W

THE PORTRAIT COLLECTIVE

Vol. I
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 PORTRAIT COLLECTIVE

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Thanks from Photo
If you’ve read our previous Collectives, you know the
deal. So why waste time? We’ve asked the questions you
know you’ve wanted to see answered. We’ve pulled the
best advice from the greatest photographers you know
you’ve wanted to read. And just like before we’re confi-
dent you’ll enjoy this amazing talented and innovative
work just like we do.

Following this history, we’re calling this one the Portrait

Collective. We’ve interviewed our favorite portrait pho-
tographers from around the world and collected all their
insights, thoughts, and tips in one free ebook for you.
We’re sure you’ll love their work as much as we do.

All we ask is for you to continue spreading the word by

liking us on Facebook and following us on Twitter. Please
continue being so great. And tell your friends that they
can get it at http://www.photowhoa.com/portrait.

Because here at PhotoWhoa we want to help you be-

come a better photographer. That’s our purpose. We find
the coolest photography products at exclusive prices that
will help you improve your skills, so you don’t have to.
But if you have no idea who we are, check us at http://
www.photowhoa.com. We’re sure you’ll find something
you’ll like.

This background photo was taken by Erik Madigan Heck.

oWhoa!
 CONTENTS
the P o r t r a i t Collective

Brian Higbee, 8
Anna Wolf, 16
Erik Madigan Heck, 24
Kristina Loggia, 36
Jamie Diamond, 42
George Elder, 48
Ben Zucker, 52
Mark Peckmezian, 62
Jeremy & Claire Weiss, 70
Catie Laffoon, 78

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PORTRAIT COLLECTIVE

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 PORTRAIT COLLECTIVE

See yourself
walking alone
through which-

CAPTURING THE TRUE FORCE OF BEAUTY

BRIAN HIGBEE

ever city you

live in, near its
9
core, through
its streets. It’s
night. You’ve
Y
already experienced your first love, felt the ou left your eleven year career in
sinister contradictions that one brought, and graphic design to shoot photography.
have since known the twin nature of beauty — What was more appealing about pho-
already deciphered the many symbols it wears. tography? How did you get your start?
But despite your experience, on this walk,
you then see the face of a person so beauti- Photography has always been a part of my
ful you’re at the point of fainting, at pains for life. My grandfather was the photographer
staying still — never has something captured of the family, other than being a radio host.
your attention as intensely until now. You wish That inspired me to want to shoot. I grew up
you were closer, so you go. When you’re finally skateboarding, snowboarding, bike racing and
close enough to reach out, you see that it’s anything other actions sports I could do. I was
only another advertisement for another sum- heavily influenced by music and arts too. Early
mer blockbuster. on, I was taking photos of friends skateboard-
Celebrity photographers like Brian Higbee ing and playing in bands. I soon realized that
know exactly how to stop the eye and pull you photographing people was my passion. I love
in. They understand that the celebrity portrait connecting with people, learning their history
is mythmaking in the highest order, and that and where they came from. Everyone has a
this mythmaking puts you in a moment be- unique story.
yond yourself. Having worked with Interview,
considered the first magazine published for the When do you realize that you had potential in
cult of celebrity, Higbee goes for the weakest photography? Were you ever unsure of your
part of you. He tantalizes your eyes. He makes talents?
work that confidently understands that the
everyday experience we live for is not always I realized I had potential when I started shoot-
what we want to see. His portraits trade in the ing my own portraits for my commissioned
pull and repel of a beauty seemingly close but graphic design jobs. From the beginning, I’ve
always out of reach. always been comfortable with a camera in my
In this interview, Higbee talks about his work hand. Holding myself accountable of any mis-
with Interview magazine, explains why he loves takes I’ve made in the process has strength-
woodwork and snowboarding, and reveals his ened me and my work ethic.
approach to natural lighting.

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PORTRAIT COLLECTIVE

11
 “Understand-
ing how to
work with
strobe and
natural light
is crucial, so
that you can
achieve even
more with the
location.”

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 PORTRAIT COLLECTIVE
You’ve shot for Interview. I love that this one of Maddie Hasson (top left). were a mix of natural light and strobe.
magazine. How did you secure work Could you explain how this image There wasn’t enough light in a lot of
with them? Who was your first ce- was made from start to finish? How the rooms. If I can use only natu-
lebrity client? did you approach directing her? ral light, I will. Nothing beats natural
light. BUT, you don’t always have the
I did a shoot with Claire Holt, actress As soon as I brought the idea to Mad- choice to do that. Understanding how
in the Originals and previously Pretty die at the beginning of the shoot, she to work with strobe and natural light is
Little Liars. Interview was looking for loved it. It wasn’t hard to get her into crucial, so that you can achieve even
a portrait of her for a feature, and this aesthetic roll of angst. We actu- more with the location.
that’s how we connected. The first ally shot the story at my house. The For all of you natural light pho-
couple shoots I did with them went rooms that I shot the story are east- tographers, here’s a fun game I play
really well and I’ve been a consistent ern facing with no sunlight coming in, with my assistants, I call it “exposure
contributor with them ever since. so I had to use all strobe. It wanted it guessing”. Before we meter anything,

There are a few great stories I’m ex- to look naturally lit as if it was the end we’ll all guess what we think the ex-
cited about that are coming out soon. of the day light. We just put on a great posure is of the natural light. We’ll set
Keep an eye out! As for my first ce- playlist and knocked it out! the ISO depending on direct sun or
lebrity, it was Jeff Goldblum. He was open shade. So between 100 ISO -
funny as hell and extremely nice. We Your portraits of Krysten Ritter are 400 ISO, normally. It’s a fun com-
hung out for about an hour and half great. Did you use natural light for petition. The side-effect is that you’re
after the shoot. that set? If so, what advice could you learning to really know your light. It’ll
give other photographers about us- make you more confident in any situ-
All your work with Interview seems ing natural light for their portraits? ation and just that much stronger of
to fit their general aesthetic – that a photographer. The next “exposure
unfazed rawness. For example, I love Thank you. All these shots of Krysten guessing” step to that is doing it in

13
studio with strobes. Hearing the pop Listening. Then, understanding where how to fly a plane. You can go take
of the pack and the intensity of the the clients ideas are coming from and cooking classes, welding classes,
light hitting the subject. Try it! what they’re looking for in the end drawing, you get the picture. I cook
result. From there, you can guide almost every night. I love the process
You also shoot really clean advertis- them and give honest creative input of prepping, cooking, and then sitting
ing images. How do you start plan- to make it your aesthetic. The clients down to enjoy what you just created.
ning an advertising shoot? For in- hire you for your aesthetic after all. Same with woodworking. It’s “my
stance, with Adidas, did you wait for garden” if you know what that term
specific direction from them? Or did You also told me that keeping hob- means. If not, do a bit of research.
you have some creative freedom? bies, like wood-working and skate-
boarding, helps you stay creative and Be sure to check out Brian’s website!
Planning starts during the first call well-balanced. Why do you think

with the agency. Ad agencies nor- this is? What advice would you give
mally have a basic concept in mind to other photographers about stay-
before they start the process of hiring ing creative?
a photographer. They look to me to
bring their concept to light, while of-
I feel that having hobbies and other
fering more ideas and being involvedinterests, other than your full-time
in the final creative process. career, is essential. It keeps you out
of the house and being able to see
What’s your approach to navigating friends, etc. For me, it helps with
through client demands and creative problem solving and just overall well-
expression? ness. It broadens my knowledge and
experience. You don’t have to learn

