PhotographySilo.com » Professional Photographer

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.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Colin Anderson

Lawrence — Thu, 03 Dec 2009 07:58:26 +0000

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?

COLIN ANDERSON:No, the school l went to wasn’t much of a yearbook type of place.

Photography appealed to me from an early age like most things to do with the arts.Probably more to the point it was (the arts) the only thing l was good at.

A bit clich√© but just do what you love and are passionate about the most.Be obsessed about it.Obsession is good.Obsession breeds perfection,(or as close as one can come to it)

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?

COLIN ANDERSON:Yeah l still have some stuff laying around from when I studied art and design at the Royal Melbourne Institute of Technology.Always liked shooting females, surprise, surprise. But nothing is online…and thats probably a good thing.

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.

COLIN ANDERSON:Read everything l could get my hands on and could afford to buy.Nothing really was online back then so l had to get books from specialty stores, and they were so expensive.I used to spend hours and hours in these stores trying to stay out of view of the clerks who would get pissed off if you weren’t buying.

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?

COLIN ANDERSON:I think my first paid job was photographing the inside of a small Italian Delicatessen. My then girlfriend(and now wife) knew the owners so yeah it just fell into my lap.

The hardest thing about being a photographer is getting clients, it’s a nightmare. Actually everything about clients is a nightmare. Many are “artistically challenged” and a pain in the ass. But if your lucky enough to get a good one, then they can lift you to new creative heights you would never reach on your own.

My wife has and does handle all aspects to do with getting,keeping and making clients happy. She’s a fantastic diplomat and a great buffer. We really don’t actively seek out clients anymore, a lot is word of mouth. We run a pretty lean operation without a heavy overhead so it’s not like we’re under the gun to finance a huge operation with a ton of staff.

When we were chasing clients we would just cold call, day after day. We would just open the phone book under advertising and design agencies and work from A-Z.After we had hit all of the agencies we would then start all over again and call just everyday businesses that we thought may need photography. We even did weddings, and let me just say, thats a tough gig. It was a really hard time in the beginning,actually makes me shudder. We also started shooting stock at this time which eventually went on to become a big part of our life. In 2004 we became one of the co founders of www.blendimages.com

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?

COLIN ANDERSON:Think the second job was a small Christmas pamphlet of Santa holding a handful of money. The set up was one that l had learnt from a book, fairly basic stuff just a bank light and fill card.

My big step was buying my first set of flash heads which l set up in my dads garage and just started experimenting day after day and learning first hand how to light.

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.

COLIN ANDERSON: Commissioned and stock.
Brand Building…not sure if l’m comfortable with that term.I think a photographer starting out should try and define a style and vision with their images and then work on the rest.too many people starting out spend more time on their blogs than their work, it’s a backwards way to do it. It’s like having great packaging with a crappy product inside.

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?

COLIN ANDERSON:I’ve collected a lot of gear over the years. What l use the most is a Mamiya 645 with a Leaf digital back. Also started shooting with a Canon 5D MK11 the last few months. I use Broncolor gear for lighting, l have a pretty good collection of bank lights, strip lights, beauty dishes, umbrellas, light pannels, grids etc, etc..theres a lot. I’m more of a lighting geek than a camera one.

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.

COLIN ANDERSON: The ship wrecked series is my favourite from the last few months(supplied with article). I like the feel of it,how it works as a series, the model, the clothes, props, location, lighting. Everything just came together how l envisioned it.

Every image has it’s own process. What usually happens whether it be just for myself or a client is we work from a layout, often a rough composite or just a hand drawn one. Then once we know what has to be done, props are gathered, models are picked etc. 90% of the times the shot will be a composite one, so models are shot on white seamless in the studio and we then drop them into a background image, or into a layout with type. This is just roughly done to make sure that everything is working together. After shooting the files are prepared for finished art, doing exact clipping paths, colour grading, quality control etc. I do all this myself, this is never sent out.

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?

COLIN ANDERSON:No, rent as you need it. Studios are extremely expensive to run, spend your money elsewhere unless you can really justify it.

I work strange hours, usually starting at 3:00 am, so l have always found it convenient (when l could finally afford it) to have a studio at my house. We’ve just moved to a new larger place that has a great space with large windows that surround the shooting area for natural light but can also be quickly blacked out with concealed blinds for flash. We have a room for models to get changed and do make up, and a storage room just for props and extra gear.The kitchen is just off of it too which is great.

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?

COLIN ANDERSON:We have a lot on at the moment, client work has really picked up this year which l never expected in this economy.
Right at the moment we are gearing up for a large fashion shoot with a new client which will be an ongoing project throughout next year. Fashion is something we are moving heavily into.

My main recommendation is do what your best at and perfect it.There’s a ton of competition out there, so you better be good. Know what your doing, a job can easily run into thousands of dollars an hour, so prepare for any disasters that can crop up because everyone will be looking at you to fix it.

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?

COLIN ANDERSON: My goals have been the same, keep improving, keep learning, keep being inspired. I haven’t really thought about writting a book, l have a bad enough time writting an email.

COLIN ANDERSON:I’m not really the workshop type of guy, l’ll leave that to the experts like my friend Jack Hollingsworth;)

COLIN ANDERSON: I think it’s very exciting, we’re still working our way through it and how best to approach it.

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?

COLIN ANDERSON: There’s so much imagery out there now, more so than any time in history.As photographers our challenge is to stop the viewers eye by creating something new and exciting that stands out from the clutter. Always strive for this stopping power, you’ll only have a milli second to do it.

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.

COLIN ANDERSON: Be obsessed, stay obsessed. Rembember…obsession is good.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Mark Robert Halper

Lawrence — Mon, 02 Nov 2009 07:08:23 +0000

PAST

MARK ROBERT HALPER:
I actually didn’t get involved in still photography until College. In high school I was interested in being a film maker, and later realized that still photography was my true calling.

My career has been a gradual progression and growth. I essentially started in 1989 shooting very small jobs and slowly built my talents and business over the following two decades.

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?

MARK ROBERT HALPER:
I have those negatives, and even a few prints, but the work isn’t online anywhere that I’m aware of. I mostly shot people I knew when I was learning, and was ironically more likely to ask strangers I found interesting to pose than I am now. I think I had an inflated idea of my own talents at the time, which probably ended up serving me well early in my career. In comparing my older images to my current work when I was looking at it recently, I was struck by just how much of my current vision you can find the seeds of in my earliest imagery.

MARK ROBERT HALPER:
There was one book called The Perfect Portfolio, but it has become appropriately dated over the past twenty years and wouldn’t be one I would suggest somebody read today. My two current recommendations are The War of Art and The E-Myth Revisited.

MARK ROBERT HALPER:
Hidden plan? No, I was just trying to find what work I could. My first important job was for a new magazine photographing a group that performed on stage for a Christian magazine – I think they were called The Power Team, and they did parlor tricks like lying on a bed of nails. I was lucky in that the magazine liked my work and continued to hire me for two years until they moved to another state. That one client got me going, and I owe it to a girl I knew who was assisting an illustrator working for the magazine, and happened to hear that they needed a photographer and gave them my name.

Agencies take a lot of money, and I’ve known very few photographers who had great experiences putting that kind of responsibility in somebody else’s hands. The rep as savior is a popular myth, but in reality I’ve never personally seen a rep make a career. Rather, very established photographers who shoot with great frequency on large projects are usually the only ones who benefit from working with reps, and they would do well representing themselves as well.

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?

MARK ROBERT HALPER:
I can’t possibly recall how the other jobs fell in, and have probably forgotten most of them. I’m sure that what I learned in books, but far more importantly and predominantly in workshops and classes, helped me to build a career. I think the most important thing any emerging photographer can do is to do as much photography that challenges them as possible, and often that is continually re-approaching similar assignments and finding ways to do them with greater creativity and technical prowess. I also am an equally big believer in workshops – it is the best way I know to get push and feedback from outside of yourself, and to be exposed to new ideas. When you take workshops and don’t shoot much on your own, you loose most of what you learn in the workshops, and when you only shoot on your own you lack the feedback to really improve.

