Andy Anderson was fortunate to have been chosen to shoot for the Trump Hotel Collection and MMG Worldwide. It was shot over a few phases and we are just now getting to share some of the new. What a fantastic project. Thank you to everyone who made it happen!
I love it when photographers take time for themselves to shoot what has been on their mind. I love it even more when it is not in their own backyard and they venture out to chase their vision. David Martinez recently headed east and was thrilled with what he discovered. Here is what he had to share about it.
“I had wanted to do a personal project on New York City surf culture for some time now. After a little talking around, it seemed like Rockaway Beach was the place – a beach accessible by subway from Manhattan. My producer and I arrived in New York City on one of the hottest weekends of the year. As temperatures rise in the city, so do the number of Manhattanites wanting to take the A train out to Rockaway. It was going to be a busy weekend out there.
3 trains, 2 transfers and 6 bottles of water later, we arrived in Rockaway. We had done a little research before the shoot and through a dizzying tangle of personal connections, we found who we had heard was the unofficial mayor of Rockaway Beach. TJ, was a local guy, a lifelong surfer who was kind of enough to meet us at the subway stop and show a couple of us left-coasters around his neighborhood. Among hoards of other city people, we surfed, ate at the local taco shop, and met TJ’s Uncle Rick on the boardwalk (pictured above). Late in the afternoon – blazing sun and humidity turned to torrential downpour- and all 6 of us piled into TJ’s truck to head to the local pub for shelter. I was a little disappointed at first that the weather had turned just when the surf was about to get good.
Amongst the running and laughter and cursing the rain as we piled into TJ’s truck, a beautiful thing happened that always makes for the most interesting and dynamic images. We all just let go. We stopped trying to get on the perfect wave, get the perfect angle, the sun in just the right place. It happens that most of my favorite images from the trip were created in this way.
Moments between moments.
When the veracity of feeling replaces orchestration. All of these images were made in this space in between….”
To see more of David Martinez’s work, please link here.
© Andy Anderson - wwww.andyandersonphoto.com
Just last week, Greg Bennett, Creative Director at WORKtoDATE featured Andy Anderson their blog. He republished part of the interview that Anne Telford wrote about Andy for a Communication Arts feature story. It struck me as I read it that Andy’s passion for photography is as timeless as his imagery.
Thank you Greg for sharing Andy’s work and vision. To see the images featured and read the article, link here.
© Andy Anderson - http://www.andyandersonphoto.com
When Andy Anderson returned home from a trip to Dillion Beach he shared with us photographs of some pirates that he met there. Yes, pirates. We of course knew that we had to share these and the story behind them. Here is what he had to say:
© Andy Anderson - http://www.andyandersonphoto.com
© Andy Anderson - http://www.andyandersonphoto.com
once again Kevin Twomey eloquently describes for us his experience as a photographer. This time, he describes his trip to the Redwoods with a friend. Here is what he had to say:
“Recently, an old college friend and I embarked on a road trip to photograph the majestic redwoods up in Humboldt County. I knew these trees were old, and tall, but did not expect the humbling effect they would have on me.
My original idea was to capture the beautiful color palate of the redwood forest; the rich greens of the forest floor against the slightly warm to neutral tones of the trees, but when surrounded by these giants I decided to work in the timeless medium that is black-and-white. The forest canopy situated high above us aligned with a partly cloudy day to create a beautiful quality of light falling onto the forest floor.
The camera captures only a second out of the many hundreds or even a thousand years of its life, revealing past fires, decay and fallen trees– a recycling process measured in centuries. So much has transpired in its longevity. Who was there one thousand years ago, to see its reedy beginnings?
The human figure, in a classic pose, offers a humbling reminder that our place in natural history may be smaller than our egos purport. This towering species dwarfs our own in both size and longevity; a coastal redwood’s average lifespan of 500-700 years is three times the age of our democracy, and far exceeds most ruling dynasties.
[My gratitude to the model, Maria, doused in insect repellent, for portraying the needed perspective.]”
© Kevin Twomey - http://www.kevintwomey.com
Andy Anderson was so proud and excited to share with us the feature he shot for Town and Country Magazine about The American Hotel in Sag Habor, NY. He was honored to be able to collaborate with Design Director Edward Leida at the publication.
© Richard Schultz - http://www.rschultz.com
For the last few years we have been really pushing for our photographers to go out on appointments to show their portfolios. It is so important for them to hear the feedback for themselves and make their own relationships. We have always believed that a face to face meeting with a photographer goes a long way towards fostering a long term relationship.
