January 2009

Anna Skladmann was born in Germany in 1986, but at eighteen left for Paris to start her Bachelor of Fine Arts at Parsons School of Design. After realizing that she knew the walls of the Louvre better than her own flash unit, she decided to leave to New York, where she started to shape a more distinct technical style. There she pursued yearly internships at Annie Leibovitz’s studio and Magnum Photo Agency.

Jennifer Trausch is a New York-based photographer whose day job is operating the legendary 20×24 Polaroid camera at the Polaroid Studio in lower Manhattan. Trausch is a graduate Cleveland Institute of Art where she majored in photography and was an apprentice to Gregory Colbert (Ashes and Snow). She is a master large-format printer. She works primarily with large format cameras.

Livia Corona was born in Ensenada, Baja California, Mexico. In 2001 she received a BFA from Art Center College of Design in Pasadena, California. Corona recently published Enanitos Toreros (powerHouse Books, 2008). The book — with photographs, interviews and design by Corona — is a ten-year documentary on the personal and professional experiences of people with dwarfism who work as the famed Dwarf Bullfighters of Mexico. Currently, Corona is working on a feature film documentary about the Enanitos Toreros and the slowly evolving identity of dwarfism in modern society. Her follow-up photographic project, “Two Million Homes for Mexico,” is a long-term study that reflects on the experience of the individual within the massive tract home developments that are redefining notions of home and community for millions of people in Mexico. In 2008, with this project, Corona was winner of the Architecture Category of the Sony World Photography Award in Cannes, winner of the Architecture Category of the Paris Prix de la Photographie, a finalist for ING’s REAL Photography Award in Rotterdam, a nominee at the Lucie Awards for the “International Photographer of the Year” prize in New York, and a nominee for Mexico City’s XIII Bienal de Fotografia.

Mathew Scott was born and raised in Portland Oregon. At age 21 he moved to San Francisco, where he eventually went to school, and in 2006, he graduated with a BFA in Photography from The Academy of Art. Whether in landscape or portraiture, his camera brings into focus the paradoxical tensions existing just under the surface of everyday life. The juxtaposition of two Americas-the urban and the rural-overlap (and compete) in his photography, as startling images elicit a struggle of dualities. With a throw away gesture, he gives us Yin and Yang, light and dark, compassion and sarcasm. A dilapidated limo sits in the driveway of a gaudy pink house. Under a sky flooded with birds he seizes upon the irony of graffiti painted on the back of an abandoned shack. Mathew currently lives in LA, where he continues to impart truths that to a lesser eye would go unnoticed.

You have assembled quite a cast of characters on your website. For your personal work, what initially draws you to a subject?
‘The people I choose to photograph range from strangers, to friends, to friends of friends. The one thing they all have in common, is they are photographed how I found them. I rarely go anywhere without my camera, and I often spend days just wandering around. what draws me to a subject is where it gets a little complicated, I honestly cant explain why I am drawn to certain people. I see a lot of people everyday, and sometimes I just get an uncontrollable urge to photograph a particular person. I have learned to stop trying to figure out what makes that happen, instead.

‘I just turn off the analytical part of my brain, and just let everything unfold naturally. For me, this approach gets the real person to come out. I don’t talk much when I am shooting, and If someone feels uncomfortable in-front of my camera, than thats who they are, and I like that. I feel this is how I can build a body of work that can be described as characters, instead of portraits’.

Can you talk a little about how you became involved with Veer and how that process works?
‘I signed with Veer when I was in my last year of College. I was interested in shooting stock, so I started researching stock agencies, and I came across Veer’s website. Most stock is really cheesy and safe… old people at the beach, office settings… etc. Veer had a couple of sections that I felt where a little more interesting than the run of the mill stock photos, so I submitted some of my images, and about a month later, i was signed. I rarely set up shoots for stock, I just make it a habit to carry around model releases with me, and if I get a shot I like, I stick it in a folder, and when I get enough images in that folder, I make a submission. I do have a goal this year of shooting more specifically for stock, I really enjoy the creative freedom if gives me, your basically giving yourself an assignment, and it really makes you use your head when trying to conceptualize an idea, and figure out how to make it work for a “commercial” audience. This can be fun and frustrating at the same time’.

What camera are you using?
‘At the moment a Hasselblad 500cm, Mamiya 645 Pro, and a Canon 5D’.

You have just moved from San Francisco to Los Angeles. What kinds of changes has this brought work-wise?
‘Work-wise, it has been a very positive move. There is a lot more going on down here… not that SF doesn’t have things going on as well, its just a simple fact of the size of LA. There is a lot more editorial assignments to shoot here, and that has been good. I am currently working on a pretty large marketing campaign right now, so in a few months, I will see what LA really has in store for me. As far as my personal work goes, its always refreshing to relocate. It gives me new places to explore, and in turn, gets my brain going. Being somewhere new gets me inspired to start working on new projects, or continue ongoing projects that may have been on hold for a while’.