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PORTRAIT COLLECTIVE

15
 A N N A W O L F

M O D E R N
X
W O L F
S
ince graduating from Pasa- incredible and sometimes crazy peo- work as being this great intersection
dena’s Art Center College of ple and situations.” And although she between fashion and lifestyle – a mix
Design, fashion photogra- knows photography has taken much between fashion that is approachable
pher Anna Wolf has shot with more out of her, she continues because she and low-key and lifestyle with really
than seventy of the biggest names in believes it’s something she was always good taste!
fashion, advertising, and print. They meant to do.
include industry giants like Cosmo- In this interview, Wolf talks about Were you ever unsure of your tal-
politan, New York Magazine, Levi’s, what photography means to her, ex- ents? When did you find your visual
Microsoft, L’Oreal, and Yves Saint plains her approach to portraits, and voice?
Laurent — to name only a few. She reveals what it takes to make clean
also has shot in some of the most and consistent work. I’ve always been unsure of my tal-
beautiful places in world, including It- ents to a degree! Isn’t that the nature
aly, Thailand, and Argentina, and even
spent a year living in Mexico City to
learn Spanish. Currently, Wolf spends
I love how seamless and clean all of being a creative person? But the
your work is. How did you get your longer I make work the more confi-
start? How would you describe your dent and content I feel – I care less
her time between New York and Los work? about what other people think of my
Angeles. work and more and more I want to do
When I asked her what have been Thank you Freddy! I started taking things that I love and that make me
the greatest lessons photography has pictures in high school – photos of happy. It’s a good place to be, but
taught her, she insightfully compared my life and friends hanging out. It’s it took me a while. As for my visual
photography to life therapy. “It is really interesting to look back at those voice – I think I’ve always had it. But
such a challenging path,” she says, “It photos to see that what I’m doing now it took a while to get better at edit-
really makes you look at yourself and has a direct link to how I started out. ing my work and to start focusing
your place in the world. Each shoot From the beginning, I wasn’t as inter- the work toward a specific direction.
is so different and you get kind of ested in taking the picture, as I was When you’re new, you think you want
thrown into the mix with all of these in making the picture. I look at my to do everything. But the deeper in

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PORTRAIT COLLECTIVE

17
 I care less about what other people think of my work and more
and more I want to do things that I love and that make me happy.

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 PORTRAIT COLLECTIVE

I think there is a story in every person’s face and I’m always trying to
capture something that is real and authentic.

19
you get, the more you realize it’s im- Reanna Evoy, the creative director
portant to hone in on your style and and art director I worked with were
the direction your work is taking. I’ve so incredible and talented. Such an
learned to separate the work out in amazing shoot.
the world I love from the work I think
I should be doing. You’ve worked with L’Oreal. I’ve al-
ways wondered how they get images
Storytelling has an important place that look and feel consistent. When
in your work, especially in your life- hired, do they give you a strict guide-
style and portrait sections. This one, lines you must follow?
for example, harks back to teenage
romance and all the thrills that come Well, I think they hire photographers
from young love (above). Do you go that already fit their brand. So there
into every image thinking there’s al- isn’t much of a stretch with strict
ways a story to tell? If so, how do you guidelines. But the L’Oreal team was
find these stories? super clear with their vision and re-
ally on point with what they wanted
I think there is a story in every per- and didn’t want when we were shoot-
son’s face and I’m always trying to ing. As a photographer, having a su-
capture something that is real and au- per clear objective from the client
thentic. So in that way, yes. This shot is so important. I was really involved
in particular was for a brand called with the casting, choosing my team
Call it Spring – and the concept for and studio and the dialogue about di- Your portraits section features many
the shoot was indoor/outdoor spaces. rection was really open and easy. We great home environment shots. I
We were shooting for the Spring and had a reasonable amount of shots to love them. They uncover the root of
Summer campaigns – everything for do that day, so it gave us the room a person. What do you look for when
Spring was shot inside with a bit of an to come away with these really soft, entering a person’s home? What de-
outdoor presence – just on the cusp beautiful shots. They have a company tails do you think every photogra-
of being warm. Everything for Sum- they run all of their post through – so pher should think about when mak-
mer was outside with a call-back to retouching went to them which really ing an environmental portrait?
being inside. It was a super fun con- helps keep the consistent look for the
cept and, Douglas Bensadoun and brand. There’s something so incredible about
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 PORTRAIT COLLECTIVE

being a photographer because you shots of the space, and the same for tu? If so, what made you – at that
get access to people’s lives. I really the subject that I’m shooting. Scale is exact moment – want to take her
love getting into the space and really so important when putting together a photograph?
having a look around. Taking my time story like this.
and looking at what story there is to Nothing is impromptu! There are ex-
tell. When I’m doing an environmen- Although it’s an ad for Microsoft, ceptions to this – but it’s rare when
tal portrait story for a magazine (this this close up seems impromptu. Her doing an ad job that there is room
shoot was for Dumbo Feather Maga- expression seems so warm and con- for spontaneity. These jobs have so
zine) I like to give them a wide range of siderate (next page). How did you many moving parts, so many people
options. Tight details and pulled back find this moment? Was it impromp- involved. Hair/makeup/talent/pro-
21
ducers/locations/lighting etc. – that
everything has to be super buttoned-
up and planned. For me the challenge
is always to have constraints but to
get in there and find that moment in
all of the chaos. To really block every-
thing else out and to make it about
me and the subject that is in front of
the camera. When I can do that it’s a
successful picture.

What have been the greatest lessons

photography has taught you about
life? Any epiphanies while interact-
ing with so many people?

Ha! What a great question. I’ve often

thought that being a photographer is
like being in life therapy. It is such a
challenging path that it really makes
you look at yourself and your place in
the world. Each shoot is so different
and you get kind of thrown into the
mix with all of these incredible and
sometimes crazy people and situa-
tions. You show up to set and have to
get the job done regardless of what is
going on. I’m a really intuitive person,
and because of it I’m hyper-sensitive
to the vibe on set. I’ve learned over
the years that this is my strength but
it can also be my weakness. I do my
best to keep my sets fun and drama-
free – and focus all of my energy on
my clients and talent. I like to keep
things super positive and really try to
let go of things I can’t change.

Be sure to check out Anna’s website!

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PORTRAIT COLLECTIVE

23
WHY A L L PHOTOGRAPHERS
N E E D TO L E A R N
ART HISTORY
Erik Madigan Heck

A
t the start, when I first discovered plains how photographers can use colors
Erik Madigan Heck’s work, I knew better, and shows why every photogra-
I’d found photography I had never pher should seriously study the arts.
experienced before. Like reading Dos-
toevsky for the first time, or first hearing
Thelonious Monk, or seeing any of Berg-
man’s films, I knew at the very beginning
Ithink you’re a genius. It’s unbelievable
how powerful your sense of color and
design is. How did you get your start?
that I had come upon a genis. So, while How would you describe your work?
still babbling in wonder, I decided imme-
diately that I wouldn’t allow my words to Thank you very much! My mother is
muddle up your first experience with it. I a painter — as a kid I learned color from
wanted you to feel what I felt. spending hours doing watercolor paintings
In keeping with this, I’ll just state the with her, and from age four we were in the
facts as they are. New York fashion pho- museums every week absorbing paint-
tographer Erik Madigan Heck has been ings. When I was a teenager, she gave me
awarded one of the highest honors in a camera and that began my love with
the photography world, the ICP Infinity photography — I haven’t stopped since
“I think of
Award, was the youngest photographer then. My work is always changing, so it’s
ever to shoot the Art of Fashion, which hard to describe — but I think of myself as
myself as
also has been bestowed on legends like a painter who uses photography.
Annie Leibovitz and Helmut Newton, and
a painter
has self-published six photo books. He’s I know you don’t like giving details about
been called a maker of holistic universes how you finish your images, but could
who uses
and a true creative visionary. And I’d add you give our readers a general approxi-
that his work compares only to the rarest mation about how’s it done? You forgo
photogra-
of moments — those of pure ecstasy. digital effects correct?
In this short interview, Heck talks about
phy.”
how he got his start in photography, ex- No, I have many different processes,

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PORTRAIT COLLECTIVE

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PORTRAIT COLLECTIVE

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 PORTRAIT COLLECTIVE

“you first learn to copy until you find your own voice”

some analog and some digital. I have come learning and the journey of being an art-
to embrace digital post production, but I ist — you first learn to copy until you find
think I use it in a way that is more akin to your own voice. I find bringing in heavy art
painting, where I create new parts and add historical references adds a dimension to
so many layers of color and different ele- the work that makes it timeless, because
ments that it’s no longer even recogniz- it’s not nostalgia that I’m after, it’s more of
able as photography. But that’s the beauty an homage or striking a dialogue with the
of digital post production — it has become history of painting, which has a tumultu-
our generations new way of painting. ous past with photography as a medium. It
also humbles you when you are constantly
Could you explain why you prefer the comparing your own works to those of
film format? What advantages does film masters. It elevates the work I think on
give you? many levels.