PRESENT

MARK ROBERT HALPER:
The money is rolling in? I didn’t know that – in the current economy I’m defining success as staying in the black. If you can maintain your business and lifestyle in 2009 and still come out of it with a bank balance that isn’t less than it was at the beginning of the year, you’re way ahead of most people. We’ve done that for 2009, and added some money to savings as well, so I consider myself very fortunate.

I do think that branding is becoming ever more important for photographers, and we’re also one of the hardest kinds of businesses to brand. I think that your design needs to look like your work (not of the moment, but over the long term), and that your design needs to be consistent from your website to your business cards, and even extend to the way you dress and present yourself. I always suggest a professional designer for your logo (at the very least) for the same reasons you would tell a layperson why a professional photographer is important. Your logo ought to be created not just as a good looking typeface, but as a reflection of your work, ought to work well when printed as a solid in straight black and white, ought to integrate well into varying designs, and ought to created with an eye towards still being visually relevant in twenty years. If you look at what the big boys do, you’ll find that in most cases the design is very simple – and that’s how it ought to be. Go around your home and take a look at the logos on the national brand items that you know, and you’ll be surprised just how subtle they are, and how close they are to just plain type. In our business, Canon, Nikon, Epson, and Apple all come right to mind as great examples. I recently revised my logo from 20 years ago, and all we did was remove the elements that seemed to make it better when it was designed in 1990 (since they were cool design elements at the time), and kept the rest of the same (balancing it as necessary).

MARK ROBERT HALPER:
My camera bag has my Hasselblad H3D-39, an H1, an H2, an Ixpress 96C digital back, and six Hasselblad lenses (28, 35, 80, 100, 150 and a 50-110). I have various cords and batteries to power and connect my equipment, as well as an assortment of flash cards and other storage devices to hold my images (always including an extra firewire powered drive so every image is in at least two places for backup when I leave a shoot). I also have a 17” MacBook, pocket wizards, a brush to clean my sensors, a pack of silica gel to absorb humidity, two extension tubes, a digital gray card, and chargers for my batteries. I assume that any piece of equipment can fail, and have sufficient equipment to keep shooting if that happens.

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.

MARK ROBERT HALPER:
I really don’t have a favorite image, but I recently begun working on a new personal project shooting winemakers in the Santa Barbara area (studiomark.com/wine2009). What I really am enjoying is creating images for me, sans art director or client. I bring one camera, and use the same 100mm lens for all of the images. I shoot with natural light primarily, and often add a single simple light source to my subject (all of which so far are available at Home Depot, rather than Calumet). You’ll have to forgive me, but I don’t discuss how I create the dreamy look in my images.

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?

MARK ROBERT HALPER:
For a studio photographer, I do think it is essential in most cases, but I intentionally purchased a home with an unusually large garage that I converted into a studio. The most important things are to have room to work, and to create an environment that is comfortable and inviting for your clients and your subjects.

MARK ROBERT HALPER:
The commercial world has been irreparably damaged by cheap stock photography. Every photographer who complains that there isn’t enough work for them, or that it pays too little, and has sold their imagery for less than professional rates, sold it royalty free, as micro-stock, or in a similar way, has only to look in the mirror to find the person to blame for their predicament. Much of my current effort is being directed at my new consumer based portrait business, Halper Fine Art.

FUTURE

MARK ROBERT HALPER:
How-to books can often cause as much damage as they do good. So many of the best images were done so simply that putting a diagram of somebody next to a window, or with a single light on the side, ends up feeling lacking in a book, so you end up with books that give you the crazy idea that lots of lights equals a better photograph, when the converse is more likely the case. On top of all of that, with the really good photographers, the technique was used in service of executing their vision for a particular image, and not for your image. It’s great to understand how something was done, and even to try and replicate it to learn, but far too many people stop there and just use other people’s setups and techniques. Painters learn in part by copying famous paintings, but that work would never end up in their own portfolios.

My idea of how-to is to use a method that puts the photographer in the position of making your own deliberate choices, based on what he or she finds beautiful, interesting and/or compelling about their subject, and do it in service of the client of the reason that the photo is being created. I do that in my workshop, but don’t plan on putting it in a book. I also don’t think that reading about it would work very well, I think that most photographers need more guidance during the process, and that is especially true when somebody is more experienced, which feels counter-intuitive, but is absolutely true.

MARK ROBERT HALPER:
I’ve actually been offering workshops for many years, and over the past five or so years have been consistently running my “The Professional Portrait” class two to four times a year. (This is the one that used to be called “Photographing People for Publication”.) It’s three very intense days with me, and in that time I will make you a better photographer. I am also doing a workshop called “Saving Your Photographic Career” in November, and have on ongoing workshops that meets via web conferencing two Monday evenings per month. Info is at www.TheExceptionalPortrait.com

Regrettably, taking people I don’t know on shoots has too much potential to backfire. I learned that the hard way when I brought along a crazy person who ended up threatening to damage my client relationship because he didn’t like me. In truth, I didn’t like him either; and he was fighting an uphill battle with me from the moment he arrived, which was about an hour later than his call time. Ironically, he spent what seemed to the better part of the day on the phone with his mother – a trait that should send anybody running in the opposite direction if encountered in a grown adult male.

Charging people to just be on a shoot seems wrong to me.

MARK ROBERT HALPER:
I bought a new 5D II when all of this began as well. Photographers think their world is opening up to video since the 5D does that, and videographers think they can now grab stills from a Red, but in the end this is just another example of a shrinking market that will have one creative required to do the job of two, and something that will further drive down rates since it will subtract from the number of people the client will need to hire. From a client’s perspective, this is phenomenal, but from ours this is really just a reaction to a shrinking market that will only serve to make it even smaller.

Video (and we are talking about video, although with less depth of field than we are used to), only will really exist on the web for the applications we’re discussing. Reverie is a great little piece that shows off what the camera can do, and how good Vincent is as putting together a quick production, but in the end it’s a video, and it isn’t the kind of video that clients often need.

Great advertising photography has always been great photography – just look at the work of Penn, Avedon, or even Annie’s better stuff twenty years after it was done to see how our perspective on it changes. On the other hand, what we create for the web with our 5Ds isn’t likely to last a moment past when out client changes the content.

MARK ROBERT HALPER:
I do the best possible work that I can, and always strive to get better at it. I look for new markets, and find ones that will match well with me and creatively satisfy me. I think this is an industry where it is uniquely hard to solidify much of anything – there is always somebody coming up who wants to be where you are, which is the way of things.

MARK ROBERT HALPER:
The world, it is a-changing. If you have any other option, do something else professionally. If not, then it is more important than ever to create a business that is based on earning a real income that will support you and allow you to grow. Stay away from shooting what can be easily found in stock, what can be replaced with stock even if the imagery from stock will be different (a client that wanted environmental portraits very happy with people talking over a conference table when the cost is only $6 for that stock image), or work easily created in China before the products ship here (such as most website/catalog work).

It is and will continue to be more difficult than ever, to build a successful, long term, photography business, but it is still possible.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Melissa Rodwell

Lawrence — Thu, 01 Oct 2009 06:48:33 +0000

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?

MELISSA RODWELL: I worked book in my senior year of high school. I was visiting Paris when I was 17 and happened to walk into a gallery where Helmut Newton’s pictures were hanging and knew immediately that I wanted to become a photographer. Yes, shoot what and who you know and expand from there. Try to work with people who could work as models or have that look and then try to get into working with the professional model agencies.

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?

MELISSA RODWELL: Most of my early work is not available online. And yes, I still do have some of my early work.

MELISSA RODWELL: My father bought me the Time/LIFE series of books in the early days on photography. They were grey and black. I also read books on the history of fashion and The Vogue Book of Fashion Photography was like a bible to me.

MELISSA RODWELL: In my last year of college, I shot for a jeans company called Paris Blues. I had a friend who worked for the LA Weekly and they had an advertiser that needed new photos for an ad to run in the Weekly so she suggested me and I shot the job. No it didn’t become easier after my first gig. I had to learn how to cold call and schlep my book and travel and continue to pursue work from day one. It’s just gotten less intimidating now. And now I get work or leads for work through word of mouth. When you’re new, that’s impossible. I don’t have a rep per se. I have a producer who handles everything for me. My producer found me from a source book I advertise in, At-Edge.

