I’ve personally known Tony for quite some time, and he has an eye for capturing both composition and emotion – and it’s the blending of these 2 elements that makes his work so engaging.

Now … dig in!

|Brandon Oelling
X-Equals – image, workflow, technology, business

Invariably we all pick up a camera, and at that point the addiction begins. Describe that moment.

No joke it was one photo, I was 14 – it was 1986, I borrowed my dad’s old Canon and started shooting me and my friends skating. We were at this school and Oran was doing these huge wallrides, and I remember thinking “Oh man, this is gonna’ look so good on film.” I snapped the shot and it felt right, but I was all nervous that the film wouldn’t come out …

I went straight home to get a ride to Costco to have the film processed. When I got the film back and saw that wallride photo I was so stoked that I called everyone to come over and look at it …

All photos © Tony Francesconi

… that was it, I was hooked.

How has your shooting evolved over the years? What keeps you inspired?

I really started with skateboarding, moved to art and experimentation, street portraiture, portraiture, studio, and now back to skateboarding.

some great photographers in my life that have challenged me to make better images

I have been lucky to have some great photographers in my life that have challenged me to make better images, take risks, and gain inspiration from, like Kelly Castro, Peirce Schmidt, John Frazier, Spike Jonze.

All photos © Tony Francesconi

You shoot both flash and available light, which do you prefer?

I love available light in most cases, hands down. It challenges me to be more technically correct. It seems with flash you can make so many more mistakes, and you have the luxury to tweak them in post. But don’t get me wrong studio shoots are fun and all but more often than not you loose the sense of context and reality.

Your work goes from environmental to street to portraiture. How do you approach all of these different situations?

They’re all different beasts: Shooting street portraits, depending on the situation, it takes some serious trust from the subject. It takes respect and honesty. For instance I did an essay on a guy named Kelvin, it took me 6 months before he’d let his guard down enough so that every shot didn’t look like he wanted to kill me. We ended up becoming pretty good friends after it was all said and done.

Environmental stuff is fun. I went to visit some friends a while back in Paris. That trip had a huge impact on how I approach photography now as a whole, because they were shooting things in a way I had never even considered. Sure everyone sees the same row of houses in their town day-in and day-out. These guys were taking elements of their lives out of context with incredible results.

All photos © Tony Francesconi

If you could only have 1 lens and 1 body from your bag what would you grab?

1. Canon 5D Mark II
2. Canon 50 mm – f/1.2

Tell us about your post-production process.

Dump ‘em into Adobe Lightroom and final tweaks in Photoshop. It’s kinda’ the only way isn’t it?! (that’s a joke people)

All photos © Tony Francesconi

Parting comments?

Oh yeah it all takes a sense of calm, for any situation. Just be ready, ’cause it’s all about the eyes.

Shameless plug:

Check out DON’T EXPLODE – http://dontexplode.com

Hit me up, buy some prints. Or just say hi next time you’re in Chicago.

All photos © Tony Francesconi

All photos © Tobin Yelland Photography

You started out shooting professionally at a very early age. How did this come about?

I took a photography class  when I was 14 and had just started skateboarding as well. Skateboarding was pretty dead at the time, if I remember correctly, and there were unlimited possibilities to make photographs and get them published although you didn’t get paid that much.

So I got my first photo published when I was 15 without credit but was paid a small fee. Then when I was 16, I got some photos published as an advertisement for Venture Trucks and got paid $100 which was tons of money to me, and I was elated to discover that I could make a living at photography. Before this I never thought that photography might be a good job. I just liked doing it.

I will add thought that there are ups and downs in the business and you are better off being a photographer if you really really love it. I began to make my living with photography at 20 and starved my way in. That is to say I was really broke for a straight year then began to break even and then at 22 began to make some progress as far as getting enough work to survive.

All photos © Tobin Yelland Photography

You’re considered one of the pioneers of skateboard photography, but you’ve moved to filmmaking as well. How has being a photographer helped you in that transition?

Being a photographer got me interested in making moving images or using movie cameras and video cameras. When I started all films and commercials, music videos were shot in on film and the same kinds of film were available in both still and movie formats so the two mediums felt really similar.  I would use the same light meter for both etc. I think it is easier for a still photographer to start to shoot motion than the other way around.

The business side is just as important as the creative side if you’re going to make it.

What do you tell aspiring photographers looking to shoot professionally?

I would say go for it and concentrate on what you like to photograph and don’t do something for yourself because you think someone else might like it. Do it because you like it even if you cant explain it in words.

The business side is just as important as the creative side if you’re going to make it. Get a good invoice template. I like Blinkbid. Write into your estimates exactly what your terms are and don’t be afraid to call clients on anything during or after the job that you agreed upon before the job started; such as hours you agreed to work for, rate, or number of images you agreed to sell for rate.

Sometimes shooting can really feel like ‘work’. How do you stay inspired?

Its hard. I like to remind myself how grateful I am to be a photographer and just keep trying to work on projects that are creatively fulfilling.

All photos © Tobin Yelland Photography

Many photographers have a favorite lens and body in their bag. What do you pick up when given the choice?