Besides shooting new work, making personal connections is the single most important thing that they should be doing. We remind them that if they can mirror the marketing that we are doing for them, the effects are exponential.
Of course not everyone in the group enjoys this aspect of marketing or even has the time for it. Those photographers tend to find other ways to make their connections. Regardless, we never stop encouraging.
Before a recent trip to LA, I was asked by Richard Schultz to help make appointments for him. Our relationships in LA are strong and his reputation precedes him so they were fairly easy to schedule. We were excited because he had a full schedule.
Since Richard and I were both in LA at the same time, I offered to attend his appointment at Chiat Day. Jigisha Bouverat is an old friend and I thought it would be beneficial for me to be there. Besides, I of course wanted to see her myself to say hello.
The appointment was great. Jigisha and I chatted and got caught up before she reviewed the work. Other art buyers came over as well to say hello and look through the portfolio. They asked Richard questions and everyone was very interested in the stories behind the images.
Exactly how I would have scripted the meeting. I left feeling like it was a success.
Later that night, Richard let me know that while he too thought the meeting was a success, he thought it would have been better had I not been there. His point wasn’t that I was a distraction but that on his own he would have had a greater chance of making his own connections.
I was silent at first because I had never considered this before. I had always been of the mindset that it was important for either Lauranne or myself to be there to help guide the meeting or facilitate the connection. I had never considered that on their own they would have more of a chance to shine. Or, that without one of us they would have to own the meeting and make it their own success.
I was very appreciative of Richard’s observation and point of view. And, more importantly I appreciated that he felt safe in our relationship to let me know what he was thinking.
I am not sure everyone in our group would agree or share his preference but I was glad that he spoke up. I learned something new because he did.
I see huge value in his approach and will make sure to encourage more independence among the group in the future. Thank you Richard.
When Leigh Beisch and David Martinez first decided to redo their portfolios we had long conversations about how creatives that were interested in their work would be using those tools. Times had changed and we wanted to make sure if they were investing all of that time and money into new tools that they were relevant.
We reminded them that the last time they had redone their portfolios the trend was to show a wide range of imagery that told the entire photographer’s story. Even though websites were the go to place to see work, creatives were still calling in books. The idea was that you had to make sure your book told as wide of a story as the website did just to make sure you were covered.
The result was big books (or multiple books) and lots of images. It was not uncommon for some of the portfolios in our group to be 50 or so pages each.
Now, creatives rarely call in portfolios and rely solely on the web. So, when a portfolio is actually requested, the photographer is of course seriously being considered. That means the portfolio not only needs to be outstanding all on its own but it needs to outshine whoever else is on the table.
What we finally landed on for their portfolios were ones that could communicate to creatives that they understood how they reviewed photography for their clients.
• Instead of a large library of images, we showed a small, select group of relevant work.
• Instead of a linear flow of imagery we divided the spreads into the same categories as the clients used to describe their own business. For example, for Leigh Beisch we used categories such as breakfast food, coffee, wine, desserts, ice cream, etc. For David Martinez, we modeled the categories after what people saw on his site; Wellness, Golden Years, Graceful, Wonder Years and Vision. We recognized that if clients were calling in their portfolios, they already knew they were capable. We did not need to prove that to them in the portfolio. Instead we wanted their viewing experience to be relevant to their project and their client.
• Instead of just including single images on each page, we utilized design elements and text as a way for Leigh and David to share their personalities. Leigh’s work is soft and beautiful and so is her portfolio. David’s work is full of movement and beauty. His imagery is full of life and style and so is his portfolio.
• So many of Leigh’s clients like to know what projects she has recently photographed. The tear sheet section help illustrate that best. As well, since the food industry is so loyal and word of mouth dependant, it is helpful to have a client testimonial section.
• Since David Martinez has been shooting video for many of his clients now it was important to be able to show that off in the portfolio. On the last page of his book we now have a video page where clients can watch the actual videos without having to go online. It has been a huge hit. If you want to see it for yourself, email us and we will send it right out to you.
As the other photographers in our group begin to change their portfolios, it has been fun to watch what new elements they incorporate. Stay tuned soon for new portfolios from Andy Anderson and Ron Berg.
© Andy Anderson
Once again Alison McCreery conducts a wonderful interview. This time with Andy Anderson. She always finds a way to bring out the most interesting and relevant stories for her readers.
Together she and Andy talk about the importance of staying curious, bringing inspiration to his projects, and the idea of photographers having a voice. He shares with her his ideas on collaboration and the details of his “greatest story.”