MELISSA RODWELL: I went to Art Center College of Design in Pasadena, California and graduated in January of 1987 with a bachelor’s degree in photography. So I applied what I learned in college mostly to the jobs I starting getting after school. The tools you need a big huge desire to make it and a bit of a thick skin and the willingness to travel and do what it takes to make it happen for you. Of course, you have to be able to shoot. So learn the craft backwards and forwards and build a good strong portfolio that can compete in the market.

PRESENT

MELISSA RODWELL: Syndication keeps things rolling. Usage fees, things like that. Advertising work and catalogue work. Campaigns bring in money. Brand building is an identity of who you are and your style. Figure that out and build an “image” around it. I’m sort of a rock and roll kid and so black and cool fonts work for me as oppose to daisies and pastels.

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.

MELISSA RODWELL: I don’t really have a favorite single image. I’m leaning towards this shot I did of a young male model named Peter who I shot at the beach one day. There’s something classic and filmic about him and the shot. I cropped it in an unusual way and I like the results.

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?

MELISSA RODWELL: I don’t have a studio. I don’t want the overhead. I look for enough shooting space when I rent them. I’ve have studios in the past. I’d rather spend my money on travel.

MELISSA RODWELL: Work surfaces overnight from all sorts of places. Even facebook, believe it or not. I get work from my site, or a magazine spread that someone will see, or a stylist. Right now I am heading to NYC in October to show my book and I’m going to be testing in the next few weeks for it.

FUTURE

MELISSA RODWELL: We are having a store built for my blog, www.fashionphotographyblog.com I want to sell prints and books and continue to do seminars. I have one planned for November 7th and 8th.

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?

MELISSA RODWELL: See above ; ) I always am looking for assistants and interns.

MELISSA RODWELL: I’m excited to explore that and have begun to.

MELISSA RODWELL: Remain true to my self and true to my art!

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Dana Hursey

Lawrence — Thu, 17 Sep 2009 06:44:25 +0000

PAST

DANA HURSEY: Funny you should ask, that is really how I got started. My stepdad was an editorial photographer for auto magazines and was ALWAYS taking photos at any opportunity. At the age of 12, I was offered the opportunity to do my junior high schools first yearbook ever. May stepdad gave me one of his old cameras and it was all downhill from there. What really locked it in for me was when I was a Junior in high school one of my teachers told me about a place where I could go and get a degree in photography and would not have to do any “regular” college courses. I was not big on “school” so I had to check this out. I visited the College in question (Art Center College of Design – Pasadena CA) and when I walked into the student gallery and saw the work that was being done, and realized people were actually doing this as a profession, I was instantly hooked. Later when I found out the teacher (who had told me “no general ed. required”) was, … well let’s say “speaking inaccurately” it was too late. I didn’t care what I had to do.. I was going to Art Center.

I would recommend that people stick with what they love, more importantly. And push yourself on every shoot to do something new / different / uncomfortable, but still something you are passionate about.

I would say that most reasons I am where I am at today start with “P”… Persistence, Perserverence, Passion…
They type of work I do has changed a lot over the years, because for many years I did what I thought people wanted to see rather than what I wanted. It took a lot of years for me to learn that doesn’t work.

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?

DANA HURSEY: Sure I have them… I tend to not show old work as it does not pertain to who I am today. Certainly it has SHAPED who I am but it really only speaks to the past. I went straight from high school to a commercial art college and consequently my work has almost always been clean & commercial. It is really kind of who I am and I like it! Subject is not a big factor for me, it is more about the creative process. I love to collaborate, but more than that I love control!

DANA HURSEY: My inspirations were Irving Penn, Yousuf Karsh, and George Hurrell. My Irving Penn Book seems to be out of print. The Karsh book is the Sixty Year Retrospective. I also remember having the TimeLife Photography Collection when I was a kid. What prepared me for the photography “business”? I came from a family that had it’s own business. In addition to running the business for a couple of years, I took accounting classes and studio managed for two photographers for two years. THAT is what prepped me for the “business”! Really…. Photography is about 10% of what I do.. if I am lucky, business is the other 90%. That is the reality.

DANA HURSEY: I guess if I had to say what my first job was after opening my own “studio” it would have been a single B/W portrait of a client of a friend of mine, who was a designer. The Job that I always feel was my first really big job was 129 jobs and 6 years later doing an ad campaign for Cigna Healthcare. But my first paying gig would have been a wedding when I was maybe 17. I’ll never do another wedding in my life. I have great admiration for wedding photographers… It is just not in my reality! I would only recommend this profession to those who are absolutely passionate about it. I would not want to discourage anyone from this profession, but it is VERY competitive and a financial and emotional roller coaster. I cannot imagine doing anything else. I am currently repped… I have gone through long periods of both being repped and not being repped, and there are pluses and minuses to both sides. It is actually harder to get a rep than it is to get a job. But ultimately one should not worry about looking for a rep until one is too busy to market themselves. Getting work is all about keeping your name out there in any fashion you can. Advertise. Online, direct mail, source books, cold calls. Sell, sell, sell!!!

DANA HURSEY: I am NOT a reader of books. Let’s just get that out there right now. Most of what I’ve learned has either been from learning it at Art Center or learning it experientially. Art Center is not the end all and beall of Photo Education Programs. There are a lot of other valid and viable players in that game. I occasionally teach at Art Center and love sharing information. But there are a ton of different paths to this career and no one should get caught up in trying to figure out which one is the “right” one. The “right” one is the one that you take. If you want to be a good photographer; 1.) learn all you can about lighting and composition, because that is what a photographer is, a recorder of light and composition. If you want to have a successful photo business, see step 1 AND then 2.) learn all you can about BUSINESS. If you want to have a successful photo business and be competitive, see steps 1 & 2, and get yourself tech savvy… We are all digital now and you need to be knowledgeable in this arena so as to speak intelligently to your clients and also know how most effectively and efficiently to accomplish any given shot. One of my favorite resources in this arena..? … http://www.lynda.com

PRESENT

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

DANA HURSEY: LOL… Sorry I shouldn’t laugh, should I?.. This of ALL years has been a harsh and ridiculous year. Not just for our industry, but wow.. ourindustry! Everyone has really taken a hit. I don’t know anyone who hasn’t. And anyone who says they haven’t is simply trying to paint a pretty picture and hoping no one challenges them. With that said I think we are starting to see a rebound. But on to Branding. Branding is vitally important. It is about consistency. Consistency in your photography, in how you shoot, in your communications (both in style and appearance). www.phototherapists.com specialize in working with photographers on precisely this (and no, I don’t get any commissions for saying so)

DANA HURSEY: Really?..okay…
In alphabetical order….