Film has a specific look that you can’t You communicate so well with color.
truly replicate with digital — you can You’re able to affect meaning in many
come close but it’s not the same. I’m still subtle ways. A loud example is Out of
attached to the physical nature of the Order #3 (next page left). What fun-
negative. But like I said, I have begun em- damental ideas about color should ev-
bracing digital photography too. ery photographer know? Any specific
theories you think are being ignored or
Central to your work is a genuine interest unrealized?
and appreciation for art. You reference
many great works with your photogra- Color for me is really about color — what
phy. For instance, Mary Katrantzou #3.2 I mean to say is when I create color works
brings to mind Frida Kahlo and Johannes they are primarily color studies. When I
Vermeer (left). Could you explain how art shoot in black and white it becomes all
influences your work? Any compositional about composition and light. They’re two
lessons you want to share? totally different things. I think photog-
raphers shouldn’t see them as arbitrary
I’m heavily referential to art that I’m drawn choices but should really make a con-
to, I always have been. That’s part of scious effort to use one or the other when

29
 art historical
references
adds a

dimension to
the work that
makes it
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 PORTRAIT COLLECTIVE

timeless,
because it’s not
nostalgia i’m
after,

it’s more of
an homage
or striking a
dialogue with 31
 the subject matter lends itself to it. a casting.

Do you ever write short stories to flesh Any last thoughts on how photographers
out ideas? How about important is story may learn from painters? Any influences
to your pre-production process? Sur- you feel would help other photographers
realist Ideal #11 seems like a perfect fit expand their visual curiosity?
for any Alejandro Jodorowsky film (next
page). Keep making mistakes — only through
those will doors continue to open. Alien-
No, I don’t write for my images, but I ate everything you know all the time, you’ll
always start with one idea and then try be better off in the end.
and figure out the best way to illustrate
the idea as opposed to trying to just go Be sure to check out Erik’s website!
out and take a picture. Sometimes it takes
months of thinking about the subject
before I can approach it and oftentimes
ideas that are discarded always come back
later on to work in future projects.
Etro Winter 2013 #9 is unsettlingly
beautiful (right). His expression means
so much to the image. What was your
approach to direction for this one? Was it
different than your general approach?

The picture of Dorian Gray was my in-

spiration for this project. I first found the
boy and then molded the sets around him
and the clothing. I had this image of the
perfect boy in my head and found him at

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PORTRAIT COLLECTIVE

33
 Alienate everything y

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 PORTRAIT COLLECTIVE

you know all the time

35
 CAPTURE
K r i s t i n a L o g g i a
THE
DE-
TAILS
S
eeing a master at work, you to ignore. But no matter how small into a studio. I had been studying
learn the powers at play: An or messy, Loggia is always looking for acting for a long time. I knew many
image may alter your life, a those little details that sing. actors. I began to take pictures of
photobook set its course. For New In this interview, Loggia explains my friends (mostly actors) and built
York photographer Kristina Loggia how her parents influenced her pho- a portfolio from those pictures. After
making photography was never a tography, talks about her influences, about a year, my roommate ended
conscious choice. Harry Callahan, and reveals why details always matter up getting married and moving to
Diane Arbus, Dorothea Lange, and in a portrait. Santa Monica and rented a studio
Margaret Bourke-Smith were all there. She still has great business. I
fixtures in her childhood. Before she
found her photography, she found
theirs. And now that the years have
Y ou’re a well-known celebrity
photographer and photojournal-
ist. I really like the immediacy your
had shot many actors head shots by
this time, and I really did not care
for it at all. I found it to be incredibly
cycled through, she still carries work. How did you get your start? frustrating, and therefore felt like a
them. How would you describe your work? dead end. I needed to move in a dif-
“No space is just a ‘space’, no ferent direction. I wanted to expand
object just an ‘object’. Everything has I don’t consider myself a well-known my skill set and I needed a bigger
a history and holds meaning,” Loggia photographer, but I appreciate that space. I met a photographer who was
says about her approach to portrai- perception. I was living in Los Ange- looking to share a space. We found
ture. Like the greats she grew up les when I first started to work as a a space in Hollywood and my world
revering, Loggia knows that the de- photographer. My roommate at the changed. It was during this time
tails that explain a person are never time was shooting actors headshots that I began working with a larger
hidden. They just need to be pulled. and beginning to work consistently. format camera (4×5) and mov-
Some come quietly, whereas others It was a three bedroom house, so we ing in the direction of portraiture. I
impress so heavily they’re impossible decided to turn one of the rooms learned about the technical aspect

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 PORTRAIT COLLECTIVE
of photography from people who ness toward peace. anything for granted. That idea has
had gone to art school. They were spilled into my photography. So ev-
all incredible generous and willing to The home environment has an erything takes on a life. No space is
teach me the things I did not know. important place in your work. You just a “space”, no object just an “ob-
I learned a great deal from shoot- have a great skill in communicat- ject”. Everything has a history and
ing 4×5. Eventually, I had a strong ing through objects and colors, the holds meaning. I never felt the need
enough portfolio to meet with some details, that surround a person. For to “clean up”. That never made sense
publicists. This provided me with the instance, in Families, each image to me because it would remove
opportunity to do test shots for their has a painting, or pet, or object that what’s important to the subject.
clients. The deal was: if they liked says something about each family.
the shots it would be “available art” Why do you think you’re drawn to Your Polaroids are very interesting.
for their clients. If they did not like these details? It seems like you take a different
the art, I would be able to use a shot approach with them. Do you? Who
for my portfolio, but I would not be I think I am drawn to these details are the people you photographed?
able to resell the images. There were just as an actor who is working on Family?
plenty of makeup and hair people a character has to know what that
who wanted to do test shots as well, character would have in their home, I like shooting Polaroids. I loved
so pulling a shoot together was not or what kind of tablecloth the char- shooting 4×5 Polaroid, but now it’s
impossible. Film and processing was acter would buy. I hope that I never gone, which is so sad. The film at the
not nearly as much money at the take anything for granted. I have said The Impossible Project is really get-
time. It was all very doable. I built a this before, but I think it is a good ting better and more dependable. I
stronger portfolio and was soon able example. If you are working on, let’s have two SX70’s and some other in-
to start knocking on the doors of say, A Glass Menagerie by Tennes- stant film cameras as well and I love
photo editors at magazines. I don’t see Williams and you come to your them. I think the format demands a
know how I to describe my work. I acting class to do a scene from the different approach. I don’t think it is
think what I want most of all is for it play, let’s say the scene between much different than when a painter
to be honest. I hope to achieve that Laura and the Gentleman Caller, is using watercolors instead of oil
in the images I take. hopefully, you are going to chose to paint. I have mostly shot people but I
wear very particular clothes, cloth- have an ongoing flower series, too.
I read that you once wanted to be ing that the Gentleman Caller would
a war reporter but reconsidered wear and you and your scene partner Apron Chronicles received a lot of
because of marriage and children. would make very specific choices in praise. The Frankie Jones portrait
What was the attraction of war dressing the set. Everything on the is my favorite. You spoke about
reporting to you? Was it a matter of set has meaning and a history. I think this image with NPR. You said that
advocacy? Adrenaline? it’s the same when you take some- because you didn’t interfere, that’s
one’s portrait in their home or in a how the magic of it happened.
My father and mother were both space of their choosing. The space Could you explain what you mean
political when I was growing up. the subject chooses holds meaning by interfere? Did you try many
They were involved in the civil rights to them. I like to include the “stuff”. setups?
movement and in the anti-war When I was working on the Apron
movement. As a child, I went to project, I always asked the subjects I did two setups with Frankie. How-
rallies with them, stuffed envelopes where they would like their picture ever, for most of the subjects I did
with them, recognized how much to be taken. Sometimes they would only one. That was difficult because
they cared and learned to believe start to tidy up or feel like they the room was small. She was over
that there is great value in giving a should clear the space, but I would 100 years old and the room was
damn (the GIVE A DAMN button put them at ease and tell them not BOILING! It’s funny you like that
was my favorite from that time). To to worry. Everything is perfect as it one. It’s the only image in the entire
answer your question, ultimately, is and there is no need to clean up. series that I shot with a 35mm cam-
I think what drove me toward war When I was studying acting it was era. I shot it with a Leica. I also shot
reporting was the idea of being a wit- hammered into me to never take her with a 4×5, but because of space