I like the Canon 5D and a 35 mm f1.4 lens or the Leica M9 and a 35 mm lens. For video I like the Sony EX-3 and RED Camera with a nice set of lenses.

Tell us about your post-processing workflow.

I use Adobe Lightroom right now and I think it works great. I have a lot to learn about workflow.

Tell us about your most recent projects. What do you have in the works?

I just did a still shoot for Rumba Time, a watch company based out of New York. I am doing pre-production for a  Solitary Arts skate video as well.

I recently did a shoot for Globe Bikes – most of the images on the site are my photos. I am also learning how to edit my videos to have greater creative control in the future and to be able to do more projects on my own from beginning to end.

All photos © Tobin Yelland Photography

The floor is yours, any parting comments?

Thanks for reading!

I love to talk photography so email me if you want to chat at info@tobinyelland.com or visit me on my website .

All photos © John-Paul Pietrus

How did you get started?

I studied fine arts at the Minneaoplis College of Art and Design, with an emphasis on photography. The course was very theoretically oriented, so we worked a lot on the mind and on creativity in addition to achievement of a thorough technical education. After graduation, I moved to Manila, Philippines, my birthplace, in order to get to know my relatives and half of my blood, a bit better. Whilst there I started working for some local magazines, which was really interesting but sort of a hit or miss situation when it came to my shoots.

I remember some of those shoots were indeed quite awful, but others were a success. After a few months, I decided to move to Hong Kong. I was head hunted for a job which, although quite fun, was totally unrelated to my fine arts education. I worked one day and the company was bought out and I was immediately made redundant! I took it as a sign, so I just started knocking on peoples’ doors and showing my book around.

Chic, beautiful, positive, sometimes a bit mysterious, and often with a dash of humour.

I immediately started to work for the South China Morning Post, Eastern Express, and Asiaweek doing some light news and portraiture. Then someone offered me a fashion shoot (I had always held an interest in fashion) and I thought ‘wow, this is great! The subject listens to how I want them to act, and are able to embody a character I create!’ So I started shooting local fashion brands and magazines. After two years in Hong Kong, I decided to take around the world trip as I wasn’t quite sure where I wanted to live.

London was one of those considerations and my third stop on my ticket. I fell in love with someone and by the time that was over, it was three years later and I was in love with London and all that it had to offer.

How would you describe your work?

Chic, beautiful, positive, sometimes a bit mysterious, and often with a dash of humour. I love sexuality but abhor vulgarity in photos. What’s funny is not everyone gets the humour bit, and true, it’s not in every single photo but I think it is a tying thread.

Admittedly, it’s a very particular humour. Furthermore, I think that sometimes, in fashion, people take things way to seriously and are perhaps afraid to laugh and think they might offend me if they snicker at one of  my shots.

On the contrary, I love it when people see the humour!

What is your core business?

Fashion and beauty, touching on celebrity and music.

How do you attract new customers?

Agents, hard selling, networking, socializing, word of mouth, website …

All photos © John-Paul Pietrus

What is the best part of what you do?

The very fact that I’m able to do one of the things I love most as my career! I think that’s less than 1% of the world’s population who get to do that. Additionally, I love meeting and working with all of these amazing people. I am friends with those people who form my teams: makeup and hair artists, stylists, the models; it’s really like working with a family of friends.

All of the smiles in my photos are genuine smiles full of joy.

When I like a model, I will use her again and again as a chemistry and often friendship will blossom. In essence, a lot of my work, although quite lacquered and precise, feels almost like a document of my times with these people ‘playing theatre,’ rather than a commercial image. One thing (from what people tell me) that is very different about my sets to most photographers’ sets is that they are very optimistic, relaxed, fun, and creatively intelligent simultaneously.

I want people to feel comfortable with me, not intimidated. I want them to love their job too, and to have a good time. All of the smiles in my photos are genuine smiles full of joy.

What is the single-most challenging component of your business?

The ‘business side’ of the job, it is not the creative at all. More specific to right now: trying to maintain a good rate with the threatened economy, and make people understand why that rate, which is so high in their opinion, is actually perfectly reasonable. At the end of the day, commercial photographers aren’t just technicians, we are creative minds. The work isn’t just on set, it includes so much time pre and post, devoted to growing ideas.

All photos © John-Paul Pietrus

What is your favorite camera and lens to shoot with?

No single one. Pre digital years, I shot most of my work on a Wista portable 4 x 5 camera. It’s a great apparatus, as you get this remarkable quality and although you might shoot someone full length, you can zoom in on their cheek and see every single baby hair. I’d haul that camera up mountains and in the desert and it never ever failed me. I would like to point out that Polaroid type 55 is my favourite medium to this day. I wish some philanthropist would bring Polaroid back! We really need it!
Now that most clients have a turnaround time far shorter than before, I shoot primarily digitally, using the Hasselblad with a P45 back. I like macro zooms and wide angles, rarely using the standard lens.

I also like to shoot on Super-8 film and use the film stills. And I love my Contax portable camera.

I notice you use both artificial and natural light. Explain how you leverage those in your work.

Artificial light primarily for studio and night, daylight primarily for location. I recently did a shoot which was only natural light and campfire light. We did some of the shooting in the wee hours of the morning, and the four second exposures were deliciously mysterious.