PHOTOGRAPHIC EQUIPMENT
13″ Monitor Tray with Steadi-Cam Pin for mounting on Magliner
25LB SAND BAGS -6 @ $35.00
50′ Extension Cords x6
Avenger Super Clamp, Stand Adapter, and Grip Head
Avenger 40″ C Stands w/ Grip Head, Ext Arm X 4
BLACK FELT FLAGS & CUTTERS
Bogen Pro Digital Geared Head 405
Bogen Pro Digital Geared Head 405
Calument 42″ Lightdisk Kit
Canon EC-D Focusing Screen
Canon EF 100mm 2.8 Macro USM Lens
Canon EF 16mm-35mm AF Lens
Canon EF 28mm-300mm IS USM AF Lens
Canon EF 35mm-350mm AF Lens
Canon EF85mm 1.2L AF USM Lens
Canon EOS 1Ds Mark III Digital Camera w/extra battery
Canon EOS 5D Mark II Digital Camera w/ extra battery
Canon Extension Tube EF25
Canon MP-E 65mm 2.8 1-5x Macro Lens
Canon Speedlite 580EX
Canon TS-E 90mm 2.8 Tilt Shift Lens
Chimera SUPER PRO SOFT BOX (Lg)
CHIMERA SUPER PRO SOFT BOX (sm)
COMET GRID SPOT SET (3 GRIDS)
Foba Gamma Camera Stand w/Accessory Tray & Laptop Tray & Adapter
Gel-Stor Roll-Up
Gitzo Performance Rapid GT3540 XLS Tripod w/ GS3510S Center Post
Hasselblad 120mm HC 4.0 Macro Lens
Hasselblad 28mm HCD 4.0 Lens
Hasselblad 50-110mm HC 3.5-4.5 Zoom Lens
Hasselblad 80mm HC 2.8 Lens
Hasselblad Battery Grip x2
Hasselblad H13mm Extension Tube
HasselbladH3D-39II 39MP Camera Body
Hasselblad Pro Lens Shade V/H 6095 w/ 77mm & 95mm Mount Rings
HasslebladH3D II 39MP Digital Back
Jobo Photo GPS
Lensbaby 2.0 Lens with Canon Mount
Lexar High Speed Card Reader
LIGHT STANDS x 4
Lightware Strobe Head Case T4444 X2
Lightware 50 Flip Lid Case C5042
Lightware 50 Flip Lid Case C6050
LIGHTWARE CARGO 32 CASE
LIGHTWARE CASE #1420 (Qty = 3)
Lightware MF1015 Camera Bag / Case x2
Lightware Tool Kit Wallet A8700
Lowepro Pro Roller 2 Camera Bag
Magliner Gemini JR Hand Truck w/top shelf
Manfrotto 685B Monopod
Motorola Talkabout two way radios x 4
PHOTEK UMBRELLAS x4
PHOTOFLEX REFLECTOR 52″
Pocket Wizard Radio Slaves (2 Tranmitters / 2 Receivers)
Profoto 5M Head Extension Cable
Profoto Acute / D4 Ring Light 330513
Profoto Acute2 / D4 Strobe Head w/Reflector and Cover x 6
Profoto D4 2400R Strobe Pack x2
Profoto SpeedRing QR
Profoto StickLight
Profoto WideSoft Reflector for RingFlash
RawWorkFlow WhiBal Pocket & Studio Full Kit Bundle
Sandisk Extreme IV 2 GB CompactFlash Card x6
Sekonic Flash Meter L-358 with RT Module
Speedotron Set of 4 7″ Grids
Tamrac 332 Tripod Padded Bag
Tamrac 603 Zoom Traveler Camera Bag
Tamrac Big Wheels Backpack Camera Case (697)
Tenba RS-M24 Wheeled Air Case
TIFFEN 77mm POLARIZING FILTER
Visible Dust Full Size Pro 1.0x Bundle
Wescott 3515 Speed Ring
Wescott 4830 16×22 Soft Box
Plus a bunch of expendables, i.e. gaffer tape, batteries, gel filters, modeling clay, tools, wire, A clamps, canned air, scissors & blades, etc….

On the computer Side.. briefly
MacPro w / 30” & 24” monitors and 8 TB of external storage
Portable 2 bay “Shoot Drive” (2 TB)
15” Mac Book Pro
24” iMac (x2)

What do I bring most to shoots? Literally.. see ALL of the above w/ exception of 1 iMac and MacPro Setup.

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.

DANA HURSEY: My favorite image changes on a regular basis. So today.. It would probably be the image of topiaries that I did for UnitedHealthcare. I like it because it is clean, simple, graphic and a bit ambiguous. This particular shot we did on the crest of a grassy hill in Malibu. The day was a bit gloomy and consequently we had to drop a “pretty” sky into it, in post-production. I am a bit old school in that I believe in getting as much as possible “in camera” and not relying on post-production to “piece together” the shot. Don’t get me wrong, we utilize the digital medium extensively, we just find the imagery is better when we do the bulk of the work in front of the lens.

A lot of what we do these days starts as a sketch. Even for personal work. It makes it easier to relay to everyone involved what the vision for the shot is. From there we let everyone do their job. Set and prop stylists, wardrobe stylists, even assistants, we hire the best people and give them the space to do what they do. Certainly we communicate constantly to make sure we are heading down the same path. When you get a good crew together all of the pieces generally fall into place. There is always a hiccup or two, but a gain with a good crew, we just address the issue and fix it.

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?

DANA HURSEY: It depends on what type of work you do. The majority of photographers, at least in the bigger cities, don’t maintain a physical studio. These days it is standard to rent a studio as needed. For us, a large part of our work is on location so it makes no sense to have the overhead of a studio that you are not using all the time. When we rent we look for clean open studios with plenty of room for clients and talent, a good sound system that we can plug an iPod into, WiFi, and if it is close to or has it’s own equipment rental facility and catering, all the better!

DANA HURSEY: Currently we are working on a Botox Campaign, a fun web site project and we have a couple conceptual projects waiting in the wings. These all came from different sources; Botox is a return client, the web site project found us online (imagine!) and the conceptual stuff came through our Chicago Rep.
Stock has also taken a real dump this year. It will be interesting to see if / how it recovers. It used to be a very viable source for regular income. I have seen my stock income drop about 80% and many of my colleagues are experiencing the same. Consequently I am not investing a ton of time into stock. These days we are really trying to focus our energies on assignment work. It’s my first love and so I tend to not pursue other things that will dilute my focus. We used to do a fair amount of film and video production / post-production as well but have really scaled back on that as it tends to be a distraction.

FUTURE

DANA HURSEY: My immediate goals are to continue to grow the business, develop new clients, reach into new geographical markets, and raise my profile. I am also looking to get more work through the door so as to fund my personal work, which tends to be a bit costly. Being that I am not a reader, it stands to reason that I am not a writer. Hence, no how to books for me. I am more of the workshop / teaching type. As I said earlier, I occasionally teach at Art Center and that fulfills my itch to share.

DANA HURSEY: Workshops are always a potential for me. I partner with Rhoni Epstein occasionally. I have had many folks want to spectate and am not opposed to it in the right situation. I have a list of growing e-mail addresses for that. But weekends? Really? I think I have done a weekend shoot maybe twice in my 20 years…

DANA HURSEY: I am going to go out on a limb here and say I don’t think this is going to be the “revolution” that so many are making it out to be. There IS a lot of discussion about it, but I truly think the application is limited. I have seen the systems that are available and while they may tout being able to do both in one fell swoop; I have yet to see one that does not have some major flaws. Some of the flaws I am told by those “in-the-know”are unfixable due to pure physics. Having done film and video for a lot of years, video opens up a whole new bag of, well, .. everything that one must be on top of, from hardware to software to so many technical issues that are inherent to video, that while I think there are some very valid applications, I don’t think it is going to become the “force” in the industry that some manufacturers might hope. But that’s just me. AND that’s me having a background in it such that if it becomes necessary I can easily fall back into it…

DANA HURSEY: The answer is easily said but not easily done. You need to stay current. Technically, stylistically, visually. Your imagery needs to stay relevant. I think part of that is not being in a bubble, which I think so many of us can easily fall into. Working with good people helps. It keeps you on your toes. For me it is all about getting the client what they want, hopefully adding something of value to the mix, doing it in an extremely efficient manner, on budget, with a bit of fun thrown in.

DANA HURSEY: We all need to have a sense of responsibility to our industry. We need to ensure that what we do retains its sense of value. We need to produce quality work. We need to not giveit away. The world is becoming ever more visual, which means what we do should be more valuable not less. Those who would work for little or no compensation or undercut to get the job do damage to us all, including themselves. If you are going to be a professional photographer, do it with integrity. Oh… and have fun!

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Rasmus Rasmussen

Lawrence — Wed, 09 Sep 2009 23:46:44 +0000

PAST

RASMUS RASMUSSEN: I sort of stumbled onto photography fairly late in life, and I didn’t start shooting till 2000. I was always very attracted to the photographic image, but had up until that point focused my own creative energy on writing. It was during a work project, when I found myself looking for stock photography, that I heard about the then brand new iStockphoto. That got me started, but for the first couple of years I was just playing around with it, learning by doing, mostly.

Then in 2003, the IT industry was still reeling after the dot com bubble burst, and the design team I was on got the cut. Freshly laid off and in the mood for change, I went back to school to study photography. I took classes, learning about color theory, lighting and refining the craft itself, and the knowledge improved my work greatly. There is no doubt that it pushed me to the next level (I attended 2 years’ worth and never actually graduated, but that’s a whole other story).

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?