39
I couldn’t shoot her in the direction want to include and what I want to camera. My mother loved Margaret
that I liked, so I had to use a different remove. I lived full time in Wyoming Bourke-White and Dorothea Lange.
camera and time was limited. I knew for six years and still spend huge I remember as a kid my mom tak-
I could capture both her and the de- amounts of time there, so I drive ing me to the Museum of Modern
tails of her life if I sat on her bed and back and forth. I love the open road. Art in NYC, seeing photographs
shot her with a 35mm camera and Many of my friends think I am nuts and being fascinated by them. There
with a 35mm lens. That’s her son in to do that drive but I enjoy it. It is a was a famous photograph of a bullet
the doorway. I like the 4×5 images of kind of meditation. I really need to being fired that captivated me and
her as well, but after much delibera- go through the South, but, as of yet, then there were all of Diane Arbus
tion this image served the project in I have not done that, at least not to pictures which were so amazing, and
a greater way. the degree that I would like. I remember being fascinated with

Cross Country is your great Ameri- What would you say to yourself Harry Callhan’s work. My mom had
can portfolio. I think every Ameri- back when you first started making a book of his pictures that I would
can photographer should make a a career in photography? Any great stare at. I always loved looking at
project like this. Did you have any realizations? pictures, so making them was prob-
artistic epiphanies while making this ably an unconscious choice. It just
project? What did you learn about It was not like that for me. I don’t happened.
the American landscape through it? think I thought of it in terms of a
career. I just always loved taking Be sure to check out Kristina’s
This Cross Country work is hardly pictures. When I was in high school, website!
done. I have so many images that I always had a camera, and now that
I must go over and decide what I the years have went on, I still have a

40
 PORTRAIT COLLECTIVE

“ I always loved looking at pictures, so making them was probably an

unconscious choice. It just happened.”

41
making
GENUINE
as FAKE Jamie Diamond

as R E A L
life

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 PORTRAIT COLLECTIVE

W Y
hen you look at a her work. Her portraits force our work is amazingly in-
family portrait, do you to inspect, question, and telligent. How did you get
you ever imagine analyze what we are really your start? How would you
how the family felt seconds doing when we smile in front describe your work?
before they were told to smile of the camera. Because when
for the flash? Imagine the you stop and think about it, I first began exploring pho-
parents upset about some sitting there with our eyes in tography in graduate school
secret they keep between a blank fish-gaze, you start to as a way of recording the
themselves. Imagine the kids appreciate that a lot of what is performances and sculptures
unbelievably bored or picture spoken in a portrait is actually I was creating at the time. I
each of them casually hate- made up, just invented. This is was investigating the loneliness
ful of each other then told to work that is beautiful, intel- I was feeling and my longing
smile. A portrait isn’t all what lectual, and — at least to me for childhood and family. So, I
it seems. For instance, could — wildly funny. began manufacturing my own
a family portrait be taken with In this brief interview, fictitious families by putting
a bunch of strangers found on Diamond talks about how she advertisements on Craigslist.
Craigslist and still be called a got her start in photography,
family portrait? What’s wrong explains why her work explores You write on your website
with that? As soon as a photo- the inherent fictions within that your work explores “the
graph’s set and made, isn’t up photography, and reveals why inherent fictions and complex
to the viewer to decide what’s photography helped cope with perspectives of photography”.
really happening? loneliness. Could you explain what these
These are questions that fictions and perspectives are?
Jamie Diamond explores with

43
As a child my mother used to take am drawn to vernacular photography interested in the fantasy of mother-
us a few times a year to the studio to and the language of portraiture, the hood, the social structure of the re-
get our family portrait taken. Over personal imagery we are for better or lationship between mother and child,
time it became a ritual, she would worse surrounded by. and the performance of inherited
dress us in our best outfits and have social and gender roles. I play out
us pose for the camera in order to I Promise to Be a Good Mother these scenarios with Annabelle for
present this ideal vision of solidar- is incredible. One of my favorites the camera, isolating specific idyllic
ity and permanence. These portraits is #22 (top right). The subject’s and contradictory moments.
ended up plastered in my home. I’ve expression and the room’s imposing
always been fascinated by this public colors sum up this project for me. I Promise to be a Good Mother #27
image of unity, one of closeness Could you explain what your inten- is my favorite of the entire set (bot-
and affection. The image is always a tion was this specific image? If you tom right). The design of this image
simplification and often a falsification had to give a word to the subject’s is precise. It’s intense and a bit un-
of the actual relations and the reality expression, what word would that comfortable. Why did you decide on
is so often masked highlighting sym-
behind the smiling metry/balance in
faces. We believe this image?
photography to
be a document of This series is an
reality but most exploration of
often it is not the complexi-
what it seems. ties surround-
The process of ing the paradox
taking a fam- of the mother/
ily portrait is so child relationship,
unnatural, you’re investigating both
stepping out of vernacular and art
the everyday and historical depic-
conducting this tions. In this par-
performance for ticular image I was
the camera. very influenced by
the artist Hiroshi
In Constructed Family Portraits be? Sugimoto and his series Seascapes.
(insert), you have strangers pose
together as families. Do you think The whole series began in response Be sure to check out Jamie’s
there’s a natural – inherent – pose to a diary I kept as a child titled, I website!
every real family will assume if Promise to be a Good Mother. This
asked to pose by themselves? What diary documented the relationship
might a portrait photographer learn with my own mother, written as a
from this project? kind of rule sheet for later life. In this
work, I assume the role of subject
Absolutely. Family portraits are in- and photographer and put on the
variably posed the same way and we mask of motherhood, dressing up in
are innately fluent in the codes and my mother’s clothes and interact-
gestures associated with the pose. I ing with Annabelle, a reborn doll. I’m

44
PORTRAIT COLLECTIVE

45
46
 PORTRAIT COLLECTIVE

I’ve always been fascinated by

this public image of unity, one
of closeness and affection. The
image is always a simplification
and often a falsification of the
actual relations and the real-
ity is so often masked behind
the smiling faces. We believe
photography to be a document
of reality but most often it is
not what it seems.
47
STREET
STYLE In this brief interview, Elder
talks about how he got
his start in photography,
in explains his approach to
photographing strangers, and

N Y C reveals his ideas on fashion.

48
 PORTRAIT COLLECTIVE

Not sure how I would

describe my work, I guess
when I’m photographing
my subject, I try to capture
them in their element
and telling a story

T
o the left is a Roberto by-block, neighborhood- pher. Not sure how I would
Cavalli two-piece by-neighborhood, looking describe my work, I guess
suit. I’ve never worn for New York City’s most when I’m photographing
one. In fact, I’ve never held fashionable. It’s easy to my subject, I try to capture
one between my fingers. see the appeal. You still get them in their element and
Even better, this Cavalli’s the thrills of meeting new telling a story through the
probably worth more than people and the inspiration picture.
my crap car. And although of seeing what the most
this photograph of it could stylish are wearing. And it I found your work through
fit in any high-end fashion can also get you noticed. Four Pins and Complex
editorial, it isn’t a fashion Besides Complex, Elder magazine. How did you
photograph, nor is it a ce- has also shot with other secure that feature with
lebrity portrait. It’s a street top fashion magazines like them? How did you did
photograph, one stranger Vogue and GQ. you get your name in their
being photographed by radar?
another, made for the sake
of fashion. It’s a genre of
photography about those
Y ou shoot street-style
fashion photography.
How did you get your
Well, I actually reached
out to the editor-in-chief
who actually have the time start? How would you of Four Pins, Lawrence
and confidence to wear a describe your work? Schlossman, in hopes of
two-piece mustard yellow sending him some pho-
Cavalli suit. I always loved photography tos he may be interested
And it’s street fashion and one day I ordered my in. He actually liked my
photographer George first camera and just went photos and gave me the
Elder’s job to find these out and starting taking pic- opportunity to be featured
people. Getting his start tures. I learned a lot from on the site, and it’s been
with Four Pins then Com- my good friend Greg Lewis great since.
plex, Elder walks block- who is also a photogra-
49
Street style photography’s really interesting. It’s about polite, welcoming, and respectful.
finding the most fashionable people walking around, at
any point, anywhere. What’s your approach to initiat- When it comes to posing and expressions, how do you
ing a photo shoot with a stranger? What do you say? approach direction? Do you say anything, or is it run-
Brandon Stanton, of HONY, has said that having a and-gun?
high-pitched voice always helps in smoothing over any
awkwardness. When it isn’t run and gun, I just tell them to relax, take a
breath and just be themselves. That works normally.
Most of the time I love the photo people in a candid
moment. I feel like it’s more natural. When I do approach What’s the attraction of fashion to you? Any fashion
someone, I keep a calm tone in my voice and I introduce ideas you’ve picked up while doing this? What draws
myself, ask them how their day is going. I always compli- you to photographing fashionable people?
ment them on their style. I just make sure that I am very

50
 PORTRAIT COLLECTIVE

I was always someone who loved fashion as a child and work hard to achieve your goals. Continue to have faith
as time passed I became interested in how other people and believe in yourself. Always work on your craft and
would put together their outfits. I most definitely get continue to get better and grow as a photographer.
tons of fashion ideas while shooting. I also like to give
other people ideas of how they could dress or put to- Be sure to check out George’s website!
gether an outfits in their own way, through my photos.