How are you leveraging technology?

My retouchers are a very important part of my work, as I am very particular about color, quality of light, and textures. They can also help me achieve things which aren’t physically possible.

Where do you plan to be in the next 5 years?

I’d like to achieve Paris Vogue, W… and be shooting a lot less often, but on bigger, more interesting projects; I would like to achieve the luxury of more time for more in depth projects and for my personal life. I would like to be exhibiting more. I would like to be working on more books.

Let your creativity flow, and realize that you don’t have to narrowly define your style …

Related to that, I just finished my first book which will be released this Autumn, by Laurence King Publishers. The authors are Sue Huey and Susie Draffan, but I have shot all the images to accompany this fashion book. It focuses on the ‘it bag’; and how the handbag has elevated in status in the fashion world and in the everyday wardrobe.

I’d also like to start my own magazine in a couple of years, and am currently seeking backers, so if there’s anyone interested, please contact me!

All photos © John-Paul Pietrus

Parting comments?

Sincere thanks for interviewing me, these are always fun and I learn a little more about myself each time as I don’t really ask myself these questions. Parting comments as in advice: follow your dreams, always be grateful, and try as hard as you can to break out of any boxes others may have created for you.

Let your creativity flow, and realize that you don’t have to narrowly define your style if you don’t want to, as we are ever evolving and changing creatives.

Insert your shameless plug here:

John-Paul Pietrus – http://www.johnpaulpietrus.com

All photos © John-Paul Pietrus

All photos © Joshua Carroll

How did you get started?

I took a surprisingly normal route into the whole photography business. I started at the age of about 17, studied it in school, hated Biology and Chemistry and despised Business Studies (despite being rather good at all of them). So naturally I went to an arts college. I studied it for a couple of years doing your usual college-style photos, with zero budget and very little sense of style or taste. After then went about creating a style of my own.

I could tell a rather more dramatic version of events, but I think that since this is what it actually boils down to, this is how I’m going to tell it. The arts world is so full of sensationalistic stories. I think it’s good for people to know that you can get somewhere without having to be incredibly fortuitous. Hard graft works. All I did really was stuck with it and believed in myself. Make your own luck.

What is the single-most challenging component of your business?

Organization. When it comes down to it, the hardest thing to do is find that magic day when everyone can come together. I’m careful when organizing shoots, I don’t like people coming from one shoot straight to mine, they’re often drained and they tend to be prepared to settle for less. Being picky can be hard, but I think it’s worth it. But when you’ve got the right people at the right time in the right place, everything sort of takes it’s own course.

I suppose that choosing people can be tricky as well. People can choose to represent themselves how they want and often talk themselves up a lot, which is often required to get the big jobs. But it also means that it can be difficult to tell who actually has the connections to get you the stuff you want to shoot.

How do you attract new customers?

Mostly by word of mouth. I’m quite picky when it comes to work, which probably means I could be earning a lot more than I do. But I think that working with people I don’t want to work with would be doing myself a disservice – I find it often saps creativity rather than adding to it, so I end up doing something that I’ve done before and playing it safe – which I don’t particularly like doing.

I’m quite lucky in that people who work with me seem to pass on my name a fair amount. So I’d say my way of attracting new customers is keeping my existing customers happy.

I’m impressed at the amount of business some people can generate with social media sites.

All photos © Joshua Carroll

How are you leveraging technology in your creative process?

Goodness, how DON’T I leverage technology would be an easier question. I use Photoshop to sketch out ideas, I use Action Method to help plan shoots, I use Aperture to basic editing, I use Photoshop to do anything that needs to be a little more extreme. I often wish I could write applications for myself so that I could make my workflow even shorter. I have loads of little applications I’d love to make. Little things that would just make my life that little bit easier.

I also keep a massive amount of RSS feeds coming through, from Paranaiv, Contributing Editor, Thanks for the Submission and Foto Decadence. Just some of the blogs I find invaluable for inspiration.

Also, as someone who hates cutting things out of books (I have OCD) I keep a folder on my desktop which I regularly fill up with inspiration. Images I’ve just dragged off the net that made me go “Oooh…” at the time. I find it far easier than bookmarking because otherwise I’d fill up my bookmarks with so much stuff that I’d never be able to find anything.

Do you leverage any Social Media (Twitter, Facebook, etc.) to generate business?

I’ve been a little bit slow on the uptake on this front, I really only use Facebook when I absolutely have to. Twitter I joined mainly for social reasons, I’m only just getting to grips with how it can be used for business! I have quite a few friends that I keep track of on there so a lot of my tweets are social.

I’m impressed at the amount of business some people can generate with social media sites, but I haven’t gleaned that skill yet. I might have to sit down and learn it some day. I used to be a big deviantART user. I no longer have the time to keep it updated, which is a bit of a shame – but I don’t think it represents my target market very well, and I don’t know if I’d generate any business from it anyway.

What is your favorite camera and lens to shoot with?

Oh, I’m a real lens-o-phile so I could go on for ages about this! My Leica is my true love when it comes to cameras, hence my Twitter username. I shoot stuff which I don’t show people, a long term project.