RASMUS RASMUSSEN: No. I don’t think there is any of my earliest ‘work’ to see any more. I started uploading my pictures to iStockphoto almost the same day, I picked up my first digital camera, but those early snapshots, which is really all they were, have been taken down a long time ago. I had a lot of fun taking those pictures, but no real idea what the hell I was doing.

RASMUS RASMUSSEN: I didn’t read very many books. Not at first. I just picked up the camera and started shooting. I did read a lot of tutorials online, mostly on post processing and the more technical aspects of digital photography. Not necessarily the most efficient way to learn, I might add.

My favorite books are not textbooks, but the ones that show actual photographs. I’ve never read a photography textbook from cover to cover, but have used a great many as reference or to study specific techniques. As for titles, I can’t you a single one. In the case of coffee table style books, I pretty much go by artist, the occasional theme or genre. In the case of textbooks, I check online reviews and blogs.

RASMUS RASMUSSEN: I sort of just slipped into photography and went straight to school, as soon as I decided to get serious about it. Some time along the way, I started getting the occasional job. At first I shot for free, or maybe trade, and eventually I ended up getting money out of it. But I have never focused on the business aspect very much. For me it has always been about creating. Maybe that’s why I don’t remember the first time someone actually paid me for a picture. I’m pretty sure it was in 2003 and either a head shot or a band shot. It started with friends, then friends of theirs and so on.

RASMUS RASMUSSEN: The number one tool is your eye. The second is your trigger-finger. Then your camera. Then Photoshop. It’s expensive, yes, but worth it. Bite the bullet, buy it and learn how to use it properly. It will make you back the investment in no time. Anyone working with digital imagery should know Photoshop.

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.

RASMUS RASMUSSEN: I have based my business of the odd mix of internet sales and word of mouth. I’m a big believer in social media, and in taking part in the photography community. There are a million ways to do it, and I’ve tried a bunch, but number one is without a doubt Twitter (www.twitter.com/theprint). My network has grown immensely, since I started tweeting. It has led to everything from project partners to paying clients – and it’s fun.

RASMUS RASMUSSEN: I mostly shoot with a Canon 5D and 24, 50 and 85mm prime lenses. Most of the time, I either use existing light, sometimes with a reflector. Indoors, I might bounce a single speedlight for casual shooting or set up a couple of monolights.

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.

RASMUS RASMUSSEN: I don’t have a single favorite image. Not of my own or other people’s. There are simply too many amazing photographs in the world, to think of them that way. Different images have different qualities that set them apart from any other picture ever taken. Even if it is similar to a million other photographs, it still tells its own story. Those are my favorite images, and that is what I look for, when I compose a shot. Hopefully, some day I’ll get it.

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?

RASMUS RASMUSSEN: I don’t have a studio at this time, nor do I want one. Most of my work is on location, so for that reason alone, it just would not be worth the investment for me. When I do need a studio, I simply rent one.

RASMUS RASMUSSEN: I decided that in 2009, I would focus less on my stock photography, which took up most of my time in ‘05-’08. So, I’ve been working on a number of personal projects, such as ’12 Seattleites’ (www.12seattleites.com) and a retrospective book about my first few years, coming to and settling in the US. As far as recommendations go, mine is to look for opportunity where ever you can, but don’t lose yourself in trying to find the next big thing. Do what you love, do it well and tell the world about it. That and persistence is all you need.

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?

RASMUS RASMUSSEN: It’s so easy to release books these days, I think everyone should do it. Even if they just do it for themselves. There is something very cool about holding a book, however small, of your own work. As I mentioned above, I am working on two book projects right now, though both are of the artsy persuasion. When it comes to the more technical writing, I think my blog will be plenty of work (www.rasmusrasmussen.com). Maybe I’ll make a ‘best of’ book with some of my posts one day.

RASMUS RASMUSSEN: I have done workshops in the past, and I still offer portfolio coaching for microstock photographers. I enjoy this kind of work and at some point, I might very well run more workshops. I have a few ideas, but nothing I am ready to share yet.

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?

RASMUS RASMUSSEN: My approach to video is the same, as it was with still photography. I play with it, learn by making mistakes, invest as I improve. Eventually, I would love to work with it on a more serious level, but in the end it really is a very different medium, so for the moment, I’ll keep playing.

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?

RASMUS RASMUSSEN: It bears repeating: Do what you love, do it well and tell everyone about it. If you just want to make money, you are in the wrong line of work. If you truly want to solidify yourself and be a presence, you have to create unique and memorable work first. Then find the best commercial outlets for that work. I think the key is to understand where your work fits, what your niche is, and to identify the typical buyer for your particular style. It’s better to invest time in figuring that out, than trying everything and hope that something pays off.

RASMUS RASMUSSEN: Never forget that photography is about the images themselves. It’s easy to get lost in the latest gear or in trying to please an editor, a client or some market segment, and when you catch yourself doing that, take a break. Load up your Holga, go outside and don’t come home until you’ve finished the roll.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Scott Bourne

Lawrence — Thu, 03 Sep 2009 06:35:35 +0000

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?

SCOTT BOURNE: Wow that’s a broad series of questions. I didn’t work on
the yearbook. I lived in Indianapolis and was inspired by a local
photojournalist who happened to be my high school girlfriend’s father.
He took me to the Indy 500 and gave me a camera to play with while we
were there. I was hooked. I don’t think beginners need to worry about
specialization – they need to find out what they like and they can’t
do that unless they try lots of things. That’s the path I took. I
started out from that day at the Indy 500 to getting a job as a
stringer at the race working for the Associated Press. From there I
freelanced around the Formula 1 circuit in Europe and then eventually
had a few staff jobs shooting motor sports. But in between then and
now, I tried fashion photography, weddings, portraits and
nature/outdoor work.

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?

SCOTT BOURNE: The only photo I have from the old days was the first
picture I got published. It was Tom Sneva crashing at the Indy 500. I
don’t have it online. It’s a bad scan and small. But I do have it on
my computer and look at it once in a while. It was nothing special.
But it got me paid. I do look at my old “portfolio” sometimes and
cringe, thinking to myself how bad it was. But that’s the normal
progression. You start out bad – then you practice and you get good.
Works that way with pretty much everything in life. Today, young
people think they have to start out as a rock star. They don’t. It’s
okay to first be a roadie.

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.

SCOTT BOURNE: I didn’t read any photo books starting out. I did rely
on Life and Look Magazine as inspiration. I looked at all the great
photos they published and thought that someday I’d be able to do that.
I studied what these folks shot, how they did it, studied the light
angles and tried my best to duplicate it.

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?

SCOTT BOURNE: My first job came as a result of connections – which is
how many people break into professional photography. My brother-in-law
was the sports editor at the Bloomington, Indiana newspaper. He got me
a press pass for the Indy 500 in return for some photos. When I got to
the track, I talked my way into the vacant AP stringer slot they had
available. They should have never hired me because I had no clue what
I was doing. But they saw the press pass and thought I was legit.
Lucky for me I was big for a teenager It was two years between that
first paying gig and the next one. But after sticking with it – jobs
flowed much more easily for the next six years – although the pay was
about equal to that of a bus boy at the local Pizza Hut. I did have an
agent for a year when I was working in New York on fashion stuff. But
agents need photographers who are working at high levels and I really
wasn’t. I was still too inexperienced to be great. I was happy with
being good. Frankly, I started making more money when I acted as my
own agent and focused more of my time selling rather than shooting.

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.

SCOTT BOURNE: I believe that serious photographers who want to make a
living need to become professional marketers. I spend 80% of my time
selling and 20% shooting. And in today’s super competitive environment
- you have to do everything and be everywhere. You need a blog, a
podcast, an active Twitter account, a Flickr account, a portfolio
site, a membership in one or more professional photography
associations, you need to teach, to speak at seminars, write books,
the whole nine yards. I personally have found blogs, podcasts and
Twitter to be vital components of my current marketing efforts.
They’re responsible for most of my business these days.

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?

SCOTT BOURNE: You sure you want this list? I have attached a list that
is pretty complete minus some studio stuff.

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.

SCOTT BOURNE: Here’s a link to the image and the story

http://photofocus.com/2008/12/02/pre-visualization-and-patience-can-pay-off-twip/

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?