What are some lessons you took away from living in

New York and looking for work as a photographer? Any
great pitfalls you want to help other photographers
avoid?

There are always challenges in life. Don’t be afraid to

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 DETAILS FOUND
in the
ENVIRONMENT
BEN ZUCKER

E
.B. White, one of the most studious writers that has ever
lived (he co-wrote “Elements of Style” but is best know for
“Charlotte’s Web”), once remarked that, “Commas in The
New Yorker fall with the precision of knives in a circus act, outlining
the victim.” Of course, Mr. White was only slightly exaggerating. The
New Yorker has never been known for taking things casually. Their
copy desk, like the content and the artists they’ve asked to con-
tribute, has always sought exactitude. They know good work rarely
comes easily.

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PORTRAIT COLLECTIVE

53
 So when they call, it’s probably someone is just “pressing play” on was a fantastic assignment! I really
best if you pick up and listen. New a script they have in their head. I’ll enjoyed working on it. I didn’t “pull
York photographer Ben Zucker did give you the nutshell version of how any strings.” The New Yorker photo
just that. Having met one of their I got interested in photography. In editor contacted me with the idea
photo editors while assisting years high school, I was really more in- for this story. The way I got on her
before, Zucker was asked to contrib- terested in making silver prints in radar may have been a little out of
ute for their recent Journeys issue. the darkroom than in the shooting the ordinary. I knew her from assist-
Zucker seemed to fit the part ex- any aspect of photography. I had a ing in years past. We hadn’t been in
actly. They were looking for a strange couple of after school jobs that were touch, but followed each other on
way to see NYC, and he was known photo-related as well. I worked at a Instagram. I sent her a promo a few
for being adventurous, and as an avid photo lab and at an art gallery, which months ago and she had me come in
sailor, he could photograph the city allowed me to save up some cash for to show my portfolio to her and an-
from its seldom-seen-from water- film. One of the first things I focused other photo editor. From Instagram,
ways. Never intimidated, Zucker on shooting was skiing. In high school my portfolio and conversation, they
accepted and, at 24, is well on his I started shooting with some good learned that I was into sailing and had
way to proving that The New Yorker athletes. I was able to graduate from a sailboat in City Island. They wanted
always discovers the greatest talent. high school a semester early moved to do a story about sailing in New
In this interview, Zucker talks out to Utah to focus on shooting ski- York City in conjunction with their
about his feature in The New Yorker, ing for a winter. After that, I moved “Journeys” issue. I was the right guy
explains how he crafts environmental to NYC to study photography. I for the job given my interests and
portraits, and reveals some secrets soon realized that I really enjoyed experience with sailing.
about finding work in New York City. shooting portraits more than skiing.
I would say that in the last year of Looking through your portfolio and

U
nrelated to photography, school I began to approach pho- blog, it’s easy to see your attraction
but crucial for our readers, I tography with a similar sensibility to to environmental portraits. What’s
must start by saying that you as I do now. After I was done with the attraction to this kind of por-
have a great narrating voice – NPR? school I began assisting. I mostly as- trait to you? Is it a matter of helping
– if, indeed, that was actually you sisted two photographers. One shot the viewer understand the person
speaking in your recent New Yorker editorial portraits and the other was better?
feature. Anyway, how did you get a celebrity portrait guy. All this time
your start in photography? How I was also shooting personal work for I think a well executed environmen-
would you describe your work? myself. Eventually, I started getting tal portrait can really help to tell a
my own shoots and tapered off the story, in a way that just shooting the
Thanks. The New Yorker story on assisting. That’s the quick version of person in the studio or just shooting
sailing was my audio debut, and it it…. the environment cannot. And I don’t
was fun to work on. I like to think it necessarily mean “story” in a linear
takes the viewer one step closer to About that feature, how did it come sense. I think when its done right you
having been out on the boat that about? Did you pull any strings? get a gut feeling of the experience,
day. Whenever I tell a story I really How did you get your name in their the person, and the place. So, yes,
try to think about what happened, radar? sometimes environmental portraits
remember it and tell the story from help to give a better glimpse of the
there. I hate hearing stories when The New Yorker shoot on Sailing person, but sometimes of the place,

54
 PORTRAIT COLLECTIVE

“I think a well executed environmental portrait can re-

ally help to tell a story, in a way that just shooting the
person in the studio or just shooting the environment
cannot.”

55
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 PORTRAIT COLLECTIVE

and the experience too. someone and thought to myself, passed I will go through the images
“I have to take their portrait.” You and figure out my selects. This really
For instance, this one from Sudbury just know. You can picture the shot lets you decide how you are going
includes a dummy that communi- you want in your mind’s eye. When to show the person that you shot,
cates to the viewer a sense of absurd I shoot an environmental portrait, because inevitably you have a range
loneliness – not altogether joyless, the location has to relate to the of different expressions and feelings
nor altogether bearable. Was that subject as well. Sometimes this can expressed in the various images. I
a conscious decision you made to be as simple as shooting where I then work with a retoucher. We do
include the dummy? came across them. Other times it’s the color and any retouching that
in their home or where they work. If is needed. Usually the retouching is
It was definitely an intentional deci- the subject has passions or eccen- very, very light. And that’s how I go
sion to include the dummy. I didn’t tricities, sometimes the location will about it.
move anything in the frame other relate to that.
than having the fireman sit there. I Next, I’ll usually frame up the shot Back to Sudbury, I really like it.
think it comes back to trusting your and figure out the angle and com- How did you meet all these people?
gut feelings. I can definitely see the position; what should and should not Walking around? Through friends?
way you described it; how the the be in the frame. Usually, I light things
feeling of absurd loneliness could with strobe, and this is when I start So this is how Sudbury came about.
come across. There is also a humor- shooting test shots or Polaroids (if I was in New York, feeling a little
ous element at the same time. What I’m shooting film) to judge the light- restless and wanting to go some-
each viewer feels is different, even if ing and composition. At this point where I had never been. Eventually, I
we are all reacting to the same visual I’m usually shooting my assistant as decided I would just open up Google
cues. a stand in. Once all of that is ironed maps and zoom the screen to show
out, the subject will get in front of a drivable radius from NYC. I closed
In regards to technique, how do you the camera. The interaction with the my eyes and just put my finger on
go about making an environmental subject while shooting them is super the Screen. It ended up on Sudbury.
portrait, versus a studio one? I as- important; it really changes the way I made a conscious decision not to
sume you have to spend more time someone carries themselves in an research the town and just to try and
with the person, right? What’s your image. So many things can influence learn about it when I was there from
first step in pre-production, exactly? the way they come across: what and what I saw and whom I spoke with.
how much you say to them, your en- So I ended driving up there. I didn’t
It’s funny you should bring up time, ergy, how fast or slow you’re shoot- have plans to make a body of work
sometimes I will have hours with a ing, and if you are alone with them or out of it, initially. But I did bring my
person and sometimes just a couple they are surrounded by people and gear and shot some portraits. I ended
of minutes. But here is my step by equipment. When shooting a portrait up going to Sudbury a number of
step (and a lot of this definitely ap- so many considerations are bouncing times after shooting on that first trip,
plies to how I work in the studio as around in the back of my mind. probably a month’s worth of shoot-
well). First, I figure out who I want Usually I know when “I’ve got ing days. I really enjoyed it. A lot of
to shoot. Sometimes if I am on as- it” and stop shooting. Sometimes the people who I shot were people
signment, it’s not my choice. Trust this happens quickly, sometimes it that looked interesting and I stopped
your gut. So many times I have seen takes longer. After some time has and talked to. Sometimes they would