And that’s all shot with a Leica M6 and either a 35mm f/2 Zeiss Biogon or a 50mm f/1.4 Summilux – the Summilux is beautiful, with bokeh so creamy you could melt when you see it – it’s almost as old as I am and it’s still going. It’s seen so much and it still has so much to give.

But my real workhorse, and a lens which is a bargain for the price, is the Canon 24-105mm f/4 L – make sure you test one before you buy it though, there are some lemons out there.

It’s an easy studio choice, means very little switching between lenses and it’s sharp from 24mm to 105mm, so I can move around and change the flatness of the field as I wish. I love a lot of L lenses, but this one stays on my camera for a very large portion of the time.

I know that a lot of people love Hasselblad, and I think that they’re beautiful cameras, but I don’t feel it suits me or my style. I’d like to shoot 5” x 4” sometimes, there’s a real art to it and I love how much you have to slow down to use it. Give me a digital 5” x 4” and I’d love it! Unfortunately, I can’t quite justify the costs of the film at the moment. So that’s on hold.

And I want to put in a good word for the Yashica T3 and T4, I use them as on-the-go cameras that I can take anywhere and I’ve taken some lovely portraits with them. It’s a real snapper camera, and I used to be so against that.

I thought that if you don’t have complete control over your settings you weren’t really making the photo. But ‘not thinking’ is sometimes a good thing. The simplicity of being able to just shoot reminds me to experiment.

Photos are like icebergs, you only really see 10%.

All photos © Joshua Carroll

I really like your use of light and the dramatic effects you get with your setup, can you explain how you achieve this?

Photos are like icebergs, you only really see 10%. You’d be amazed at the amount of photos where someone is just out of the frame with a piece of white foam-core. But a lot of of my setups are deceptively simple, two long softboxes and a large softbox or a beauty dish – and the two long softboxes are on the background. And flagging. Blocking light is just as important as creating it.

The best advice I can give is start with a base and build up. I always start with a very simple setup. Just one light. A softbox or a beauty dish, maybe a snoot. I look at how it works with the material, what it highlights, what it brings out, what’s left in shadow. I move it about until I’ve found the basic highlights, the basic shape.

I then add light, using snoots, beauty dishes, softboxes, whatever I feel is appropriate – there’s no set formula to what i do, I just try to keep a general ‘feeling’ throughout the shoot. I slowly increase and decrease the power of the output on each light individually until I’ve found the balance I need. The last thing I choose is the background, the last thing I decide is the tone that is best going to highlight and compliment whatever is in front of it.

A lot of people do this the other way around and go background first, but I find that when I think about it, doing the backdrop last actually makes more sense.

Often, the fewer lights you use, the more dramatic the effect because you naturally get harsher shadows and highlights. You can tell in one of my shots that it is shot with just one beauty dish, just by looking at the floor. I think it just worked nicely, it gave it the feel I wanted.

Poses also add a lot to the feel of a shot, dramatic lighting is only half the story – you can’t expect to light something and for it to magically be dramatic. You can use the same setups that I use for fashion for portraits and get quite a natural feel with some of them. So I think I also have to say a big thanks to my models for the dramatic effects, especially Alison. She was a real trooper.

Some of the poses we did were not easy to hold in those dresses (we are talking some clothes that weighed between 30 and 50 lbs). You’d never know that she was such a sweet girl who arrived in a cute battered leather jacket with a bit of a pixie cut.

How do you inspire yourself?

Many ways. Magazines are great as a source of inspiration, I particularly like Volt, Wonderland, 125, Noi. Se, Tush and Vogue Italia. If I take a bag out with me, likelihood is I have 3-4 fashion magazines on me. I spend far too much on magazines. RSS feeds, like I mentioned earlier, are also a fantastic (not to mention far cheaper) source of inspiration.

I love sitting in a quite café and studying people’s lighting – light is our medium as photographers and the more you understand it, the more you can control it and make it do what you want. I sketch out how  think they might have done it, how I might modify it to get a similar effect, but more in my style.

What gets me going is a designer’s clothes. Gareth Pugh makes me go all weak at the knees. As does Alexander McQueen. I love seeing a good fashion designer’s work, it always makes me want to put something together. I try to keep up to date with a lot of the catwalk stuff. I look up stylists online, see what they’re doing. Some stylists out there are incredibly

What do you say to those folks looking to get into the business?

Work hard and be honest. There’s always someone out there that’s charging a cheaper rate than you. The thing is, cheap is cheap – and charging a cheap rate can often say something about you, whether you want it to or not. It’s worth sticking to your rates and being worth what you charge.

And on the line of being honest -  if you’re not straight with people, people won’t be straight with you. Being bitchy helps no one. If you’re not a nice person, people won’t want to work with you, especially if it’s a long term project.

A kind word can work wonders, but mean it sincerely – compliments thrown about mean nothing. Mean what you say and say what you mean.

All photos © Joshua Carroll

Parting comments?

Work with good people. I kid you not when I say that a good stylist can make something out of nothing (I have a preferred phrase for that, but I’m not sure if it’s appropriate for publishing!). It’s not cheating to hire someone to delegate to, it’s plain smart – I couldn’t get hold of Marko Mitanovski’s clothes myself, so I got someone who could to do it for me. You don’t have to do everything yourself.