SCOTT BOURNE: It’s NOT essential to have your own studio space -
especially when you’re just starting out. It’s MUCH more important to
have a sales room or small office where you meet clients. This shows
that you are IN BUSINESS not just a weekend warrior. When you do it
right, the sales room generates enough cash to warrant renting and
building the studio. I have both a studio and a sales office.

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?

SCOTT BOURNE: I shoot for text books, do some editorial with past
clients but not trying for any new ones. I do a great deal of art type
sales, licenses and leases. The best advice that I can give to someone
is to find a niche and own it. I mean totally own it. Then you’re only
competing for that niche, not the entire photographic world.

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?

SCOTT BOURNE: I have written and had published four books on
photography and three training videos over at lynda.com. I am working
on another book and updating my out of print series called 88 Secrets
to Selling & Publishing Your Photography. Books should come only after
you have a real sense of something to say. If you have a real need to
communicate, a book may be right for you. Most people try to do a book
too early in their career. It’s almost always a mistake in my opinion.
Develop your own sense of style first. Also know that getting a book
deal these days is harder than ever. And you usually don’t make much
off a book deal just so you know.

SCOTT BOURNE: I’ve led more than 150 photo workshops in my career. I
am slowing down a bit but here’s the list so far of what’s coming up.

http://photofocus.com/workshops/

SCOTT BOURNE: I think that video will play a large part in the future
of imaging but that there will always be a place for the still image.
I am trying to learn as much as I can about the video side and have
some significant experience with it, but to be honest, I just don’t
enjoy it that much because I am not good at video post, nor do I have
a desire to be. With still photography, I am a master at post and
prefer the creative control I get by running the project from start to
finish.

SCOTT BOURNE: You have to market, market, market. And to stay on top,
you can’t be content with owning a big piece of the pie. You have to
go out and create more pie. That’s the biggest mistake I see in young
pros. They think they have to compete in established niches when in
fact what they should be doing is creating and owning new ones.

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.

SCOTT BOURNE: Just keep shooting. Show the work if you want to sell
it. Shoot and sell every day. Keep at it. If you give up, someone WILL
take your place. So don’t – give up that is.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Fred Egan

Lawrence — Thu, 27 Aug 2009 01:15:20 +0000

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?

FRED EGAN: I wasn’t involved in yearbook. In fact, I was too occupied trying to be cool. I thought the yearbook staff was for dorks. Maybe they weren’t after all.

What initially sparked my interest in photography was fashion. As a teen, I not only subscribed to the Abercrombie & Fitch lifestyle but avidly read their A&F Quarterlies that featured Bruce Weber’s black & white lifestyle imagery.

To the weekend photographers I’d recommend to photograph what you like. Ask yourself, “What types of photographs do I gravitate towards?” For me, it was the fun/energetic/carefree images that lifestyle photographers like Bruce Weber were creating. As you shoot more, your voice will find its range. I initially started photographing my two sons (7 & 6) with a point & shoot digital camera. I got to where I am today because I’ve stayed true to myself and made a point to shoot personal projects in order to push my vision for my work. I look at other photographers’ work but I’m not trying to be them.

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?

FRED EGAN: I do still have some photos from the early years; however, the early years weren’t that long ago. Although it’s only been 3 years since I picked up my first real DSLR, my eye has matured. My first subjects were my boys. There’s a bunch of stuff still online dating back to May 2006 on my first blog ( HYPERLINK “http://behindthecamera.squarespace.com/behind-the-camera/month/may-2006″ http://behindthecamera.squarespace.com/behind-the-camera/month/may-2006). Feel free to take a look around.

FRED EGAN: I read one book by Nikon (more like a pamphlet). It was free. It came with my camera. I learned how to create a proper exposure after 5 pages. I attended several workshops by other wedding photographers. Everything else came from what I picked up in business school during college.

FRED EGAN: My very first paid job was photographing a Quinceañera. According to my clients, I failed miserably. When I remembered the type of imagery I wanted to create, I realized why I shouldn’t be so hard on myself. It made sense. They were not my type of client. Soon thereafter I booked a couple of weddings via word of mouth and a couple of wedding photographers threw a couple of small budget weddings my way.

Currently I am building my lifestyle portfolio in order to start shopping for representation.

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?

FRED EGAN: After the Quinceañera, I booked another portrait session. I shot it outdoors, which was quite a bit more suitable for me. I never bought any more books, but rather scoured the Internet for other photographers’ work who I admired. The single tool I’d say is a must have in getting to where you want to be is a pre-visualization. You have to be able to see yourself where you want to be.

PRESENT

FRED EGAN: Weddings and consultations provide the majority of my business’ income. Regarding branding, it takes time to develop. Your brand is the sum of the feelings, values and emotions that consumers’ conjure up in their minds when they think about your company. That takes time. I do recommend photographers be very selective about what they show. Each photograph you show is added to the visual collective of your brand. Does each photograph you show reinforce or contradict the feelings/emotions/values you want to project?

FRED EGAN: I tend to keep things simple. I carry two Canon 5D bodies, Canon 20mm lens, Canon 35mm L lens, Canon 50mm L lens, Canon 70-200mm L lens, Sigma 50mm macro lens, 2 Canon 580 flashes…that’s for a wedding. For most of my lifestyle shoots I just carry my primes with me.

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.

FRED EGAN: My favorite wedding image in my current wedding portfolio is this photograph of a flower girl in a tutu. Although you don’t have much control over the events at a wedding, pre-visualization is still an essential key to creating shots. I have variations of shots like this on my Inspiration Wall. I look at them all the time. So when the situation unfolded at this wedding, I reacted. I made sure to get eye level when shooting her while also paying attention to the background of the door. I shot several of her but chose this one because of the innocence portrayed in her face.

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?

FRED EGAN: Having your own studio space is not essential for every commercial photographer. I currently work out of my residence. The game in the very beginning stages for a location photographer like myself is to keep expenses low. I have no need for a studio…I’m not sure I would know what to do with one.

FRED EGAN: I am currently building and preparing to be commissioned for my first commercial gig.

FUTURE

FRED EGAN: Right now, I’m focusing on honing in on my ideal wedding client. I still love weddings…they just need to be the right clients. I also want to be consistently publishing 8 weddings a year and be recognized as one of the Top 10 Wedding Photographers in the U.S. within the next five years.

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?

FRED EGAN: I offer limited consultations at the moment in select cities I travel to for my work. Announcements for these consultations are on my blog (fredegan.com/blog) and twitter (twitter.com/fredegan).

FRED EGAN: I think the fusion of the two is inevitable. Just recently, Esquire extracted their cover image from their RED ONE footage they shot their short feature with. At the moment RED ONE cameras are so expensive that it doesn’t work on all economies of scale. But for the larger productions that are looking to do moving picture and stills, it works. For example, movie still(s) photographers will lose their jobs once studios start using RED ONE cameras.

FRED EGAN: Educate yourself on what you want. And then make decisions. Once you decide on what you want, you can move forward with a clear and concise plan. Write down your goals and look at them everyday. By simply writing down your goals, the likelihood of them being realized increase exponentially. Focus on accomplishing your goals, be the best at doing what you do and being at the top will be a natural by product of those behaviours.

FRED EGAN: Pre-visualize your shots. The idea of walking around & scouting the elements of a shot is key. You have to make a picture in this biz. Rarely do you just stumble upon it.

PROFESSIONAL PHOTOGRAPHER INTERVIEW: Kevin Kubota

Lawrence — Thu, 13 Aug 2009 01:06:41 +0000

PAST

KEVIN KUBOTA: I was not involved in the yearbook – however I did create my own Mr. Bill doll, light him on fire, and photograph the process. I was also talked in to photographing a high school club called “Blue Juice”, which was basically a bikini club. That probably sparked my interest in photography. Well, actually, my father was a wonderful photographer and his candid B&W images of us in the early years really gave me an appreciation for the art of photography. Dad had his own darkroom and processed images for his college newspaper while working in a camera shop. I’m sure his love of photography rubbed off on me.

I took a photography/darkroom class in high school and began photographing my friends, girlfriends, and just about everything. I continued with photography, as a hobby, throughout college and my first career – fashion design. After working in the design industry for a year after graduating, I realized I hated it. I left and pursued my dream job of selling shoes at Nordstrom. OK, so it wasn’t my dream job, but I actually learned VERY valuable lessons about customer service that would become the cornerstones of my success later on.