57
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PORTRAIT COLLECTIVE

59
 mention other people, or out what works best when I’m more networking when I was
places to check out, and that editing. in school.
would lead to other things.
But I definitely spent a lot What are some lessons you Be sure to check out Ben’s
of time in the car exploring took away from moving to website!
that area. I really liked how it New York and looking for
came together. work as a photographer?
Any great pitfalls you want
Your portraits also tend to to help other photographers
fall into two categories: the avoid?
cowboy shot or the close
up. When taking someone’s I think that networking is re-
portrait, when do you feel ally important, and it’s some-
the close up will work best? thing that you can never do
If you had to explain it as too much of. Sometimes
formally as possible, what you will make connections
kind of person looks best in a with people who are not at
close up? that time in the position to
hire you for shoots but may
I’ve never heard it described some day be photo editors
as “the cowboy shot,” but I or art buyers, or will recom-
like that. It comes down to mend you to someone who
what is going to give a bet- is. It can ever hurt you to be
ter sense of the subject. seen as a friendly, depend-
Some people have a face able person. I am also friends
that tells it all. Other times with other photographers,
showing more of the person and it’s good to have that
and their surroundings tells community to bounce ideas
more. Some people’s facial around with. Sometimes
features are really expressive things will not go your way,
or unique. Sometimes you and it’s so important to
can look at them and make keep your cool and not burn
up a story based on their bridges, and take the moral
face alone. Those people lend upper ground. It’s just good
themselves well to a closer business. When I moved to
shot. And often times you NYC, it was to study pho-
know right away, and it’s very tography, some of my peers
easy to visualize the shot you were studying advertising and
want. Other times you need design. I became friends with
to work at it more. Some- some of these people, but in
times I shoot both and figure hindsight I really should done

60
PORTRAIT COLLECTIVE

61
62
MARK PECKMEZIAN

LOOKS
YOUNG
 PORTRAIT COLLECTIVE

G
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 PORTRAIT COLLECTIVE

T
here’s an unquestionable energy that leaps from
portrait/lifestyle photographer Mark Peckmezian’s
work. Maybe it comes from the loose connection
of themes and faces. Maybe it comes from the people
themselves, with their young eyes and deadpan vital-
ity. They have looks that could jump from any snapshot
or portrait. Faces unique and seemingly restless. They
sneer and jolt; tempt and repel; and are accurate views
into our generation.
But more concretely, Peckmezian’s images are docu-
ments of city life and artistic endeavors — of friends and
their friends — unique to Peckmezian. But it’s not easy
to make photographs look like stills from the best indie
film never seen. This energy could’ve only come from
a photographer skilled at finding the moment, a pho-
tographer fully involved in finding life’s few impressive
frames. It is no wonder why he’s worked with high-pro-
file clients like the New Yorker and Bloomberg and had
his work exhibited in galleries around the world.
In this interview, Peckmezian talks about his favorite
camera formats, explains how he’s able to shoot incred-

65
 ibly intimate moments, and reveals how he approaches dering than the Hasselblads, especially great for black
directing his subjects. and white photography. The 4×5 has a clarity and pre-
cision that’s right for certain concepts.

Y ou have a tight focus on contemporary lifestyle,

and your portraits are very personal. How would It seems like your subjects have unique personalities
you describe your work? How did you get your start? and diverse looks. Are they friends? What is your ap-
proach to taking photos of what seem like candid mo-
Not sure how I’d describe it. I’m interested in whatever ments?
I’m interested in — it’s been portraiture and docu-
mentary photography for a while, but if I were sud- The people in my photos are mostly friends and friends-
denly more interested in, say, sculpture, I’d drop it all. of-friends. I think of them as either “models” or “sub-
Originally I wanted to make films. I still have a strong jects,” depending on the idea and how they’re used. I
interest in this, and it’s the direction I see myself going consider the choice in who you photograph to be very,
to in the coming years. very important. I’ll often just take snapshots totally
candidly. Sometimes I’ll tell someone to do something
What equipment do you use for your portraits? Why again or the like. And sometimes I construct photos
do you preferring using that equipment? that are to be read as candid. I think a lot of people are
uncomfortable being photographed, but that generally
I mostly use a Hasselblad, Rolleiflex, and, lately espe- just means you haven’t photographed them enough
cially, a 4×5. Each has it’s own characteristics, and the yet. My good friends, for example, are so familiar with
choice of which to use depends on the concept. The me shoving a camera in their face that they don’t even
Hasselblad is solid all around camera and I have a va- really notice it anymore.
riety of lenses for it; I use this mostly for commercial
work. The Rollei has an older lens that has a softer ren- You have a large collection of photographs. Are you

66
PORTRAIT COLLECTIVE

67
68
 PORTRAIT COLLECTIVE

constantly shooting? How do you very thoughtful and caring person. gether and seeing what sticks.
sense when a particular moment What is your approach to directing
should be photographed? What do your subjects? Do you say anything? Finally, what was the greatest advice
you look for? you ever received? Photography re-
Well that photo, for instance, was a lated or not.
I shoot a lot, yeah. I carry a camera moment during a photo shoot with
around with me all the time and al- her. I had some ideas for her in a par- Oh boy… I really couldn’t say, I don’t
ways have something cooking in the ticular location, and suggested we know. If someone asked me to give
studio. Sometimes the urge to pho- meet. That photo was not the origi- them advice the only sincere advice I
tograph something just comes out of nal idea I had, but it shared the same could give them is to not look to oth-
the blue, unconsciously. Sometimes basic parameters that I established ers for advice. We need to think for
I’m consciously hunting for an image. with the other ideas, and it appealed ourselves. Is that advice?
Usually it’s a mix of the two, where I to me. I take a different approach for
sense that there is a photo at hand, different subjects. For studio por- Be sure to check out Mark’s website!
and then navigate cerebrally through traits, often I’ll invite the subject over
some choices. I’m not sure how to and we’ll just sit around and chat for
describe what it is about something half an hour before starting to shoot.
that strikes me. That’s for my intu- And during the shoot I may say noth-
ition to decide, ultimately. ing. Sometimes we might have a con-
versation about things unrelated to
One of my favorite portraits is a photography while I’m shooting. And
woman outside with her hair cover- sometimes I’ll give very specific di-
ing her face. This photograph is a rection, depending on the idea. I try
good example of how you allow your to keep photoshoots very casual in
subject’s personality to communi- general, though; in my mind, myself
cate to the viewer. She seems like a and the subject are toying around to-

69
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 PORTRAIT COLLECTIVE

C apture
a dventure
D a y x i x Photography

W
hichever genre you choose to shoot reflects the
majority of who you are. It’s hard to imagine a
street photographer suddenly turning coat for a
glamour portfolio mid-career — or vice versa. It’s an obvi-
ous point, I know, but I’d say it’s what probably divides all
the genres into their respective photographers. If you’re
cerebral and free-associative, your photographs might
lean toward being moody and dramatic. If you’re analyti-
cal and fastidious, you might be attracted to geometric
design and abstract form. If you’re easy-going and ener-
getic, your photographs might look like these captured by
Day19.
Day19 makes photographs that look like advertisements
for the most thrilling life ever lived. In some of their very
best, I’ve actually shook my head and wondered if I’m
missing out on some cinematic adventure. The thrills are
that contagious. Jeremy and Claire Weiss, the artistic and
romantic partners behind Day19, must have a serious grip
on fast-living. And although they were both late bloom-
ers to photography, having started studying in their early

71
 twenties, they’ve now collected a impressiveAnti-Matter wanted to run a photo I had took
resume, having worked with, among many at a Split Lip show but requested it printed
others, Nike, Rockstar Games, Vibe, and with a sloppy border, I had no idea what that
Rolling Stone. meant, so I enrolled in a printing class to try
In this interview, Jeremy Weiss explains how
to get some answers. From there, I fell in
Day19 started, talks about their adventures love with taking pictures, as did Claire, so we
with photography, and reveals how they’re packed up and moved to Boston where we
able to create such energetic photographs. found a little trade school we could afford. We
were in our early 20s when we moved to Bos-

I
really love the energy captured in your ton, and even though we were both studying
work. How did you get your start? photography in school, we never really saw
photography as something that anyone could
Thanks. We were both late bloomers to pho- make a living doing. We were just having fun
tography. I took a photo class at the local taking photos of our friends and turning them
community college because a fan zine called in as assignments. I got my first paying gigs
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are flies on the wall and are capturing As I was looking through your port-
what’s really happening around us. It’s folio, I started wondering out loud if
our job to make sure what is happen- I was missing out on some great ad-
ing on set is interesting and fun. We venture that’s happening all around
direct the talent in a way that is real me. This image is just one example
and authentic which allows us to cap- (left). How are you able to capture
ture the action in a documentary and such energy? How was this specific
approachable style. image made from start to finish?