It was an unseasonably cold spring day in 2007 when he exited through the heavy double doors, the words ‘Jamie Chung graduate of Parsons School of Design’ printed on a sheet of 110 weight ecru paper, which he had folded lengthwise into thirds and placed in his inner jacket pocket not five minutes before. The weather in New York has been remarkably mind since then.

Allison Michael Orenstein’s love of photography dates back to age thirteen, when she used her hard-earned babysitting income to buy her first camera. Her passion for the form inspired her higher education, and she earned her BFA in photography from the University of Delaware, in 1998. Thereafter she relocated to New York, and began her career in the studio of the architectural photographer Chun Lai. Allison worked as a studio manager and photo assistant for seven years, all the while continuing to work exhaustively on personal projects. In 2005, she began shooting professionally. Her editorial clients include Fortune Small Business, Real Simple, Smart Money, Fitness, and Bust. Her work has also appeared in New York Magazine, the Wall Street Journal, Elle, and Time Out New York. In addition to her editorial work, Allison continues to experiment, whether it’s documenting her travels around the globe (especially on the high seas) or pursuing various long-term photo projects.

Where do you find your subjects for your personal portraits, and what are you looking for in a model?
‘For my most recent project featuring portraits of “creative types” i.e. musicians, performance artists, dancers, comedians, actors, etc. I started with people I knew and then my need for models spread like wildfire through referrals. There are so many creative people who need photographs so I felt it was a great exchange. Everyone gets pictures, everyone is happy.

‘I live in Williamsburg and when I see someone interesting looking at a restaurant, on the street, or on the subway I sometimes approach them and ask if I can take their portrait. I look for people with something fascinating about them. I don’t know exactly what it is; something about the way they look, their face, eyes, personality, attracts me to them. My subjects for my couples project were found the same way, through people I know, then word of mouth.

‘The project on my wife Simone started when we were first dating six and a half years ago. We took a trip to California after being together for only three months. I photographed her alone and with three best friends. This is the photo of the two women featured here. It’s great to photograph Simone because we travel a lot together so I always have a model available’.

You were a studio manager and photo assistant for seven years. How did you make the transition to professional photographer?
‘I was a studio manager for the first three years. It was great because it taught me the business side of photography. Then I learned the technical side by assisting for four years. I made the transition by gradually getting more shooting jobs and saying no to assisting jobs. The criteria for jobs I would say yes to assist on became more strict. I would only say yes to jobs in New York so I could be here if I got a call for a shooting job. I would only work for photographers who were nice and paid well and paid in a timely fashion. In 2006 I signed a contract with Getty Images. I saw this as a way to transition as well. It has worked out really well to have a monthly paycheck’.

You shoot a lot of editorial work, but contrast that with a number of experimental personal projects. What do these disparate styles bring to each other?
‘I don’t think there is a huge difference between the two. Sometimes with editorial a certain direction has to be taken from the assignment point of view and it comes out more as illustration or documentation but for the most part I try to make beautiful portraits of people’.

Your portrait series contains a number of highly intimate shots. Was it difficult getting your subjects to feel relaxed in front of the camera whilst opening themselves up so much?
‘I think my shoots are a pretty fun and relaxing experience. Of course there are those who hate to be photographed, so I try to ease the pain of it by having a good time. I like to play music, I used to DJ, so now I DJ for my shoots. It depends on who I am photographing but most people just need time to ease into it and open up. The more time I have with someone the more authentic the photograph becomes. I have the time to get to know them better and they get the time to trust me and be in the moment. That’s also why I like to photograph people more than once. Each time we both open up a bit more and let ourselves be a little more vulnerable’.

Jeremy M. Lange was born in 1976 and bred in Durham, North Carolina. He has also lived in Italy, California, Georgia, Boston and Mexico. After working as a carpenter for 6 years, he graduated in 2004 with a BFA in photography from Virginia Commonwealth University and started his photographic career by moving to Oaxaca, Mexico and then spent 3 years in New York City before returning to North Carolina in 2007. Lange has worked extensively in Latin America and the United States covering a variety of stories ranging from kidnapping in New York City to the failed presidential campaign of Manuel Lopez Obrador in Mexico.