It’s amazing how much other people are willing to help out when you say the words ‘fashion shoot’ – don’t be afraid to take advantage of this, it’s a key that can unlock some useful doors.

Go the extra mile. Even if it only works out 3-4 times out of ten, those times will stand out to potential clients, they’ll know that you’re really going for it. Successful risk taking is one of the biggest winning moves in almost any business.

And finally, love what you do. If you don’t love it, don’t do it. I can’t stress this enough. It’s what keeps you going when the chips are down.

Insert your shameless plug here:

I have a website – http://www.joshcarroll.co.uk/ which shall be updated at some point when I have a bit more time.

Also, check out http://www.krop.com/joshcarroll/ – they have the space to host my images nice and large, which I think is brilliant. They do great portfolio hosting.

In August, check out Page Fashion Magazine – http://www.pagethemagazine.com/ – my Shapes&Shadows set will be published with them. It looks awesome in print. So grab a copy!

All photos © Joshua Carroll

All photos © Beth Jansen

How did you get started?

Like most female children’s photographers, I got my start once I had my first child.  After multiple disappointments in studio I was inspired to get images of him that I loved taken by someone that loved him.  When a friend gave me his old SLR film camera I had a new mission in life.

How would you describe your work?

Whimsical, fantastical, and full of spirit.

What is your core business?

My core business is children.  I shoot mainly kids, at the moment about 50% of my work is newborns.  It wasn’t always that way but I believe now that my newborn work is different enough and people are really noticing and enjoying the non-traditional approach I give them in their newborn images.  The other 50% of the kids range from 4 months to teens.

I also get a few engagement sessions here and there and have three weddings on the books for 2009, still getting used to the wedding thing!

How do you attract new customers?

My old customers attract the majority of my new customers.  Being a boutique photographer you can’t handle the masses nor do you want the masses, you want a client that can relate to good art, so word of mouth tends to be good to me.  I also do some advertising in specific magazines in town that target my favorite neighborhoods.

When I began the ads I was booked for 8 weeks out but I wanted to brand myself to the area.  I’m not sure how many new clients it brings but people mention the ad all the time!

I want my viewer to just say, “Wow, that image makes me feel.”

All photos © Beth Jansen

What is the best part of what you do?

The best part of what i do is meeting all sorts of amazingly cool people.  My husband and I moved to Oklahoma City less than two years ago knowing only a few people.  Because I was awarded the opportunity to meet a new family 6 times a week we were able to meet people fast.

I am 150% an extroverted people person that gains energy from others, so this ‘job’ is the perfect fit.

I don’t know how many times as I’m shooting away I’m maintaining interesting conversations about wine, food, politics with mom and dad and making little Johnny smile with eye contact.  Also, art attracts art and if you’re an artist, it seems we’re all drawn to each other somehow, so I feel constantly in the know with the coolest most imaginative people around!

What is the single-most challenging component of your business?

The single most challenging component of my business is making it feel like a business.  I’m absolutely HORRIBLE with the money end of things, I can’t keep track of anything, I lose receipts, I have two many accounts and credit cards.  In the end I had to keep to what I’m good at and hire someone who could manage my business responsibly!

What is your favorite camera and lens to shoot with?

My favorite Camera is the Canon 5D Mark II, the ISO range will knock your socks off and because I use natural light I need all the help I can get!  My favorite, never fail me lens is my 50 mm 1.4, I use it 90% of the time.  I shoot wide open whenever I can and it gives me that rich DOP every time.

I am 150% an extroverted people person that gains energy from others, so this ‘job’ is the perfect fit.

All photos © Beth Jansen

I notice you use a lot of natural light. Explain how you leverage that in your work.

I could never shoot in studio, I would get way too bored creating the same images which is why I’m hooked on natural light.  I get such a rush showing up to a spot for the first time and searching for good light.

I love the look and feel and richness of it all.  I’m not a purist either, I’m not afraid of full sun, blown out light, little sun… I feel that we all create moments in different light so images don’t have to be taken when the light is technically perfect.  The only time I have a hard time shooting with natural light is in dark homes but if there is light I will find it.

And a little confession, I barely even know how to use a flash – it looks SO horrible every time I’ve tried.

How are you leveraging technology?

I’m a Photoshop JUNKIE.  I find as much pleasure in Photoshop as anything else in my work.  I feel that post processing, whether people like to admit it or not, makes or breaks a photographer.

If you can’t make an image stand out with a unique or consistent post processing style you’re in trouble.  I enjoy that every image is a new piece of art that is molded with enhancement.  I often create images that I want people to question its validity.

I’m not worried about timelessness in most of my images, I want my viewer to just say, “Wow, that image makes me feel.”

Where do you plan to be in the next 5 years?

5 years?  Good god, i barely know where I’ll be tomorrow but I have a BIG old bleeding heart and when my husband is done with residency I see a lot of non-profit work in my future.

But I love my job, really really love it so if I was where I am in 5 years I think I’d be pretty happy.  I do feel though that the market is crazy busy these days, I couldn’t believe how many of us were at WPPI this year.