Day XIX is an artistic as well as a ro- That’s a fun one. Titled “Bower”,
mantic partnership. I read that you which means bath/shower. And most
and Claire are each other’s greatest baths have showers, so wouldn’t most
influences. How did you two meet? baths technically be bowers? Any-
How do each of you inspire and help ways, that was a trip in Mexico with
the other photographically? a bunch of friends years ago. After a
day of drinking, we all decided to take
This is true! We met in New Jersey a shower together and chant “bower,
when I used to manage a skateboard/ bower, bower” repeatedly. Good ol’
snowboard shop. I moved west to drunk times in Mexico is pretty much
pursue a career in snowboarding, but how that photo was made start to fin-
when that thankfully went nowhere I ish.
moved back to New Jersey, and we
rekindled our fondness of each other. I imagine you two are able to connect
That was 18 years ago. We do really almost instantly with nearly anyone.
well with playing off of each other. If What’s your usual about approach to
she takes a photo I dig, I try to top her direction? How do you constantly
and vice-versa. find these relaxed, fun-loving mo-
ments?
How does that artistic competition
work out? Do you know each other’s We are pretty relaxed, easy-going
strengths and weaknesses? people. We go into all shoots treat-
ing it like we are just hanging out with
It’s a friendly competition. Years ago, friends documenting the adventure.
one of us would shoot and the other Our job is literally to document peo-
would have more of an art director ple hanging out. We try not to overly
shooting bands when we first moved role. Then we realized we both just direct the talent on shoots, we really
to Los Angeles after realizing I would wanted to shoot constantly, so one just try to set up situations and move
never make it as an assistant. Claire would shoot film and one would shoot around capturing little moments of
was waiting tables while I would go on digital and then it just became we are those situations. We are constantly
the road with bands, selling merchan- both just constantly shooting what- moving around, going off with one or
dise for an hour. That left 23 hours of ever camera we grab. Artistic com- two models or shooting side-by-side.
great photo opportunities, so that’s petition is healthy. A lot of times on
what we did until advertising fell on big campaign shoots you can burn out The David Lynch portrait is really
our lap in the late 2000s. We both a bit, and having someone else there great. I read it was done for free.
thought we’d be working for a small shooting with you and seeing what’s Could you talk about that process?
newspaper somewhere. going through their head gives you an What was it shot with?
idea, and you take it from there and at
How would you describe your work? the end you realize we are just playing Thanks! It was shot for Shepard Fairey
off of each the whole day. and Roger Gastman’s old magazine
I guess the best answer is honest. We Swindle. Shepard would trade shoots

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for prints since the magazine was
barely scraping by and we’d pay rent
by selling them on eBay (shhh, don’t
tell him). We decided to shoot only
4×5 film for it. We shot 3 or 4 shots
and asked if he wanted to smoke and
he said of course. We shot 4 more
of him smoking. The shoot was only
about 20 minutes and most of the
time was spent talking about ciga-
rettes and coffee. After we shot him,
he shook our hands and said that it
was a great pleasure watching us work
and walked off into his backyard. It
was pretty nerve-racking only shoot-
ing 8 frames of an icon, but this is one
of my all time favorite shots one of us
has taken. This was actually the first
negative of the shoot we looked at
when we got it back from the lab, and
we were so stoked on it we didn’t look
at the others.

Day XIX also shoots advertising.

These photographs look just as ener-
getic as your other work. I especially
like your ones of 2NE1. How were
you able to get these great images in
such a busy location? How did that
shoot go?

The 2NE1 shoot was great. It was shot

in Shibuya Crossing in Tokyo, one of
the busiest intersections in the world.
You don’t need permits to shoot there
but you just can’t be in the crosswalk
when the no walking sign comes on.
So we basically hurried back and
forth across the street every couple
of minutes until word got out that
they were there and the mobs of fans
showed up. That was our first time in
Japan and we completely fell in love
with the place. We were there for a
week and a half and I don’t feel like
we even dented one neighborhood of
one city. It’s insane.

There are many personal images in

Claire’s sketchbooks. I especially like

75
 around with some free film. I asked to
shoot our friend Dallas’ son Audio up
against the wall. I told him he needed
to be very still because once I put
the film in I wouldn’t be able to see
through the camera anymore to ad-
just the focus. Audio sat there com-
pletely still for a good 30 seconds and
just as I was about to click the shutter
he stuck his tongue out.
After that day, we had the idea to
start shooting these portraits when-
ever we had a day off. Claire shoots
one and I shoot one and that’s it,
then we decide who’s we like better.
It was a great excuse to get in touch
with people you think are doing cool
shit and spend a little time with them.
It’s basically a series of portraits of
people that we think are contribut-
ing something cool to the world. In
the first couple years of it, we were
shooting people almost every day and
then Polaroid stopped making film.
There’s a book in the works but I’ve
been saying that for too long now. It
was an extension of projects we had
both done in the past. Claire’s one
you referenced and one I had go-
ing on for awhile. We have a ton of
sketchbooks we put work into. Most
people haven’t seen them but there
are tons. Sometimes one sketchbook
would be a single cohesive project or
sometimes its just taped down photos
with writing and drawings and stuff.
the color head shots like this one. Your Polaroid project is really great. Is
Are these photographs of friends this an extension of Claire’s sketch- What’s the greatest photography/
and family? What’s her approach? books? Could you explain your aims life advice you’ve received thus far in
with it? your career?
The photos you are referencing are
from a series she did years ago with Thanks you again! I’ll give you the long When I was in county college in New
a Holga and a flash. We were living in version of it. About 7 or 8 years ago, Jersey and learning to print pictures, I
Boston and lived in a house that was our good buddy Dan Monick gave me would carry a box around of all these
the hub of a lot of rad shit. People a couple boxes of 4X5 Polaroid he 5×7 photos I had shot that I was super
were constantly stopping by or meet- wasn’t going to use. We still owned a proud of at the time. I grew up skating
ing there to go on to the next thing, 4×5 camera we had to buy in school. in New York most nights and some-
so Claire would just shoot everyone We dusted it off and brought it to one pointed out Larry Clark (I had
who would come through. a friend’s pool party. There was no no idea who he was at the time) and
plan to do a series yet, just messing said he was a famous photographer. I

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introduced myself and asked if he’d
look at my box of photos. There
were about 35-40 photos in there
and after looking all he said was “get
closer”. I still don’t know if he meant
get physically closer or mentally but
it’s stuck with me.

Be sure to check out Day19’s

website!

77
 Catie Laffoon

PORTRAITS
HITTING In this interview, Laffoon

LIKE talks about how she got her

start in photography, explains
how music fuels her work,
and reveals how she achieves
music honesty in her portraits.

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 PORTRAIT COLLECTIVE

There’s always that line

between inappropriate
and sensual — I don’t
know why I always seem
to find that line, but I do.
I’m fascinated by it.