What made you decide to start photographing U.S. soldiers returning home from war?
‘I started this project because I felt that I hardly ever saw this side of the wars. You only saw the war from the ground in Iraq and then Afghanistan. You could occasionally see a funeral shot, usually in a local paper, but for the most part it seemed so underreported. At the time it was forbidden to photograph the caskets coming off planes, and I wanted to to test that and found it to be untrue if you were invited by the family, another interesting point that the government statement did not specify. I was curious as what was happening when they came home, how they readjusted, or not, and what the issue that families were dealing with while their loved ones were gone. I did not know anyone who is fighting overseas, and I felt a huge gulf between the general public, most of whom would rather not think about any of this, and the families of the small percentage of our country who is fighting in the Middle East. With an all volunteer military it is easy to not be personally affected and I wanted to know. It seemed so important to bridge the gap in whatever way I can, and this is how I am trying to understand. My personal feelings on the wars are far less important to me than letting some soldiers and their families know that in my own way, I really care about what they are going through and wanted to show others’.

Do you know many of the people in your photographs? If not, how do you go about introducing yourself?
‘I did not know anyone in the photos, at least at first. I am in contact frequently with some of the parents of the soldiers whose funerals I have photographed, I sent them all the pictures and with some, we speak pretty often now. To introduce myself, I would get the numbers of the families and call. That was the hardest part for me, the initial call. It felt so intrusive in a way, but I felt it important to let them know that someone who they did not know at all cared about what happened to their child or loved one. I just explain that and what I want to do and hope for the best. Many people have asked me not to come and that is fine, I totally understand’.

You often photograph emotional situations. Are there moments when you feel the need to just put the camera away for a while?
‘There are moments when I feel I should stop shooting and sometimes I do, if I feel eyes on me, I just go by the feel of the situation, but most times I just keep on. I feel it is so important to show others these situations and if I stop shooting then I have no real reason to be there. If I am asked to stop though, I always do, but that has only happened once. As an example, at the funeral of Joel Taylor, his father Scottie had hired a photographer, but the guy stopped shooting when the ceremony started, out of respect he said. So they had no photos of this tremendously difficult time and they wanted photos. Mine were the only ones. Scottie had been hesitant to have me come but when I sent him the photos he realized what I had and has thanked me several times. He showed the slide show of the photos to his firehouse and he said they all cried. That made me feel like all this is for a reason and that some good can come out of the terrible moments the photos depict’.

You recently moved to North Carolina after three years in New York. Has your photography career changed with the move?
‘Moving from New York was a hard thing to do, I questioned the decision a bunch of times, still do on occasion, but it was the right thing to do. I could not have done any of this if I had stayed. I was working a lot and learning a lot, but I never could get the time or money to work on my own projects and they were all outside the city anyway so we, me and my wife and our daughter, went to North Carolina. It has changed my career a bit, I have to be more flexible in what I shoot, more portraits and odds and ends, to make it work, but all that also makes me a better photographer overall so it is good. It is a challenge to shoot outside of my comfort zone and I like that. I have a lot to learn and it helps. But I have a great situation in NC and am so grateful that I earn a living as a photographer who mostly shoots things that really interest me. It is a privilege. I am still pretty young in my career so it was the right time to make a big move if I was going to do it. No regrets’.

Ted Sabarese’s personal and fine art work have won critical acclaim and have been exhibited in galleries in both the U.S. and abroad. This exposure compliments his many commercial advertising and editorial assignments and awards. He is repped by Josette Lata.

Your advertising, editorial, and personal work have a similar aesthetic while serving different purposes. Is there anything you change about how you shoot when photographing advertising as opposed to personal work?
‘Thank you for the compliment. I think if you look at my body of work, there are a couple, constant elements that have helped to define my aesthetic. Casting and composition. I enjoy shooting individuals who don’t necessarily conform to the typical definition of beauty. People with physical idiosyncrasies and arresting, quirky personalities pique my interest at castings. When one comes along, I start to get really excited and know I have the basis for a provocative image. Compositionally, I tend towards simpler, more graphic setups that allow the talent (and subsequent story) to be hero. I don’t like clutter. I’d rather subtract props than add them to an image.

‘So, to answer your question, I try to do most of the same things whether I’m shooting advertising or fine art. Find a great cast and use a light, thoughtful touch on art direction. For ad jobs, I enjoy working together with the creative team and client. And taking into consideration all of their concerns. When you’re more collaborative, the shoots run smoother, people are happier and you usually finish in a better place. Lighting may vary slightly, also. Many advertising clients are looking for a cleaner, punchier look, but I’ll try to add a bit of moodiness whenever I can’.