I just hope to stay ahead of the game both technically and creatively so my images remain fresh and imaginative.

Parting comments?

Thanks for the spotlight – one step closer to Oprah!

Insert your shameless plug here:

In case you needed more color in your life: http://www.bethjansenphotography.com

Blog: http://www.bethjansenphotographynews.blogspot.com/

All photos © Beth Jansen

All photos © Michelle Moore

How did you get started?

I had an interest in photography in high school, especially my senior year when I took my first B&W darkroom class.  It was love at first sight as I watched my image develop on a piece of 8×10 Ilford paper.  When I got to college I took a “hiatus” from my art, until one fateful day, a friend of mine in a local indie band asked me to photograph them at a live show.  From that day on I was photographing local indie bands, getting into shows and shooting promo gigs.

After two years, I found myself ready for something fresh.  I always had a love of fashion, and working with people so I decided to get into Fashion Photography.  I shot everyone I could get my hands on, put together a book, went to the agencies and started testing with models and working on my portfolio.

How would you describe your work?

Light, romantic, fresh.  With my fashion work, I try to let the poses and movements be as natural as possible, while telling a story.  For my seniors, I try and bring an element of fashion to my work, while keeping the shoot about the personality of my client.

I try and help the models or people I work with feel comfortable and act natural in front of the camera.  I think this helps keep my images fresh and youthful.

What is your core business?

I consider myself a Fashion Photographer that specializes in High School Senior Portraits.  I split my time between the senior portrait market here in Seattle and testing/producing fashion shoots.

How do you attract new customers?

I attract new clients through my blog, Facebook, and networking with people.  The fashion industry is very much a face-time industry and so going to agencies, fashion shows, and reaching out to potential clients is the best way to start a fashion career.  I use my blog as a way to post new work daily and it keeps people interested and coming back for more.  Facebook and word-of-mouth is how I reach my seniors.

What is the best part of what you do?

Getting to meet new people on a daily basis, working my own hours, and being able to travel.  I really feel the most important part of my job is making people feel great about themselves.  Whether it’s working with a model, or a portrait client, I think it’s so important to encourage and engage them.

I always hope to reveal my clients inner beauty as well as their outer beauty.  A photograph can change someone’s life… for the better.

What is the single-most challenging component of your business?

Being solely responsible for yourself.  It is extremely challenging to wear many hats, and problem solve on a daily basis, but at the end of the day it’s extremely rewarding.  If you’re not ready to work 80+ hours a week, this business is not for you.

I always hope to reveal my clients inner beauty as well as their outer beauty.

All photos © Michelle Moore

What is your favorite camera and lens to shoot with?

I shoot Canon.  I have a 1Ds Mk II that I have been shooting for 3 or 4 years now.  My favorite lens is the 35 1.4L from Canon.  You really cannot go wrong with that lens.  It allows me to move around, and get close to my subject.  I love its flexibility, sharpness and ability to be flattering for everyone.

I notice you use a lot of natural light. Explain how you leverage that in your work.

I am in love with natural light, fresh air and urban landscapes.  Being outside is so liberating!  Working with the light you have teaches you to think on your feet and forces you to work with the environment.  One of my philosophies is keeping everything natural.

I try to stay away from artificial lighting (unless I’m working with a model in-studio) and bringing too much excess “stuff” to a shoot.  I like all kinds of natural light; back-lighting, flare, open shade, and even direct sun at the right time of day.  I always look for spots that bring a “sparkle” to the eye.  Without any reflection (natural or bounce) eyes will look lifeless and blank.

You’ve also been using a tilt-shift lens in your recent work, tell us more about that.

I just love how unexpected the results from it are, and how you can really use it to further aid in the storytelling of an image.  It is a really fun lens to use in moderation and can yield some really stunning results!

A photograph can change someone’s life… for the better.

How are you leveraging technology?

I keep it really simple.  I shoot digital, and have an easy workflow that goes from my CF card, to my hard drive, gets selected in iView, then edited through Photoshop, then saved & uploaded!

Technology + Networking on the other hand is a whole other ballgame.  I use my iPhone to keep in contact with clients, friends and other photographers on the go through email, Facebook + Twitter. I try and stay as in tune to the pulse of the online world as possible, while still maintaining real life relationships with people, clients and photographers around the world.

Where do you plan to be in the next 5 years?

Traveling the world shooting editorials for magazines, and campaigns for designers.  My dream would be to have a studio in New York, and a home in Seattle so I can travel back and forth.

Parting comments?

Pursue your passion for photography or anything else with reckless abandon.

Insert your shameless plug here:

Find me on the web: http://michellemooreblog.com

For more FAQs about photography check out the Photographers category on my blog!!

Twitter: http://twitter.com/moorephoto

Facebook: http://www.facebook.com/home.php?#/group.php?gid=2256818079

I am in love with natural light, fresh air and urban landscapes.

All photos © Michelle Moore

Postscript

I’m a sucker for natural light myself, and Michelle handles it like a maestro conducting an orchestra – ’nuff said.

For continued inspiration, be sure to check out her blog!

|Brandon Oelling
x=photography+consulting – image+workflow+technology+business

All photos © Tom Hoops Photography

Happy accidents seem to be happening to me a lot lately.