I finally left Nordstrom when I realized that I had to do something creative – something that I was really passionate about. I decided to turn my photography hobby in to a real job. The impetus actually came when my female roommate asked me to take some portraits of her for her boyfriend. I put together a makeshift studio in my garage and managed to pull together some really decent images. She showed them to her friend, who then asked for photos, and the ball was rolling.

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?

KEVIN KUBOTA: Heck no! Actually, that would be fun to pull those up and compare them. I’ll see what I can find. Might be a good blog post! My subjects were all women looking to create sexy calendars for their boyfriends and husbands. I also started taking actor headshots as I had a few friends trying to break in to acting. After the word got around that I could take a decent picture, I started getting asked to shoot at friends weddings. That’s how it began.

KEVIN KUBOTA: I read anything and everything. I don’t remember the actual books that I read, and since it was nearly 20 years ago, I doubt they’d be current. I would go to the library and bookstore to read and make diagrams in my notebook. Then I’d go home to my garage studio and try it out. I also read Shutterbug and Popular Photography – which was all I knew about at the time, and gleaned what I could from their articles. I remember really liking a certain photographer who did a column for one of the mags. He specialized in portraits of famous actors and models. I actually wrote to him one day to tell him I dug his stuff and his articles. He wrote back to thank me. This was before email, so he actually had to get out paper, write, and mail it. I was really impressed by that and I try to remember how I felt whenever someone takes the time to write me a nice note.

I took one class at the local college on digital imaging and that got me hooked. We used some crazy DOS based imaging program where you would type in “ROTATE IMAGE” and then wait 5 minutes for it to happen. It was soo cool. The next year the class got Photoshop and I ate that up so fast I had to drop out of the class because I was learning it faster than the teacher! I also took a class on commercial photography and ended up getting hired by the teacher to assist him in his real studio. I learned a TON about lighting, composition, and quality control from him.

I also loved anything by Dean Collins, who was about the only instructor really doing much. I watched his videos and read his books. Eventually, I learned about the APA (Advertising Photographers of America) and joined with a couple photo buddies. We attended monthly meetings and learned a lot about business and portfolios. I got in to weddings after becoming friends with my wedding photographer, George Carranza, from Southern CA. We joined WPPI and eventually PPA as well. Both of those organizations made all the difference in the world to my rapid growth. I don’t think I’d be here today without them. Really.

KEVIN KUBOTA: My very first professional job – meaning I actually got paid for it – came after a few freebie boudoir sessions for my roommate and her friends. I got confident enough to start charging for expenses, and then to make a little profit. I didn’t really get very excited, pardon the pun, about the boudoir stuff, so I moved on to headshots and model portfolios. I guess I just kept wanting to learn more and add styles to my repertoire. I shot my first few weddings for free too so I could build a portfolio. I would definitely recommend shooting whatever you can, for free if necessary, to build a solid portfolio. Ask friends, relatives, roommates, people off the street – to model for you in exchange for free prints. It’s definitely easier to start charging for your services when have a decent portfolio and a reasonable amount of self-confidence to go with it. This just comes from experience.

All my new work really came from referrals. I put a sample wedding album in a women’s gym that my wife taught at. I got a ton of work from that gym! It also helped that she worked there, knew everyone, and promoted me every chance she got. I had tried yellow page ads, but they never really amounted to much. Word-of-mouth is by far the best advertising. I was pretty shy at first, so my word-of-mouth was pretty weak. I realize now that if I wasn’t so shy, I could have grown the business much quicker.

KEVIN KUBOTA: I learned everything on the fly. I never took a business class – and I really should have. I did read books on business though, and on pricing, which helped a lot. Each new job came almost directly as a result of a referral from my last job. I would change my price lists after each client meeting to massage it a little bit based on their reactions and feedback. It seemed that I was changing something about my business almost daily and it was evolving very quickly. I’d even change my logo design and business cards on a whim. I was never quite satisfied. This continued for probably the first 5-7 yrs of business. Today there is so much more available in the way of training, education, workshops, online resources, etc. People are growing their businesses 10 times faster than we ever did. That’s good, but it can also create growing pains and a tendency to overlook the basics and foundation of a good business. Sometimes you learn things better when you learn them the hard way.

PRESENT

KEVIN KUBOTA: We are very fortunate that our brand is strong and reputable. It didn’t happen overnight and it was not easy. I have been able to build strong brands for my photography, software and workshops business, and Asukabook USA. I used the same core principles and techniques. While there are many facets to brand building, here are the main areas we focused on: 1) Create a strong visual and mental image of our company via keywording, logo design, and specialization. 2) Commit to impeccable customer service and experience. 3) Determine a Business Essence – why are you in business? Author Guy Kawasaki put it perfectly, “Be in business to make meaning, not money”. Of course the money should then follow. 4) Aspire to live with kaizen, a Japanese term for “continuous improvement”.

When all of these factors become habit, the rest tends to fall in to place.

KEVIN KUBOTA: Here’s my bag. For weddings, I primarily use the 70-200mm f2.8, the 14-24mm f4, the 50mm f1.4, and my Lensbaby Composer. I pull the other lenses out now and then, but I could easily shoot an entire wedding with the above set. I would never leave for a deserted island without my 45” translucent pop-up disc either. I carry this and the white/silver version in the back of my Tamrac bag, where it nestles so perfectly in the laptop pocket.

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.

KEVIN KUBOTA: My favorite image is probably the one of the couple in the red classic convertible Mustang. I think it is important to me because it symbolizes a transition point in my career where I really started to “cut loose”. The image has great energy and I’ve had so many potential clients become actual clients because they loved this one image and even asked if I could do that for their wedding. I shot it many years ago, but it’s still one of my favorites.

The shot came from an intuitive impulse. I was just finishing up portraits with the bride and groom and we were heading in to the reception. Out of the corner of my eye I saw this Mustang in the parking lot. I asked the groom who’s car it was. It was his dads! I proposed that we take the car and do “just one more photo”. One more turned in to an hour more and we all had a great time. I had never done a shot like this before so I just put on a wide zoom lens and sat up on the back deck of the car. I hooked the seat belt over my foot as a token margin of safety. The groom hit the gas and before I knew it we were going 50 MPH and they couldn’t hear any of the orders I was barking over the wind noise. I just had to shoot and hope for the best.
Most of my images start with some sort of intuitive thought like this. I don’t plan a lot out ahead of time. I will say whatever comes to mind and generally the client is agreeable to try. Occasionally I get funny looks, but I assume it’s just gas and do my best to get them excited about it. I realized that my best images always seemed to come from the spontaneous ideas, so I work very hard never to stifle them.

The most important factor in a good, impressionable, image is impact. You can build this through timing, composition, and lighting. I generally work by imagining the composition first, then finding or creating the light, then working the scene until I get the moment through timing. This same process applies to most everything I shoot – from portraits, to weddings, to commercial work.

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

KEVIN KUBOTA: It is not essential, but certainly helpful. I do have a studio and have had one for many years. I started in my living room, like most photographers, and eventually built an addition to the house with a gallery and production office. That worked really well because I did most all my shoots on location, but it was important to have a professional looking space to show and sell. I eventually rented an off-site studio space because I started doing more commercial work and needed a studio. After a few years I started to really focus on weddings and didn’t need the studio space much anymore. Now, we have a beautiful gallery, meeting room, and offices, but no official photo studio. I still shoot most things outside or on location.

I think having a really nice off-site gallery/meeting area is helpful to promote an image of professionalism and stability. I also feel it’s important to separate work from home…while I write this sitting in my bed at home. I’ve gone through all the options, and I like my setup now best. Of course, your photography style and demographics will determine whether you need a studio or not. As much as I love the idea of home offices, I also believe that clients will perceive you more professionally when you have a dedicated office/gallery – whether small or extravagant.