You’ve had a few careers before settling on photography. What were the steps you took that enabled you to make a successful transition?
‘Luckily, all of my previous careers, one way or another, contributed to making me a photographer. Teaching college English and creative writing honed my storytelling abilities. Graphic design helped cultivate my visual sensibilities. Working on the creative side in advertising not only made me a more conceptual thinker, but also got me looking at talented photographers’ books and participating in photo shoots, where I watched like a student. During this entire “advertising” period, I was taking photography classes at the New School. Without my advertising background, the transition to professional photography would have been much more challenging. Plus, I have an insider’s understanding of all the different types people involved in the production process—creatives, account execs, art buyers, clients, etc.—and can empathize with all of their individual concerns. That’s proved particularly invaluable’.

There is a definite sense of humor about your work. How did you gravitate towards this style of photography?
‘The sense of humor you see in my work is a pretty close approximation to my own. I’m no ha-ha funny comedian. I’m one of those people who can be quietly amusing, if you’re listening well. I prefer my comedy on the subtle side, whether it’s in photography, film or fiction. After years of experimenting with different styles of photography, I learned that’s it’s always easiest (and best) to do what comes most naturally to you’.

You have many awards under your belt. Do you feel that you have been commissioned for jobs directly from this recognition?
‘Awards certainly don’t hurt, but I don’t know that I’ve ever been awarded a job solely because of them. When my book gets called in for a specific project, the people looking at it may recognize more of the award-winning work. They may be impressed to see my list of achievements. All of this helps on some, maybe subconscious, level, but the portfolio still has to wow them and demonstrate the exact style of photography they’re looking for. That said, I continue to enter all the major shows, every year’.

Do you always carry a camera around wherever you go? If so, what or where do you find yourself photographing most often?
‘I used to carry a film camera with me at all times. Literally. At work, in restaurants and bars, around the city, in church, in the subway, in the bathroom. My friends couldn’t stand me, but I always wanted to be armed and ready for whatever visual possibilities New York threw at me. I took a lot of black and white street photography, party snapshots and liked to give myself projects to work on (I still have a wall of images showcasing close-ups of people’s open mouths). I think there came a point where I got that all out of my system. Nowadays, I do sometimes carry around a Canon G9 and fill up the memory card with pics of my 20-month-old daughter’.

Christoph Morlinghaus studied photography at the Fachhochschule Dortmund, School of Design and Photography in Germany. In 1999 he moved to London. Since then he alternates his time between Europe and New York, where he has his base. His clients include Big, Condé Nast Traveler , Details, Dwell, Fortune, Le Dictateur, Martha Stewart Living, Monocle, New York Magazine, and Wallpaper.

How did you get started in architectural photography?
‘I used to work as a still life photographer, but became increasingly unhappy and bored working all day in a darkened studio. In early 1997, my agent pointed me to an empty building with a tremendous history, the IG-Farben building. I spent a week inside that huge, empty and spooky building and loved taking pictures there. After that, I gradually stopped working as a still lifer and worked more in landscape and architecture. Eventually, I sold my studio to focus entirely on “on location” photography. I recently exhumed the negatives and reprinted them.

There are lots of shapes and patterns taking form in your photographs. Did you have to train your eye in order to see this way?
‘Not particularly. The majority of what I learned in terms of light, colors, composition and aesthetics, I learned from still-life photography and printing my own negatives. I also owe a lot to Otl Aicher, who taught me the importance of clarity and communication, as opposed to being artistic (“the aesthetic of functionality”)’.

How long do you spend studying a building before you start to photograph it?
‘More often than not my time at a certain location is extremely limited. For example, for the shots that I took at Terminal 5, there was no access before the shoot day and I had a very short time window between the construction crews finishing and cleaning the terminal and the TSA clearing it. So I just switched to autopilot, mounted my 8×10 on a dolly, and literally ran through the building and took pictures. Even if I have more time, I try to work as quickly as I can. When I spend too much time at a certain place, the images tend to be too pretentious and artsy’.

Your architecture photographs have a sense of mystery about them. Is this something you’re intentionally trying to inject into your work?
‘I don’t try to add a layer of mystery to the images. The better pictures were all made when I was alone in an empty space. I think that there is more a sense of loneliness to the images. Also, when printing at night in the confined space of a darkroom, there is a feeling of being alone that transfers to the prints’.

What techniques do you use in order to turn a relatively uninteresting location (like an airport baggage claim area) into something beautiful to look at?
‘I don’t use any other technique other than “straight photography”. I only use an 8×10 camera and color negative film (recently I switched to a 12×20 camera and black and white). I never use any other light except for the light that is already there. I print, or contact, my own negatives without the use of a computer. I strongly believe that the beauty and clarity that is inherent in the traditional photographic technique is sufficient for everything that I shoot. I hope that there is a certain amount of truthfulness and honesty in my images that, combined with traditional photography, produces beauty. In addition, I think that the very long exposure times that I use give a feeling of “captured time”. There is a difference between a very short exposure time or a camera flash and a 5-20 minute exposure time’.