While cruising Twitter with absolutely no goal in mind, I ran across a mention of Tom Hoops website. After viewing maybe 2 or 3 of his shots from his Heads series, I immediately tracked him down to participate in a Photo Profile.

I’m still totally astounded at how well he manages to bring a unique approach to his subjects – all the while doing it with such superb depth and control.

See for yourself, and be sure to share your thoughts in the comments!

How did you get started?

Funnily enough I wanted to do some painting. I thought by picking up a camera I might capture some interesting people that I could then go on and paint. So initially a very good friend of mine offered his camera for a week or so.

I went out everyday and shot just about anything, most of my shots were street shots, people living in the slums and crowded streets of Bangkok. From then on I was hooked, popped out and bought a camera and I’ve not stopped since.

What is your core business?

The core is probably my portrait work and commercial shoots for fashion, music, etc.  I also sell a fair amount of prints through my website, exhibitions and through lensmodern in the UK. Having only just recently signed with Getty Assignment I am expecting my commercial workload to increase. I’ve also shot some journalistic work too for magazines but only when requested to do so.

How do you attract new customers?

Well my main marketing tool has to be my website, I keep the site up to date with new work photographically and use the blog to let people know about anything interesting. I aim to expand the blog this year to try and make it more interesting for those that make the effort to read it.

I also try and send out some emails when possible to introduce my work.

How do you promote yourself?

Emails, twitter, blogs, magazines, television and the internet. I try and put my name out there wherever possible. I’m due to sign with an agent shortly and that should open up things for me too. I’m not a member of any professional organizations as yet.

I think a good photo will do more promotion than a well crafted written email, so unless I’m outlining a story my emails are short and to the point. Editors, agents and image buyers are bombarded daily with images. It’s all about making some impact.

Editors, agents and image buyers are bombarded daily with images. It’s all about making some impact.

All photos © Tom Hoops Photography

What is the single-most challenging component of your business?

Doing interviews, I jest, but i do find them rather difficult. It’s a funny feeling knowing that some people are interested in what you have to say. I have done a fair amount of interviews now, both in the press and television. In some ways the written ones are more difficult as you have time to ponder what you are trying to say. I’m sure it gets easier the more you do though.

I shouldn’t complain though, I actually think I’m extremely lucky to be in a position where people think I’m worth talking to. The challenge for most of us is to get noticed, get our work in the minds of editors,buyers and clients. Interviews and showcases really help.

How are you leveraging technology?

I’m more interested in the compositional, creative and subject side of photography, I do all my own post processing and digital retouch if needed. Parts of it can be a chore but in general I really quite enjoy it.  I was working with all this software before I took up photography so I’m relatively lucky in that I don’t have to learn a whole new system for working on images. It’s a vital part of photography these days. I feel that some people get so caught up in the techy side of photography that they lose sight of the art and the creativity.

How would you describe your work?

Strong ,compelling, a wee bit dark.

It’s been described by others as beautiful,moving and inspiring. I just try and keep it simple. If it’s personal I shoot the sort of work I would be happy to have on the wall, If it’s for a client then I shoot to the brief and try to add a little bit of me. I am constantly trying to improve; do something a little better than last time – it’s always a learning process.

My work will evolve so this time next year you should probably ask me again.

I feel that some people get so caught up in the techy side of photography that they lose sight of the art and the creativity.

All photos © Tom Hoops Photography

Where do you plan to be in the next 5 years?

Wow it’s difficult to say. Ideally I wouldn’t be rooted anywhere. Everywhere has it’s benefits, New York, London, LA, Asia. I love to travel. In terms of the sort of projects I’ll be working on … I hope more of the same but with higher profile clients – and a few more exhibitions along the way.

Parting Comments?

Well a big juicy thanks to everyone here for asking me to do this. I hope I have not been too boring. I’m more fun if you meet me..:)…promise!

If anyone has any further questions I’ll be more than happy to answer, just drop me an email.

Insert your shameless plug here:

My site: www.tomhoops.com

I am constantly trying to improve; do something a little better than last time – it’s always a learning process.

All photos © Tom Hoops Photography

All photos © 2008 Melissa Rodwell Photography LLC

How did you get started in Photography?

I initially wanted to become a fashion designer. I had been collecting Vogue since I was 12 years old and had just fallen completely in love with fashion. After seeing a photography exhibit of Helmut Newton’s work in a Paris gallery at 17, I came home, begged my dad to let me use his Canon AE 1 and the rest, as they say, is history. I went to Art Center College of Design in Pasadena, California to master the technical side of photography. I graduated in 1987 with a Bachelor’s Degree in Photography. I started shooting commercially while I was still in school.

What is your core business?

My core business is fashion, music and personality photography. I do shoot the occasional architecture and interior jobs because I love doing it. But I don’t promote that side of my work. I get those gigs through friends and word of mouth.

How do you attract new customers? Direct Market? Referral? Blog? Association membership(s)?