L
os Angeles photographer Cat- that more immediate image, that ed to be a director, so I took a step
ie Laffoon loves music. You genuine expression, music always back. I needed a way to make rent
could even say that she loves seems to uncover best. while I figured out my life, so I told
it more than photography. Though, In this interview, Laffoon talks my music friends I was available for
like a perfect couple, they never fail about how she got her start in pho- hire if anyone needed a photogra-
to support each other. Her playl- tography, explains how music fu- pher. People started passing my
ists set the tone of her shoots, els her work, and reveals how she name along. One day I was shoot-
musicians dominate her portfolio, achieves honesty in her portraits. ing and it just all clicked in my brain
and her approach to portraiture is that this was my passion, and it had
based on how music affects her.
As she told me, “I want to see your
eyes and know every feeling that’s
I’d describe your work as natural
and expressive. How would you
describe your work? How did you
been all along. Everything changed
after that. As far as how I would de-
scribe my work, I’d agree with you.
passing through your body. And get your start? I’d say it’s also beautiful and honest,
that’s how I approach shooting a sensual and a little dark, yet play-
live show, the same way I approach If I look back, I think photogra- ful. There’s always that line between
a portrait.” phy has always been there, I just inappropriate and sensual — I don’t
It’s no surprise she’s been fea- never gave myself permission to know why I always seem to find that
tured by all the music loving maga- explore it, until one day I did, and line, but I do. I’m fascinated by it.
zines, like Vanity Fair, Interview, it changed my life. When I moved I love seeing people let down their
and Billboard, as well as record to LA, all the friends I made were guard and just be whatever they
companies like Interscope, Warner in bands. Photography was always are in a moment, seeing their real
Bros., and Columbia Records. In something I was interested in, it selves, or whichever part of them-
shooting her friends like the big- seemed fun, and when my friends selves they are willing to let me wit-
gest bands, shooting large festivals needed photos for their websites, ness.
like the most intimate of moments, but they didn’t have money to hire
and capturing a person’s most per- a photographer, I just always of- I found your work through Vanity
sonal song, Laffoon makes portraits fered to shoot for them. I realized Fair’s behind the scenes gallery
that flawlessly combine two ways of after a while that I wasn’t happy in for Coachella 2014. Any favorites
seeing the world, getting closer to the film industry, I thought I want- from that set? What was that ex-

79
 perience like? this year, and I think it made it more relaxed
for the artists. I tried to make the shoots
I’ve shot Coachella several times, so that as non-eventful as possible, if that makes
wasn’t a new experience. I was shooting this sense? I wanted them to feel like they were
year for Vanity Fair – who for me are the be getting a slight reprieve from the media cir-
all end all — so I think I attached a little more cus that tends to take place at Coachella and
pressure on myself than usual. But honestly, that they had a few moments to relax. I think
everything goes out the window once I have my favorites from this gallery are the shots
the camera in my hands and whomever I’m of Ellie Goulding, Warpaint, The Naked and
shooting is in front of me. Since I’ve cut my Famous, and Tom Odell.
teeth in music, and a lot of that shooting
festivals, I think I’ve learned how to create You’ve worked with many well-known cli-
intimacy in a very short amounts of time. ents. Who was your first client? How did
Sometimes you only have one minute with you secure that job?
an artist or band – it can get really run and
gun. I spent a little more time with the bands My first client? That’s sort of a hard question.
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into the rotation. She’s been one of and they don’t care. And I love that.
my biggest cheerleaders ever since. They get let off the hook of having to
She made me believe in myself and perform because I don’t want them
continues to do so today. And every- to. I just want to know them, to see
thing else has been word of mouth them. We get to have a conversation
honestly. It’s been really amazing. and I get to expose another side of
them most people rarely ever get to
Music seems to have a great influ- see – if I’m lucky.
ence in your work. What draws you
to photographing musicians and live I really like your Culture section.
music? But, personally, being around so
many people seems chaotic and ex-
I LOVE music. It’s a part of me. It’s a hausting. How do you maintain the
part of my shoots. I customize playl- energy? What’s your approach to
ists for every shoot. Music helps me photographing strangers?
get lost in images and feelings, be-
cause that’s part of what it does, it Haha, well, it is chaotic and exhaust-
My first professional job, so I guess helps us express. When I‘m at a show ing. When I’m shooting, everything
real client, was for ChinaShop Maga- listening to an artist or a band and if is tunnel vision and I think adrenalin
zine, a blog owned by Red Bull (which you can draw me in, I’m automatically takes over, no matter what I’m shoot-
later lead me to working directly for intrigued by you, and I want to know ing. I’m a waste of space after a shoot.
Red Bull) – I shot a Peter Bjorn and what you’re thinking, feeling, whether I really love being an observer. I love
John show. It was hilarious. My friend, you’re connecting to the song or to to people watch. I tend to think of my
Nicole, was writing for them and I had the crowd. I want to see your eyes portraiture as observing moments,
told her I’d love to work with her at and know every feeling that’s passing and with this section, it really is an
some point. She texted me a couple through your body. And that’s how honest depiction of moments around
months later and said she booked a I approach shooting a live show, the me – being the open observer. My
last minute gig and could I be there same way I approach a portrait. I’m life can be fascinating at times. If I’m
in 2 hours? I was throwing a birthday looking for that connection, not just photographing strangers, there are a
BBQ for my brother – I told them an image that looks cool. And I love couple different approaches I take.
they could stay but I had to go. The working with musicians because a lot Honestly, if I can, I’d rather just be
editor Barbie Brady loved my photos of times they don’t know how to do a fly on the wall observing moments
from the show and she worked me photo shoots — they don’t like them as they happen naturally and never
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be seen. The best moments are the play space, but really I’m creating an look at it again. I’m surrounded by a
ones nobody knows you are witness- environment that’s safe to express, beautiful world that’s in focus, and
ing. There are times (not depicted in feel, reject, whatever. Being photo- I’m out of focus and hiding behind my
my culture section) where you can graphed is a very intimate thing, so hair. I really have a hard time being
suss out if someone might be up for controlling the energy you allow on seen, or with the idea of being seen.
being photographed for a certain end set is vital. I’m very particular about I can always empathize with people
game. But I think a lot of that is be- who I allow on my sets – my shoots who are camera shy, yet we all want
ing in tune with people, their energy are intimate, my walls come down, to be seen — nobody wants to be in-
and where they are heading (a show, their walls will come down, it has to visible. And I think that’s where pho-
dinner, work, etc). Just be aware and be safe. So that means, glam, ward- tography comes into my life. I’m able
be inviting. I find that if I’m open and robe, “the entourage,” anyone who to show everyone how I see the world
I smile and tell them exactly what I’m steps foot on your set is taking part around me, how I see you — I will see
doing, people are generally game, and in the experience you are trying to you as nobody else does – which is
if they aren’t, it probably has nothing create. If you don’t have the correct what makes photography fascinating
to do with me. energy, you will not be allowed on my to me, the point of view. And by shar-
set. And you shouldn’t let it on yours. ing my point of view, I feel like a part
When first assigned a celebrity cli- The most important aspect of this, of me is being seen.
ent, what are your first steps to start- however, is being open yourself. I
ing the job? Do you research their think it’s easy to get lost in technical Be sure to check out Catie’s website!
work? details, lights, camera, action – and
controlling how the subject looks. I
I feel like I should say yes, but hon- figure out all my lighting and tech-
estly, no. If I don’t know who they are, nical stuff before someone steps
I might look them up and see what onto my set, and that way I’m open
sort of imagery they have done, and to them, interacting and conversing,
most of the time I feel like the image being ridiculous or telling personal
of them I see isn’t being represented. stories. And I’ll almost never correct
I generally get a sense, a feeling, a someone in how they look. If you
vibe of a person – or of the person want honesty, be very aware of how
that isn’t being seen, and I think and you correct a subject – especially
plan around that. But there isn’t a ton women. There’s a very subtle way you
of planning past location and a playl- can lead someone to where you want
ist. I get those locked in and every- them to be, but if you overcorrect,
thing else just happens naturally. I they are over thinking, and I don’t
don’t like to plan my shots, that’s not want an image of someone thinking
fun for me and it doesn’t feel authen- about the picture they are taking – I
tic. I like to create a play space for want an image of someone lost in an
people – a safe space to feel, create, experience. Create that experience
express and play – everything hap- for them.
pens naturally once we are shooting
in that space. The self-portrait in your bio is great.
It looks like you’re walking on wa-
You say in your bio that you look for ter. What does this photograph say
honesty and connection in your por- about you? Any last words on how
traits. If you had to teach a class on photography has affected your life?
achieving this, how would you struc-
ture your first lesson? I would say that image is a perfect
representation of me or, at least, how
Wow, that’s a question. Create a safe I see me – although I hadn’t really
space for your subjects, I call it my thought about it until you made me

83
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