Thank you Alison for being so thoughtful in your interview and providing Andy with a chance to share his vision with your readers.
© Ann Elliott Cutting - http://www.cutting.com
When Ann Elliott Cutting told me about her recent experiences with her team of interns, I asked her to share with us what she learned and some insights for photographers looking for internships. Here is what she wrote.
When I first though about hiring interns, I was reluctant and felt guilty about asking someone to work for free. How would I keep them busy? Would it be more work to teach them what I knew? Would they even be interested in what I have to teach? I quickly decided that it was best to approach it as a learning experience for all of us.
I knew things would go smoothly when I met the interns. They were young, talented and eager to get a start in the photography business. Getting to know each other and sorting out roles was easy. It was such a positive experience that even though the internships for two of them are formally completed, we continue to work together and I am adding a third for the summer!
Part of the reason for our success was how well we communicated. I emailed them each week with the shoot schedule and invited them to come and lend a hand if they were interested and had the time. They seemed to enjoy being on set the best. They did a lot of pre- production work, light styling, helpful editing and casting. I realized it helps them to have the hands on experience and seeing the flow of a shoot. Timing, logistics and business practice seem to solidify during the internships easier then in the classroom. I have learned to delegate without feeling guilty and to recognize their different skill sets.
When Heather asked me to reflect about my time with my interns, I decided that it would be most relevant to share some helpful hints for photographers looking for internships. Having a good experience goes a long way towards shaping how you want to be not only a photographer but as a business person as well.
Some points to think about as you look for your internship:
1. RESEARCH
It is crucial to do your research of whom you would like to work with. Find someone who inspires you and gets you thinking. Look for someone who has the same sense of creativity as you do.
2. BE PREPARED TO SHOW OFF YOUR WORK AND SELL YOURSELF
Make sure you have a website to show your work. Less is indeed more (keep it high quality) and make sure the site is easy to navigate. When reaching out, keep the conversation going, make the effort to meet at their studio. Always follow up. Be persistent but don’t pester. Timing is everything, so keep in touch. Offer to work for free. And , be sure to set it up through the school you attend so you can get credit.
2. DEFINE GOALS AND TIME FRAMES
Define your goals and areas you want to learn about and discuss these with your employer. Determine what you want to learn about and find someone who can teach you. The photo business has many different jobs and being an intern for a producer, ad agency, a photographer or a rep can provide very different experiences. Keep in mind your end goal and where you see yourself in 5 or 10 years. Think of your internship as a place to build a network and make connections for future employment. Spelling out a time frame is important to ensure that the milestones can be planned and realized.
3. BE PROFESSIONAL, ARRIVE ON TIME AND BE DEPENDABLE AND COURTEOUS
This goes without saying but a reminder if always helpful.
4. BE NIMBLE, LOOK FOR OPPORTUNITIES TO LEARN MORE, BECOME THE EXPERT
Always ask questions. You are there to learn. Take initiative. Help out the prop guy or the set builder. Learn some food styling techniques from the food stylist. Become confident in using the equipment. Answer the phone, help prepare and send out a promo. Check in with your employer and set up regular meetings so you can share information and experiences. Observe the pre and post days and notice how the jobs flow in and out. Offer your services outside of the internship; such as an assistant. (I always prefer to hire my interns as an assistant when we are short on set.) Offer good suggestions and think outside of the box. And, offer your special skill set, you might be great at retouching or you might have great people skills on a big set. Become the expert so you are the go-to person.
5. REMEMBER THE LADDER
If you start with a good positive attitude and are helpful and enthusiastic you will climb the ladder faster, get referrals, and recommendations. Most studios are connected to a huge network of other potential employers. We all work for ourselves and we rely on each other for referrals. We trust other photographer’s suggestions when our favorite assistant or stylist is booked. Don’t burn your bridges, it is a very small community and a vast network.
6. CONTINUE TO GROW OUTSIDE OF YOUR INTERNSHIP
Continue to shoot on your own and bring your work in for critique. You have a captive audience to share your work and get valuable constructive criticism. Take advantage of it while you are there as it won’t be as easy to make happen after you leave.
7. HAVE AN EXIT STRATEGY
Here are some of the images that Ann Elliott Cutting show with her interns this spring. Many were done with Type 55 Polaroid which was a treat to work with it again. If you haven’t already discovered the Impossible Project, please link here.
© Ann Elliott Cutting - http://www.cutting.com