For one, I send out promos and do email marketing campaigns at times. I keep my portfolio constantly updated for drop offs and last minute appointments. I get a lot of gigs through word of mouth and contacts. I do not belong to any associations, however I did belong to APA at one time, but only for their great resource of attorney help and forms like licensing and invoices. My website usually is my main promotional tool now. I direct potential clients to it and I keep my site updated all the time.

How important is it to have a website?

Honestly, in today’s market, I don’t know how a photographer that wants to make a living from photography can live without one. It’s a must!

What is the single-most challenging component of your business?

That answer has changed a lot over the years. In the beginning, the challenge was to establish my name. Then it was to collect tear sheets for my book so I could get bigger jobs so I had to travel a lot. Then the challenge was how to have a relationship AND a career. Then it was how to find a base so I could focus more on my work.

Now it’s about time management.

I am married… again, and also have a blog that needs attention. So it’s learning how to be a good partner in a relationship, write for my blog and write people back who are subscribing and supporting my blog. All the while, shooting gigs, doing the post work from my shoots, editing the pictures, getting the images to the clients, looking for more work, testing for my book with new ideas I want to try out and also doing things for myself outside of photography that ultimately nourish my creative side and aid in expanding my Self. It’s not easy, trust that!

” I keep my portfolio constantly updated for drop offs and last minute appointments. “

All photos © 2008 Melissa Rodwell Photography LLC

How are you leveraging technology in your business?

By hiding from it?? Oh wow, it’s heavy. Coming from such a hardcore background with film, I was a little miffed I had to learn a whole new medium with digital. I sort of balked at it for a long time. I’m slowly grasping the knowledge. And to be honest, I outsource my workload.

For instance, I hire people to retouch my images. I do my image processing in my home office, but the retouching I leave to the pros. I do a little bit myself, but only for fun. I will read up on new equipment and new technologies all the time. I actually milk my assistants on my shoots for the latest info! I know that sounds crazy, but I ask other photographers for their advice and input.

How would you describe your work?

Sexy. Emotive. Strong. Well lit. My strongest ability as a photographer is my ability to capture the moment and to pull something out of the model that is provocative. I also believe my lighting is a strong suit of mine. It took years to master these abilities, no doubt!

How does an aspiring photographer gain expertise in fashion photography?

I get asked this a lot and my answer is always the same: Shoot! Shoot all the time. And then pick up your camera and shoot some more! Shoot until your hands are aching. The only way a photographer gets better is by training their eye and you train your eye by shooting a lot of images!

I also want to emphasize the importance of understanding fashion. You must understand clothing design and fabrics. Fashion photography is the business of photographing a product: the garments. You must understand the product you are working with in order to be a success at it. You need to understand how silk drapes on a body and what kind of light is best to use when shooting it. Or velvet. Or taffeta.

I see a lot of photographers take more time making the model’s look great but the clothes are wrinkled or poorly lit. In that case it isn’t a fashion photograph. It’s a model photograph and that won’t get you gigs. Unless, of course, you want to do paid tests for agencies. Which isn’t a bad way to start to build your book, but your work is going to have to show you know how to shoot the garments otherwise you won’t land fashion gigs.

How does a photographer stay in tune with industry trends and fabrics / materials; how to set proper lighting, etc. ?

Testing with lighting is the best way to try out new trends. Trends can be found by picking up the current issue of any fashion magazine on the newsstand. I read Vogue, instead of looking at the editorials. That way I keep in touch with who’s designing for who and what they’re designing.

” Shoot! Shoot all the time. And then pick up your camera and shoot some more! Shoot until your hands are aching. ”

All photos © 2008 Melissa Rodwell Photography LLC

Where is the company headed in the next 5 years?

I will continue to shoot fashion and music gigs until I can’t shoot anymore, I know that for sure. I’d love to see my blog grow. I am utterly blown away at how many people are responding positively and I am loving the community spirit that is growing within it. I also am prepping/shooting/thinking of ideas for another photography exhibit that hits very close to home. It’s fairly controversial so I am going about it with baby steps.

So far, I’ve shot 4 images for the show.  I would like to have about 20 when I’m completed with it. I also would love to publish a book from my Boys Collection and from this future show. I just signed with a killer agent! So hopefully that will be a long, successful relationship as well. I know I will be based in Los Angeles from here on out. I’ve traveled way too much and have lived all over the world and even though I have a love/hate relationship with this city I have FINALLY accepted that LA is my HOME and its’ where my heart is!

Parting comments?

I just want to thank you guys for giving me this opportunity to speak about myself and my work. Fashion photography has afforded me a great life! I have traveled to amazing places and have met incredible people along the way. I am truly grateful for the passion I have for it and the gift I was given to see.

The one thing I will add is that your passion for anything in life is tantamount to your success. If you’re not passionate about photography, or fashion photography per se, it’s better to find what does drive you and go after that. Fashion photography is a competitive industry and if you aren’t 100% in love with it, somebody right behind you is. And they are happy to take those gigs right out from under you!

Insert your shameless plug here:

If you get a chance, check out my blog: www.fashionphotographyblog.com

For my commercial work, check out: www.melissarodwell.com

For my exhibition work, check out: www.melissarodwell.net

” … your passion for anything in life is tantamount to your success. “

All photos © 2008 Melissa Rodwell Photography LLC