FUTURE

KEVIN KUBOTA: Well, I have many goals. I have already written a book, titled the “Digital Photography Bootcamp”, which is in it’s second edition now. As a photographer, I grow tremendously when I spend time photographing what I don’t normally photograph. For example, I lead photo workshops in Italy where we focus on fine art imaging. I don’t shoot any portraits or models there because I do that for a living. I want something completely different. I get all excited about photography again and learn to see in new ways. I can take this enthusiasm and perspective back with me when I return to my “day job”. I love experimenting with new gadgets, lenses, etc. to find new ways of capturing life. I want to take an art class or a photo class that is out of the realm of my typical daily experience. Maybe I’ll take a pinhole camera class or something like that.

KEVIN KUBOTA: I’ve been running workshops for many years now. Our Digital Photography Bootcamp is a week long program held in Bend, OR twice a year. It has been very successful and we are coming up on our 18th Bootcamp this fall. I also do frequent day-long programs for photo organizations and under our own name. I do occasionally take interns along on shoots with me, and this is a great way for them to learn.

KEVIN KUBOTA: I’ve been hearing that for many years now. The idea is not really new. We experimented with it about 8 or 9 years ago and I realized that I was either a videographer, or a photographer. I couldn’t do both at the same time. I also realized that video editing takes MUCH longer than photo editing and I could barely charge enough to make it worth the extra work. People inherently put a higher perceived value on photography. It becomes art that hangs on the wall, like a collectible painting. I don’t think video will soon match that status. I don’t mean that as any disrespect to the art of videography, but it’s just a fact that is part of public perception. Filmmakers can be paid quite handsomely, but only when their work is mass produced and sold by the millions – as in movies and DVDs. Consumers, however, aren’t paying more than $10-25 dollars a pop to see a movie or own a video that took millions to produce. They will, on the contrary, pay thousands of dollars to own photos that took a few dollars in hard costs to produce. I don’t think this reality will easily change. I’m sure that some talented creatives will find a way to effectively mix photo and video and sell it at a healthy profit. I love the idea. However, the bottom line is you can’t frame a DVD and hang it on the wall next to the art, which gives it lower perceived value. I never say never, however, so I’d be just as excited if the average consumer proved me wrong.

KEVIN KUBOTA: I think this goes back to the earlier question on branding. Follow the same rules and you can solidify yourself in any market, with any product. Brand yourself, commit to constant growth, commit to outstanding customer service, and be in business to make meaning.

KEVIN KUBOTA: While there have been evolutions in the styles of photography – particularly wedding photography, the images that stand the test of time have impact and strong emotional content. If you are able to capture these – with whatever tools or techniques you use – I think you’ll always be on the right track.

FEATURED PHOTOGRAPHER: Kareem Black

Lawrence — Wed, 29 Jul 2009 21:35:16 +0000

“The burger king shoots are always amazing and a lot of fun. I do those with the awesome people up at Crispin Porter.”

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?

KAREEM BLACK:
Hmm.. Lemme try to get to all these questions… when I was in high school I was a painter and I took pictures of my subjects so I could paint from the pictures when my subjects couldn’t sit for me. That’s how I initially started taking pictures. I think that photographers (weekend or otherwise) should shoot what they love.. If they like to shoot people they should shoot the people that are interesting to them… people who look interesting to them. Even if those people turn out to be perfect strangers. The more you shoot the better you get and more refined your vision becomes. You also need to not be afraid to let the outside world in and to not fear its influences.. One mistake that I made a few years ago was that I stopped looking at other peoples work.. I stopped going to magazine stores or art shows. That was a blunder and I think that for a period my vision suffered.

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?

KAREEM BLACK:
I have tones of prints and negatives and archived material form the ten years that I’ve been shooting professionally and even a lot of the stuff from high school and college that I did. It’s interesting to look at that work. I’m not sure if I would say that it was similar to the work I have now in that I think that a lot of my goals with that work was different… back then I believe I was learning HOW to take pictures in a very technical sense.. I was figuring out light, how to navigate the industry, I think in the early years of my professional work I was much more concerned with my upward mobility in the professional photo world than I am now… now I’m interested more in the feeling of the images.. not as much how perfect the light is. Now I’m more interested in the story of an image rather than how this image will make me famous.. I think I’m just more mature and complete as a person now. I also think I am more confident in my work and I no longer think that the value of my work is dictated by who ive shot and how famous I am. I’ve shot so much in my short career and there is a lot yet to do but I know that I can do it.. Back then I wasn’t so sure.

KAREEM BLACK:
London and Uptons “Photography” was required reading at SVA.. I read the entire thing many times over.. Its very technical and I’m sure that its been updated many times since I was in school.. but that was like the bible when I was in college.

KAREEM BLACK:
OK well that’s 7 different questions disguised as one question… I’ll do my best. When I first moved to NYC from Philly I was a skateboarder and I was sponsored by this skate shop called Swish that used to be on St. Marks. I was in college at the time and the owner of the skate shop Knew I was a photographer and I “hired” me to shoot the ads for the shop. Of course I didn’t get paid but I was just thrilled to have anything in print at the time.. I was the only kid in my college class that did. I did those ads for a few months. After that my next job was with On The Go magazine. Which was awesome because the gentlemen who made that magazine Were friends of mine from Philly.. It’s all about who you know sometimes I suppose.. (I know there are like 6 other questions I didn’t answer there but ya know..

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 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.

KAREEM BLACK:
I think a photographers “brand” is incredibly important. Much more so than a lot of photographers realize. Your brand is what you are. It’s the work, and the experience that people have when they work with you. As far as advice that I would give to any photogs trying to build a brand I’d say. Stick with what your good at and shoot what you love. Sounds pretty simple but I think that those are the basic rules that dictate how you should begin to build your image a photographer.

KAREEM BLACK:
It really depends on the shoot to be honest. I never leave home with out my Canon G10. My favorite products camera wise at the moment are cannon products. I love the 5D mark 2. I also shoot with a Hasselblad with a phase back or something.. But I don’t know exactly

LAWRENCEATIENZA.COM: When I enter your site the first thing I see are the Burger King ads you did. That seemed like a fun photo-shoot to participate in. How did you land that job? Did you have creative input in the burger king concept or did the art director handle that side of the photo shoot?

KAREEM BLACK: The burger king shoots are always amazing and a lot of fun. I do those with the awesome people up at Crispin Porter. I think those shoots are the shoots that I laugh the most on. The vision that BK and the art directors come up with is bizarre and sometimes I can’t believe that there are actually people that sign off on the concepts of what we are doing! I mean, there have been a ton of times that I’ve photographed “the King” naked. I mean, the guy is just walking around the set like that with the mask on!

Sooo much fun!

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?

KAREEM BLACK: NO, it not essential at all. I don’t have my own studio. Mot photographers rent studion when they need them and that what I do.

KAREEM BLACK: I’m shooting a lot of stuff for Burger King now.. Strangely enough I’ve been hired to shoot for a major competitor of theirs also. I’ve been working closely with this band that I admire called Dynasty Electric on a bunch of their projects. I’ve shot a few things for dynasty and also directed their newest video… The video should be out soon (if it doesn’t kill me editing it). I try to never forget to shoot my own personal work as well.

FUTURE

LAWRENCEATIENZA.COM: Already a major player in the advertising 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?

KAREEM BLACK:
I honestly just look forward to doing fun stuff… be it advertising, video or editorial. I like shooting things that are humorous and make people laugh. I’d like to also direct more video.

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.

KAREEM BLACK: I take on new interns all the time and although I have a group of assistants that I work with regularly I always try to make my self available to check résumés etc. There are shoots that I do that are like parties the entire city is invited. Next time I do one of those I’ll certainly let you know.

LAWRENCEATIENZA.COM: I am sure you’ve read many articles discussing how in the future video 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?

KAREEM BLACK:
Video is certainly something that I’m trying to figure out. I like the medium and I agree that the two are merging and I think it will be increasingly important if not required for photographers to also have experience as directors. As of now I’m just trying to master the craft and learn how to tell a story with that medium. I’ve directed a few things here and there and I’m starting to get a feel for it.

KAREEM BLACK: I think it’s important to always be shooting, even if it not work related.. (especially if its not work related) this is something that a lot of us forget to do, my self included. As photographers we need to keep growing.. If we don’t then we become irrelevant.

LAWRENCEATIENZA.COM: KAREEM 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.

KAREEM BLACK: in the words of one of my most respected mentors: “shoot what you love”.