty sunsets, flowers and bugs won’t cut it. The field of professional photography is very very competitive and your book needs to reflect that particular industry.

When I started my business in Denver 1983, the economy was in the tank… Current economic conditions tells me we may very well return to those dire conditions again. Getting assignments is hard, it takes work, perseverance and a commitment.

When I started, I was living with 3 others in a house and I had very little in overhead. I remember saying to myself in the beginning, I only need one job a month to get by. I spent every day looking for work, call companies, design firms, PR firms and ad agencies. I had a portfolio that looked professional or as professional as I could at the time. I worked on my portfolio during my time with Joe, my weekends and what every free time I had. I put together images that looked as though they could have been shot for clients, portraits, architectural work, construction and what ever I had access to photograph on my own. You need certain images in your portfolio in order to demonstrate a skill set in order for potential clients to hire you. It’s sort of a catch 22 in that case, perhaps you haven’t shot healthcare before and your pitching them to hire you. Try your best to compile images that translate to the client your pitching.

It was about 10 years into my business when I was approached by Getty Images to become a contract shooter for them. I’ve now been shooting corporate assignments for Getty 15 years plus. At about the same time, I was approached by Tony Stone Images for my stock photos. This was a terrific business at the time, royalty fee and cheap stock images available today have killed that business.

DAVID TEJADA: My next assignment was for a local ski resort, the job came through an ad agency I had contacted during the first few months in Denver. The assignment was tight shot of a young lady holding ski passes in hand wearing a cowboy hat. Since I didn’t have a studio, I shot her at the house I was renting. This was not the most professional location to shoot but it was what I had at the time.

One of the most important tools is your PERSEVERANCE. Let’s just say that you get 1 job for every 15 calls or interviews you make, it’s hard not to get discouraged after the 6th,7th, 11th rejection. This is the very time you should be getting excited, you only have a few more to go before you get your next job! Keep your chin up. This will be one of the hardest things you’ve ever done.

PRESENT

LAWRENCEATIENZA.COM: What else is there that keeps you rolling in the dough? Your brand is possibly a huge factor to your longevity? Am i right? You have definitely built your brand with all the youtube photo shoot videos, your website,your blog and giving back to the photographic community like what you ar doing here right now.. Do you have any recommendations on brand building for weekend photographers and/or Photographers in general.

DAVID TEJADA: Living within your means! It’s important to establish yourself as a business. Have a logo, business cards and the like, consistency is key and makes you look more professional.

Today your most important portfolio is your web site. Don’t use music, flash and goofy graphics that junk up your site, make is clean and simple. I haven’t shown a printed portfolio in years. Find someone to mentor, someone who is already successful in the area of photography your interested in. Join professional organizations like ASMP and PPA.

Keep your word, Get in writing and always do your best.

LAWRENCEATIENZA.COM: After going through your Youtube videos, I noticed your fashion shoot video. This definitely was different then your current product offering. Will you consider doing more Fashion type photo shoots? Is this something of interest to you? Will we see your work in the covers of Vogue? What are your thoughts on extending a product line? Any suggestions to photographers wanting to do it all?

DAVID TEJADA: Quite honestly I have no idea why the client chose me. Perhaps she thought that if I could make a mine site look good, I could certainly make young girls look hot! Listen, who won’t like to shoot that stuff all day long. My particular interest however is heavy industry. I really enjoy shooting large engineering project of all types, I enjoy the international travel that comes with it. That being said, I do think it is very important to challenge yourself and shoot outside of your normal comfort zone.

LAWRENCEATIENZA.COM: Your latest Fire Fighter video was as informative as your other videos. How do you do it? How do you find the time to edit the video or do you have your own video editor? How do these videos affect your bottom line present day? Is it worth the time and effort put in?

DAVID TEJADA: I don’t know how I do it, I can’t tell you how busy I am at time! I do the videos because I enjoy sharing my knowledge and helping young shooter develop there skills. I wish that there where such resources when I was starting out. My assistant Erik shoots most of the video on my Canon G9 and I use i-movie to process it. The videos also help promote my lighting workshop “Small Strobes, Big Results”. These workshops are designed for advanced amateurs and emerging pros to learn how to achieve studio lighting on location using hot shoe flashes.

I’ve been one lucky guy, I’ve had over 25 years shooting assignments all over the world making a wonderful living. If I can help a few people to achieve there dream and have half the fun that I have, that would be great.

LAWRENCEATIENZA.COM: Is having your own studio space essential for any commercial photographer. You mainly shoot on location, so do you still have a studio?

DAVID TEJADA: For me, having a studio is not necessary. As you’ve mentioned, I travel extensively and I only rent studio space when needed. There was a time when I did have a studio near downtown Denver, I had it for about 6 years. During that time I shot in it only 20 or so times, it became a big closet for me. What a waste of money for me. If on the other hand I where shooting product or product illustrations it might be a different story.

DAVID TEJADA: I’m currently working on an annual report for a Electric company, I’m also working on a project for Auto Nation USA

FUTURE

LAWRENCEATIENZA.COM: Already dominating the corporate annual report photography space, what is next? What are your immediate goals as a photographer and artist? Are you planning on releasing any how-to books? What are your recommendations to people thinking about starting a photography book?

DAVID TEJADA: I am far from dominating the corporate annual report business! It just happens to be a focus of mine. My immediate goals are varied, I continue to pursue better clients, clients that have interesting and challenging assignments and of course clients with larger budgets. Another area which is relatively new to me is teaching workshops.

As mentioned earlier, I’ve started teaching a lighting workshop called “Small Strobes, Big Results”. I started Small Strobes soon after I was asked to teach a lighting workshop at the Santa Fe Photographic Workshops in Santa Fe, NM I’ll be teaching a one week course by the same name “Small Strobes, Big Results” March 29th – April 4th, 2009.

Another project I’ve recently became involved with is the Popular Photography/America Photo Mentor Series Worldwide Treks. I’ll be conducting my first trek February 18th-22nd, 2009 to Death Valley National Park with fellow mentor Bill Durrence.

DAVID TEJADA: I have no plans at this time to merge the two mediums. Stills are where am at, and where I prefer to concentrate my efforts.

DAVID TEJADA: Visibility is everything. Shoot subject matter that interests you, market yourself via web, print and other new media that comes along. It’s all about getting your work out in front of potential clients.

LAWRENCEATIENZA.COM: David thank you again for your time and giving back to your fans and followers. What would you like to leave for us photographers to think about when moving forward with photography for the future? If you have any words of wisdom will be appreciated.

DAVID TEJADA: Practice, Practice, Practice. Even though I’ve been shooting professionally for 25 years plus, I still practice with my lighting and various new techniques. Photographer Mark Robert Halper stated that “Success is not a place, it is a journey” I couldn’t agree more! Work on your craft and continue to grow.